SNACK Magazine: February 2021 – Issue 24

SNACKMAG.CO.UK ISSUE 24

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FEBRUARY 2021

MOGWAI | JENNI FAGAN | IMOGEN STIRLING GIFT HORSE | CHINESE NEW YEAR IN SCOTLAND | LGBT HISTORY MONTH MUSIC | FILM | VISUAL ART | BOOKS | FOOD & DRINK | LGBT+ | REVIEW | LIFE

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CONTENTS WHAT'S ON | P10

EVENTS

INTERVIEWS | P26

MOGWAI, JENNI FAGAN, IMOGEN STIRLING, GIFT HORSE

FESTIVALS | P58

PAISLEY BOOK FESTIVAL GLASGOW FILM FEST

COMMUNITY | P68

SCOTTISH GAELIC DUOLINGO CHINESE SCOTTISH CULTURE

LGBT+ | P96

THE (NOT) GAY MOVIE CLUB, LGBT HISTORY MONTH, IT'S A SIN

FOOD & DRINK | P118 MATCHA BLONDIES, PEANUT BUTTER CUPCAKES REVIEW | P130

TINDERSTICKS, CLÉMENTINE MARCH, LLOYD'S HOUSE, ALEX AMOR, THE GHOST OF HELAGS, TWILIGHT LOVE TRIANGLE, MALKA, SEIGO AOYAMA, MOGWAI, POST COAL PROM QUEEN + MORE

CREDITS Editor/Sales: Kenny Lavelle Sub Editor: Leona Skene Food and Drink Editors: Emma Mykytyn and Mark Murphy LGBT+ Editor: Jonny Stone Design: Kenny Lavelle Front cover image: Antony Crook hello@snackpublishing.com 0141 632 4641 Disclaimer: Snack Publishing Ltd. All rights reserved.

Reproduction of this magazine in part or in whole is forbidden without the explicit written consent of the publishers. Every effort has been taken to ensure the accuracy of the content of this magazine but we cannot guarantee it is complete and up to date. Snack Publishing Ltd. is not responsible for your use of the information contained herein.

MIND YOUR MIND

Experiencing mental health difficulties during the pandemic? Whether you’re a bit anxious or seriously struggling, you are not alone. Free, confidential help and advice are available. To find the support that’s right for you, visit nhsinform.scot/mind or call NHS24 on 111.

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Hello and welcome to issue 24 of SNACK, As lockdown continues and extends, and extends, there's been no time when working on the magazine has felt more vital to my own personal wellbeing.

It's been great to have a new project to dive into every month with our team of writers and editors. In the process of pulling the magazine together I'm dragged out of myself and placed in the brilliant world of Scotland's various creative minds. For that, yeah, I'm grateful.

From my perspective, the worlds they build, whether they be sonic or through images, words, or ideas, are what's keeping people's heads together though this extended hiatus from one another, providing an escape that's just not feasible any other way right now. So, if you can, support your favourite artists, buy their work, get those autumn gig tickets in, and help them see the other side of this with their personal lives, and creative energy, intact.

For our part, we’ll keep highlighting and celebrating as many of Scotland’s artistic and cultural creators as we can. Hopefuly you'll find much in these pages to help you through the month.

Kenny Lavelle Editor

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WHAT'S ON

So, believe or not, we’re in February already. January pretty much disappeared under a blanket of snow and ennui. But following bleak January comes springtime optimism – the days are getting brighter and the ice on the car window is now only half an inch thick (side note: this writer lives on a hill, in East Kilbride).

To keep you guys entertained, here's this month’s digital focused What’s On Guide, all of which you can enjoy from the comfort of your own couch. Or the two rooms you get to walk between while on the phone, if you're feeling adventurous.

Until next month, stay safe.

LIMBO

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GLASGOW FILM FESTIVAL ONLINE 24th February till 7th March A gem in the Scottish film industry, Glasgow Film Festival 2021 is of course a digital-only affair this year. But fret not: there are still plenty of fabulous films on offer. They include the world premiere of Creation Stories, the (mostly) true story of Alan McGee and Creation Records, and documentaries such as Killing Escobar, the story of the Glasgow-born SAS member tasked with assassinating Pablo Escobar in 1989. LIMBO, filmed on Uist, wryly tells the story of a refugee waiting to be granted asylum on a fictional Scottish Island.

There will be dozens of premieres showing throughout the two-week festival, and films from all around the world, including a focus on South Korea. The GFF will also feature live Q&As, industry workshops, and panel discussions.

For more information, including, the full lineup, visit the Glasgow Film Festival 2021 website.

Creation Stories Ballad of theHYYTS Crone What’s on by Gregg Kelly Page 11

CURIOUS ABOUT: OUR PLANET 18th February till 20th February The Glasgow Science Centre proves itself to be a godsend to parents and teachers everywhere by hosting a three-day digital science festival, beamed directly into your front room. ‘Curious About: Our Planet’ uncovers climate change’s impact on Earth, and how a focus on sustainability can benefit us all.

With live talks, innovative interactive events, art exhibitions and much more, there’s plenty on offer for everyone, whether you’re 8 or 80. Even better, events across the three days are free of charge and you can access them from the comfort of your own couch (best to book ahead though, as there’ll be plenty of interest). curiousabout.glasgowsciencecentre.org

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NOVA SCOTIA THE TRUTH

Yellow Hair

PAT DOUTHWAITE: ON THE EDGE 4th February till 20th February A great opportunity to discover the brilliance of renowned self-taught Glasgow born artist Pat Douthwaite. The Scottish Gallery is hosting a virtual exhibition celebrating the achievements of one of Britain’s most talented modern era artists.

Themes include everything from myth to real life crime via superheroes, fantasy, and fashion. Challenging and engaging, even after her passing Douthwaite’s work continues to intrigue art lovers around the world. Gallery Director Guy Peploe knew the artist well and is the recognised expert on her work, so you'll be in good hands.

For more information or to find out dates for the online exhibitions, visit the Scottish Gallery website What’s on by Gregg Kelly Page 13

THE SCRIBBLERS UNION Monday 8th February & Tuesday 9th February at 7pm Launched at the beginning of lockdown as an online writing project by awardwinning writer and performer Kevin P. Gilday, The Scribblers Union has now blossomed into a thriving cultural community. From writing sessions to anthology publication in the space of 10 months, join this talented bunch to celebrate the launch of their book of poetry, created during the global crisis.

Nurturing the creative spirit and connecting with like-minded people has allowed The Scribblers Union, many of whom never having dreamt of their work being published, to see their writing in print. Join them to celebrate the launch, take in the performances, and cherish all that community and creativity can achieve. The anthology The Scribbler's Union Vol.1 is out now and you can get your copy via a link on Kevin's Facebook page. facebook.com/kevinpgilday

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CYCLE 21: CHARITY EVENT Till 28th February Grab your bike and join in the cycling fun of Cycle 21, where you can get yourself fit, boost your mental health, and raise some money for charity in the process. Choose between the 6 mile, 21 mile, or – if you’re really pushing yourself – the 44 mile challenge. Complete your challenge on any chosen day during the month, and post your triumphant selfies using #FWNCYCLE21.

You can take part by riding indoors, or outdoors in your local area. To take part, simply register via the Spring Events website. All riders are raising money for the Free Wheel North 2021 fundraising campaign, which aims to give people from all walks of life the chance to make cycling an essential part of their everyday life.

For more information visit the Cycle 21 Facebook page

What’s What’son onby ByGregg GreggKelly Kelly Page 15

THE DAZZLED

FINTRY AMATEUR DRAMATIC SOCIETY ROACHES COACHES Till 1st December Something a little bit different: this comedy podcast is set in a fictional Scottish small town bus depot. Roaches Coaches is written and directed by Ian Kidd, and follows the ups and downs of Keith Roache’s ailing bus company and his lovable but slightly hapless band of employees. In spite of vandalism, terrorism, and all manner of shenanigans, the buses all manage to leave the depot, no matter what. fintrydrama.org.uk

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SHERLOCK HOLMES & THE CASE OF THE HUNG PARLIAMENT Till 13th February A fully immersive and interactive virtual experience from the Olivier-nominated Les Enfants Terribles. Join Sherlock Holmes on his quest to discover what happened the night three members of the Government were found hanged, all dead on their birthday, and all receiving a card complete with a mysterious quote. With 75 minutes on the clock before the murderer strikes again, travel back to Victorian London and team up with Holmes to solve the case of ‘The Case of the Hung Parliament’. At home, you can uncover more than 100 clues, featuring live performances and immersive 360° technology. Then, interview suspects and search for hidden clues in a race against time. Players can team up remotely or work with those at home, accompanied by the most famous detective of them all. sherlockimmersive.com

What’s on by Gregg Kelly Page 17

STANZA: SCOTLAND'S INTERNATIONAL POETRY FESTIVAL 6th till 14th March Throughout the pandemic, people have been turning to poetry for consolation and inspiration, emphasising the pivotal nature of the artform to our emotional lives. Maybe we've just become more aware of it, but it seems there are now more poetry events happening all over Scotland, than ever. StAnza have a packed programme for you, with events, installations and exhibitions across this year’s themes of ‘Make It New’, and ‘No Rhyme nor Reason’. Plus, there's a translated language focus with ‘Beyond the Iron Curtain’. Most of the programme is paywhat-you-can, which is pretty sweet. If Covid-19 regulations allow, in March, they hope to offer St Andrews folk two outdoor readings and two poetry walks. stanzapoetry.org/festival

Photo: Moses Baako Desree

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CORSTORPHINE WINDOW WANDERLAND Trail and online – 27th February & 28th February The last entry in this month's guide is slightly ambitious, because we’re including it under the assumption that by the end of February, we’ll be allowed to socialise in groups outside. If you’re not familiar with the concept, Window Wanderland trails are community-led projects which encourage local residents and businesses to decorate their windows to create an outdoor art trail. They’re a great way to explore your local streets and community. Previous trials run in other parts of the country (Strathbungo, image above) have had musical performances in front rooms, amazing projections onto buildings, polka dot parties, disco balls, and intricate art installations. This is Corstorphine’s first event of this type, and is part of the wider Window Wanderland programme which was set up in Bristol in 2015. windowwanderland.com What’s on by Gregg Kelly Page 19

VISUAL ART Back to Contents

Image: A Rose Boudoir Installation by the Mackintoshes

MACKINTOSH SOCIETY: KÜNSTLERPAARS Online – 5pm, 15th February Robyne Calvert discusses the working relationship of artist Charles Rennie Mackintosh and his partner Margaret Macdonald. Künstlerpaar (the art couple) was a term coined by German critic Herman Muthesius, specifically to describe the Mackintosh artists. In this online event, Calvert discusses the unique relationship between Macdonald and Mackintosh, and the role Macdonald played in Mackintosh’s success. The event also examines other famous Glaswegian ‘art couples’, such as Herbert and Frances MacNair. Join Calvert for a riveting discussion of romantic and artistic partnership in this Zoom event. crmsociety.com/kunstlerpaars

RACE, RIGHTS AND SOVEREIGNTY SARA AHMED – KNOCKING ON THE DOOR COMPLAINTS AND OTHER STORIES ABOUT INSTITUTIONS Online – 5pm till 7pm, 16th February Feminist scholar Sara Ahmed shares stories of abuse of power at universities, and introduces the idea of ‘complaint collective’. Ahmed asks her audience to consider the role they play within academic institutions’ inherent problems, and how these problems can be addressed. This is a highly relevant talk for students, teachers, and those involved with art education. racerightssovereignty.com/upcoming-events

Visual Art by Maya Uppal Page 21

RICEFIELD ARTS: CHINESE FAN DANCE WORKSHOP Online – 5.30pm till 6.30pm, 19th February 2021 Workshop leader, performance artist and choreographer Ming Chu (Annie) Au will guide participants through steps and techniques of the Chinese dance known as Peach Blossom. This workshop is suitable for all age groups and genders. The event aims to teach a beginner’s understanding of the art of Chinese dance and culture, in a fun and free environment.

Tickets via eventbrite

CREATIVE EDINBURGH: CREATIVE CIRCLES Online – 8:30am till10:30am, 2nd February Creative Circles runs on the first Tuesday of every month. It’s a casual monthly meetup for creatives, techies, makers and freelance folk interested in finding out more about what’s happening in Edinburgh. This event’s theme? ‘Permission to Perform’. The event will explore how the performing arts have responded to the pandemic so far; it will highlight current projects and contemplate the future of performance. creative-edinburgh.com Back to Contents

CURATIVE THINGS: MEDICINE/FASHION/ART Online –10:15am till 7:30pm,12th February Curative Things is a collaborative symposium focusing on objects at the intersections between art and fashion, health, and medicine. These include clothing, prostheses, and wearable objects; things that surround, contain, or extend our bodies. A plethora of panels will discuss art and theory in relation to these objects. The panel discussion will be based around ‘protection, restriction and extension’ and what that means for us in art and life. fashionresearchnetwork.com

SCOTTISH SOCIETY FOR ART HISTORY STUDY DAY 2021 ART, LANDSCAPE AND SPACE Online –10am till 11.40am, 5th February This study day will explore the relationship between art and spaces, including natural, built, and cultural landscapes. Featuring talks by Ann Gunn, Freya Spoor and Helen Scott, alongside keynote speakers Dalziel + Scullion, the event promises to address the question of how art can connect many different facets of Scottish life and identity. An enlightening talk for those interested in the evolving discipline that is art practice in the modern day.

Tickets via eventbrite

PHOTOGRAPHY IN THE LIFE & WORK OF MARY CAMERON Museums and Galleries Edinburgh online –2pm till 3pm,12th February Artist talk led by Dr Helen Scott, focusing on the artist and photographer Mary Cameron. The event will discuss Mary’s collection of photographic source material for her paintings, with photos taken in Spain in the early 20th century.

The lecture will offer fresh insights into a fascinating artist.

Tickets via eventbrite Visual Art by Maya Uppal Page 23

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INTERVIEWS

MOGWAI JENNI FAGAN IMOGEN STIRLING GIFT HORSE

MOGWAI

Photo credit: Antony Crook

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A quarter of a century on from their debut single, Mogwai are still rolling, laying waste to eardrums and naysayers. It’s easy to still picture the band as the brash kids who stood out like a sore thumb when they first emerged, but in truth they’re a world away from those lazy days and riotous nights.

You almost take for granted that a Mogwai record is going to be excellent; that sort of effortless appeal is only cultivated through hard work. They’ll likely be regarded as one of the finest Scottish bands of all time. At the same time, most people would walk by them without a flicker of recognition. Which is probably how the band likes it.

SNACK caught up with Stuart Braithwaite from the band to talk video calls, bogeys, how freezing the Tramway is, and of course, the band’s new album.

As The Love Continues is your tenth studio album. How do you feel, on the brink of releasing another record?

I’m excited about it, but it feels a bit weird. We’d normally be on tour and we’d likely do this interview in person, so everything has changed. I’m excited for people to hear the music.

It’s your tenth album, and you’ve been on a consistent run. Is the music something you think about and try to plan, or is it best not to plan too much?

We definitely think about it. We are quite conscientious about the fact we’ve been making music for a long time, and to expect people to want to hear more is a big ask. We keep that in mind, but there’s more than one songwriter, and that helps.

With the three of us writing music, we push each other as well.

Music by Andy Reilly Page 29

You’ve called it a ‘warm record’. Was that a conscious effort, or did this happen naturally?

We tend not to overthink things when we’re making music, other than trying to make the music as good as we can.

You recorded the album with Dave Fridmann via Zoom – any funny or bizarre working from home/video chat moments?

Not with Dave, but years ago we were doing music for The Fountain [director Darren Aronofsky’s epic romantic drama of 2006], and the director was on Skype watching us play.

We could see him, and at times he was picking his nose, pure diving for bogeys, oblivious to us being able to see him.

Diving For Bogeys, is that a B-side of yours I’ve not heard yet?

Aye, that’s one we could have had!

In more normal circumstances, would you record like that again? Or will it be back to traditional methods?

It worked out pretty well, so I wouldn’t rule it out, but we’ll probably return to traditional methods. It’s better to be in the same room as someone when you are doing something creatively, but it worked out fine. We’ve got such a good relationship with Dave, but we’ll probably do it in person in the future.

You once again sing vocals on the album. Is the writing process different for the vocal songs compared to the instrumentals?

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With the one we did here, it was a bit different. Normally, you would be adding more and more music, but the vocals were the last thing. It’s a bit different in that respect, as everyone had to finish the song with an imaginary bit of singing at the end.

What are your thoughts on singing, and would you do a solo album?

It’s okay in small doses. I wouldn’t count out a solo record [laughs] especially if we can never go out on tour again, but I’d probably do it differently. I’d maybe write the lyrics first, and do it the other way around. It’s not something I overly enjoy, but then again, it’s quite good to put yourself in an uncomfortable position when you’re making things.

You’ve already discussed some of the new titles, so I’ll try to avoid ones I’ve read about, but can you tell us the story behind ‘Ceiling Granny’?

That is from Exorcist 3, where an old woman clambers along the ceiling of her room. We were watching it – it’s one of our favourite films – and someone went to the toilet. When they came back, they said ‘Oh no, have I missed the ceiling granny?’ So we took it from that.

Pat Stains?

Someone thought that was what Pat Smear, from The Germs and Foo Fighters, was called.

You released the ZeroZeroZero soundtrack last year – it’s finally coming to UK TV. Do you watch the shows and films you soundtrack after they’ve been released?

Music by Andy Reilly Page 31

Image credit: Alasdair McLellan

WELL, THAT’S THE THING ISN’T IT? YOU’D LIKE TO THINK IT’S OBVIOUS I’M HAVING A LAUGH

It’s a weird one in that I’m going to watch this one, because they hadn’t finished it, and we didn’t get the thing with subtitles.

To be honest, I was in the dark with a lot of the stuff that was happening! This one will be like seeing it for the first time, and I watched The Returned when that was on. Things that we watched over and over again, that I completely understood, I don’t feel the need to watch them again.

You’ve recorded a live show at The Tramway – how was that experience?

It was good. It felt like doing a radio session, but with a lot more cameras.

A lot of people were asking if it would be weird to do a gig with no people but, with a band, you kind of do gigs with no people every once in a while anyway, for radio and TV. It was good. I haven’t seen much of the set yet so I am excited to see how it turned out. The director, Antony Crook, is a talented guy and I’ve got a lot of faith in him.

Even when gigs have been busy, shows in the Tramway have felt cold. How was it in that respect?

It was cold, that was one thing. Thankfully gigs are not that cold, but we did play once outdoors in Vienna in February, which was horrendous. At most gigs you’re not cold when playing, and I really hate being cold. It got a bit warmer as the day wore on because of the lights, but yeah, that was a big difference, because sometimes gigs are very hot.

You said the recording process was more positive because of the current circumstances. How have you been personally during the lockdown?

I’ve been okay. It would be nice to go to my mum’s house and meet some pals in the pub or for dinner. As a musician, I work Music by Andy Reilly Page 33

from home a lot of the time anyway, so it’s not been too bad.

It’s dragging on though, and that’s a worry. There’s people who are in a much worse position than me. I’ve got pals whose jobs stopped completely, and that’s coming up for a year since they could do their normal job.Some of them have picked up other stuff, but not everyone has been able to do that. It’s a really tough time for people involved in live music.

How long would it take to get things up and running for yourselves for a tour or shows?

I think we could turn it around quite quickly. We’d have to practice first, but honestly, if someone said to me ‘there’s a gig on Saturday and you have to play’, we would manage to play it. There’s such an energy to get back to it.

However, it’s not looking good for things happening in the summer, so I’ll guess around autumn time. That’s dependent on the vaccine rolling out smoothly, and then, hopefully there’ll be live music in autumn, which is something to look forward to.

Are you having a good Brexit?

Oh yeah, loving it, ha!

So, you were on Radio Scotland this morning, and they got your name wrong, calling you Stuart Galbraith.

That could be my cool new radio name.

Mind you, it might mean some other guy gets abuse for it rather than you?

I’ve weirdly got a lot of abuse on Twitter already from people who thought I was a Tory because I was on Radio Scotland, which is pretty interesting!

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It looks as though Roger Daltrey has rolled back on his previous bluster about bands facing difficulties in playing in Europe.

I think when you’re in a band that plays to tens of thousands of people, you’re in a different situation to bands starting out. If you’re a band playing to 50 or 100 people, you’re basically covering your flights. If you then have to cover visa and carnet costs on top of it, it makes it impossible. Not for the first time, Roger is talking shite.

Anyways, it’s 2021, there’s a new Mogwai album coming out, and things will move forward, won’t they?

I hope so. One of the things about this past year is that music, books, films and TV are what help you make it through tough times. I’m hoping people think about that a bit more in the way they consume music. There will definitely be a future.

As The Love Continues is released on 19th February on Rock Action

Mogwai will broadcast a live performance, filmed at the Tramway, on 13th February. For a chance to win a ticket, visit twitter.com/snackmag

Image credit: Alasdair McLellan Music by Andy Reilly Page 35

Image credit: Urszula Soltys

JENNI FAGAN

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Jenni Fagan is an award-winning novelist and poet whose latest novel, Luckenbooth, is already being called ‘a major work of Scottish fiction’, drawing comparisons with Alasdair Gray’s Lanark. It’s an arresting read, one full of magick, madness, and imagination, and Jenni Fagan took time to speak to SNACK about it.

I'm going to ask a decidedly unoriginal question to begin with, but how would you describe Luckenbooth?

I would describe Luckenbooth as a novel about the characters of an Edinburgh tenement over one hundred years. The novel is tied together by the first person we meet, the devil's daughter, who rows here in her coffin. The event that occurs on her arrival curses the building for one-hundred years in a way that makes its impact felt on all the different tenants in each decade.

There are different stories told, and the structure is a huge part of the book. How far into writing it did you decide that this was the way to best tell multiple stories, and did you consider other possibilities? Did you always know that they were going to be collected in one book?

No, I didn't really know much about how the different characters' stories would eventually collide in this one book. I was thinking about the building first, how to set a novel in an old Edinburgh tenement and how the residents' lives sometimes overlap, or pass each other by entirely over hundreds of years in these buildings. I wanted to be able to take a step to the left, off the old worn stone steps and go into the 1920s, or 1930s, or 1980s and find out Books by Alistair Braidwood Page 37

what was behind all of those closed doors.

Originally the structure was not like this at all but as it progressed, I realised that telling each story three times, in three parts, meant the reader didn't have to hold too many different storylines in their head at one time and it allowed me to make each individual story more complete. This structure came a few years into the progress.

The supernatural looms large in Luckenbooth but in a realistic, I would say a celebratory, way. There's never any doubt that what people are seeing, discussing, and experiencing, is actually happening. What is it about the occult and the mystical that appeals to you as a writer?

I think the occult and mystical are just things that have always travelled alongside my life, they are mired in the act of writing for me in some ways and so I don't examine it too closely, it's quite a personal thing.

I was thinking of ways to describe Luckenbooth and I keep coming back to Scottish Gothic writing; the likes of Hogg, Stevenson and Oliphant. Do you see yourself as writing in any tradition?

I never sit down and think I want to write a certain kind of novel as in genre or following on from another literary tradition, however I am aware that other people often feel the need to say that writers are always doing that. I am more influenced by Kafka, or poetry, or Frida Kahlo, or the surrealists, or Nan Goldin, than I am by the aforementioned writers.

I did look at Hogg, of course, when writing this, I liked some Back to Contents

Stevenson stories as a child but really, no, they are not a big influence on me. If I am writing in any tradition it is one that values imagination and complete dedication to the world you are writing, over most other things.

It's a novel that reads like a love letter to Edinburgh, with walks through the city that people could trace, and places they could visit – it feels as if it couldn't have been set anywhere else. What influence does place, and this place in particular, have on your writing?

I have lived in or around Edinburgh for most of my life and so I have been gathering stories, locations, moods, weather – buildings, here all my life one way or another. I think that being a poet first and foremost means you teach yourself to see the world in a certain way, to always be looking or listening, or feeling, something in reaction to the things around you.

Perhaps because I have been so itinerant and have never really found an actual home that I have stayed in, perhaps the city itself is as close to the idea of home as I have got to, so far anyway. It is such a dual city, dark and light, wealthy and poor, the weather is so mercurial, often brutal and at other times we have the most stunning skies. Like most writers or artists I am inspired by the world around me and I have spent so much time here it was bound to manifest in one big novel at some point.

Luckenbooth is published by William Heinemann

Books by Alistair Braidwood Page 39

Photography: Sarah Grant

IMOGEN STIRLING

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Imogen Stirling is Paisley Book Festival’s inaugural writer-in-residence, as the festival goes digital for 2021. As well as hosting online workshops with Renfrewshire community groups and writing her own response to this year's festival theme, ‘Radical New Futures’, Imogen has curated three festival events. We spoke to the Glasgow-based poet, theatre-maker, musician, and educator about what we can expect.

How did the inaugural writer-in-residence come about and how does it feel now that you're in the role?

I was involved in the Paisley Book Festival last year and have followed its story since. The residency was advertised through an open call and appeared to me as an unexpected golden opportunity amidst a strange and difficult year, so naturally I applied right away! Being offered the position was an absolute privilege. Its focus on creativity and community comes at a time when both are lacking in the world, so it’s been a real source of positivity.

It’s been a full-on few months and I’m so looking forward to seeing everyone’s hard work pay off when the festival begins.

Books by Lindsay Corr Page 41

You’re very active in the digital world, and obviously that’s increased in this year of disruption.

What do you think is the best way to encourage people to get involved with creative outlets online?

Despite our lack of in-the-room liveness that real world events bring, I think people are naturally drawn to digital happenings due to the widened accessibility they offer – lower prices, no need to travel and, in some cases, the ability to watch when it suits you. That’s particularly good for festivals and for me, there’ve been few opportunities where I’ve been able to attend multiple events without having to worry about expense or time commitments.

Of course, watching from home cannot match the live experience. So I try to create as much atmosphere as I can, with dimmed lights, a drink, and turning my phone off – not letting the excitement of the event be undermined just because I’m not in a venue.

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How have the creative writing workshops with community groups gone? Any overriding messages coming out, and what can audiences expect from the finished curated product which you’ll present?

They’ve been a treat – working with groups who don’t consider themselves ‘writers’ often rids the sessions of expectation, lending a unique open-mindedness to our communication. I love seeing people astonish themselves when they produce writing they didn’t imagine themselves capable of.

Honestly, some of the writing produced has blown me away with its poignancy, depth, and wit. A strong sense of compassion is emerging from everyone’s writing – real, genuine care for the people around them and recognition of the collective hardship being experienced by everyone right now. But also gratitude, with acknowledgement of small fortunes and appreciation for those things and people seeing us through.

The finished product will be bursting with optimism, resilience, collective spirit, hope, and a demand for better.

It will show the shared priorities and aspirations from those across generations and backgrounds.

Books by Lindsay Corr Page 43

When do you know you’ve composed creatively strong prose personally, and can you feel a shift in participants as they progress?

Intricate rhyme and musical rhythm are both integral to my writing, so content aside, I know my work is strong when I can read it aloud sounding rich, satisfying and fluid. I then need to test it with an audience or listener, ensuring that the emotional impact and narrative of the piece remain clear and supported rather than compromised by structure.

Creative shifts during workshop sessions are definitely evident and often appear the first time a participant feels confident enough to share work they’ve written aloud. That boldness to take an idea from mind to paper, then paper to vocal group sharing is a brilliant thing to observe. Some workshop participants prefer to share writing post-session, emailing it to me separately. I love seeing the pride with which they introduce the writing, indicating which new techniques they’ve incorporated and why.

Your ‘Big Night In’ will digitally recreate the feeling of a cosy pub gathering with pals. How much collaboration (if any) will there be between you and the other guests, and how familiar are you with their work?

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I don’t envisage there being much collaboration – I’m more interested in offering each artist a platform to share their words, specifically during a time when those platforms are still sparse. Rather than trying to recreate a sense of jostling conversation, I’m keen to set the tone of that feeling, usually later into the night, when friends take it in turn to share a story with company – holding attention and assuming their stage.

I’m a real admirer of each artist’s work. I suppose it’s a bit of a self-indulgent event on my part really, to be able to bring together three people whose words I love listening to so much! Each artist impresses me in their ability to both capture the attention of a large crowd and also perform with an intimacy perfect for smaller gatherings. It’s a difficult balance to find, but Dean, Iona, and Morgan master it.

Your event with Sarah Grant sounds fascinating.

Can you elaborate on the idea of ‘Radicalism in Stillness’?

2020 was a strange year in that, despite the world going through unprecedented anxiety, turbulence and fear, this bizarre trend to measure our productivity, creativity, and proactiveness emerged amidst it.

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Focus seemed to turn away from self-care and instead homed in on what we were doing and how much of it.

I’ve always admired Sarah’s emphasis on talking openly about mental health, specifically regarding creativity. Throughout 2020, she frequently acknowledged the pressure she felt to be ‘achieving’ during the pandemic and made it clear that, despite the fact she did still appear to be producing content, there was a lot more going on behind the scenes. I’m interested to chat with her about how choosing to stand still when the world is pushing for movement can be a bold, defiant, radical act.

You’re also going to be debuting a new piece of creative work inspired by Paisley Book Festival’s theme, ‘Radical New Futures’. Is the piece finished yet or are you going to soak in some of the festival itself ahead of committing pen to paper?

Half-and-half, really! The writing itself is complete but how that writing is being presented is still being crafted.

The writing’s definitely been influenced by the variety of people I’ve worked with throughout the workshop sessions and I hope I’ve managed to capture something of their colourful, diverse voices in my own piece.

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When it comes to free writing versus commissioned work, do you notice a difference in your approach?

Is it harder or easier to spark the creative flames in either context?

It can really vary. Free writing is probably the one that’s initially easier to approach because it’s something that’s genuinely important and exciting to me. But then the scope is so wide that I’ll often find myself overwhelmed by the potential strands, which can act as a real writing block.

Commissioned work comes with restrictions, directions and parameters that can actually be immensely helpful to channel and focus creativity. I think one feeds into the other and I’ve worked out the kind of writing style that inspires and pushes me, which will always bleed into and influence the commissioned content I create.

Paisley Book Festival runs 18th till 27th February Writer-in-Residence presents... – 21st February at 5pm Imogen's Big Night In with Dean Atta, Iona Lee, and Emme Woods – 22nd February at 9pm Radicalism in Stillness: Imogen Stirling in conversation with Sarah Grant – 26th February at 7pm paisleybookfest.com

Books by Lindsay Corr Page 47

GIFT HORSE

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Gift Horse's brilliant debut album, Happy Clappy, is lots of things, of which funny, dark, quirky, and odd are just a few. It's been a long time coming, with the pandemic laying rest to hopes of a March 2020 release. Most of the songs on it were probably written with joyous sweaty gigs in dark basements in mind. Right now, with its healthy dose of experimentation and dark humour, its world seems custom made for losing yourself in while everything else churns on outside the door. We spoke with guitarist Audrey Bizouerne and drummer David Maxwell (they share vocal duties) about the album and keeping creative while navigating these tricky times.

Can you tell us a bit about the band and how you met?

D: We met in Glasgow through a mutual friend. Luke Sutherland who was in Rev Magnetic with Audrey. We were both looking to do something musical. I just moved to Glasgow from Edinburgh.

A: And I just moved to Glasgow from Paris.

Photo credit: Hannah Houston

D: Yeah. I messaged Audrey and just said, 'do you fancy trying some music?’. And we started very tentatively just playing together and improvising. It was two guitars at the start.

A: Yeah, at the very start, when you first asked me to play, it was to play your songs that you just released. And so you were thinking about two acoustic guitars, so we started playing in each other's flats in the living room playing acoustic guitars, both of us, which was great.

Music by Kenny Lavelle Page 49

Then we thought because David's a drummer, we should try and get in a room together and play a bit louder. And that's that's actually where it started.

Because we didn't really know what we were doing. We didn't plan to really, like start a band. It wasn't very conscious. We started jamming and we started writing songs very quickly. So it became obvious that we had a band. [laughs] D: Yeah, it was a very simple gestation. We had that first EP before we knew it and just kind of continued from there, really.

A: We played gigs, and more and more gigs. Then we started working on the album, which took us quite a bit of time. We had our cassettes out so that kind of delayed the perspective of having an album out. Then when we recorded the other half of the album, the pandemic started, so the schedule has been a bit shambolic. But we’re very glad that it's finally going to be out in the world.

I'm really enjoying the album. I think it's a lot of fun. There are lots of different moods throughout. But mainly it's quirky, and funny, and dark.

Did you have a plan for how you wanted the album to pan out or did you just see where it took you?

D: It wasn’t a conscious plan but I guess, as easy as we tend to write songs, we didn’t have a selection of thirty that we chose eight or nine of. We just kind of had what we had. I’m sure we would have a lot more by now if times had been normal. They sit well together as they were made by us.

A: I think because we played quite a lot together in these few years and I think even if the songs can sound quite different. We build our sound with time and it sounds to me quite consistent even if they are quite different moods and different atmospheres. Also because they have been recorded at different times it comes quite nicely together.

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Photo credit: Hannah Houston D: I think it's just having the confidence to sort of just say, ‘That that is us’.

A: Yeah. David, you're always the one trying to push in a way that you don't want to have limits or boundaries, and I think I've never felt that, so free in a band. Because we had absolutely no rules. We never said, ‘No, this is stupid.

Don't do it.’ We were like, ‘Yeah, go for it’. It's always been very liberating and just really fun.

D: And fun is what it has to be. I really liked that you said it was fun and dark and all these things at the same time because that for me is what the best art is about. There's always these things that all come together to make some sort of strange whole. But, fun: it has to be fun at the start or you won’t do it.

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Photo credit: Hannah Houston With the pandemic, you’re going to miss out on being able to play it live as you release the album. It’s an odd situation, I imagine.

A: Yeah, we weren't quite sure when to release the album for this reason. And then we thought that because if [the pandemic] starts to be quite long, why not release it now and see what happens? When we can play gigs, we'll play gigs and, you know, we'll see. But yeah, we didn't want that to stop us from putting the album out. And I think it's actually a pretty good time because people, at least the people who follow us, are looking forward to hearing it now.

Of course, live has always been a huge part of who we are as a band, but we had to adapt. We are actually making a video now, remotely, trying to make up for the lack of gigs. We’re trying to find other things to do in the meantime.

We're going to release the second single ‘Custard Tarts’ and the video will be very soon after.

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What’s the plan for the video?

D: We're having it made by Alice and Jimmy, who run the Glasgow based Artsy Vice Show. We were just looking for ways to, you know, make a video without kind of being together. And there are a couple anyway, so they can be together. We recorded some videos ourselves at home, covered in various baking liquids.

We were meant to be doing a couple of live sessions, one with Bloc TV and one with The Glad Cafe, but with the current COVID restrictions and all that, it didn't really seem like the right time to be doing that stuff. You know, it's not essential. We just decided to kind of maybe wait till things are relaxed a bit and we're not having to sing in masks, which would be horrible. But we’re definitely going to do these things once things relax.

The album starts off with ‘Custard Tart’ and from there, for a while, there’s a lot of food in the songs. There’s a bit about Fanta too. Was that accidental?

D: It feels accidental, when you say it. It wasn't like some sort of gastro concept album or anything. I mean, Audrey can eat her own weight in cheese but apart from that… Food probably plays a big part in both of our lives, in a way, for different reasons. But it's just one of these things. It's just life, isn't it? It's food. It wasn't intentional at all.

A: I never really thought about that before. It's funny that you're saying that, because we're thinking it’s about dancing. So, food as well. So maybe what we like the most is eating and dancing.

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Can you tell us a bit more about the album?

I guess for us it’s getting a balance between doing something a little bit beyond what we do live, but not having it turn out to be ‘Bohemian Rhapsody’.

A: I would love to have a Bohemian Rhapsody!

D: I told you before. No! [laughs] D: It’s just about having fun with a few different instruments. And I think I've always believed that live should be a different experience. You shouldn't just be expected to recreate the sound of your album; it should be a different thing altogether. In that way both playing out live and recording are quite liberating.

They're just not really related as far as I'm concerned.

Also, I guess there’s an energy that you want to have when you're playing live and maybe you want someone listening at home to have something that will bear repeat lessons, to have depth and different experiences within that.

D: Yeah. I think there's an intensity live that you can’t recreate on a record.

There's that in-your-face volume in a room that you can’t really recreate at home. And in many ways you want to have a bit of a divide between those two worlds. Okay, this is us here, come and see us. Why? There's a different dimension to it. I like that sort of duality.

I think in my head the plan was always just to try and take some sharp turns, and kind of surprise people, and leave people not really knowing what was coming next. And I think we achieved that. Every song isn’t 140 BPM and noisy, and every song isn't quiet. Then there's dark versus stupid choruses.

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D: I think Gift Horse has always been a permission to, as Audrey said before, just go and explore. You can be in a rehearsal room feeling a bit silly and be like, ‘What the hell are we singing about?’. But then it turns into something that people love, and you're like, ‘Well, okay, sometimes the silly things are the things that are worth mining'. And I think that's the thing, that's the sound of an album, it's just some surprising turns or increments. But hopefully, in a way that sounds quite natural.

A: Yeah, very expressive and very spontaneous, as in the most genuine definition of it, I feel. Again, I felt I've never felt that free in a band, there's no judgments.I know personally I'm very critical of myself. David's always helped me stop doing that within the band and always encouraged me to go to places where I thought it was not permitted, or it was maybe silly. It always turned out to be interesting and nice. And sometimes dark as well, we don't want to pretend to go somewhere we don't belong, in a way.

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Apart from keeping busy with making videos, how have you been coping with lockdown? It’s difficult for artists at the moment.

D: Yeah, very much so. Audrey is doing a lot of photography at the moment.

I also paint. I’ve a studio in town at the Barras. That makes a bit more sense at the moment: just something you do on your own and doesn't require being with other people. I guess painting, and photography for Audrey, it's a solitary thing that you just do. It's just important to be able to keep something going.

A: I think the idea for me was because this pandemic has been going on for such a long time now. And we can't even now see the end of it. Personally I felt, for my mental health, and maybe for some people's mental health, it was good to stay active and do something.

We found new ways to express ourselves individually: me with photography, David with painting. Personally, I've never really played music so much on my own. I've always collaborated with people. So being on my own, it has not always been easy to find my place. It's weird.

Happy Clappy is out now via the band's Bandcamp

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Music by Kenny Lavelle Page 57

FESTIVALS

PAISLEY BOOK FESTIVAL GLASGOW FILM FESTIVAL

PAISLEY BOOK FESTIVAL Originally launched in 2020 and quickly establishing itself as one of the countries premier literature festivals, Paisley Book Festival is back again for 2021. And, of course, in order to keep everyone safe, this year’s festival will be delivered digitally. This year, most events are free with some special paid events which will help support the festival into 2022.

Spanning ten days, the event features talks with some of the most interesting and promising voices from Scottish literature and beyond. Paisley’s very own bookish gathering has stretched its arms to embrace all kinds of artists, and as headliners go, you're not going to go far wrong with Booker Prize winner Douglas Stuart and Canadian-born co-founder and director of the Scottish BAME Writers Network, poet Alycia Pirmohamed.

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Alycia Pirmohamed

Kiran Millwood Hargrave

Graeme Armstrong

Top of our list for this year's fest is an event chaired by Kirsty Logan, with author Kiran Millwood Hargrave and poet Rebecca Tamás: ‘Hexes, Hags and Harpies’, an exploration of modern-day womanhood, feminism, horror and dark forces. Later the same day, Scabby Queen author Kirstin Innes presents a discussion with Andrew O’ Hagan, Graeme Armstrong, and Douglas Stuart, which aims to examine the complexities of masculinity in Scotland.

One event not to be missed is ‘The Writer-in-Residence Presents’, featuring Paisley Book Festival’s first writer-in-residence, Imogen Stirling. The Glasgowbased poet and educator, known for her much-lauded show #Hypocrisy, has curated three events at the festival, with this first one taking a look at the work produced by residents of Paisley during Imogen’s tenure there. SNACK recently spoke with Imogen about her work with the festival: see page 40 for that. ‘The Writer-in-Residence Presents’ will be held on the 21st of February at 5pm.

The festival also offers workshops: one that stands out is the Poetry Masterclass with Alycia Pirmohamed, a Canadian-born, UK-based poet who was the winner of the 2020 Edwin Morgan Poetry Award. Pirmohamed will be keeping Books by Dominic V. Cassidy Page 61

in line with the theme of the whole event, Radical New Futures, by helping others ‘create a vision of the days beyond those we’re living.’ This masterclass looks to be essential for any aspiring or intermediate poet, and is surely an opportunity to be jumped at. The event will be held on 21st of February at noon. Standard tickets cost £8, or £5 for any concession.

Looking at literature from a more fantastical angle, there’s ‘Writing Dystopia’, which features Courttia Newland and Adam Roberts, author of It's The End of the World: But What Are We Really Afraid of?. This panel delves into the human obsession with the end of the world. Newland and Roberts have both written this variety of grim speculative fiction in the past, plumbing the depths of what could be, in a world perhaps not too different from our own. Their novels often grapple with the darker side of humanity and the potential end of days. This panel is chaired by author Katie Hale and will be held from 7pm until 8pm, on the 22nd of February. Free entry (donations welcome).

Image credit: Sharron Wallace

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Imogen ImogenStirling Stirling

It should be noted, and it's worth repeating, that all of these events take place online, with the speakers coming to you live over video. This approach means it’s easier than ever to get involved, and with so many free events on offer, we’d advise you to get stuck right in and see where your fancy takes you. There's pretty much something to interest everyone. 'Something to interest everyone': This can be a damning compliment, generally, but not on this occasion. There’s a breadth and attention to detail in the festival programme that is a testament to the experience and hard work of the organisers – especially considering this is only the festival’s second year running.

Paisley Book Festival 2021 runs from 18th February till 27th February paisleybookfest.com

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GLASGOW FILM FEST 2021 Last year the GFF was lucky enough to sneak in just before the March lockdown, and the line-up was as strong as ever. As with every other festival around, it's inevitable that they’ve moved to digital-only for their 2021 installment. Fortunately, despite being cut back a little in terms of number of films, this year’s roster has me salivating. From the best of Scottish cinema to country-in-focus South Korea, the GFF is again at the cutting edge of modern film.

Opening film Minari comes on the tail of Grand Jury and Audience Awards at the Sundance Film Festival, and is being touted as the type of movie we all need right now. It follows the story of a Korean family who uproot to the US in search of the American dream. The trailer had me feeling the feels - it looks like it will be something special. Closing film Spring Blossom seeks to envelop the viewer in the feeling of Parisian chic; a coming-of-age story deeply rooted in French cinema tradition.

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The GFF has always been fantastic at championing new Scottish film-making voices, and this year all the stops have been pulled out to give us reasons to be optimistic about the future of Scottish cinema. Anthony Baxter’s Eye of the Storm follows the late, great Scottish painter James Morrison’s last two years, up to his final exhibition in January 2020. It’s sure to move you. Another that many have been looking forward to is Creation Stories, the story of Creation records founder Alan McGee. Starring Ewen Bremner and featuring Jason Isaacs and Suki Waterhouse, the film, co-written by Irvine Welsh and Dean Cavanagh, will tell a raucous, amusing, and enlightening tale.

LIMBO is the first feature film to be shot on Uist, a cross-cultural satire wryly telling the story of a Syrian refugee who finds himself relocated to the islands awaiting the result of his asylum request. Iorram (Boat Song) is the first documentary feature to be entirely shot in Scottish Gaelic, a reason to see the film in itself. It looks beautiful, and the marriage of this and the stories of fishing communities in the Outer Hebrides will be ravishing.

LIMBO Film by Martin Sandison Page 65

In the UK premieres bracket, one that catches my eye is Undergods, featuring Scotland’s own Kate Dickie. It’s a dystopian science fiction title that looks equal parts High Rise and Ex Machina. Riders of Justice is a Danish feature starring the phenomenal Mads Mikkelsen, and is a guaranteed thrill-a-minute actioner with a healthy dose of humour. The fact that Mikkelsen has turned to the action thriller genre fills me with glee.

The GFF has always been known for its music documentaries, as you’d expect considering Glasgow’s great music heritage. The one that stands out for me is Polystyrene: I Am A Cliche, the story of Miss Poly Styrene, the frontwoman of the wonderful punk band X-Ray Spex. Co-directed by her daughter Celeste Bell, the portrait of this cult figure is sure to be colourful and interesting.

Polystyrene: I Am A Cliche

What makes my jaw hit the floor is the festival’s East Asian emphasis. South Korean cinema has been thrust into the spotlight due to Parasite’s Oscar triumph last year, and the GFF has wisely chosen to spotlight the country that for me has been making the best cinema internationally for a long time now. Swordsman is a return to the period swordplay genre popular in the Noughties, and will be sure to deliver style, atmosphere, and fantastical combat.

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Actor Lee Byun-Hun is one of the most recognisable faces in Korean cinema, having starred in the masterpiece I Saw the Devil and the influential A Bittersweet Life. His new film The Man Standing Next sees him take on a multi-layered role as Korean intelligence chief during the final days of President Park Chung-hee’s presidency in the late 70s. It’s a conspiracy thriller, the likes of which the Koreans have become good at in recent years, and with Lee on board we’re guaranteed thrills and spills.

There are also a couple of Chinese mainland films, from a collaboration with Shanghai Film Festival. Spring Tide sounds like a drama in the style that the nation does so well, telling the story of three generations of women living in the same house.

The GFF is taking the baton from many other festivals by going purely digital.

While the feeling of seeing a film in a festival with a sold-out crowd is hard to replace, the idea that many of us will be logging on to see great films at the same time under the banner of the GFF is something to look forward to.

The Glasgow Film Festival runs from 24th February till 7th March glasgowfilm.org/glasgow-film-festival

The Man Standing Next Film by Martin Sandison Page 67

COMMUNITY

SCOTTISH GAELIC DUOLINGO CHINESE SCOTTISH CULTURE

SCOTTISH GAELIC DUOLINGO

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You’ve probably noticed that there’s been a huge increase in Scottish press coverage of the Gaelic language. Once Scotland’s principal language, it’s now only spoken by about 2 percent of the country, with the vast majority living on the west coast and in the Western Isles. After a sustained campaign of eradication and dismissal stretching back hundreds of years, what’s changed? Should we Scots be promoting it more? After all, it’s one of Scotland's three official languages, along with English and Scots.

Recent years have seen an explosion of interest in all things Gaelicrelated, partly down to the Outlander effect: principal character Jamie Fraser speaks both English and Gaelic in the hugely popular TV adaptation. Scottish diaspora in the US and elsewhere are very keen to learn what they consider to be their ancestral tongue. And of course, the ongoing battle for independence from the UK has bolstered interest in all things inherently Scottish.

Gaelic Medium Education is available at around 60 primary schools across Scotland. Many parents of GME kids who are nonnative speakers themselves are keen to learn, in order to gain a better understanding of their kids’ schoolwork. Recently Gaelic immersion learning became opt-out only in the Western Isles.

As a result of this surge in interest, a campaign emerged in 2019 to encourage the developers of language app Duolingo to add Scottish Gaelic to their list of available languages. This included a social media-based campaign which led to tens of thousands signing Scottish Culture by Leona Skene Page 71

up to the course in the first few hours after its launch. Duolingo is a hugely popular and successful app with over 6 million users worldwide. It uses short, comprehensive exercises and a gamelike format to encourage and spur on learners, who can win trophies and advance through leagues to complete the various levels. As of December 2020, there were over 560,000 people signed up to the Scottish Gaelic course: that’s over ten times the number of native Gaelic speakers in Scotland.

I’m learning Gaelic myself. I’ve been using the Duolingo app for over a year now, and I have to say, the developers have done an excellent job. It’s funny, engaging, and relevant to modern day Scottish life and culture - references to Irn Bru, Runrig, and the woefulness or otherwise of Fort William’s football team abound.

Deadpan statements are common, such as ‘Tha Dùn Dè cho alainn’ (Dundee is so lovely) and my personal favourite, the unbothered, non-committal ‘Tha Sasainn ceart gu leor’ (England is okay).

This is in addition to a cast of characters featured in listening exercises which start off innocuously enough, with basic lessons on how to introduce yourself (Halò Eilidh! Halò, Alasdair!). These quickly descend into vaguely worrying, League of Gentlementype statements, such as ‘Chan eil drathais orm/I don’t have underwear on’ and ‘Obh obh...Iain an-seo/Oh dear...Iain is here’. Indeed, much time has been devoted online to constructing a back-story for the insidious Iain, who spends a good amount of his ‘on-screen time’ in uncomfortable social interactions, wearing minimal amounts of clothing (Tha aon brog orm!/I have one shoe on!).

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Scottish Culture by Leona Skene Page 73

I spoke with Màrtainn Mac A'Bhàillidh, one of the course developers and an organiser with Misneachd Alba, a grassroots advocacy group which aims to raise awareness of Gaelic and the issues facing Gaelic-speaking communities. I also used this as a sneaky chance to brush up on my Gaelic, in an attempt to garner some praise for my efforts.

Halò a Mhàrtainn! Ciamar a tha thu an-diugh? Please tell me I said that right.

Glè mhath, nach math a rinn thu! Tha mise gu math, tapadh leat.

The course is impressive. I’m having so much fun with it.

Did you and the other developers set out to make it funny, and do you think this is the key to engaging with people and holding their interest?

Absolutely. With an app like Duolingo you have to make the content engaging and memorable, and probably the best way to do that is through humour. That’s no easy task either, as you are restricted to vocabulary which has been taught in the course at any point. It’s also why IRN BRU appears; if we want to mention something, we need to teach it as a word! That forces you to be creative with the vocabulary you have.

There was a huge online effort to get Scottish Gaelic on the radar for the Duolingo course. The course itself has a large Twitter presence and a Facebook group with over 9,000 members. How important is social media in promoting and encouraging the Gaelic language?

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Without a doubt it has a huge part to play, but like everything else there are pros and cons. For learners particularly, the Facebook groups, Instagram and Twitter accounts are a great way to share tips and recommendations with other learners, ask questions, practice, and provide motivation and a sense of community. However, social media use can’t replace genuine language communities which are in real trouble. There is also a tendency to share and give unnecessary exposure to the negativity and hate which lurks on Twitter particularly.

There will always be a tiny vocal minority opposed to Gaelic.

In my opinion, too much energy is wasted on these people who don’t represent Scottish, or international, public opinion. Haters gonna hate!

There are many Scots out there who view Gaelic as a dead language, and therefore not worth wasting time and resources on. Why is it important that people in Scotland, including those who may not be living in traditionally Gaelic-speaking areas, engage with and learn the language?

All languages and their cultures offer priceless and unique world views and windows into different human experiences over the centuries. Scotland as a nation has a moral obligation to preserve our languages and cultures. This obligation is made even more compelling by the injustices suffered by Gaelic speakers historically.

Scottish Culture by Leona Skene Page 75

A huge effort has been made to eradicate the Gaelic language and culture; this historic injustice should be rectified and we all can play a part in doing so. There is a common refrain that languages are subject to a Darwinian process of evolution and that some should be left to ‘die off’, as if this happens naturally. Languages don’t die: they are killed. They are killed by a lack of support at a political and economic level.

Every penny not spent supporting Gaelic is spent supporting the English language! English isn’t some default position, enjoying hegemony due to its inherent greatness. It gained this position through Empire, colonisation and ethnocide. It is a political decision to maintain its dominant situation.

Gaelic seems to be on the up-and-up, but the percentage of speakers in Scotland is still lagging behind that of speakers of Welsh and Irish Gaelic. What do you think the single most crucial factor is in ensuring that Gaelic doesn’t die out?

Well, there is a lot of positivity around Duolingo and new learners, which is great, but we’ve also seen comprehensive research on the remaining Gaelic communities published recently which lays out the scale of the challenge [The Gaelic Crisis in the Vernacular Community 2020]. There simply isn’t enough being done to support these communities. The situation in Scotland isn’t comparable to that of Ireland and Wales in terms of policy and political support, as well as in number of speakers.

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Languages are a social phenomenon: they ‘live’ in communities rather than as skills possessed by individuals. Without social density of speakers, groups of people living close to each other and leading their lives through the medium of the language, languages can’t naturally regenerate themselves. It’s unsustainable in the long term to be dependent on the passion and commitment of learners: there has to be intergenerational momentum.

In the recent course update, Iain has his own section devoted to his antics. Will we see Iain’s star continue to rise?

Maybe he could star in a reboot of [iconic 90s Gaelic soap] Machair. Or I could see him in a Tommy-style rock opera...

I couldn’t possibly comment. No spoilers here. The great thing about the characters and ‘storylines’, such as they are, is that they are very much driven by the community of users. There are suggestions of a back-story in the course, but sentences appear without context and users are fleshing these out and speculating on them in the Facebook groups, to hilarious effect. It’s a great way to build interactivity and to let users’ imaginations motivate them to keep going, I think this is much more successful than being too literal with the storytelling.

The difficulty for all of us involved is that we all know many an ‘Iain’, who are now all convinced we’re having a dig at them. I can assure all the Iains out there that no identification with actual Iains (living or deceased) is intended or should be inferred. duolingo.com Community by Leona Skene Page 77

CHINESE SCOTTISH CULTURE Chinese New Year is the time when papers and websites drag up the ol’ routine: pieces on the Chinese zodiac; lists of Chinese superstitions that no-one has observed for a thousand years; photographs of Shanghai train stations filled with migrant workers returning home.

However, this 'othering' ignores the fact that many people who are here, now, and participating in Scotland have grown up with Chinese culture and a Chinese language. Indeed, the last full census saw 34,000 people in Scotland identify as Chinese, while Glasgow and Edinburgh are both in the top five largest ethnic Chinese communities in the UK. To celebrate Spring Festival 2021, SNACK spoke to three Scots with Chinese heritage about their work and how their identity plays a part in Scotland's cultural landscape.

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Illustration: Sarah Kwan

Art & Culture by Jamie Wills Page 79

SEAN WAI KEUNG Sean Wai Keung, 29, is a poet, writer and performer from Glasgow. He began his path to poetry in 2011 by attending open-mic events. His first full-length poetry collection, Sikfan Glaschu, is released in April.

Food is a major part of your work. Why this interest?

Food is something both universal and personal. Everyone has some aspect of food culture or experience, and so by talking about my own experiences with food hopefully we can find some interesting common – or uncommon – ground.

What creative process do you go through for your writing?

I think a lot about a poem before I write something down. Walks around Glasgow help a lot with that. After that, it depends on the poem. Some require a bit of research, which could be looking up things on the internet or talking to people. Others are more about memory and personal feelings. Then comes the editing process, which is where most of the actual work comes in.

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Photography: Shiara Bell

How would you describe Scotland's poetry scene?

Scotland has loads of different scenes. There’s spoken word always going on everywhere, as well as a lot of avant-garde stuff and DIY zines, and oftentimes there’s overlap between all of them. It’s the small presses that really keep a lot of it going, be that Speculative Books or Knight Errant Press or 404Ink or SPAM zine or Haunt Publishing, combined with events like St Mungo’s Mirrorball, Sonnet Youth, Speakin’ Weird. It’s very varied and there is a place for just about everyone.

What are the biggest challenges for poets and writers in Scotland at the moment?

Economics, unfortunately. It’s the small presses, journals and bookshops who really make the backbone of poetry anywhere in the world and they have suffered tremendously over 2020. Also, Brexit makes it less easy to access European literary festivals, universities and the global lit scene in general, which is going to make spreading the word about Scottish poetry and literature just a little bit harder than it was before. More poets and writers are also having to deal with difficult personal circumstances, be that loss of income or strained mental health - the same as everyone else.

You describe your ethnicity as ‘mixed Hong Konger and white’. Has your Hong Kong heritage affected your career path?

For a long time I fought against writing actively about my own identity or heritage, partly because I also felt pressure from others to Art & Culture by Jamie Wills Page 81

talk about it. White people would say, well-meaningly, that I should write about it, which just made me feel exoticised and different when all I wanted at the time was to fit in. But eventually I decided to embrace it in a way, because I wanted to tell people my actual experiences instead of just the experiences that people expected from me. Hence why my first published title was You Are Mistaken – I was trying to fight against various assumptions that had been made about me over the years.

Is there a distinct Chinese, or Hong Kongese, community in Scotland? If so, does it affect what is expected of artists from that community, both within the community and externally?

There are many. Because of the nature of Hong Kong and Chinese migration to the UK and Scotland there would often be multiple families from a village, district or city migrating at around the same time, and those connections last for generations, and are also continuing to be built today. At the same time, in terms of a ‘unified’ Scottish Hong Kong, Chinese or ESEA [East and Southeast Asian] community, there has traditionally been a lot less solidarity from my perspective between everyone as a politically single-voiced group.

Although this hasn’t been the case at all times, and is also becoming better now I believe, in part thanks to organisations such as ESA Scotland, BESEA.N, and Racism Unmasked Edinburgh.

Do you feel that ethnically Chinese people are properly and fairly represented in the Scottish arts? What improvements could be made?

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Unfair representation is too common and I feel like everybody should try to become better at calling it out when they see it. This isn’t just in Scotland, of course, but there are aspects that are more common in the Scottish landscape than many other places – for instance the use of certain words, such as a ‘chinky’ to describe a type of meal, or the word ‘mong’. At the same time, there should be better representation of all the varied East and Southeast Asian communities that make up Scotland, as well as wider POC/BAME issues here – this isn’t necessarily a Chinese-Scots only problem.

Follow Sean at seanwaikeung.carrd.co, or via Twitter or Instagram at @SeanWaiKeung

Sean Wai Keung

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where is the tree my 公公 drew after he died i received a collection of his drawings and there it was the tree he had doodled it at some point probably sitting idly in his chair watching the weather or east enders or listening to his cassette tapes of cantonese opera the tree perhaps it was inspired from something he was watching or listening to at the time perhaps it was a news report which showed a park or the countryside or maybe something happened in eastenders in the park in the middle of the square the tree or maybe it was based on a tree he could see outside from his chair – one of the overgrowing things from the neighbours place or a tree which used to be there years ago before the asda got built there instead or it could have been from an advert on the side of the number 40 or number 40a at some point when one of them stopped by the tree was it from a memory he held dear – from his childhood in the hongkong countryside – before the war split that image apart forever – or from his first step onto

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mainland british soil – there must be some trees somewhere in liverpool – or manchester or bradford or leeds or york or hartlepool or grimsby or somewhere he had lived – maybe there had been a park that had held some special meaning to him – near to the first house he bought or the first business he opened or his wedding or outside as he held one of his children for the first time or even one of his grandchildren the tree or could it have been a representation of the tree by the burial plot he had acquired the one on the slight slope facing eastwards at the bend of the small foresty path at the south end of the cemetery the same place where i stood that day i said goodbye then received his drawings

Sean Wai Keung

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SARAH KWAN

Sarah Kwan, 34, is a freelance artist and illustrator from Edinburgh.

Her recent East meets West collection places elements of Chinese culture in light-hearted Scottish contexts, and was featured on BBC Scotland’s Loop series. She is also the co-founder of East and Southeast Asian Scotland (ESAS), a group established to support the ESA community in Scotland.

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How would you describe your work?

I would describe my latest East meets West series as being playful, fun, bright, and explorative of the connections between British and Chinese culture, with light-hearted humour. In general, my work is thoughtful. I hope it enriches and allows other people to view the world from a different perspective.

How do you go about creating an artwork?

There’s a lot of thinking, reading about the subjects that I am representing and also researching images that connect to the idea. I find it really helpful to create collages and mock-ups to help me visualise what the end result may look like. I still love drawing by hand, but I often alter those hand-drawn images and add colour digitally for certain pieces. In my other work, I physically paint on board or canvasses, which is a wonderful change to working on the computer. I just love creating art in whatever medium is available to me.

What would you recommend for someone trying to get started as a professional artist?

Keep practicing and keep learning, not just about artistic techniques or the history of art, but also on how to conduct yourself as a professional. Look for resources and creative associations that can help guide you on all of the aspects of being a creative business. Most of all, just never give up! Keep going and try to be as open as you can to receiving constructive criticism – sometimes it’s painful, but it gets easier and will undoubtedly help you in the long run.

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How would you describe your identity?

I would describe myself as being Scottish Chinese. I was born in Edinburgh, and I’m very connected to both Scottish culture as well as my Chinese roots – and I’m extremely proud of both! I grew up with, and still speak, English and Cantonese.

Much of the arts rely on media coverage to grow an audience. What is your assessment of how the Scottish arts media treats ethnically Chinese artists?

In all honesty, I haven’t been personally aware of many other Chinese artists through Scottish arts media coverage. I would love to see more. I feel very fortunate to have had the opportunity to work with BBC Scotland, when they featured me on their LOOP Edinburgh Special. It would be wonderful to shine more light on BIPOC [Black, Indigenous, and people of colour] artists in general in the Scottish arts. I think it’s really important to showcase this kind of representation to future generations, and to show that there is a place for us in it.

What can a person wanting to understand more about ethnically Chinese artists in Scotland do?

There aren’t many ready-made resources out there, specifically on ethnically Chinese artists in Scotland, but this question has really made me think about how ethnically Chinese artists can make themselves more visible. I imagine Instagram would be a wonderful place to start. Perhaps this is something I will start doing myself, and I’ll try to encourage other artists to hashtag #scottishchineseartist or #scottishesaartist when they post about their work.

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Finally, Chinese New Year is approaching. Is it a festival you personally celebrate, and how would you recommend others celebrate it in 2021, with so many events still postponed?

Yes, typically I do celebrate Chinese New Year. This year I will really miss sitting down with my family and celebrating with my mum’s amazing cooking.

I’ve heard of some Zoom events and online workshops that may feature Chinese culture - checkout Ricefield, which is a Chinese arts and culture centre based in Glasgow. And I think The List has online celebrations planned as well. If I am able to prepare a workshop myself, I’ll certainly advertise that on my social media and website.

Follow Sarah at sarahkwan.co.uk, or on Instagram, Facebook and Twitter @sarahkwantartist Learn more about ESA Scotland at esascotland.org

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TOMMY GA-KEN WAN

Tommy Ga-Ken Wan, 35, is a Glasgow-based photographer from Ayr. His subjects are often captured from theatre or travel, and he has taken portraits of the likes of Simon Callow, Sam Shepard, Stephen Fry, and Jeremy Paxman. He has also served as a resident judge on The Big Shot, a photography-based reality game show in Singapore.

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Of your own work, do you have a favourite piece?

I once took a photograph of my sister on the Hong Kong Metro just after we'd had an argument. I was so angry with her, and when I looked over to where she was standing there was something in the composition of the scene that made me want to take a picture. It wasn't until later, when I looked closely at what I'd taken – she clutching that pole like it was her only friend, her pained expression, hair moving in the flow of the air through the train – that I felt compassion. Our argument seemed silly, and we made up. That experience really brought home to me the power of photography to hint at the inner life of a subject in a particular moment. To freeze one moment, and to be able to look closely at it, and to reflect and consider it, is something quite special.

How and when did you get into photography?

I was 14 when my parents gave me my first camera, a late 90s digital camera with 0.35 megapixels. From the first day, I was hooked. I took it everywhere and by the time I was in university, studying English Literature, it had become an obsession. It was a useful social tool as well as an artistic one. Then in my second year I was chosen to go on a student exchange to Pakistan, and when the university and the British Council saw the photographs I'd taken while I was there, they started to give me some work.

This was the first time it had occurred to me that I could pursue a career in photography.

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How would you describe your ethnicity and identity?

I describe myself as mixed race or half-Chinese. Although I grew up in Scotland and have been ‘white-passing’ for most of my life – Mum has red hair and freckles – my Chinese heritage is an important part of my identity. I have an interest in Chinese language, culture, philosophy, politics, and art. I grew up hearing Cantonese at the homes of aunts and uncles, and my granny wasn't able to speak English. But I wasn't taught it as a child: since Dad was the only one who spoke Cantonese, and he could speak English, he didn't see the point. So although I'd pick up bits and pieces from Hong Kong movies or from cousins, I didn't actually start to learn Cantonese until I was an adult.

Is your Chinese heritage relevant to your work?

I spent much of my childhood trying to know and understand the other half of my heritage, and I did so for the most part by watching Hong Kong cinema. It was the films of Wong Kar-Wai that showed me how powerful and beautiful the image can be, and his visual style was seminal to my development as a photographer. The colours of Hong Kong – neon, electric – and the vivid, cartoonish hues found in Japanese anime are prevalent in my work.

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Self portrait: Tommy Ga-Ken Wan

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Do you feel that ethnically Chinese people are properly represented in the Scottish arts?

I have no doubt that there is a lack of representation of Chinese people in the arts in Scotland: most of my professional work is in theatre, and I can say I don't know of a single Chinese person working in that industry who is based in Scotland. The fault of this is not necessarily with arts institutions - indeed, I've worked on projects around Chinese culture with The Lyceum Theatre and the National Theatre of Scotland – and I wonder if it is a cultural issue.

Chinese people have been called a ‘model minority’ because they are perceived to be intelligent and hardworking, but I wonder whether they might be called that because they tend to keep to themselves, a quality which does not generally go hand-in-hand with artists. I have many Chinese friends who wish they could have been an artist of some kind, but who bowed to parental pressure to pursue medicine, accountancy, or to take over the family business. This is a shame on a larger scale than their own personal lives, because without Chinese artists, Chinese stories will remain untold and Chinese people and culture will remain under-represented.

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Is there a distinct Chinese community in Scotland?

I'm not hugely familiar with it, but I know that there are many Chinese community groups and institutions. When I was a child, I attended the occasional lesson at a weekend Chinese school in Glasgow. But the Chinese demographic of Scotland and the UK is changing: where it was once made up for the most part of Cantonese immigrants from Hong Kong, there is now a huge student population from mainland China.

Finally, how will you be spending Spring Festival this year?

When my gran was alive, my family would generally fly to Hong Kong to celebrate with her, but in recent years – my gran having passed and Hong Kong's disturbing political situation being what it is – I've celebrated in restaurants in Glasgow with aunts, uncles, and cousins, or at one of our homes. This year, I'll be spending the day cooking and then eating a Chinese banquet at home, and it's something I'd encourage others to learn about. Chinese cuisine is rich and varied, and so much more complex, and healthy, than the usual takeaway fare.

Follow Tommy at tommygakenwan.com, or via Instagram at @tgkwan

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LGBT+

THE (NOT) GAY MOVIE CLUB LGBT HISTORY MONTH IT'S A SIN

PILLOW TALK

I’m sorry to confirm that Valentine’s Day is still happening this year. It seems our least favourite, saccharine ‘holiday’ is resistant even to a global pandemic, if shops, streaming services and social media are anything to go by. But perhaps we shouldn’t be so curmudgeonly: maybe indulging in the romantic, basking in the glory of St. Valentine himself, may be just the thing we need. In which case, we have a treat for you and your beloved: a new addition to our illustrious (Not) Gay Movie Club, 1959’s romantic comedy Pillow Talk, the antidote to any feelings of romantic reluctance.

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Pillow Talk happens to star two serious Hollywood juggernauts – Rock Hudson, one of the silver screen’s most handsome and charismatic leading men, and Doris Day, a woman who epitomised the girl-next-door archetype for her entire career. The film follows interior designer Jan Morrow and unbearably handsome composer Brad Allen, two sparring neighbours who share a telephone line (I can’t believe this was ever a thing that people had to deal with). You see, Brad spends a disproportionate amount of time clogging the line serenading an endless list of women, much to the chagrin of Jan, who ultimately files a complaint against him. Ever the cad, Brad decides to masquerade as a Texan rancher, Rex Stetson, and the pair naturally fall in love. But this ruse is short-lived, as Jan’s unrequited suitor and Brad’s best friend Jonathan gets savvy to the situation and finds himself in the middle of a love triangle.

Unbelievably stupid? Yes. Wildly entertaining? Absolutely. And we would be remiss not to mention the status our leading actors enjoy as two of Hollywood’s premiere gay icons. Doris Day had cemented herself as America’s sweetheart by this time, and she is effortlessly camp. Her eponymous role in Calamity Jane has historically been celebrated for its alleged lesbian subtext, while I have always contended that she is the beard any gay man in the right mind would kill for. Mums would love her. Then there’s Mr Hudson… I think he deserves his own paragraph.

Rock Hudson is arguably one the most high-profile gay actors in the history of Hollywood. His sexuality was always the subject of rumours, with several co-stars, including Day, claiming to have known about his off-screen sexuality.

It was a different era, one in which leading men simply were not anything other than virile, heterosexual heartthrobs (has much really changed…?) He was, tragically, the first major Hollywood actor to succumb to AIDS, in 1985. His death, for many, signalled the severe reality of the crisis: if this handsome leading LGBT+ by Jonny Stone Page 99

man can get it, surely anyone can? His death gave AIDS a face, a notable figure adored by millions subjected to this frightening mysterious gay illness. It’s impossible to watch Pillow Talk without the bittersweet fantasy of imagining what Hudson could have achieved had he lived longer – you know Ryan Murphy would have lured him into one of his projects. But as heartbreaking Hudson’s story is, audiences can savour his magnetism and talent forever, frozen in time, and Pillow Talk is as good a souvenir as anything.

Pillow Talk holds the standard all romcoms should aim for, not least because it is simply so funny. The dialogue is sharp, and our lead actors execute every line with impeccable comic timing. And as Brad/Rex’s deception begins to unravel, the farce allows Day and Hudson to really let loose and revel in the lunacy of the situation. But no induction into our distinguished movie club would be complete without a deep dive into the film in question’s costuming, and Pillow Talk deserves serious exploration.

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I wish I could dedicate my word count – no, the entire February issue – to discussing Doris Day’s wardrobe, but I feel my editor wouldn’t look kindly on this. In a gross miscarriage of justice, the film’s costume designer Bill Thomas, uncredited for his work in the film, did not receive an Academy Award nomination. Jan’s work wear is divine – the cream dress with red box hat and matching, red-lined coat springs to mind – and her at-home attire captures the cusp of late fifties fashion beautifully. Pillow Talk was apparently Day’s attempt to break free from her girl-next-door associations and become ‘sexy’ and cosmopolitan, and this is reflected in how Jan is dressed. Of course, Hudson looks flawless, but Day’s style breathes life into the film. Thank you for coming to my TED Talk. Leave feedback on your way out.

What really makes Pillow Talk, however, is the indisputable chemistry between Day and Hudson. Their sparring and sincere affection for one another offer this light romcom some real heart. We know, in hindsight, that the two were firm friends in real life: if you fancy a cry, watch his appearance on her 1985 show Doris Day's Best Friends. The two catch up and reminisce on their life together, but what is most painfully apparent is how AIDS is ravaging Hudson. He is so far removed from the Adonis we see in Pillow Talk. His speech is bizarre

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and incoherent. Day did not know he was dying and was shocked by his appearance, but treats him as compassionately as one would expect. She later revealed she was aware of his condition: ‘He was very sick. But I just brushed that off and I came out and put my arms around him and said, 'Am I glad to see you.'

Pillow Talk on paper is the perfect Valentine’s Day film – it’s funny and romantic, the leads are endlessly charismatic, and the costumes are heavenly – but, considering the off-screen rapport between Doris Day and Rock Hudson, the film feels more like a celebration of platonic love. To me, the duo captures the mystifying, wholesome, and mutually essential dynamic between gay men and their female friends so perfectly, even if the characters are actually attracted to one another. Send it to your best Judy; watch it separately and have a Zoom call to celebrate how good it was, how insane Doris Day’s costumes are and unpack the feelings Rock Hudson has understandably stirred within you.

Pillow Talk may be our most charming, romantic addition to The (Not) Gay Movie Club. It’s a blissful escape to a reality in which Rock Hudson is more magnetic than ever, Doris Day is an angel in a box hat and people share telephone lines.

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LGBT HISTORY MONTH Throughout February, the queer community around the world celebrates LGBT History Month, a festival of events dedicated to the celebration of our culture.

This month of festivities challenges us to look back on what brought us here, and this year celebrates two themes: ‘Unsung People’ and ‘Intersectionality’. In this year’s action pack, the organisation contends that ‘LGBT History Month is not a purely reflective project.

We hope that February presents the opportunity to put contemporary activists in the spotlight, too.

We encourage participating organisations to pass the microphone to stakeholders, colleagues, and friends with something to say about the future of LGBTQ+ activism, culture, and representation.’ Of course, this year’s programme looks different, but there is still a host of exciting events to broaden your awareness and teach you important lessons about our queer heritage.

Remember too that you can organise your own events to celebrate LGBT History Month, albeit in a socially distant capacity: consider creative ways to remain active in our community and encourage others to do the same. LGBT History Month Scotland can support your event using their website, sharing information on their social media channels, and providing branding and downloadable resources.

There is a list of possible ways to contribute without leaving the house: you’re encouraged, for one, to invite another organisation or person to ‘take over’ your social media for a period during February. Passing the microphone to a trusted person with something to say is a powerful gesture.

The objective of LGBT History month is to promote equality and diversity while paying tribute to those who have paved the way for us. For information about events on offer and about LGBT History Month, visit lgbthistory. org.uk. And don’t forget that the last Friday of LGBT History Month is Purple Friday: wear purple to stand up against sexual and gender discrimination.

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BLOOD TRANSFUSION: WHERE ARE WE NOW? Free tickets via EventBrite – Thursday 25th February, 1pm to 4pm Since the 1980s and the HIV/AIDS epidemic, gay and bisexual men’s blood has been treated differently, with stigma and unfair barriers compromising public health for countless people. For many decades, countries around the world banned men who have sex with men from donating, for life. In the UK, it took until 2011 for these restrictions to begin being lifted, and last year Scotland took the lead in the UK, announcing individual risk assessments rather than dealing with whole demographic groups as a monolith. What does this mean for the Scottish Blood Transfusion Service? And is this an issue that only affects gay men, or does it extend to other members of the LGBT+ community? Consultant Dr Katie Hands of the Scottish Blood Transfusion Service and Dr Kevin McConville of the University of Dundee will answer these questions and more, at what is sure to be a fascinating talk.

QUEER VOICES FROM THE PANDEMIC Free tickets via Eventbrite – Tuesday 9th February, 5pm – 6.30pm While there are multiple LGBT+ communities in the UK, something that unites them is resilience in the face of crisis. Queer Britain, the national LGBTQ+ museum, has launched ‘Queer Pandemic’, a remote-video oral history project.

In this presentation by Dr Molly Merryman of Kent State University, clips from the project will be shared along with a discussion about the research findings and ongoing field work, as well as a conversation about the challenges of conducting research during this pandemic.

PURPLE POWERPOINT PARTY Free tickets via EventBrite (encouraged donation to LGBT Youth Scotland) – Friday 26th February I think this may be the event I am most excited for, personally. What is the body’s best organ? Is ‘Ironic’ better than ‘You Oughta Know’? These subjects and many more have formed the basis of the PowerPoint Party, and The University of Dundee are hosting one to celebrate LGBT+ History Month alongside LGBT Youth Scotland. Those who wish to contribute their own talk have three minutes to present on anything they like, using slides and pictures to illustrate their talk online. On the evening, you must wear your favourite purple item to support LGBT Youth Scotland’s Purple Friday. There’ll be plenty of time for breaks, drink top-ups, and heated debate. This feels like an inventive and fun way to celebrate our favourite things and share them with our community.

Visit lgbthistory.org.uk/whats-on to sign up if you have a burning topic to discuss, but be quick, as slots are limited.

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RUSSELL T. DAVIES & RUTH COKER BURKS WITH DAMIAN BARR Tickets via EventBrite – Thursday 18th February, £5.98 In the 1980s, HIV-AIDS devastated the LGBTQ+ community, and the epidemic is far from over. Damian Barr interviews Ruth Coker Burks, author of All the Young Men, and Russell T Davies, creator of It’s A Sin, as they discuss untold stories of the time and reflect on their relevance now.

In 1986, 26-year-old Ruth visits a friend in hospital in Little Rock, Arkansas.

While there she notices the door to one patient’s room is painted red. The nurses are afraid to go in. Why? Ruth enters the quarantined space and finds a young man who cries for his mother in his final moments. All the Young Men is her memoir of what follows - a gripping and triumphant tale of compassion.

It’s A Sin is another landmark series from Davies; the first British show to directly address the ongoing epidemic that wrought so much destruction on a whole generation of gay and bisexual men. It’s as joyful and defiant as it is heartbreaking. You can post questions and mingle in the chat before, during, and after, with the chance to chat directly with the speakers. 10% of every ticket sold will go to support the work of Terrence Higgins Trust.

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FOLLOW

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snackmag.co.uk hello@snackpublishing.com 0141 632 4641

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IT'S A SIN HEART HONESTY AND HUMANITY

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Given that we are in the midst of LGBT History Month, it feels fitting that TV mastermind Russell T. Davies should choose now to release It’s a Sin. The series is Davies’ most recent project for Channel 4, presenting life in the UK during the HIV/AIDS crisis. Filled with heart, honesty, and humanity, the series feels like Davies’ best work (and he has done a lot of great work), pulling no punches and commemorating a period in our history that should never be forgotten. The cast boasts Years and Years singer Olly Alexander, along with Lydia West, Keeley Hawes, Omari Douglas, Callum Scott Howells, and Nathaniel Curtis. There are also supporting roles from Stephen Fry and Neil Patrick Harris.

Named after the iconic Pet Shop Boys song, the series begins in 1981, as Ritchie, Roscoe and Colin begin this new decade with their new lives in London. Strangers at first, the three men and their best friends Jill and Ash find themselves thrown together, and thus their chosen family is born. But a new and deadly virus is on the rise, and soon their lives will be tested in ways they never imagined. As the decade passes and they grow up in the shadow of AIDS, they’re determined to live and love more fiercely than ever. They support one another through the typical tribulations of life in your early 20s – varying degrees of acceptance from their families, romantic trysts, getting a job – but their bond is cemented through their endurance of the epidemic’s horror. It’s a Sin remembers the boys we LGBT+ Music by by Jonny Lily Stone Black Page 111

lost and celebrates those lives which burned so brightly.

Olly Alexander plays 18-year-old Ritchie Tozer; the golden boy of his family, he’s nevertheless determined to keep his secrets from them. His life, like many, is dictated by shame, a concept Davies touches on well throughout the series and in its closing act. Alexander gives a solid performance as Ritchie, a charismatic social butterfly who revels in the scene’s promiscuous culture and aspires to be a successful actor. Ritchie, however, displays the denial that will undoubtedly resonate with many in our community, refusing to put too much weight on the virus’ severity and demonstrating reluctance to be tested for fear of the result.

It’s a Sin, of course, does not sugar coat the experience of the HIV/AIDS epidemic, and this feels like an authentic part of that story.

It is easy to compare It’s a Sin to Davies’ seminal work Queer as Folk, a landmark series that depicted gay life in Manchester at the turn of this century. It’s fun, bold, and boasts fully-realized characters that transcend previous stereotypes of gay men on TV. However, it arguably omits any fallout from the AIDS crisis, or at least neglects to mention it in much depth. Writing for The Guardian last year, Davies reflects: ‘The straight press were as hostile as you’d expect, but the gay press were especially furious because we had no condoms, no warnings, no messages on screen. Well, yes, Back to Contents

tough. Because by that stage, in 1999, I refused to let our lives be defined by disease. So, I excluded it on purpose.

The omission of AIDS was a statement in itself, and it was the right thing to do.’

This mirrors a sentiment shared by It’s A Sin’s Ritchie, as he bemoans the fact that every conversation must involve AIDS in some capacity. One can empathise with Davies, living through an era in which men like him were decimated on an unimaginable scale, for adopting such an omissive attitude to his work.

Russell T. Davies LGBT+ by Jonny Stone Page 113

But Davies’ work has embraced and explored AIDS in recent years, and in It’s a Sin he is heartbreakingly masterful in cultivating such deep affection for these characters from the start. As the virus inevitably closes in on the community the audience has grown to love, we find ourselves saying, ‘Surely he will be fine, ‘This person is untouchable’, and the characters themselves display the same innocent confidence. But this naivety is an essential element to the show: it’s a reminder that no-one was exempt from contracting the virus, and any assumptions otherwise were misguided. Just like in real life, there are no happy endings for a group so profoundly impacted by the trauma of AIDS, regardless of their own status. By the end, we can only hope the survivors – characters we feel are now friends of our own – find happiness in whatever comes next.

If there is a breakout performance in the series, it is arguably Lydia West, who plays Jill, the only straight girl in the flat. West was aware of the responsibility that accepting the part brought with it: ‘It felt like a very powerful and important role to play.

These people are the unsung heroes. And they faced the same stigma that came with the disease, too… People like Jill are heroes, and they're selfless and generous and kind, all in the name of love. These people didn't want a round of applause. Jill didn't do what she did for anyone other than the people she helped, out of love and friendship.’

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Jill is the emotional anchor for everyone around her; she nurses her friends, whether they’re sick or not, equips herself with whatever (limited) knowledge was available at the time, and rallies those around her to become galvanised political activists. But West’s performance – conveying Jill’s effervescence from one extreme to her measured stoicism in the other – is a tribute to the friends and allies who have stood alongside our community.

Lydia West

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Olly Alexander

Many reviews are lauding It’s a Sin for its balance of joy and tragedy, and they are right to do so: the cast is endlessly charming, the chemistry between our core group of five is palpable and there are many funny, heartwarming moments that save the series from becoming so completely dismal. And this lightness helps deliver the inevitable, brutal, weight of its subject matter all the better. But the show succeeds in presenting the discomfort and sombre moments of the era that my generation are fortunate enough not to have experienced first-hand. To do anything otherwise would be an insult. We need to see how funeral companies treated our predecessors (and their families); how, early on, a medical questionnaire asks one of the characters whether he has had sex with animals; how so many died in complete isolation because their families had disowned them and their friends were all dead. It’s not easy viewing, but it is essential viewing.

Objectively, It’s a Sin is an excellent series – its stellar cast delivers tremendous performances, the characters and their stories are engaging, and Davies once again delivers a heartfelt and challenging story for its audience to connect to. But the series’ success comes in the weight one feels at the end of each episode, having walked very briefly in the shoes of those who did not live to tell their stories, or having shared even slightly the trauma of those who did.

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FOOD &

DRINK

RECIPES

MATCHA BLONDIES PEANUT BUTTER CUPCAKES

MATCHA BLONDIES Apparently the world’s first brownies were actually blondies. It was legendary American cook and teacher Fannie Farmer (no laughing at the back of the class) who coined the phrase ‘brownie’, but she didn’t actually use chocolate in her original recipe. She was also the first person to use standardised measurements (e.g. American-style cups and spoons), insisting that correct measurements ensure the best results. Her Boston Cooking-School Cook Book is one of the best-selling cookbooks of all all time, and is still in print today. So that’s today’s history lesson: who said homeschooling was all bad?

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Going back a decade in my personal history, I (Mark) first visited Japan at the start of April 2011, just a few weeks after the tsunami hit. KLM offered me the ability to change my flights for free; my parents warned me against going, as did the British Foreign Office. And yet there I was on an almost empty flight, landing at Narita airport. It seemed briefly like the end of the world was coming, as I experienced my first earthquake in the flesh, but my holiday passed without further incident and there began my love affair for Japan. I returned in 2016, this time with Emma and a rail pass. We travelled around the country visiting many famous places. We also spent a day in Ishinomaki, one of the cities that was partially destroyed by the tsunami - years on, the destruction was still evident.

The trepidation I had on that first trip has parallels with the current pandemic, but on our trip in 2016 we had the holiday of a lifetime.

We also brought back matcha, lots and lots of matcha. Matcha isn’t just tea: the Japanese love to use it as an ingredient in all sorts of treats. It’s versatile, as well.

Because it comes in powder form rather than tea leaves, you can easily add it to drinks and baking. It’s not to everyone’s taste, and bright green colouring can take a bit of getting used to, but if you can’t travel in the current climate then these blondies will at least give you a taste of Japan.

Food and Drink by Mark & Emma, Foodie Explorers Page 121

INGREDIENTS

220g caster or granulated sugar 150g butter 120g plain flour 80g white chocolate 2 eggs, beaten 1 tbsp matcha green tea powder

METHOD Heat the oven to 180C / 160C fan / gas mark 4.

Line a small-to-medium sized tin with parchment paper – we used a 20 x 10cm loaf tin as that was what we had handy. A square tin or tray bake tin will do, although the final product might not be as thick.

Melt the butter in a bowl over a pot of bubbling but not boiling water.

Once the butter has melted, remove from the heat and beat in the sugar.

Leave the bowl to cool.

Once the bowl has cooled to room temperature, add in your beaten eggs.

Fold in the flour and matcha – just 1 tablespoon, as a little goes a long way.

Stir through chunks of white chocolate. We used chocolate buttons for ease.

Bake for 25 mins.

The blondies will still be a little soft to touch. That’s fine, as they will harden at room temperature, but do pierce them with a skewer to check that they're fully cooked inside. The skewer should come out clean, with nothing stuck to it.

Leave to cool and cut into squares to serve.

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Food and Drink by Mark & Emma, Foodie Explorers Page 123

PEANUT BUTTER CUPCAKES Back to Contents

Peanut butter and banana make a great team. If you’re looking for a quick and easy home-baking recipe that’s vegan-friendly, then this will satisfy your need for sweet things in no time at all. Chocolate chips could also be added, for extra crunch and to complement the peanut butter and banana flavour.

INGREDIENTS

For the cupcakes: 250g self-raising flour 225g caster or granulated sugar 150g dairy-free margarine 2 large bananas, mashed 2 tsp vanilla extract 1 tsp bicarbonate of soda For the buttercream: 185g dairy-free margarine 250g icing sugar 2 tsp peanut butter Bananna chips for the topping

Food and Drink by Mark & Emma, Foodie Explorers Page 125

METHOD

Preheat your oven to 200C / 180C fan / Gas Mark 4.

Line a muffin tin with muffin cases or cupcake cases.

Beat together margarine and sugar until fluffy.

Add vanilla extract and mix in.

Mix in the mashed bananas.

Sift in the flour and bicarbonate of soda.

Mix until combined fully.

Divide the mixture between the muffin cases.

Bake for around 15 minutes, until an inserted skewer or knife comes out clean.

Leave to cool.

For the icing, combine the margarine, icing sugar and peanut butter until fully mixed.

If the mixture is too stiff, add some plant-based milk to loosen it.

Pipe a generous swirl of buttercream on the top of each cupcake.

Place a banana chip in the buttercream as a final touch.

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Food and Drink by Mark & Emma, Foodie Explorers Page 127

SNACK PREMIERE FELIX & THE SUNSETS THIS WILL CHANGE

SNACK mag is delighted to host the video première of Felix & The Sunsets' latest single, 'This Will Change'.

Reflective and hopeful, the track is ‘a celebration of the Black Lives Matter movement and the sea of people who marched for an end to systemic racism’, following the murder of George Floyd last summer. 'This Will Change' embraces down to earth song-writing musicianship through poetic lyrics delivered by unique soft vocal harmonies. The track’s thoughtful positivity is strengthened by fun samba rhythms using afrobeat inspired percussion. The climatic Santanainspired guitar solo is brilliantly delivered and foresees the fresh talent emerging from this upcoming Scottish band.

All proceeds from the track are being donated to Intercultural Youth Scotland, who do outstanding work to support young people who face multiple barriers to success.

SNACK Première words by Emily Silk Page 129

REVIEW

TINDERSTICKS CLÉMENTINE MARCH LLOYD'S HOUSE ALEX AMOR THE GHOST OF HELAGS TWILIGHT LOVE TRIANGLE MALKA SEIGO AOYAMA MOGWAI POST COAL PROM QUEEN LIZZIE REID LEMON DRINK RAVELOE VICTORIA SPONGE ALISON IRVINE MICHAEL GALLAGHER JOSEPHINE SILLARS AERIAL EAST

TINDERSTICKS TRACK BY TRACK DISTRACTIONS

For as long as they’ve been putting out records, Tindersticks have always elicited a response best summed up by appropriating the advertising slogan of a certain yeast extract. Much of that is down to Stuart Staples’ distinctive baritone vocal style, but their dense, atmospheric output has almost always garnered critical acclaim.

Even the most ardent opponent of musically divisive toast condiments would have to admit that the band’s scope, instrumentation, and sonic ambition stand alone.

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Their output is not just prolific, but positively enormous in scale, nuance, and self-knowing. The soundtracks they’ve produced for the movies of Claire Denis showcase a breadth of collaborative creativity very few groups or artists could contemplate.

2019’s No Treasure But Hope seemed a bit of a sharp turn for the band. An air of satisfyingly matured acceptance replaced the sombre threat evident in their earlier recordings. Distractions is a real contrast to its predecessor, not just in mood but also, noticeably, in terms of the rhythms and drum sounds. Where No Treasure But Hope used gentle drum brushes, Distractions uses brash drum machines and patterns, taking the overall vibe somewhere distinctly off-planet.

You may already have heard opener and lead single 'Man Alone (can’t stop the fadin’)'. If you haven’t, give yourself a treat and fuse it straight into your brain.

It’s the longest song Tindersticks have ever committed to record, but it doesn’t feel like it. From the pulsing bass backbone to the electro-like structure and very obvious Krautrock influence, it builds into a throbbing, brooding, head-nodding epic.

Regarding the track’s extraordinary 11 minutes-plus running time, Staples said 'This song was always a journey but I wasn’t expecting it to be such a long one.

We made a six minute version but it felt like it pulled off and stopped halfway to its destination.' I, personally, look forward to hearing someone dropping into a mix alongside something by Steve Stoll or Richie Hawtin.

'I Imagine You' is an immediate counterpoint to the banging opener, with Staples whispering over a deceptively layered mix of subtle keys and pads.

Perhaps he’s been living in France longer than I realised, but there’s a definite and not un-sexy Gallic twang to his accent these days.

Music by Stephen McColgan Page 133

Of all Neil Young’s songs, 'A Man Needs a Maid' is probably the one best suited to being covered by Tindersticks. However, the brooding version they’ve recorded here exceeds all expectations. Where Young’s version on Harvest boasted cinematic strings, here there are atmospheric bleeps and slightly unsettling vocal harmonies. In the hands of most bands, this could end up an entirely incidental addition to an album, but this is a real highlight.

Approximately 43 percent (that’s 3 out of 7, maths fans) of Distractions is cover versions. Showing impeccable taste by covering one of the 20th century’s most underrated songwriters, this version of Dory Previn’s 'Lady with the Braid' will hopefully turn listeners on to the original and her superlative back catalogue.

Choosing to cover a Television Personalities song is bold enough. Selecting 'You’ll Have to Scream Louder' and swapping out the brash, overdriven 80s guitars for clean, creamily compressed guitars over a bossa nova 808 is puttingyour-reproductive-bits-in-a-shark’s-mouth bold.

'Tue-moi' is, a little disappointingly, not an attempt at the oft-covered Franck Langolff standard, but is a haunting, sparsely arranged song comprising just vocals and piano. My French is barely beyond broken, but the first line of 'Tue moi mon frère' got me all excited about some sexy fratricide. However, the later rendering of the line as 'Tue moi mon amour' (Kill me my love) hits just as hard.

Hopefully, a genuine French speaker can find the poetry and symbolism in the lyrics here, but my brain immediately interpreted it as a tale of murderous incest, and I’m surprisingly OK with that.

'The Bough Bends' centres around a fantasy piano and palm-muted guitar,

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building into large, distorted chords. The juxtaposition between the various elements seems to become the point. The closest thing to a guitar solo on the entire album manages to sound like some sort of electric mandolin. The line 'You arrived here, naked and screaming' got me thinking about sexy brothers again, so we’ll just pull a charitable Freudian curtain over the rest of my silly and potentially damnable interpretations.

Is it fair to call this a minimalist album? Yes, probably, but it’s not earlyPlastikman minimalist. It’s minimalist in a dense, intense manner. Despite the more electronic production compared to their previous album, and the proportion of cover versions, Distractions manages to portray a naked honesty, whose rarity is to be cherished in these particularly dishonest, clothed, times.

Distractions is out via City Slang on 19th February

Music by Stephen McColgan Page 135

CLÉMENTINE MARCH ALBUM: SONGS OF RESILIENCE

At its heart Songs of Resilience is very like its artist – eclectic, charming, and just a little bit erratic. The latest release from French-born and London-based Clémentine March follows quickly on from her last LP, Lost Continent, and once again brings to mind the image of a woman just trying to figure things out. This is mirrored by the sheer range of influences upon March’s work, ranging from notable French chanteuse Françoise Hardy, to Brazilian Samba, to Nirvana. The themes explored in Songs of Resilience present a broad image of the world we live in – one with such potential for greatness, but one that’s all too often clouded by the bad. Songs such as ‘Panic Attack’ and ‘Inside The Wave’ express a great fear for the outside world’s current events, and yet offer us the comfort of human connection within the chaos of uncertainty.

A multi-instrumentalist, March has given us this acoustic album, which is unsurprising given her background in classical guitar and the creative bubble that was her existence during last November’s lockdown. The creation of Songs of Resilience revolved around staying sane during imposed isolation, via an outpouring of observational metaphors and short hypothetical musings. The album is a compositional experiment formed during this break from further work with her band, written in a moment when most of the world stood still.

It’s also a very self-reflective album, spanning multiple languages from English to French to Spanish. The formation of the album tells you exactly where March Back to Contents

has been and where she would like to go. Each song provides a hopeful but wary vision of her surroundings, the events that have led her to this moment, and the fear of the future. This is an album for anyone looking for a perfectly charming reminder that sometimes it’s okay to be a pessimist.

Songs of Resilience is out 5th February via Lost Map

By Maya Uppal

Email: review@snackmag.co.uk Page 137

LLOYD'S HOUSE EP: WE COULD BE FRIENDS

Released via Corkscrew Records and recorded entirely on a 2005 8-track mixer Lloyd’s House’s (Lloyd Ledingham, Supercloud) debut EP we could be friends is the definition of DIY lo-fi. Self-described as music for people who can only play bass, the EP is a delicately woven and highly personal journey navigating the pitfalls of romantic encounters; from what appears to be the tentative beginnings of a relationship to the painful fragmented end. Or perhaps it’s more accurate to describe the EP as an elongated presentation of the beginning of the end? Either way, Lloyd warns us against taking too prescriptive a view of love through personal tales of communication breakdowns and the words you wish you could say.

As one progresses through the five tracks Lloyd demonstrates the dangers of secretive desire and wasting time. The muddled knowledge we have of mutual attraction is scrutinised alongside a melody of layered bass and muted vocals. Short songs that build quickly mirror the slow burning expressions of emotion that permeate between two people trying to understand each other without getting hurt. Lloyd explores how love and friendship can coexist whilst reinforcing that neither can survive if they are kept a secret from the world.

The EP separates itself into two parts. The beginning is hopeful yet restrained – it portrays lovers scared to be honest, open, and free. There is the creeping, familiar sense of losing yourself in the shadow of another. Then comes the

interlude. ‘Sabbat’ takes a contemplative breath, allowing us a day’s rest before the threads holding lovers together begin to truly unravel.

Lloyd has a knack of encapsulating heartbreak in as few words as possible.

The final tracks ‘tell me it’s over’ and ‘I’m too cold’ are lingering, mournful expressions of loss and the grief which follows – comparable to the emo/ indie musings of bands like American Football. As we enter the winter of this relationship and its subsequent demise, we see that this really is a debut full of platonic confusion, frigid longing and vulnerable self-expression. Endings, typically, do not fade away neatly. Sometimes they are a clean break but more often (as Lloyd writes all too well) they are created out of an infinite list of unanswered questions that make up the death of one moment, so as to give way to the start of the next. The final moments of this EP are not so removed from the past themes – but they exist with a new and pensive thought, that of moving on out from the cold and into the sun, wherever it may be.

We Could be Friends is out now on Corkscrew Records

By Maya Uppal

Email: review@snackmag.co.uk Page 139

ALEX AMOR EP: LOVE LANGUAGE

Perfectly produced with swagger and sincerity to match, Alex Amor’s Love Language is an ode to the romantic tribulations of youth. Amor, who is 23 and from Glasgow, worked alongside Derbyshire-based DJ Karma Kid to craft this ethereal and majestic piece of alt-pop.

Love Language explores the progression of relationships, from their blissful beginnings to their fractious ends – it’s as relatable as it is playful. The EP’s title track – a reference to Gary Chapman’s book The Five Love Languages, which discusses how humans can show affection in relationships – sees Amor dissect her own failed romance through a series of lighthearted juxtapositions. It is fun and familiar, but with an RnB twist; a style which clearly comes naturally as a result of Amor’s background in poetry, as does her love for the syncopation of rap.

The coming-of-age narrative which predominates on Love Language relates as much to Amor herself as it does her relationships with others. ‘I am a woman struggling for autonomy’, she states. ‘I’m moving into adulthood and desperately trying to make sense of its complexities’.

This inner struggle is particularly apparent on ‘Motion’. Great care is taken to ensure that the instrumentation is kept minimal so as not to overwhelm the delicate lyric. ‘It’s me who got it wrong / I don’t know when to let things go’, Amor laments, before coming to terms with her situation. It’s not all doom and gloom.

Amor expresses personal experiences and feelings using her songs as vehicles of connection. It’s almost uncanny for someone so young. She says: ‘I am speaking directly to people from the heart. There’s an overarching theme Back to Contents

of positivity in my music, the idea that it’s okay if things aren’t okay but there’s always hope that things will get better’. This sentiment extends far beyond the literal subject matter of Love Language and appeals to the more general human condition: we want to be loved, we want to be reassured, and we want to be excited. It’s safe to say Alex Amor is capable of creating moods where the listener is free to feel all three.

Love Language, much like a fleeting adolescent romance, is short but oh so sweet. It packs in everything from effect-laden soundscapes to sparse, airy ballads, and even includes some contextual swearing for good measure. At times it feels a little like poetry set to music, but this and its conversational feel are also what makes it fresh.

In an international pop world brimming with opulent, exclusionary, bourgeoise bluster, Alex Amor is speaking an engaging and honest modern language.

Love Language is out now via Believe

By Mackenzie Burns

Photography: Rene Passet

Email: review@snackmag.co.uk Page 141

THE GHOST OF HELAGS ALBUM: WE CAME FROM THE STARS

Swedish-born but Berlin-based, The Ghost of Helags are a slightly awkward entity to place alongside contemporaries. The most obvious bands to bundle them in with are the likes of Chromatics, yet there are glaring distinctions in both mood and sound that make that particular comparison seem quite clumsy.

They clearly love David Lynch. But rather than evoking images of hollowbody guitars in the Bang Bang Bar, We Came From The Stars owes more to an eclectic mix of Scandinavian pop married to soundscapes in the vein of Krautrock, techno, and Bowie’s Berlin period. Indeed, the thing that separates The Ghost of Helags from their aforementioned contemporaries is the stark contrast between their sad songs and their more upbeat efforts. Where you might expect compressed, subtle drum sounds, the patterns can be abrasive.

Somehow, this journey of sonic differentiation manages to avoid throwing up a disjointed collection of songs, and instead produces a particularly personalsounding theme to an epic journey.

Teresa Woischiski and John Alexander Ericson have pulled together eleven new tracks and a re-working of ‘Under My Skin’ (from their 2017 EP Shibuya) into an album with no real right to sound like one continuous piece that, somehow, can be played from start to finish with utter coherence.

Opener ‘Chemistry’ pitches Woischiski’s airy vocals over a train-like rhythmic bumble of synths, which evoke a strange mixture of loneliness and Back to Contents

dancing around handbags. Recent single ‘Mary’ reflects its biographical narrative with a constantly shifting set of drum patterns. These never quite resolve into the banging four-to-the-floor groove they threaten, while the vocals manage to convey both epic stanzas and the cadence of a nursery rhyme.

This stylistic conflict is also evident on ‘Night Summer Waiting’, where the repetitive backing vocals push forward the top line harmony. An impressively dynamic breakdown and shifting mood in the final minute showcase the duo’s ability to blindside the listener.

Other highlights include album centrepiece ‘Anthem (We Came From The Stars)’ which veers from Aphex Twin-influenced dirty synths to wistful sci-fi dreaming, and the final track, ‘Autobahn Lullaby’. The latter neatly caps off the vibe of the record, with a spooky mix of synth pads and vocal harmonies over twanging bass notes. It’s more lullaby than German motorway.

Taken as a whole, the album is more M83 than Mulholland Drive (which is no bad thing), yet the undulations of sadness and wonder throughout the record will invite repeated listenings.

We Came From The Stars is out via Warsaw Recordings on 5th March

By Stephen McColgan

Email: review@snackmag.co.uk Page 143

TWILIGHT LOVE TRIANGLE SINGLE: HOPSCOTCH

‘Hopscotch’ is the debut single from this Edinburgh-based trio. Nothing has been held back in this vibrant, upbeat track, and there’s not a hint of selfconsciousness; it is pure, undiluted fun. The group describe themselves as an ‘electro-pop/hyperpop/obscure genre/lounge trio’, and on this particular track, the 80s electro-pop influence is obvious in the synthesiser and heavy drums use. Another, less likely, influence is referenced in the lyrics – singing dog KK Slider from Nintendo’s Animal Crossing game series. If you know, you know.

The playful lyrics match the sound of the song perfectly, including, at the core of the whole thing, ‘I don’t care for conversation, I just want to write a pop song’.

Changes in tempo and modulated vocals throughout make for an unusual but addictive listen, unlike anything else out just now. It’s clear the group are making space for themselves and establishing their own sound. Who knows if they'll release another note together, but if this is just the beginning for Twilight Love Triangle, they are definitely ones to watch for in 2021 and beyond.

‘Hopscotch’ is available to stream now

By Lily Black

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MALKA

SINGLE: REACH OUT ‘The light will always follow the dark.’

If you cannot get on board with a song featuring this lyric right now, you don’t believe in the power of music, and you probably shouldn’t be reading this.

Now that we’re left with the aficionados, there’s a lot to like about ‘Reach Out’

by MALKA. It’s a light electro-pop number, but it’s far from slight. It’s instantly familiar, but not in a jaded way. The gentle introduction soon gives way to lapping waves of synth. The chorus doesn’t quite break into a crescendo, but it’s pleasing, and sure to burrow itself in the back of your mind.

If ‘Reach Out’ is an indicator of what is to come next from MALKA, it’s well worth following from this point. The artist states things can only get better from here, but let’s not tempt fate. Not when you think about what happened with D:Ream.

‘Reach Out’ was released on 26th January via Tantrum Records.

By Andy Reilly

Email: review@snackmag.co.uk Page 145

SEIGO AOYAMA ALBUM: ON THE DRIFT

Tokyo-based composer and sound designer Seigo Aoyama has been building imaginary worlds for years. He is a master of creating abstract, allencompassing landscapes and soundscapes that stretch out in front of you as far as you are willing to believe they can go. Aoyama’s new album, On The Drift, is his latest foray into world-building. He takes us to beaches where the salty ocean laps the sand gently and invites you to sit. Then, all of a sudden, you’re standing on a mountain peak with cold air whipping by as you gaze upon the Earth below. The music contained within is sonic experimentation; the external world is softly woven into the album’s chronicles.

Since Aoyama was a child, he has held scenery close to his heart. The music presented here is a diary of natural influences on his creative process. In 2014 Aoyama began incorporating field recordings into his work, beginning with the ambient sounds of crowds, factory work and railroad noise; now he leads us out of man-made contexts and back into nature. We do not travel with him purposefully, rather, we drift along behind waiting to experience the next corner of the planet Aoyama allows us to explore.

The album can be listened to all together in a rolling wave of sound, yet any moment can be extracted, repeated, and engaged with, not only as an individual song but as a meditative practice. The songs are gentle, poignant reminders of the expansive offering of quiet peace. Perhaps Aoyama explains it best when he says ‘Until the day when I live by rooting on the ground, I will flow and drift through the landscape like a cloud floating in the sky.’ This is, after all, Ayoama’s imagination.

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Email: review@snackmag.co.uk Page 147

MOGWAI

ALBUM: AS THE LOVE CONTINUES

In a fractured and failing world, it’s important to find consistency and quality.

25 years on from their debut single, it’s hard to argue against Mogwai being regarded as one of the finest Scottish acts of all time.

As The Love Continues is another robust and reliable album, but the chinks of light you associate with the group here become a barrage of warmth. ‘Here We, Here We, Here We Go Forever’, ‘Ritchie Sacramento’, ‘Supposedly, We Were Nightmares’, and ‘Ceiling Granny’ flourish, but there’s not a mis-step on the record.

‘Midnight Flit’ and ‘Pat Stains’ deliver the classic Mogwai quiet-loud combo, but it’s the melodies that pull you through, and will nag away at you when you’ve walked away to focus on other things.

We need tunes more than ever, and the lads have turned up on time with a bag of cans and the musical hope you need. Cheers!

As The Love Continues is released on 19th February on Rock Action

By Andy Reilly

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POST COAL PROM QUEEN SINGLE: SALT

‘Salt’ emerges into existence with an ominous sci-fi horror synth. Something is amiss. PCPQ (née L-Space) often imagine a present and future that appears uncontrollable – something to be mentally survived by means of detachment and observation. With ‘Salt’, it's a feeling of creeping environmental anxiety that comes with reflecting on our current global warming trajectory which must be endured. Ice sheets slip, cold bites at feet, water creeps, and ways of life are left behind. In a way, it’s a very typical track for the duo: Lily’s mournful but soothing whisper, their crisp beats and retro-futuristic synths, are all in play.

They crystallize a vivid miniature world as delicate as a snowglobe in just under three minutes; like any great short story, this rapidly assembled universe lingers in the mind long after listening.

'Salt' is out now via the band's Bandcamp

By Kenny Lavelle

Email: review@snackmag.co.uk Page 149

LIZZIE REID EP: CUBICLE

A fresh but affirmed voice on Glasgow’s bustling indie folk scene, Lizzie Reid’s six track EP Cubicle is released on 10th February. Reid opens with ‘Tribute’, which sets the scene for the rest of the EP, an ode to acceptance without spite in surviving fallen relationships in the dust of their often simultaneously inevitable and unforeseen decline.

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‘Tribute’ melodically captures a unifying emotion, with lyrics like 'remembering fearing the feeling that I am feeling’ hitting you right in the heart. A maturity resonates throughout, the kind found only through heartbreak and loss; in this case a formative summer and the end of Lizzie’s first same-sex relationship.

Cubicle is unforgivingly raw, and it is impossible not to see Laura Marling as an influence on ‘Seamless’ and ‘Always Lovely’, with clean guitar alongside firmly emotive vocals. ‘Always Lovely’ has already gained over 100,000 streams on Spotify, alongside plays on BBC6 Music, XFM, and Radio 1.

‘Been Thinking about You’ is a rise from the ashes with a jazzier vibe and more snarling vocals, even offering a sharp laugh before a powerful close, a breakaway from the largely acoustic nature of the rest of the EP. The final song and title track ‘Cubicle’ soldiers through the moving on process.

Reid toys with what is right and wrong once the dust has settled: ‘And if I go to his tonight, will you feel terrible? / Your new girl says I’m beautiful’ captures perfectly the lasting effects of a relationship in the way, to me, only indie-folk can. It's reminiscent of Julia Jacklin and reminds me of many of my own nights out.

This is indie-folk at its twenty-somethings best, emotive and pure and full of a heartbreak we can’t help but remember fondly. Recorded just before lockdown in March 2020, Cubicle will have you longing for a walk home after an acoustic gig, all of the questions of evenings past buzzing through your mind. Lizzie Reid is one to watch.

Lizzie Reid’s Cubicle EP will be out on 22nd January via Seven Four Seven Six

By Lynsey Cameron

Email: review@snackmag.co.uk Page 151

LEMON DRINK SINGLE: DEMON CHILD

It’s perhaps fortunate that we’re currently living in an era where time is virtually meaningless, because ‘Demon Child’ by Lemon Drink harks back to a simpler age. A time when bands dropped simmering singles and moved on quickly to something else. Of course, when done well, this sort of music is timeless, and there is a pleasing blend of naïve charm mixed with a more telling delivery. A full album of this pace and bludgeoning style might be too much, but for a slice of psych-pop, there’s enough to like to return to the song.

There’s not too much going on in terms of diversity, but what is here is likeable and enjoyable. If you yearn for more songs to have a stomping personality and spiky undertones, your luck is in.

If you dare to dream, it’s likely to sound great live.

‘Demon Child’ is released on 12th February via Last Night From Glasgow

By Andy Reilly

Photo credit: Phil Dunsmore

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RAVELOE

EP: NOTES AND DREAMS

Notes and Dreams by Raveloe won’t be for everyday listening; nor is it for every mood. However, at the right time, and in the right light, this EP will carry you away. It has the feel of a collection that can lift you when required, and also one that will sit with you while the world idles by. We had music like this before the pandemic, and we’ll have it in the future too, but right now, a great set of songs is as vital as water, warmth and the ability to shut your mind off.

Kim Grant’s vocals are endearing, insistent, but never overpowering. The music is sweet, strong and continually pushing forward, way beyond folk music.

If you ever need to quickly prove your quality and trustworthiness to someone, stick an Olive Grove label on your arm, and that’ll speak for you. Raveloe lives up to those lofty expectations.

Notes and Dreams is released on 12th February on Olive Grove Records

By Andy Reilly

Photo credit: Jason Riddell Email: review@snackmag.co.uk Page 153

VICTORIA SPONGE

SINGLE: TALK ABOUT TONIGHT ‘Talk About Tonight’ is a perfect slice of ear-catching attitude-laden indie rock.

This is the second track from Glasgow-based Victoria Sponge’s October EP Filthy Pure. Lead singer Chris Irvine’s vocals lend a certain swagger to the track, whilst the band have proven once again that they can create a pretty decent melody. With each new track, Victoria Sponge seem to be evolving their sound, and as a result it’s hard to pigeonhole them into one particular genre – and why would we want to, eh? This track leans heavily into some aggressive guitar riffs and furious drumming, whereas previous track ‘Commonplace’ sat comfortably with a sound not dissimilar to early Arctic Monkeys. Definitely crowd-pleasing, it wouldn’t be too much of a stretch to imagine a crowd nodding to ‘Talk About Tonight’ at, say, King Tut’s. The ominous opening chords offer hints of The Smiths, whilst the lyrics offer plenty of angst and rebellion.

By Gregg Kelly

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JOSEPHINE SILLARS SINGLE: ENEMY

Hailing from the Scottish Highlands, the wonderfully whimsical Josephine Sillars is back with new single ‘Enemy’. Now based in Leeds, Sillars may appear to have been quiet since her last solo release in 2017, but in fact she’s been busy operating as part of Josephine Sillars + The Manic Pixie Dreams. Returning to us under her own name with her forthcoming EP Desperate Characters, ‘Enemy’ is an ethereal track that delves into very real fears.

Co-written with band mate Kieran Watson, who also features on drums and production, ‘Enemy’ explores the anxiety and worry felt by many creatives who have been hamstrung by the restrictions of the last year. The record features a conversational excerpt echoing these concerns of being forgotten; however, this track is a strong reminder of an artist who won’t be easily cast aside. The carefully arranged string intro is a deceptive beginning, as cutting-edge synths lurk ahead ready to steer us alongside Sillars’s soft and blissful vocals. There’s a newly-explored trip-hop sound here, along with drifts from some of her previous light and airy releases, although we can still detect strong Celtic influences. Hard, angular loops provide the perfect companion to the soaring strings, creating a sound reminiscent of visionary artist Björk. Dynamic layering gives this track an enthralling effect, as it builds to a climactic ending.

Josephine Sillars was backed by independent charity Help Musicians, receiving an award from their Do It Differently Fund. The funding helped her in the creation of upcoming EP Desperate Characters, described by Sillars as ‘a concept EP and an exploration of the social and political climate we've been Back to Contents

faced with over the last year.’ Throughout the first lockdown of 2020, Sillars conducted interviews over Skype with people all around the UK, and each track is based on one of the interviews. ‘Enemy’ is the first of those tracks, and is a positive omen of what’s to come.

‘Enemy’ is out now on Bandcamp

By Aisha Fatunmbi-Randall

AERIAL EAST ALBUM: TRY HARDER

Rarely has a cover version suited the covering artist more than Aerial East’s sparsely arranged, haunting re-imagining of Kate Bush’s ‘Running up that Hill’.

Released last September, it acted as the perfect precursor to new album Try Harder, which occupies the same quiet emotional space.

The record simmers with introspection and unanchored air. This perhaps isn’t surprising when you discover that the young Aerial spent her military family childhood in various European locations, her teenage years in west Texas, and is now a resident of Brooklyn.

Title track and opener ‘Try Harder’ glides in with heavily delayed acoustic guitar and sets out her stall. There’s an efficiency about the central 3-note phrase, over which she stretches out a cleverly concocted song. The chorus has the repeated title sung in a disquietingly, yet not wince-inducingly, high register.

Upcoming single ‘Katharine’ is the best song on here. Beautifully constructed, it’s an impactful rumination on friendships long gone. The orchestration grows into a swelling combination of stabbing and sweeping strings over breathless backing vocals. According to East, the song’s Katharine was the reason she moved to New York, and after hearing the song she inspired, the listener can easily understand the urge to follow this person wherever she went.

East’s flexible voice is at its most affecting on the all-too-short ‘Doin Somethin’’.

The lounge feel of the Hammond-style organ acts as a contrast to the record’s evident country influences, although the backing sample of crickets and radio commentary puts the listener on a country porch soaking in hazy dusk light.

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The album features a lot of steel slide goodness, peaking on the fabulous ‘San Angelo’. This track also makes use of one of the most underused and overlooked song writing techniques – brevity.

Somehow, the maelstrom of influences poured into East’s work maintains a constant character and, if we’re to be hyper-critical, veers towards a certain sameness. Acclaimed Brooklyn-via-Norway singer Okay Kaya lends guest vocals to the delicate, cutting (and again, brief) ‘Jonas Said’. However, this is definitely an album begotten of an individual, and Kaya’s voice, while fitting, never overwhelms the constant vibe of one soul stating her musical truth.

If you’re looking for something to dance to, look somewhere else. There isn’t a single drum or any other percussive instrument on Try Harder. But by the time you get to the album closer, ‘Be Leavin’, you’ll feel like you know the person behind the songs better than you know yourself.

Try Harder is out via Partisan Records on 12th February 2021

By Stephen McColgan

Email: review@snackmag.co.uk Page 159

ALISON IRVINE BOOK: CAT STEP

There’s always something extra in a novel for a reader when it’s set in their hometown. It goes back to Alasdair Gray’s call to arms, (with reference to Glasgow), in his 1981 novel Lanark that '[…] if a city hasn’t been used by an artist not even the inhabitants live there imaginatively.' That’s as relevant today as it always was, but as a city changes it’s important that it is continuously reimagined to reflect the transformation. Alison Irvine’s Cat Step does just that, taking us to parts of Glasgow, and depicting the lives of people, all too rarely found in fiction. But even if you’re not from that city there’s plenty to enjoy.

Set mostly in Lennoxtown, a town at the foot of the Campsie Fells, Cat Step introduces us to narrator Liz and her daughter Emily who have travelled north to take care of family business in a place small enough to notice new faces, and where news – good, bad, and fake – travels fast. Liz and Emily are involved in an incident which casts doubt on Liz’s fitness as a parent. From this single event their lives become increasingly difficult and complex as they have to cope with the past and consider the future, and the present is about just surviving.

It’s a thriller but one set in the everyday, and which is all too believable in the way it depicts a life unravelling despite a person trying to do their best, while having to cope with grief, guilt, and the death of their dreams. But the thing that stays with you once you finish Cat Step is the characters and their humanity – flaws and all, particularly with regard to Liz, Emily, and June who becomes a (grand)mother figure and friend, despite hiding her own secrets and a genuine fear of the past.

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Cat Step catches you unaware – you are only a few chapters in before you realise you are completely invested not only in the people, but also the place.

It’s rare to make readers care in the way Alison Irvine does.

Cat Step is out now, published by Dead Ink

By Alistair Braidwood

Email: review@snackmag.co.uk Page 161

MICHAEL GALLAGHER BOOK: JAMIE'S KEEPSAKE

A lot of Scottish literature represents bad behaviour as something deeply ingrained in the country's culture. Trainspotting sees young people take drugs, steal, commit fraud, and fight. Agnes Owens’ Bad Attitudes paints a picture of boys who can’t seem to stay away from violence and mischief. A comprehensive list could stretch from Hawick to Peterhead. Michael Gallagher’s Jamie’s Keepsake is a new example; here children in a housing scheme steal, and fight, and lie. What Gallagher’s work adds to this narrative, however, is good intention.

Set in the 1970s, the novel sees teenager Alex Hannah, freshly recovered from TB, leave Glasgow’s Southern General hospital along with his father and younger brother Forbes. The family joins Alex’s poorly mother and baby sister Sarah at their new home in Hardridge.

Alex is an innocent, decent young man; we see him practically beg his parents for a job, and he expresses desire to treat his mother to gifts. But there’s one gift above all that even his milk round can’t provide for: a portrait titled A Lady in a Fur Wrap, which strikes him because it reminds him of his mum. Hanging in the newly opened Pollok House, the painting seems to Alex to be the perfect gift.

He becomes overcome with the desire to steal it, and plans a heist with his friend Jamie.

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The narrative moves quickly. Alex is 13 when we meet him, but summer quickly becomes winter and summer again. The pacing is excellent, and while I was occasionally struck by how mature the kids who were just, well, kids, a few chapters ago had become, it never felt forced. That’s how kids grow up: in a blink of an eye.

It is also deeply profound and emotional. Any Scot who reads this novel will probably burst with nostalgia about being with friends, building dens, and sneaking their first few drinks. While the characters make bad decisions (like, uh, planning a heist), you can never really fault them. Their intentions are always pure, and therein lies the tragedy – stealing and pawning are the ways in which these children find themselves caring for their family members.

Jamie’s Keepsake is fun and so very vivid. My sunny days at play are now clear in my head again, and I felt pulled in by every page. This was a book I made time for, because it was something to really savour. I couldn’t just read a chapter here and there; I really felt a need to devour it, like I did those young, long days of summer.

Jamie’s Keepsake is out now on Amazon via L.A. Printing Press

By Holly Flemming

Email: review@snackmag.co.uk Page 163

TINY INDIE GAMES

YANKAIS DIAMOND This cute geometric puzzler is deceptively simple. It has an exceedingly simple premise: you flip diamonds around so that the colours at the corners align, giving you a complete diamond out of four pieces, and moving you on to the next stage.While being quite straightforward in the beginning, the difficulty soon ramps up, with often infuriating results as you flip, reflip, and restart diamonds and levels. Despite this increase in its difficulty, Yankais still works as a kind of chilled out, meditative game, just bumping through some levels for no reason other than to just do it. As the game progresses, the more infuriating it gets, and the more satisfying hearing that level ending ‘ding’ becomes.

Yankais Diamond is available on Mac and PC, at name-your-price on Itch.io, and also on Android and Apple app stores.

Gaming by Dominic Cassidy Page 165

BITTERSWEET BIRTHDAY This charming little action RPG is story focused, cute, and honestly hard as fuck. Bittersweet Birthday is currently released as an early demo-slash-preview of the larger game to come, and outlines story and combat elements we can expect to see in the full game. Recommending that you play this game with a controller rather than with a mouse and keyboard seems like overkill at first, as you're just traversing around an abandoned facility, with no memories of your past and a voice directing you over the intercoms. Just your normal RPG affair.

However, this does change as the demo approaches a boss fight, where your wee dungaree-wearing protagonist goes up against some bird dude. The bullet hell that follows was genuinely a kick in the mouth for this gamer.

Seeming straight out of Furi, or Nier: Automata, Bittersweet Birthday has responsive controls, satisfying combat, and punishing difficulty, as well as being exceedingly polished for a demo. I for one look forward to seeing what else the dev team, World Eater Games, can come up with.

The demo is available on Itch.io for name-your-price, and on Steam

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ILOILO Finally, last on the list of these little games, is Iloilo: a one-shot, experiencebased game that is one to play if you’re needing to take a chilled-out break from everything. In this micro-game you are a weirdly shaped fisherman delivering your catch to your island neighbours. As you deliver more, you can progress around the island.

With a basic third-person viewpoint, where you look around for empty crates to put fish in, this game is also super simple.The narrator pops text on the screen to give some background on the island and on you, the protagonist, and you find yourself taking time to just wander about, appreciating the scenery and what’s dotting the horizon. Eventually, you will also find yourself looking for hidden corners of the game, for even more little text bars to pop up.

Iloilo can be downloaded from Itch.io, for name-your-price

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Gaming by Dominic Cassidy Page 167

THAT GAMING FEELING

Celeste ‘You Can Do This.’ These are the words that fill the screen not long after your journey to the top of the mountain begins, in 2018’s Celeste.

The game kicks off with your main character Madeline, starting out on her hike to the summit of Mount Celeste. The player is dropped here with little context, other than the knowledge that Madeline has anxiety, and she is climbing the mountain just because. As the game progresses, more of Madeline's drives are made known to the player, and you begin to empathise more and more with her.

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Celeste’s story is excellent, driven by communicating with complex characters via pixels and text boxes, the main goal of the game – that is, to get to the top of the mountain – is almost secondary. The journey itself quickly becomes the main thing here, and it’s certainly what I found myself focusing on when I picked up the game again at the end of the year.

While on my first playthrough of Celeste I thoroughly enjoyed my time with the game, the pleasure I got from it on a second playthrough was wild. It was the sense of accomplishment after beating each screen, collecting as many strawberries and B-sides as possible, as well as flying around boss battles like Goku, that made me feel I better understood the game. With such a perfect marriage between gameplay and story, Celeste is an absolute gem, and a must-play for any platformer fan.

Celeste’s gameplay is some of the strongest around, with a few simple mechanics that are both expanded upon and looked at differently throughout the game. It is quick to learn, but hard to master. The metaphor of climbing Mount Celeste is perfectly applied to playing the game itself, as you struggle against the winds, the anxiety of getting higher, and the fear of falling, so imperceptibly that it is hard to distinguish the feeling from gameplay or story.

Celeste Gaming by Dominic Cassidy Page 169

Having something to focus on, and being able to squeeze as much entertainment as you wanted out of it, was really awesome for me, during lockdown. Sometimes a game comes along at the absolute perfect moment.

Think Animal Crossing: New Horizons, a game where you hang out on a wee island, inviting cutesy anthropomorphic villagers to come and stay with you, and make it your mission to create a cheerful environment for everyone. It was what so many people needed at the start of the pandemic, and it’s no surprise that it became one of the best selling games of the year, despite being available only on the Nintendo Switch.

Animal Crossing: New Horizons

While Animal Crossing or Celeste might not be for everyone, there are other games which will suit folk at different times of their lives. While Celeste ticked all of my boxes, this might not be the same for everyone. We all have different tastes, and God bless the many game devs of the world for catering to all of them.

It’s different strokes for different folks. For those of us working from home, a game to take a break from the constant work demands may be what's needed.

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For these moments I’d recommend a proper good switch-your-brain-off number, something short and sweet for you to get lost in for a hot minute. Games like Gone Home, Everybody’s Gone to the Rapture, and What Remains of Edith Finch could be right up your street. All three fall into the ‘walking simulator’ genre, but have much in common with puzzle games, where you're figuring out a path in a world built for you to explore.

If you’re a student, or your life’s been put on hold a bit, why not check out something that offers a bit more of a challenge? Games like Dead Cells, Star Wars: Jedi Fallen Order, or Hades might be more your thing. These offer a steady path of progression, and as you take attempts at each level or run, you slowly learn more and more about the game mechanics. Soon you’re able to fly through it, an achievement which gives a specific type of satisfaction not found in other forms of media.

Star Wars Jedi: Fallen Order This satisfaction, so unique and particular to video games, is probably one of the reasons people play so bloody many of them. In the same way people talk about important books they read at pivotal points in their lives, Celeste helped me to re-evaluate video games and their role in my day-to-day life. So whether you’ve played games for years, or you’re just thinking about getting into them, now might well be the time.

Gaming by Dominic Cassidy Page 171

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