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.' 

I grew up watching films with my mum. One of the most affecting was Mike Leigh’s Secrets and Lies. We laughed and cried, whilst watching a mother and daughter, on their respective sofas, watch tv and smoke fags. My dreams are the offbeat moments in these fictions where I smoke with my mum. I yearn for the imperfect feelings of familial harmony in Secrets and Lies, a meal eaten at a table, unacquainted people brought together. It hurts, I said. It’s like the storm in my head broke the thunder directly above my flat, the lightning half a second before. Suppose A Collapse arranges moments between two cities, each viewed through the lens of the other, intimately mapping the interiors of a fourth floor flat in Madrid and the childhood bedroom of a three-bed semi in Belfast. Memoir, poem and essay combine to form a collection of experiences based on the author’s changing relationship with her absent father, extended ‘(non)family’ and mother, while film and art inform the movement between lucidity and a fracturing present. How many times can we fold up our lives into smaller and smaller shapes until there’s no room anymore, only the one that we’re in? Lucie McLaughlin is an artist from Belfast, Northern Ireland. Her work has been published in Faultline Journal of Arts and Letters, California, performed at Raven Row, London and exhibited at Lily Robert Gallery, Paris. She is currently on the MLitt Art Writing at Glasgow School of Art.

Organising the book’s chronology around the time log of a public event, Anne Tallentire invites us into the activity of plotting a number of (1:1) diagrams of domestic rooms across the emptied-out ICA theatre in London.Upon this joyous illumination of the stains of past productions and mass gatherings appears a new assembly of enactors, who summon the social sediment of the ICA as a spirit of communal activity. This new event butts against the extremities of the room. A laser level and tape measure cut across the seams of dusty bricks, the patchwork painted floorboards, a leftover bass bin, electric cables, and plywood stage to inscribe abstractions of interior spaces in builder’s graphic tape.These ambiguously intentioned drawings gain political purchase when we imagine ourselves residing within the cramped dimensions being unfolded. We remember the premise of our lives upon the buildings that we have subsided into, and those responsible for them. This act of contextual comparison is a key leverage of the book. A socialist motivation that ignites the agency of our collective imagination to participate in the language and critique of housing provision.