AnimauX veGeTal is the second release of the collaboration between Anne Gillis and XT (Seymour Wright & Paul Abbott). The trio began working together in 2018. Slowly, remotely (in Brussels, London and Paris respectively), they developed and grew the work ‘Our/s Bouture(s)’. It was broadcast to an in-person and on-line audience at Cafe OTO (London) in 2021 and later released on ArtIntoLife (Japan) in 2023.In 2022 they performed more together at Cafe OTO and Q-O2* (Brussels), growing, grafting, pruning and diffusing volatile elements of the broadcast (and accompanying film), planting and seeding new sounds and movement into and over what grew from the speakers.In September 2024 the three met again to record at XTUDIOs (London). 'AnimauX' and 'veGeTal' are what emerged. Shared, discrete and whole these two blocks show how the trio grow its own sound, and move on and into new things. The titles are named after the doings – audible and palpable, heard and felt – they capture the pulsing fact, fabric, and flourish of the matter, pace, and space of what grew and bloomed that day.-----------The zonal wheezing of a compression artifact projected through the inverted curvature of a slip-n-slide, coiling, tumescent, love's last gasp. The deadline has been exceeded. - Sunik Kim

‘Almost Something’ is the debut release of the long standing collaboration between artist/dj Laura Not and Andrew Hulme of O Yuki Conjugate. The two pieces cover a musical domesticism, developed around location recordings made in London and Berlin. The duo, known separately for their considered and attentive handling of collaged textures, rhythms and ambiences, offer up a sonic landscape where fugitive moments of creation meet the concrete sounds of everyday life. The unfamiliar is what sticks and encourages repeated listening, moving you back and forth between cities, dissonance and harmony. The tone of the album has a sustained dustiness, shrouded in a thick smog where feedback tones and scrapings on thick metal lurch at you. Sounds that can one minute appear as distant aeolian sediments suddenly become compact and then break into shards - you’re constantly in motion. You could almost liken it to feeling transported to an inner city reconstruction of Gordon Monahan’s ‘Aeolian Winds Over Claybank Saskatchewan’, if it stretched between the tunnels of the underground and the dark corner of a household boiler room.

We use the same method of what we did on Responses (Zappak, 2022): being in a place for a whole afternoon, but not playing together. We took turns on recording solo piece, and each session was a responses to the former one. Even the length was same with the former album (each one 7 minute). Only one difference: on this time we played outside but last time we played in room. There were lots of limitations from the lack of alternation electric power (and also the hot temperature and mosquito). But the open fields brought some possibilities on the other hand. Same as the former one, Sun Yizhou selected and paired these solos into duos, and I did the mixing work. I drew the cover of Responses, which was designed by Leo Okagawa. Thank you Leo, for accepting my submission and releasing it in 2022. It was the starting place of our new work.----Zhu Wenbo

'GAX is the duo of Seymour Wright (alto saxophone) and Vasco Alves (gaita de fole) and ‘as tradiçōes/the traditions’ is their first published recording. They started playing together in 2008 as regular participants in Eddie Prévost’s weekly, London workshop. GAX have rarely performed publicly, which only adds to the pleasure of being able to share this inimitable first release. Seymour Wright is known for his solo work, the duos XT with Paul Abbott, @xcrxswx with Crystabel Efemena Riley, and GUO with Daniel Blumberg, as well as his part in larger groups including أحمد [Ahmed] and X-Ray Hex Tet. Vasco Alves has previously released a solo record with gaita de fole and electronics ‘Gaita Contra Computador’ on After Action Review. ‘Estrada Longa’ for synths and voice was released on Cafe OTO’s TakuRoku, and reissued by Feedback Moves in 2024. He currently leads the exploratory bagpipe ensemble As Rochas da Ajuda. As well as GAX, his other ongoing collaborations include OndaXoque (with Pedro Rufino), a duo with Margarida Garcia. He has also performed extensively as a part of VA AA LR with Adam Asnan & Louie Rice. '‘The traditions/as tradiçōes’ was recorded across two days in the summer of 2023. Both pieces accentuate micro-motions in the interplay between Alves and Wright’s instruments. ‘The traditions’ folds and cuts, placing silent blocks between the duo’s play of sounds. The physicality of the performers is audible through the psychoacoustic oscillations and investigation of rich overtones. On ‘As tradiçōes’ Alves and Wright each play layered glissandi spanning the entire side of the record. Squalls of air from bellows and lungs control the slow, rising movement, grounded by and juxtaposed with a drone from one of Alves’ chanters which sharply fizzles at the pieces’ end, leaving in its shadow a short, continued blast of complex high tones.The 10" record comes housed in a matt-finish sleeve designed by Vasco Alves and includes a fold out poster. The photographs on the front cover and "as tradiçōes" side label are taken from the book 'Gaiteiros de Sesimbra' published by Associação Portuguesa Gaita de Foles.' 

Interviews by Alan Licht with Vito Acconci, ANOHNI, Cory Arcangel, Matthew Barney, Glenn Branca, Rhys Chatham, Tony Conrad, the Dream Syndicate’s Karl Precoda, Richard Foreman, Henry Flynt, Milford Graves, Adris Hoyos, Ken Jacobs, Jutta Koether, Christian Marclay, Phill Niblock, Alessandra Novaga, Tony Oursler, Lou Reed, Kelly Reichardt, The Sea and Cake, Suicide, Michael Snow, Greg Tate, Tom Verlaine, Rudy Wurlitzer, and Yo La Tengo’s Georgia Hubley and Ira Kaplan. Introduction by Jay Sanders. For the past thirty years, Alan Licht has been a performer, programmer, and chronicler of New York’s art and music scenes. His dry wit, deep erudition, and unique perspective—informed by decades of experience as a touring and recording guitarist in the worlds of experimental music and underground rock—have distinguished him as the go-to writer for profiles of adventurous artists across genres. A precocious scholar and improvisor, by the time he graduated from Vassar College in 1990 Licht had already authored important articles on minimalist composers La Monte Young, Tony Conrad, and Charlemagne Palestine, and recorded with luminaries such as Rashied Ali and Thurston Moore. In 1999 he became a regular contributor to the British experimental music magazine theWirewhile continuing to publish in a wide array of periodicals, ranging from the artworld glossies to underground fanzines. Common Tones gathers a selection of never-before-published interviews, many conducted during the writing of Licht’s groundbreaking profiles, alongside extended versions of his celebrated conversations with artists, previously untranscribed public and private exchanges, and new dialogues held on the occasion of this collection. Even Lou Reed, a notoriously difficult interviewee, was impressed. Alan Licht is a writer, musician, and curator based in New York City. He is equally known for his guitar work in the underground rock bands Run On and Love Child and in the experimental groups the Blue Humans and Text of Light. He has released eight solo guitar albums and more than a dozen duo and trio records of improvised music. Licht is a contributing music editor at BOMB magazine and his essays and reviews have appeared in Artforum, Parkett, the Wire,the Believer, Sight & Sound, and many other publications. He is the author ofAn Emotional Memoir of Martha Quinn, an extended personal essay about coming of age as a rock fan and musician;Sound Art: Beyond Music, Between Categories, the first full-length study of sound installations and sound sculpture to appear in English; and Sound Art Revisited,an updated version of the latter, published last year; and he is a co-author of Will Oldham on Bonnie ‘Prince’ Billy, a collection of interviews with Will Oldham,andTitle TK 2010–2014, a compilation of concert transcriptions, with Cory Arcangel and Howie Chen. Jay Sanders is executive director and chief curator of Artists Space, New York. --- Blank Forms, 2021

Despite decades of notoriety as one of the “filthiest books in the world,” Steve Cannon’s first and only novel, Groove, Bang and Jive Around, has hardly been read since first being published by the Paris-based Ophelia Press in 1969. Due to its scarcity, the New York Press deemed it “an underground classic of such legendary stature that New York’s black cognoscenti have transmogrified the work into urban myth.” This debut, revised for release by Olympia Press in 1971, cemented Cannon’s place as a stalwart of the East Village and key figure in New York’s black avant-garde—inspiring a generation to break with staid literary modernism, according to Cannon’s friend and collaborator Ishmael Reed, for whom its release “signaled a resurfacing of the irreverent, underground trickster tradition of black orature.” Seeped psychedelia and hoodoo, this erotic farce follows Anette, a fourteen-year-old runaway, from the outhouse of a New Orleans juke joint to the land of Oo-bla-dee, a realm of bacchanalian self-determination founded by Dizzy Gillespie. Inspired equally by Chester Himes and Women's Liberation, the author claims—as Ophelia put it, Groove, Bang and Jive Around is an absolute necessity “for everyone who wants to know where and how the action takes place in Sex and Soul.”