Session Zine - Issue 2 by Session Zine

ISSUE 2

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NS U ne U O S n j re a i Br ssac Ma tney ith i m tS Wh t iO Ell AT ch t O i G O B OMY t AU RON T ME

Hey Bristol. Welcome to issue two of Rise Session. As touring season rolls back around we’ve got a whole load of exciting content for you to soak up, presumably whilst sipping some nice Friska Coffee? Regardless, It’s a super exciting issue as we’ve got some acts who are usually pretty elusive. Whether that’s the cult Brian Jonestown Massacre or GOAT, we simply hope you enjoy. Team Session

SUUNs

Brian jOnestOwn massacre The prolific alternative icons agreed to have a chat with us as they continue their string of releases and live duties.

Whitney

ElliOt Smith Pictures of Portland: The City of Elliott Smith

GOAT Goat drop the curtain slightly on their mysterious profile.

AUtO bitch

metrOnOmy Joe Mount puts some time aside to give us the skinny before his set at Simple Things.

SUUNS It was clear from the first time we heard the pummel of ‘20/20’ that SUUNS were something very special. The song was a calculated and expansive mess, something which speaks for everything that’s followed in their career. We’ve been loving the latest record ‘Hold / Still’, so thought now was the right time to catch up. Hey guys, we’re loving the new record - did you approach this one differently? We did it far from our homes in the beautiful city of Dallas. We spent three working weeks there playing live takes of song after song. Afterwards, John Congleton who’s worked with everyone from St Vincent to Modest Mouse mixed them. He produced the record also so that was great. Why was it your most challenging record to date? Working with a new outside voice is challenging in some way. Each record had its challenges. This one was the letting go of total control. You’ve always managed to provide substance and depth in your music, is this a matter of layering? Not really. It’s a matter of finessing the sounds and arrangement. There isn’t much layering on any record. We keep it sparse with some studio flourishes.

The vocal always brings a beautiful sense of enigma, do you see the voice as more of an instrument? Yes and no. It used to be more percussive on previous recordings but now there is more lyrical content and melody involved. Is combining electronic music with something more heavy and distorted a challenging task? It’s what we do pretty well. We love electronic music. I assume by distorted you mean guitars? Those go great with everything. The keys are pretty distorted sometimes too. I can’t remember. It’s not challenging once you figure out what the song is. Things flow easily after that. You’re hitting Bristol for Simple Things, what can we expect from ‘Hold/Still’ in a live capacity? We’ll play the songs with a live feel. They’ll probably be heavier in some respect and maybe more drawn out. We’ll be backlit and mysterious too.

Words by RB

Suuns

Brian JOnestOwn massacre Brian Jonestown Massacre are a definitive entity. Anton Newcombe is a man who’s survived scraps, contracts and years of industry turbulence. Perhaps famed for a somewhat blunt persona - he’s responsible for timeless psychedelic anthems like ‘Anemone’. Needless to say we were thrilled when he agreed to answer some of our questions: BJM are prolific when it comes to touring, what do you love about the road?

To what extent does having the studio in Berlin aid your creative process?

My art is conceptual in nature, it’s not about the studio magic and my creations, but rather it comes to life or dies in the live medium.

Not so much, because so much of what I do is related to my own soul rather than the city.

We loved the Bristol show this year, how do you decide the setlist with such a big back catalogue?

Everything you put out somewhat has a timeless sound - has this kept you going? I enjoy what I do.

We write down about forty songs and see if we can play thirty, up down sideways and get a nice flow going. You’ve never considered yourselves rockstars, is the age of those is dying out? Not at all but it’s stupid and silly. There is only one rock star, Phil Collins and he’s an asshole so there you go.

Words by RB

“Anybody that thinks Oasis is amazing doesn’t really and truly understand the full depth of human emotion” Having come through an industry where people haven’t made it and having overcome personal hurdles, do you feel in a more privileged position these days? I just work hard and I never believed or was even tempted by the lie. That’s not privilege - I can only attribute it to my God and whatever thin golden cord passed through the ages from the first person running from a bear thinking “someday my children’s children won’t have to deal with this shit.” With so much experience behind you, what advice would you give new artists?

Tell us a bit about the song (David Bowie I Love You) Since I Was Six - could you name a few of your favourite albums? I don’t need a favorite anything - but anybody that thinks Oasis is amazing doesn’t really and truly understand the full depth of human emotion and therefore are cheating themselves out of a life worth living. Lastly, could you leave us and our customers with some words of wisdom? Fuck War.

Don’t sign a contract you don’t understand - there’s no excuse - you can google every word. Brian Jonestown Massacre

WHITNEY Whitney’s debut album is the kind which instantly puts the mind at ease. Despite coming from a relatively low moment in their respective lives, it feels like the band have gone into a lodge in a sun-glazed woods, drank copious whisky and poured their hearts into a record. We caught up with the guys to chat about the release. So how was the creative process behind this new album? I guess Julian and I just started writing nonchalantly. We didn’t have many expectations of gaining any success or popularity. We just started making songs in our Chicago apartment. It was a case of making the songs that we’d want to listen to if we were driving around the country or something. That’s where it started and it all stemmed from that. I heard it was brutally cold when you made the record? Yeah it was freezing! We’re the type of people who put everything that’s going on in our lives into our music so that probably came through on it. Where we’re living definitely has some sort of influence upon our music. Where we are right now will influence what we’ll come out with in the future. It’s very relaxing and wholesome, were you in a good place then? I think we were kind of freaked out actually. We’d all gone through some hard breakups and we were worried about not playing music as much. It was about figuring out

what we were going to do. So it was more optimistic, we were making music during a time of confusion, so trying to sound a little brighter. It was us kicking out of winter and being in a place that wasn’t naturally beautiful. I think we were imagining ourselves in a prettier situation.

“We’re the type of people who put everything that’s going on in our lives into our music” There seems to be quite a natural bond between you guys... I think it’s really a personality thing. We started writing together one-on-one and we just really got along. That made it easy for us to review things and decide what we did like and didn’t like. We worked so well together.

Words by RB

10 Have you been slightly taken aback by the response? Yes, it’s kind of unexpected. The first time we came over to England was only in February, even then though we had people supporting us. It’s just great. The other day Elton John gave us a shout out which was pretty awesome. You must feel proud having bounced back from previous bands so strong... I’m truly having a good time. We’re just on the road right now and just loving it. It’s about a hundred degrees outside this

second though and there’s no airconditioning so we’re suffering a bit. We’re actually playing a lot of awesome festivals in Europe very soon though. Then beyond that there’s the UK tour, it’s going to be beautiful. Lastly, what’s the plan beyond all this? We’re always storing away ideas between us. We’ve got a month off in Chicago this year so we’re going to try and get to work on something then.

Whitney

RISE F F A T S S k C I P

Touche Amore - Stage Four

Abra - Princess

Lucy Dacus - No Burden

Air - Air (reissue)

Lady Wray - Queen Alone

Romare - Love Songs: Part Two

Johnnie Frierson Have You Been Good to Yourself

Tee Mac - Night Illusion (reissue)

Brian Jonestown Massacre - The Sun Ship

Rise Staff Picks

Local Natives - Sunlit Youth

Trentmoller - Fixion

Nick Cave & The Bad Seeds - Skeleton Tree

Frank Ocean - Blond

2814 - Rain Temple

Clipping - Splendor & Misery

Bon Iver - 22, A Million

Lisa Hannigan - At Swim

Factory Floor - 25 25

Noura Mint Seymali Arbina

The Wytches - All Your Happy Life

The Preoccupations The Preoccupations

Rise Staff Picks

PictUres Of POrtland:

The City Of ELLIOTT SMITH

15 Elliott Smith’s ‘The Last Hour’ sweetly fills the bar - and a man who I’d met around thirty minutes earlier leans in, lifts his beer and says “this one’s for you”. It’s a beautiful moment that goes a way to defining my Portland experience. It feels like everyone is connected to Elliott Smith in some form here. From the woman in a vintage shop who once played pool with him and Pavement, to a man who saw him play to eight people and dismissed it due to the heavier nature of the acts around at the time. “I later realised what it was I’d witnessed”, he tells me in a dive bar around the corner from the prolific Jackpot Studios, where much of Smith’s work was recorded.

I begin tracing a few key sites in the history of the local hero. Walking alone through the tranquil suburban streets of Eastside Portland is a calming experience. Between deserted cars covered in dead leaves, it seems there’s a brewery on every corner which make the long sunny walk a bit easier. I’m heading towards the house where Smith recorded ‘Roman Candle’ in the basement. Arriving at an intersection I immediately recognise the imposing figure of the building. Someone exits and after a quick question he confirms it’s the house. “Funnily enough it was also lived in later by The Shins frontman James Mercer”, he tells me. Given the legendary status of the music scene here, I’m hardly surprised.

Words by RB

16 You can feel the tranquility and atmosphere from Smith’s music here in the sound. Whether it’s the lamp posts coated in decayed posters or the distant hum of the tram system, there’s something about the place which allows space and time to think. Gazing over the map it’s a place which geographically had impact on Smith’s lyrics. Street names like Condor Avenue, Alameda, and some of the places events like the annual Rose Parade appear.

There’s also a rainy day coffee shop culture which seems to sit perfectly alongside some of Smith’s music. Although I’ve been told that the city has changed a lot since the nineties, one particular bar called ‘My Father’s Place’ apparently has barely changed a lampshade since Smith used to drink there. Perched in the dimly lit setting as they call out the bingo, the bar lady points to the seat where Smith sat. “Right there in that spot.” I’m humbled to be in such a place with such character.

Taking into account the musical history of Portland, the beautiful venues and record stores here, I can see myself returning for a longer period one day. I purchase my favorite keepsake at Music Millennium, a copy of Smith’s ‘Figure Eight’. The grey bearded man behind the till has worked in the store half his life and says they opened

the shop doors in March 1969. The first song played was ‘It’s All Too Much’ by The Beatles. From the beautiful scenery, jaded streets and labyrinth like music and book stores. The record kind of speaks for how I felt leaving the place.

Pictures of Portland

5 AT RISE We invite some of our favourite artists int o the store to pick five records that both influenced and shaped them as musicians and listeners. From the very obscure through to classics, we find out what albums are essential to them.

Lice Slint ‘Spiderland’ Mastodon ‘The Hunter’ Total Control ‘Typical System’ The Birthday Party ‘Live 81-82’ Orchestral Manoeuvres In The Dark ‘Architecture And Morality’

TrUst FUnd Case/Lang/Veirs ‘Case/Lang/Veirs’ The Beatles ‘A Hard Days Night’ ABC ‘The Lexion Of Love’ Eels ‘Electro-Shock Blues’ Drenge ‘Undertow’

5 at Rise

THISISDA Dizzee Rascal ‘Boy In Da Corner’ James Blake ‘Overgrown’ Pixies ‘Doolittle’ Arctic Monkeys ‘Whatever People Say I Am, That’s What I’m Not’ Homeboy Sandman ‘First Of A Living Breed’

yama warashi Fountainsun ‘Music Today’

Sun Ra ‘Medicine For A nightmare’

Television ‘Marquee Moon’

Dubi Dolczek & The Haunted Lagoon ‘Dubi Dolczek & The Haunted Lagoon’

Leonard Cohen ‘Songs Of Love And Hate’

5 at Rise

GOAT Goat are famously hard to track down for interviews, very few know their true identity, only that they’re an elusive bunch from somewhere in Sweden. The one thing that’s certain about them is the fact that they knock out some of the most forward-thinking music around. We were naturally very excited when they agreed to have a chat through their Bristol based label Rocket Recordings. Needless to say, the band carry the same sense of mystery in the live environment; they tell us about how they utilise their lack of identity. “I think the people that come to our shows like that we try and maintain some integrity. That creates a tension between us and the audience which I think is positive. Our anonymity also helps us let ourselves loose.

“We are not interested in making the same album twice and the next one will have a more organic sound.” It also makes it more natural for us not to speak between songs, we never know what to say and our enigmatic nature makes it more natural to just keep our mouths shut Goat are famously hard to track down for interviews, very few know their true

identity, only that they’re an elusive bunch from somewhere in Sweden. The one thing that’s certain about them is the fact that they knock out some of the most forwardthinking music around. We were naturally very excited when they agreed to have a chat through their Bristol based label Rocket Recordings..”

Words by RB, illustration by AD

22 At their Circomedia show last year, we were handed robes and masks upon entry. They say the concept behind this was to create a family feel. “It was about getting rid of yourself for a while and to become a collective. It might have worked differently but I hope some enjoyed the experiment.” They continue to detail that despite the immersive nature of their shows, the formula is quite straight-forward. “A live show people have paid for shall be worth the money. Both the listening experience and the visual experience. And we always try to do our best to provide that.”

Playing live is a little less spontaneous for obvious reasons. People want to hear our songs and not a lot of loose jamming which I completely understand. Although we stretch some songs and jam in them live too.”

There’s an obvious spontaneity to the music as well. We’re told that it’s a case of being open and just jamming things out. “It’s the whole thing when we record. We make our songs free-form and very seldom have an ending before we start record. A song can sound completely different when it’s finished from the jam it started with. Plus it might not be the people finishing it that started it.

It’s easy to see that their latest single ‘I Sing In Silence’ marked a new direction for the band. When questioned on the move they reveal, “I don’t know if we want to say we’ve grown but the sound has definitely changed. We are not interested in making the same album twice and the next one will have a more organic sound. More folk rock in many ways.” Goat are set to make a live return to SWX in Bristol this October 19th. It’s a prospect they’re really looking forward to. “The city has been great to play in those two times we have been there before so we are looking forward to meeting you all again.” Joining them in that spirit, we’re guarenteed that it’s going to be a ridiculously colourful night out.

Goat

AUTO BITCH In the heart of Stokes Croft, on Picton Street, lies ‘Katie & Kim’s Kitchen” . A marvelous cafe where patrons all share the same big table and the food is baked in front of you whilst records play. Katie and Kim, who own the cafe also have a musical project, Auto Bitch. Their independent spirit is prevalent in both and after seeing Auto Bitch live I was swept away by their unique take on no-wave, riot girl and experimental music. I paid them a brief visit at their kitchen to ask a few questions about the band and drink some Port.

After finding out about their first records, (3T / Michael Jackson) , Katie describes the first CD she really knew all the words to, as being Neil Young. Her Dad introducing her to Kris Kristofferson, Nils Lofren and The Pogues too. Kim recounts Michael Jackson and Simon & Garfunkel as being her first musical memories, alongside the time her Dad bought home a piano and finding out she could play Beethoven from memory. It turned out the last part was a lie, throughout the chat, their playful answers interweave with each other’s and I struggle to keep up.

Words by AD

24 I ask them how their musical path started and why they decided to make music together. “We always like taking over, although that’s mainly you Kim!”, Katie immediately announces. Kim jumps in to defend herself, “We both played guitars and just got along. I played a lot with my brother growing up, and Katie was part of an open

says I’m a shit drummer, it’s a little hurtful, but not as hurtful as it could have been. We do try to be good, we aren’t precious about what we do, we let loose.” Anyone who has seen Auto Bitch live will know just how energetic and intense an experience it can be. Tribal drumming twinned with primal wails and shimmering tambourine.

mic beatbox duo. Katie would ask me to teach her a song, show her the chords, only then she would play it herself in front of my friends and claim she made it up, every single song I learned, she would play them in front of my mates and ruin them. It took 6 years before someone caught her, she played something and someone said “hold on, isn’t that The Breeders..?” , Katie would change the lyrics though.”

It works best when it is taken out of the traditional context of a stage, and placed amongst an unsuspecting audience. On their recent northern tour, they played each show in the middle of the crowd, who were not expecting it. People were both bemused and engaged, not quite sure what they were witnessing, and if it was meant to be on the bill.

Instrument wise, they traditionally set up with just a floor tom drum and a tambourine, although I have witnessed accordion and extra members with percussion. I ask why they don’t feel the need for a guitar, Kim states “As Auto Bitch, we have nothing to lose, if we play the guitar though, we have a lot to lose, people will think we are only semi good at it, not that we aren’t good at it, for me, it would just be too much. If someone

To describe Auto Bitch as ‘funny’ and ‘humorous’ would be to do them a disservice, I ask them if there is any correlation between their baking and their performing, if they approach the two with the same creative process, as their live show is slightly confrontational, is their baking angry. “I don’t know what it’d taste like if Katie wasn’t angry whilst she was baking!” Kim jeers. Katie follows with “When we play we are taking it out on the crowd,

Autobitch

anger. It’s not supposed to be humorous, it’s actually heavy hearted. We may be smiling when we play and it’s not aggressive, more provocative, unnerving, uncomfortable. Auto Bitch is good with aggression, but the cooking has to be done gently. I was thinking today whilst I watched Kim making the sausage patties, thinking it’s such a shame you have to make them in such a rush, you don’t get time to think about what you’re putting in there, you need time and space which we don’t get when cooking. With Auto Bitch we react to the environment and improvise a lot. The two processes are very separate but equally as fun” The answer is given with a slight tongue in cheek and I can’t help but wonder just how heavy hearted they really are.

I ask who their dream tour would be and the answer is unanimous, ‘Beyonce’ they answer in stereo. Or Drake. Their current favourite Bristol act? “The Giant Swans” , they know fully well that’s not their name, but it’s this constant comedic energy that emanates between them that makes their company addictive. They describe their music tastes as completely different but both love Neil Young, John Martyn and Lana Del Rey. Their inspiration coming from an initial folk place and evolving into the no wave act it is today. Quite how they bridge that gap I am yet to discover. Throughout the chat Katie constantly bursts into song, treating me to snippets of Jolene, Jason Donovan, John Martyn and many more, at no point is there silence.

Words by AD

Dean Blunt, FKA Twigs, Enya, Lana Del Rey are all next to each other, alongside the aforementioned Young and Martyn. The eclectic taste of the pair is clear to see, and their love for music is immediate. When I ask if they like to keep the music and cooking separate from each other, they tell me they “wouldn’t want to sell our cookbook on our merch stand but we’d probably sell our record in the kitchen.” They go on to say they don’t mind being recognized as Auto Bitch, but prefer it that people don’t ask what’s on the menu at their shows. They like the idea of it being semi secret but with a buzz of excitement. I ask if they would rather tour over cooking, and Kim replies “It’s nice to have a balance, we like routine, playing music doesn’t give us routine. The tour with Spectres was great, but we were ready to come home when it ended.” But they both agree they would love to tour more, just not for long periods of time. Auto Bitch are an incredible entity, their live show is rawkus, primal and essential. Their enthusiasm for music and cooking is equal in measure and they are unaware of their cultural importance to the current Bristol music and food scenes. If you get the chance visit them at their kitchen and check them out live, just don’t ask them what’s on the menu after the show.

I ask for their ideal dinner party guests – “Adam from Girls, Sam from Cheers, Chris Pratt and Aziz Ansari” answers Katie, without batting an eyelid. “Basically your just bringing hot men then” I claim, and they both nod and laugh. The soundtrack? “Leornard Cohen”. There is a record player in Katie & Kim’s , and a box of records from which they select a few of their current favourites. Autobitch

METRONOMY We’ve always been big followers of Metronomy here at Rise. They’ve just got a knack for filling floors and evolving with every release. The latest album ‘Summer 08’ was completely made by Joe Mount, who will be appearing for a DJ set at Simple Things Festival this month. With that in mind we found out what the LP is all about and why it won’t be played live anytime soon. So is there a concept behind the new album?

It feels like a return on your own terms, did you not feel any external pressure?

There isn’t really one as it happens. The title obviously leads you to think there is, but it’s probably the least conceptual record I’ve made. I was really just trying to clear my mind. If there’s a concept to be found, it’s that I was trying to work purely instinctively.

I have always said that the pressure you place on yourself should always weigh heavier than any external pressure. So no, I don’t ever really feel like I have to answer to anyone other than myself. But, I do still have to answer to myself and I am quite the task master! This record is a return to an older way of working in one sense, but it’s also still attempting to push me further creatively.

It reflects on the breakthrough of Metronomy, how did you go about detailing that lyrically? I wouldn’t say it’s born out of nostalgia, but it’s making a few references to the year ‘Nights Out’ was released. The thing is, I don’t feel nostalgic about that period, but I’m aware that it was a formative time. So, I was trying to put myself back in the same frame of mind I was in all those years ago. It’s actually a pretty impossible task, but that in itself makes for some slightly screwed lyrics.

Words by RB

28 You also took the decision to not tour this one extensively, why was that?

You’re doing a DJ set at Simple Things, what can we expect from that?

We only finished touring ‘Love Letters’ last September, but I wanted to put out another record quickly. It just seemed like something worth trying; to put out and album whilst being a family man. Touring is not conducive to being a family man in all honesty.

I’m actually really enjoying djing, so you can expect to have some fun. I play a lot of Metronomy related music, so you can expect exclusive remixes and stuff like that. Really, it will be fun!

“There’s nothing else in the world like being in a band and that is in itself incredibly rewarding”

After five albums what’s the most rewarding part of being in a band? The answer is in the question really. There’s nothing else in the world like being in a band and that is in itself incredibly rewarding. I’m able to wake up in the morning and spend my days doing exactly what I love to do. That is very rewarding.

Metronomy

Session #2 was constructed in September 2016 at Rise Bristol. Words by RB & AD Design & Illustration by â&#x20AC;&#x2DC;Twofold Designâ&#x20AC;&#x2122; Let us know what you think online with the hashtag #RiseSession www.rise-music.co.uk

21.10.16