SNACK Magazine: December 2020 – Issue 22

ISSUE 22 | DECEMBER 2020

NOV/DEC 2020

BELLE & SEBASTIAN | DAVID ARQUETTE | SUUNS | BEABADOOBEE | SLOW WEATHER MUSIC | FILM | FOOD & DRINK | LGBT+ | BOOKS | REVIEW | WORDS | LIFE

GIFT VOUCHERS

DISCOUNTS FOR STUDENTS ART CLUBS & GROUPS YOUNG SCOT CARDS

SHOP ONLINE FOR CLICK & COLLECT OR MAIL ORDER

www.EdinburghArtShop.co.uk

★★★★★

‘Exceptionally good’ The Scotsman

★★★★

‘Impressive unity’ The Times

★★★★

‘Simply wonderful’ Bachtrack

10 STUNNING CONCERTS FROM OUR HOME TO YOURS

Give the gift of music this Christmas with a ticket to the RSNO’s Digital Season.

Buy online at rsno.org.uk/digital-season

CONTENTS WHAT'S ON | P10

EVENTS

GIVING | P10

CHRISTMAS GIFT GUIDE

INTERVIEWS | P34

BELLE AND SEBASTIAN, SUUNS, BEABADOOBEE, SLOW WEATHER, ANGELA HUGHES, DAVID ARQUETTE

FILM | P88

FANS YOUTH FESTIVAL, THE LONG KISS GOODNIGHT, BLU RAY CHRISTMAS

FOOD & DRINK | P108 RECIPES, BARREL AGED BEER, VEGAN REVIEWS | P130

SIGUR RÓS, INDOOR FOXES, HYYTS, PROBABLY FINLAY, GUSGUS, DHARMA GEDDON, CANAAN BALSAM, DEAD PONY, THE VEGAN LEATHER, LIZABETT RUSSO, NATIONAL SERVICE, JIGSAWTIGER, NEIL YOUNG, BARRY CAN'T SWIM, CASSIUS X, HIGH STAKES, FISHY 3D, HOPE

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: Harriet Orrey-Godden 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.

Make a stir this season

With high quality organic ingredients for your home-made Christmas puddings, cakes and other baking 37 Broughton Street EH1 3JU • 8 Brougham Street EH3 9JH

plant-based

•

vegan

•

vegetarian

•

organic

Hello and welcome to issue 22 of SNACK, You’ll see that this month’s front cover depicts an entirely un-sociallydistanced and, if it were real life, wilfully inappropriate festive scene.

The painting was created by the fantastically talented painter Harriet Orrey-Godden, a graduate of Glasgow School of Art. To me, the painting is an imprint of the memory of the bars, venues, and other community spaces that would normally be packed at this time of year, a celebration of the joy of coming together. It’s also a celebration of a creative world that has never been so vital, buoying us all during this hellhole of an annus.

In this month’s magazine we speak to indie-pop royalty in the form of Sarah Martin of Belle and Sebastian; Ben Shemie, vocalist and guitarist of Canadian band Suuns, chats about their new FICTION EP; and Annie Booth and Chris McCrory of Slow Weather tell us all about their great new EP, Clean Living. Oh, and there's David Arquette too.

Usually I like the magazine to keep an easy distance between ourselves and Christmas. Not this year; for once we’re embracing the season – I think we all needed something positive to focus on and look forward to. For our festive features, I asked our writers to write about what they would personally like for Christmas and they’ve come up with plenty of great ideas to inspire even the most curmudgeonly of us all (i.e. me).

Be safe over the last few weeks of this crazy year, and we’ll see you in 2021.

Kenny Lavelle Editor

ED IN D N U O F AND SCOTL

SUITA BLE VEGAN FOR S

Want to give that special someone something spicy and full of flavour this Christmas?!

The perfect present for any sauce lover.

bonniesauceco.com/shop-bonnie-sauce-co

Photography: Alexis Chabala

WHAT'S ON Back to Contents

SCOTTISH MUSIC AWARDS 2020 Online – Saturday 28th November For the first time ever the Scottish Music Awards celebrates Scotland's music industry talent via a digital ceremony.

Previously, honours have been bestowed upon star acts such as Lewis Capaldi, Tom Walker, Susan Boyle, and the great Annie Lennox. And although this year’s event might take place using a different format, it should be no less of a celebration. All funds raised will be donated to Nordoff Robbins, the UK’s largest independent music therapy charity, who this year as a result of coronavirus are expected to lose as much as £6m in charitable donations.

This year's line-up includes; Biffy Clyro, George Bowie, Graeme Park’s Hacienda Classical Orchestra, HYYTS, Lewis Capaldi, Texas, Amy Macdonald, Kitti, and Luke La Volpe. nordoff-robbins.org.uk/events/scottish-music-awards

HYYTS What’s on By Gregg Kelly Page 11

SCOTTISH ALTERNATIVE MUSIC AWARDS (SAMA) Online – Wednesday 18th November The SAMA recognises the best of the Scottish eclectic alternative music scene, and the ceremony would usually be a raucous night of live music and celebration. However 2020 has decreed that alas, we must celebrate Scottish music from afar. This year’s ceremony will be hosted online. Previous years have welcomed live acts such as The Dunts, Be Charlotte, Colonel Mustard & The Dijon 5, as well as man of the moment Lewis Capaldi. This year, it's the turn of SAY Award 2020 winner Nova Scotia the Truth and Walt Disco to play. The ceremony, now in its 11th year, has garnered a stellar reputation and is still run by a small team of insanely talented creatives based in Glasgow. officialsama.com

Back to Contents

NOVA SCOTIA THE TRUTH

SWG3 WINTER WONDERLAND SWG3 - 1st December till 31st December – 11am till 10pm Following the success of their huge outdoor bar in the Galvanizers Yard earlier this year, SWG3 are promising another incredible event. This time it’s a winter wonderland suitable for all the family. With details being kept firmly under wraps for the time being, organisers at SWG3 have however promised fans plenty of Christmas cheer, with a magically festive experience that’ll put a smile on the face of even the meanest & greenest of Grinches. swg3.tv/events/2020/december/swg3s-winter-wonderland

What’s on By Gregg Kelly Page 13

FIBRES Broadcast From Citizens Theatre - 25th November till 23rd December A filmed production of Frances Poet’s hugely loved Scottish play about a family’s grief in the wake of years spent working with asbestos at the Clyde shipyards. After touring for the majority of last year, Stellar Quines and the Citizens Theatre have co-produced this version to broadcast directly into your living room. Starring instantly recognisable Scottish actors Jonathan Watson, Maureen Carr, Ali Craig and Suzanne Macgowan, Fibres promises to make you laugh and cry in equal measures. Tickets are free but must be booked in advance. Donations to the Citizens Theatre Redevelopment project are welcome. fibresfilm.co.uk

Back to Contents

INTO DAD'S WOODS

FRENCH FILM FESTIVAL @ HOME 27th November till 4th December Originally scheduled to be taking place in venues across the UK, the 2020 FFF has now moved online for the duration of the festival. All is not lost, however, as the FFF @ Home still offers you not only the freshest releases in French cinema but also the opportunity to rewatch some bona fide classics.

With three levels of festival passes available, aficionados can be treated to the best in French documentaries, animations and shorts.

Every film is presented in its native French with English subtitles provided. online.frenchfilmfestival.org.uk

What’s on By Gregg Kelly Page 15

THE DAZZLED

THE MAGIC OF CHRISTMAS Pitlochry Festival Theatre – 27th November till 23rd December This year more than most, it’s important to embrace the joy of Christmas. On Pitlochry Theatre’s 11-acre campus, the team behind The Magic of Christmas have made it their mission to revel in the wonder of the festive season. Join the team for a socially distanced, fully interactive outdoor live event. Experience a life-sized Advent Calendar, visit Santa, Mrs Claus and the jolly elves, and join Saint Nick on his journey as you take a trip into space and beyond the stars. pitlochryfestivaltheatre.com/production/34026/magic-of-christmas

BOOK WEEK SCOTLAND ONLINE 16th November till 22nd November Considering that libraries are one of the few precious public spaces open at the moment, there’s never been a better chance to celebrate Book Week Scotland. With events taking place right across the country from Aberdeen to Dumfries, there’s a whole host of guests including celebrated writer Alexander McCall Smith, TV personality-turned-author Ruby Wax, and First Minister Nicola Sturgeon. Writers new and old are being celebrated, and with libraries right across Scotland participating, this year’s digital and (limited) live events are sure to be unmissable. scottishbooktrust.com/book-week-scotland

Back to Contents

BEMZ

RESONATE ONLINE 26th November A groundbreaking digital event with the aim of growing Scotland’s musical industry, Scotland’s top music conference event will be a slightly different affair this year because of the current restrictions. Now in its fourth year, Resonate aims to offer industry musical professionals the opportunity to mingle, network, and collaborate, and to inspire in each other future greatness. With more than 20 activities and 10 panels planned throughout the day, virtual attendees can look forward to chatting to and hearing advice from marketing pioneers such as James Pitt and Lucy Sparks, and the professionals behind artists such as London Grammar, Christine and the Queens, Camelphat, Bicep, and Dave.

Berta Kennedy, Russell Stewart, and BEMZ will play Resonate Live from 7pm.

Tickets are a reasonable £10. resonatescot.co.uk What’s on By Gregg Kelly Page 17

ROBERT LOUIS STEVENSON WALKING TOUR Around Edinburgh Edinburgh’s timeless author celebrates his 170th birthday this November (well he doesn't, but you know what we mean), and RLS Day 2020 has chosen to commemorate the occasion by releasing two new audio tours in Edinburgh.

These allow you to either listen from the comfort of your own home, or embark on a self-guided, socially distanced journey into the footsteps of the enigmatic Scotsman. The two tours are narrated by Edinburgh-based actor John Shedden, and walk the path of the author through either his childhood or his formative University years, with many of the historic places mentioned still in existence today.

The tours can be accessed using the VoiceMap App which you can download from the App Store or Google Play.

Back to Contents

CHRISTMAS AT THE BOTANICS Royal Botanic Garden Edinburgh –November 26th till 3rd January Now in its fourth year, Christmas at the Botanics encompasses a huge experience that young and old alike can look forward to. The after-dark trail promises firework-like lights, musical soundtracks, seasonal cheer, fire gardens and plenty of festive surprises. Set in Edinburgh’s historically significant Royal Botanic Gardens and Inverleith House, the event promises to bring Christmas happiness to you and your family, while also guaranteeing the safety of all visitors. Don’t forget to keep your eye out for Santa, who might just make an appearance.

Visitors are advised to buy tickets in advance, as numbers are limited. rbge.org.uk/whats-on/christmas-at-the-botanics-2020

What’s on By Gregg Kelly Page 19

Festive Travel 2020 with Borders Buses

Check out our operating times over the festive period. The below excludes services X62 and X95. During this period both of these services will operate a Saturday timetable during weekdays and a Sunday timetable on Sundays: 21, 22, 23, 24 Dec 25 & 26 Dec 27 Dec 28, 29, 30, 31 Dec 1 & 2 Jan 3 Jan

Saturday service No Service Normal Service Saturday Service No Service Normal Service

Outwith these dates a normal service will operate.

For all your journeys over the festive period check out our journey planner at bordersbuses.co.uk or on the Borders Buses app.

Scan here to easily access our journey planner

ED IN D N U O F AND SCOTL

SUITA BLE VEGAN FOR S

Want to give that special someone something spicy and full of flavour this Christmas?!

The perfect present for any sauce lover.

bonniesauceco.com/shop-bonnie-sauce-co

DECADENT RIOT

11 PARK ROAD, KELVINBRIDGE, G4 9JD This great wee gift shop just off Glasgow's Great Western Road is packed with Christmas gift ideas. It has an eclectic and hand picked selection of art, quirky gifts, accessories, and jewellery. What's more, they're proud to support local artists and stock some exclusive items that you won't find anywhere else in the country. They add new stock regularly so pop in or keep updated online.

Notebooks: Deafmessanger, £12.75-£19.50 | Glasses: helen b, £26.50 | Handmade Earrings: Ivy and Ginger, £8.50 – decadentriot.co.uk | Instagram

Back to Contents

EDINBURGH ART SHOP

129 LAURISTON PL, EDINBURGH, EH3 9JN Unless you’re one yourself, it can be tricky to know exactly what to get the painter, illustrator, or crafting genius in your life. Edinburgh Art Shop is based in the heart of the city and has everything they need, and they do gift cards. To make your gift go further: art club, group, student, and Young Scot discounts still apply when using the vouchers.

Edinburgh Art Shop gift cards are available in-shop or online in denominations from £5 up to £100 – edinburghartshop.co.uk

FoGiving Page 23

HIGHLAND BOUNDARY Looking for something special for the cocktail lover in your life? Award winning Highland Boundary is run by Marian and Simon, near the market town of Alyth in Perthshire. They create and distill their own botanical spirits inspired by the Scottish wilderness –something a wee bit different. Flavours include larch & honeysuckle and sloe & birch. It's also a highly ethical business, from their packaging to how they forage the ingredients.

Birch and Elderflower Wild Scottish Liqueur, 20% vol, £25 – highlandboundary.com Back to Contents

THE BONNIE SAUCE CO This hot sauce gift pack from the people behind Edinburgh's Bonnie Burrito contains four distinct hot sauces that'll pretty much definity put a smile (and a sweat) on the face of any chilli lover. Each pack includes a Firey Scotch Bonnet, Smoky Chipotle, Mango & Hababero, and Jalapeño & Lime sauce.

All their ingredients are natural, locally sourced, and suitable for vegans. Pick up a box from their online shop or from independent delis and shops across the country.

Bonnie Sauce Gift Pack, £13.50 – bonniesauceco.com FoGiving Page 25

SIOBHAN OWEN Siobhan Owen is a self-taught artist with a naive/outsider style. Based in Dunoon, she paints land and seascapes, and flights of fancy. You can visit her Etsy shop or in person at the Dunoon Christmas market in Argyll Gardens on 19th December.

Original artwork, from £120 – Instagram: @s.g.owen | Etsy: SiobhanOwenArt Back to Contents

MR WOOD'S FOSSILS

5 COWGATEHEAD, EDINBURGH, EH1 1JY If you're looking for a completely unique gift, then perhaps a fossil is the answer? The meteorite pictured (Sikhote-Alin) is 4.54 billion years old, and fell at10:30am on February 12th 1947 in Primorye, Russia. The dinosaur tooth is from a Spinosaurus Aegyptiacus. It's 96 million years old and was found in Taouz, Morocco. Neat.

Meteorite, £25 | Dinosaur tooth, £45 – mrwoodsfossils.co.uk FoGiving Page 27

WOMEN DON'T OWE YOU PRETTY This Sunday Times Bestseller made illustrator and social activist Florence Given the youngest Author to hold a top five spot for 12 weeks in a row. It's a great entry point into progressive feminist discussion and since its launch in June continues to have a considerable impression on contemporary feminism.

By one as a present and keep one for yourself. You can also buy prints, sweatshirts, t-shirts, and tote bags directly from the artist via her website. florencegiven.com Back to Contents

GET INTO THE GROVE Help Olive Grove Records celebrate their 10th birthday by buying Get Into the Grove, a compilation of top quality new and unreleased work from across the label’s roster. The digital edition is out now and the vinyl release will follow at the beginning of 2021. They might not get the record till after the new year but it'll be well worth the wait. There's also something happening with a coffee bag? shop.olivegroverecords.com FoGiving Page 29

ROCK N ROAR 2014 was the year when Scotland was shoved into the spotlight. With the Commonwealth Games, the Ryder Cup, and the Independence Referendum, it was a year like no other. With so many parties, celebrations and gatherings taking place, music was central to the life of Scotland's year. This book by SNACK writer Andy Reilly examines the way that music intertwines with Scottish life and looks at the acts that have helped to shape modern Scotland. amazon.co.uk/Rock-Roar-Music-Scotland-2014 Back to Contents

gift voucher

AKARA BAKERY 537 DUKE ST, GLASGOW, G31 1DL Small independent businesses everywhere will need our help to get through the next few months. A great way to help out is to buy gift vouchers alowing them to invest in stock and staff. What feels as good as supporting small local businesses? Eating cake is what. This wee cafe & bakery in the heart of Dennistoun is just over a year old and is by all accounts loved by locals.

French Toast is a bit of a thing with them. Who do you know that has a sweet tooth?

Instagram: @akarabakery FoGiving Page 31

DUST Dust Studio an independent design brand specialising in contemporary, slowmade jewellery with a focus of polymer clay. Founded by artist and maker Ishbel Mackenzie, and based in Glasgow, Dust Studio provides carefully designed, wearable objects that are made by hand.

Menphis Wiggle : £24 | Memphis Drop Earrings, £20 | Spekle Wiggle Studs, £22 Back to Contents

duststudio.uk

SEBASTIAN KOBELT Chocolate is always big business at Christmas and if you want to go for something fancier then these locally made handmade chocolates by Sebastian Kobelt in Linlithgow are pretty special. Sebastian has worked in Michelinstarred restaurants such as The Kitchin and Castle Terrace, and was a finalist in the World Chocolate Masters. Sweet!

Selection boxes start at ÂŁ10.50 | sebastiankobelt.com FoGiving Page 33

INTERVIEWS

BELLE & SEBASTIAN SUUNS BEABADOOBEE SLOW WEATHER ANGELA HUGHES DAVID ARQUETTE

Back to Contents

It’s early November, and thick morning fog covers central Scotland as I speak to Belle and Sebastian’s Sarah Martin. She’s talking on her phone from the Glasgow Ikea car park. Sarah mentions that she can see cruise ships sitting idle in the King George V Dock, where they are laid up till the Covid-19 situation clears. Quite a contrast from The Boaty Weekender festival, the band’s Mediterranean cruise event of August last year, where five tracks from their new live album What to Look for in Summer were recorded.

We chat about the album, The Boaty Weekender, playing Fold Your Hands Child, You Walk Like a Peasant live in its entirety, and loads more besides.

How are you?

I’m good. I’m in the carpark at Ikea. We’ve been kitting out the studio for Covid-safe recording, and the old rugs – we’ve had them in there for 16 years, and they were full of moths. They were really really manky, so they had to go. Buying new rugs was my first task this morning.

Are the band working on new music then?

We will be. We keep having setbacks with the studio maintenance not being what it might be. Everything got plugged in ready for us to start, and the engineer pulled a chair up to the desk and sank into the floor. The beams in the floor had rotted, so we’ve had to empty everything out of that space.

It’s like one of those sliding tile games; we’re just lugging things from one room to another. Everybody that needs to sing needs a separate cupboard to be in and we’ve had to put ventilation in as well. So we should have new stuff quite soon.

It’s been a bit of a strange time lately. How have you been since all this began?

I think I’m much the same as everybody. It’s just been waves of disappointment and then a kind of acceptance of what it is and being grateful that the weather was decent. Being grateful that I’m in a position where I can kind of stay safe. I think a lot of folk have been hitting waves of ‘Oh, this is Music by Kenny Lavelle Page 37

terrible’ and then then going ‘Ach, it is just what it is’.

Thinking back to last year and The Boaty Weekender, there’s a big difference between then and now.

There is! I’m sitting here looking at four or five cruise ships in the dock. It’s kind of unimaginable now that you would get on one. I think they’ve always been known as floating disease-things really.

I read some articles about folk that were just stuck on a ship, trying to find a port that would actually let them in. There were people stuck there for 6 weeks that were just unable to get off at all. It’s not what I would wish for anybody.

How did it feel to look back to the 2019 tour when you were pulling together What To Look For In Summer?

When we were listening again, I think we were looking for a good spirit. We were probably more focused on the representation of the mixes; it was more technical than anything.

Actually, when we were looking at some visuals that we’d done, having a crowd on the stage dancing and things...you’re just flinching at that sort of thing now. It’s like when you watch telly and see people hugging, you’re like ‘Eugh, you can't do that in the street!’ It is amazing how quickly you adapt to recoiling from what was really normal 8 months ago. It’s crazy.

How did you choose the songs for What To Look For In Summer?

We had lots of gigs that we’d recorded, and we were looking for things that sounded like they were a version that was definitive in some way. ‘The Boy with the Arab Strap’ was always going to be on it, because it’s a rare day if we don’t play that song. There wasn’t so much of wanting specifically to have particular songs on it. We were working with a set period of gigs. People would listen Back to Contents

DON’T ALLOW YOURSELF TO BE BURDENED DOWN IN NEGATIVITY, BECAUSE THAT CREATES FEAR. TRY TO LEAD FROM THE HEART Music by Jonny Stone Page 39

THERE’S LOTS THAT FEEL A BIT DEFINITIVE; THEY FEEL LIKE THEY’RE MORE ROBUST THAN WHEN WE FIRST PLAYED THEM FOR RECORDING.

through and say ‘I think there’s a really great version of such-andsuch on this gig. Can we get a mix of that and see if it’s as good as it seems like it could be?’.

Also, Stuart had it in mind that it would be a bit like a gig: a different voice singing at a particular point or a different feel changing the momentum of it. So I think it’s paced in a particular way. But there are always alternate songs that can do different jobs in a set. It was kind of easy.

Was a double album always the plan?

I think the idea was to make it the shape of a gig, to give people something like that to listen to. Also to represent what we’ve been doing all these years. So that would always have gone on longer than a single album.

What songs do you think have translated best from live to the album?

Oh God. I think the version of ‘Beyond the Sunrise’ is really great. That was quite a big reimagining. There was a reward for people who booked early for The Boaty Weekender that we would be playing a gig of Fold Your Hands Child in its entirety.

Obviously the songs on that we’d never played live, including that one. I love ‘Little Lou, Ugly Jack, Prophet John’: that’s a different version as well. The key has changed a bit for Stuart, and it sounds better with him singing in his more natural key.

I think ‘Dirty Dream’ is really good. There’s lots that feel a bit definitive; they feel like they’re more robust than when we first played them for recording.

Was playing songs live that you hadn’t played out before quite daunting?

It was, it was. We had to do quite a lot of work to get those songs Music by Kenny Lavelle Page 41

ready. When we made that record [Fold Your Hands Child, You Walk Like a Peasant], Isobel was still in the band. So there were songs that she’d sang on the record that Stevie or I had to sing or whatever. It was quite a job. It's not something where you can just plug in and fumble your way through it. It really did need work.

And also that was the last album where things were quite fraught when we were making it. It felt like opening a box of trouble in a way. But, you know, some really good versions came out of it.

Do you have a favourite live album?

101 by Depeche Mode is pretty amazing. I think that’s pretty spectacular.

It’s great that you’re able to start recording again.

We won’t all be able to be in the same room as each other.

That’s a shame because just being able to see each other is such a benefit. But to be able to work at all will be a bonus. We were meant to go to America in March to make a new record. The travel ban came in two weeks before we were due to go.

We should already have a new album ready, but doing the live album, we had the time to make a more thorough job of it than we would have done. We’re always moving towards, so being stopped in our tracks meant that we could look back at last year and do the live album justice. It’ll be nice to start moving forward again.

Other than your own, what sets stood out to you from The Boaty Weekender trip?

I loved Whyte Horses’ last gig. I think that was after our last gig, and it was the first time I felt I could relax properly and not feel like I had to keep checking my watch. That set was amazingly dynamic and uplifting. That was the last night and there were loads of folk Back to Contents

IT WAS LIKE A VILLAGE OF 3,000 PEOPLE WHERE EVERYBODY WAS SMILING AT EACH OTHER.

Back to Contents

with glitter face paint on that you wouldn’t expect to have face paint on. Yo La Tengo were quite amazing. I didn’t manage to see too many full sets cause there was always somewhere I had to be. But it was really great.

I was going to ask, did it feel like any kind of holiday at all?

I think that it’s unusual for there to be that amount of camaraderie between the bands on festival cruises. I think quite often the main artist will be helicoptered on to the ship for each gig and then flown off again. The Boaty was nothing like that; it was like a big village. We managed to get a load of Glasgow friends over, just because of cheap flights.

It was like a village of 3,000 people where everybody was smiling at each other. It was lovely and properly special.

And we won the pub quiz as well, which was good, although slightly controversial.

The artwork for the album is great.

I’ve got all the dolls from the artwork in my flat. They were made by a friend of mine. She worked from portraits that we had taken for the EP and embroidered all our faces and made all these wee dolls. I think the artwork is brilliant; it’s like The Wicker Man. If any of the boys displease me I’ve voodoo dolls at home in my flat.

What to Look for in Summer is out December 12th on Matador Records

Music by Kenny Lavelle Page 45

BackBack to Contents to Contents

Montreal based SUUNS (pronounced Soons) new EP, FICTION, sees the band looking back in order to move forward: sifting, re-imagining, re-framing, and then building songs from the remnants of previous work. It also features a borderline terrifying version of The Mother's of Invention's 'Trouble Every Day'. We caught up with Ben Shemie (vocals, guitar) to find out about the EP's origins and how life has been in their corner of the world.

How have you been this year, with all that’s been going on?

Up and down. Some days are hopeful, others are pretty dire.

Everyone is experiencing the same shit. I think the music scene has been particularly hit hard - no shows, no nothing. It's pretty depressing and puts in question your work, and your whole outlook on being a musician. You are always on the fringes of society as a musician, or in the arts in general, and with this pandemic you really feel it. Like ghosts in society.

So, what's going on? Writing and producing, but not playing.

So it's weird. Not playing is, to me, the antithesis of what music is all about.

You’ve said that ‘PRAY’ was originally meant to feature on Hold/Still. What was it about the track that meant it didn’t fit with that album, and what made it a good candidate to act as a springboard for this EP? 'PRAY' is a tune we've recorded multiple times, with different mixes - lots of different versions. For whatever reason, it never fit on previous releases. It's always been a favourite of our friends who heard it, but we could never agree on it as a band. Being a Music by Kenny Lavelle Page 47

rather stubborn group of dudes, it never felt right.. as such, it just never found its place. The EP is such a mixed bag of material and style that it felt totally appropriate. In some ways this EP is a more experimental take on our music, and 'PRAY' is probably the most straight-ahead tune on the release. It somewhat anchors the EP into something more familiar to our fans.

‘The true creator is necessity, who is the mother of our invention.’ Can you tell us if/how this reflects your approach to making the EP, and how it might affect your creative process now and in the future? Did the narrowing of the outside world lead you to look back at yourself to find threads to pull on?

Totally. We found some gems that never found their place and used the EP to try new ideas. Certainly there is a need to release music and write/produce music. There is a sense of necessity, as you say, to articulate these musical ideas. Push ourselves.. it defines you, and gives meaning to your life. It's also a joyful experience, like a drug. This year, the music we've made is much more inward-looking than before, but it has made the music open up in a way that we wouldn't have had the agency to see before.

What was your thinking behind covering The Mothers of Invention’s ‘Trouble Every Day’?

It's a great song. It's also very different from what we think of as Zappa material. It's very political and remarkably timely. Recorded in the 60s, it seems like nothing has changed. I've always wanted to cover it, but for whatever reason, we never could get it together.

This year has been an emotional rollercoaster for everyone. Not just COVID, but putting in question your own privilege. It's a real reality check. This song speaks to that upheaval, 50 years later.

Back to Contents

UP TILL THIS POINT I’VE BEEN KNOWN AS SOMEBODY WHO PLAYS

BY THEMSELVES Music by Kenny Lavelle Page 49

A ROCK TO ME IS A SYMBOL OF PRESSURE AND FRICTION, YEARS OF PRESSURE AND FRICTION THAT HAVE BUILT UP TO MAKE THIS ONE BEAUTIFUL OBJECT

Back to Contents

Seemed like the right time to cover it.

Was it satisfying to pick up pieces of previous work and bring them back to life? What were the benefits of doing this?

It's cool. You surprise yourself. You forget about all these cool ideas you had, that you couldn't hear objectively in the moment.

A lot of great material gets swept up that way over the years. You hear them again for the first time and often realize there are some great ideas. It's encouraging.

What else is going on in your local neighbourhood/ creative world just now?

Lots of music listening, Zoom chatting.. smoking. The neighborhood is pretty quiet. The park is the place to go, at the moment, we aren't allowed to really visit each other. Trying to be positive and responsible. Being careful when seeing the parents and so on. Creatively it's all about having deadlines and focusing on small objectives. Not being able to play really changes the game.

Is there anything else that you’d want to discuss about the EP or the outside world? What’s on your mind?

It's hard to explain how much this pandemic situation affects the arts. We are very much dependent on performance. I know everyone really misses going to shows, even if they aren't aware of it right now. But it's really affecting musicians and I'm afraid we are dropping like flies. Buy an album... show your support to your local venues... I know it's hard for everyone and we are all in it together.

Sending positive vibrations to y'all.

FICTION, is out now via Joyful Noise Recordings Music by Kenny Lavelle Page 51

Back to Contents

Photography: Shiara Bell

Beabadoobee has had quite the year. From being featured on the BBC’s Sound of 2020 longlist, to winning the NME Radar Award and supporting label mates The 1975 on their UK tour, to releasing her debut album in October, the 20 year old has been kept busy. Following a string of singles and her 2019 EP, Space Cadet, album Fake It Flowers covers topics such as heartbreak, self-harm, strength, and reinventing yourself, accompanied by grungy guitars, ethereal melodies, and everything in between. Her sound, a heavily 90s-inspired combination of strong guitar, soft vocals, and painfully honest lyrics, is appealing to a younger generation who weren’t around in that decade but relate to her outpourings of angst and shout-along choruses – and those who like a fresh dose of nostalgia. Fresh from the album’s release, we caught up with the London-based artist to discuss her artistic process, releasing an album during a pandemic, and her plans for the future.

How did you find the process of writing and recording your first album, compared to your previous EP and singles?

The writing process was different for the album, because of the experience I had. I just had so much to write about because of the tour [with The 1975] and stuff. But recording-wise, it was very much the same. I think my band is much more involved, because I wanted them to be, and I got a new guitarist. It was really fun working with people who like the same type of music as me.

Did lockdown affect your recording process at all?

Every song on Fake It Flowers was actually recorded prior to lockdown except one, which was ‘How Was Your Day’. I recorded that on a four track recorder. I think I was going to do that anyway because the song was, I guess, just really raw and Music by Lily Black Page 53

quite vulnerable. I wanted something to match that sonically.

Was there a particular song from the album that you were especially excited for people to hear?

I really wanted people to hear ‘Yoshimi, Forest, Magdalene’ and ‘Dye It Red’. They’re my favourite pair off the album and I think they’re just fun.

The themes of change and independence come through strongly on the album, particularly in ‘Dye It Red’. Can you tell us a bit about that?

Definitely. That’s the reason I wrote this record, really, for people to feel that, so it makes me happy seeing that people did.

Can you tell us about your input to your music video concepts?

My boyfriend directs all my music videos, so it's been really easy collaboratively because we're always together. Obviously he'd know what the song is about and interpret it in his own way.

We've known each other for like five years. I agree with all of his ideas, I love them all, so I kind of give him creative freedom in that sense.

Do you have a favourite music video of yours so far?

That’s so hard because I love all of them! I guess they all have different vibes, but I think ‘Care’ was a special one to make because we filmed it all through lockdown. We all lived together and it was just a really wholesome time.

Did you hold any tracks back from the album that we might hear at a later date, or any ideas that you decided to steer away from for the album?

Not really! I kind of recorded every song; I remember we had a whiteboard filled with all the music, all the songs we wanted on Back to Contents

I DON’T WANT TO BE THAT PERSON WHO’S LIKE, ‘OH MY GOD, I WAS BORN IN THE WRONG ERA!

Music by Lily Black Page 55

Back to Contents

the album, and we recorded pretty much everything.

How do you navigate social media as an artist - do you think it’s a help or more of a hindrance?

I think, you know, it can be both, and it depends how you see social media. I think social media is a great way to interact with your audience. And I think it's really fun being myself online and being able to talk to people from the other end of the world. You also get stupid people hating on your shit; but that comes with everything. I feel like I’ve only now gotten used to that, and I think it's just funny. So it depends how you see it.

I know you’re heavily influenced by 90s music and culture.

How do you think it would have been different if you were living and making music in that time?

I think if I was releasing my music in the 90s it wouldn’t be as special, because it’s so inspired by that time. I think it is still very hard, because it's me who's right here. I'm a 20 year old from West London who's being really honest, and I think that's what sets it aside and what makes it still relevant. But I don’t want to be that person who’s like, ‘Oh my god, I was born in the wrong era!’. I just like paying homage to that time.

One theme that features throughout the album is how to overcome relationship difficulties, especially on ‘Together’.

Do you write to process things as they happen, or is it more retrospective?

It was definitely a very personal song, and it was kind of me organizing the thoughts in my brain, just being like: Okay, this is what's happening? This is what I feel. And I think that's how I pretty much write most of my music. It's making things make sense.

Music by Lily Black Page 57

You’ve hinted that you’ve been working on something with Matty Healy and George Daniel of The 1975. Can you tell us anything about that?

All I can say is that it’s really good. You’ll see!

How did touring with The 1975 influence your writing for Fake It Flowers?

Playing arenas really inspired me to fill that massive space, like I wanted to create music that was big and loud and could fill a space that big.

You’ve got your own tour planned for next year. Are you letting yourself get excited for that, with all the uncertainty at the moment?

It’s definitely a weird time for that, but I‘m trying to remain positive. Hopefully it will go on; I do miss touring a lot. It’s one of my favourite things.

Fake It Flowers is out now on Dirty Hit.

Music by Lily Black Page 59

SLOW WEATHER

Back to Contents

SNACK met up with Annie Booth and Chris McCrory of Slow Weather to discuss their upcoming debut EP ‘Clean Living’, why live performances matter, and the perils of social media.

You've worked together previously. How would you say your creative partnership is different when you’re working on a collaborative project such as Slow Weather vs. work produced just for Annie?

Annie: It would be great to hear what you think as well, Chris. I’d say with my own stuff I can be a lot more particular and angsty. Our collaborative working relationship is really open and creative, and yeah, I think not having preconceptions for what we wanted this release to be was helpful and very good for making new music.

Chris: I think the fact that there weren’t any expectations or limitations set on something we were doing other than ‘let’s meet up and write songs.’ We’re really happy that it worked out. Every time we got together, we just sat down and spent a few hours and wrote another song. Once we had about five, we just went, ‘well, let’s just book some studio time and record it!’ There wasn’t too much thought put into, ‘oh, let’s make it sound like this or like that.’ There was an element of that, but we probably didn’t spend more than half an hour actually talking about it. As I’ve got more experience as an artist, you realise it’s quite rare that you meet someone and it just works. Especially in a songwriting capacity.

There are a few artists that have tried to make the best of the pandemic by doing online streaming releases. Is that something you’ve considered for ‘Clean Living’?

Chris: Not really. What’s important for us is that the record itself is the main focus. So if we [could] actually play live I think we would rather do that. I think we would have toured it a little bit if we were able. I don’t think streaming it would do it justice. I’m yet to see any sort of live stream that does do an artist justice, other than, obviously, the Nick Cave thing and the Laura Marling thing. There’s a lot of production, budget and stuff behind that. That was really special, that worked. But for us, being at the stage we’re at, we can’t do that. So, I’d rather not do a webcam thing.

Music by Maya McDowell Uppal Page 61

Annie: Yeah, I completely appreciate why a lot of artists are doing live streams. I know that there’s a sense of isolation from fans and audience members – you do miss that connection sometimes. But I agree with Chris - in terms of this particular project, I think it would make sense for people to listen to the record in its entirety. That’s all we could hope for, especially because it’s a 12-inch vinyl. I think that would be a really special way for it to be enjoyed, just on a record player.

Chris: Also, we’re not really big on social media anyway. That was something we wanted to consciously avoid in any sort of meaningful way because I think it’s taken away from the actual music. It’s almost making bands’ existences about everything but the music. Really, the thing that matters for us is the five songs on that record.

Do you think some bands detract from their sound by appearing to put their image first?

Annie: I think that image is always tied into music. You can’t escape it - you are always going to have the visual and the sound. It’s about not distracting the listener and making sure that the focus is kept on your songwriting and the production. That’s what can get lost nowadays; you sometimes feel that you are buying into the person as a product. That can sometimes make me feel a bit uncomfortable.

Chris: Yeah, I think there is a balance. We take a great deal of care in the artwork.

We worked with a local artist who we really like - Kyle Wheelhouse, his name is – to design the cover. Image is obviously important to an extent, but there comes a point where the balance tips and it becomes more about the image than the music, and that’s the sort of thing we want to avoid. You want the image to be appealing to people, you want the aesthetics to be appealing, but you don’t want that to overshadow the music.

Maybe in the last five years there’s been a move towards things being more imageorientated because of the nature of social media. If you’re being particularly cynical you can look through Instagram and start to wonder: are you a band or are you a social media account?

Annie: It’s even more difficult in these times where everything is predominantly on

Back to Contents

Music by Maya McDowell Uppal Page 63

the internet. I agree – I think use just as much as you can so it’s not distracting from the point, really.

Talking about image, your single ‘Great White Male’ has a music video which was directed by Ben Hall. Did you have an idea in mind, or did you let Ben interpret it himself?

Chris: Yeah, I had seen Ben’s work for the art school degree show – the virtual degree show that he did. I loved that. Obviously there was an element of humour which he had, and I really like the aesthetics. I got in touch with him and kind of gave him free reign. He’s actually done the video for ‘Clean Living’ as well. We asked him to do both because we liked his work so much. Again, to talk about image, I think bands’ photography and music videos in particular can often be pretty boring. I wanted to work with someone like Ben and give him total free reign to make something equally as good to look at as the music is to listen to. Do you know what I mean? Something that isn’t necessarily a traditional music video.

Annie: We also felt quite strongly that, other than the press pictures, about not being in the videos or a lot of the artwork. Again, just so you can appreciate the narrative and the story, and it’s less about us as people.

You spoke earlier about Annie’s EP. Is that what you’re planning on doing next? Do you think you’ll work together as Slow Weather in the future?

Chris: Right now we’re in the middle of recording our next album, basically. I’ve just finished something - I don’t know if I’m going to call it a solo project or a new thing altogether. It’s something I’ve been wanting to do for a long time and I guess lockdown’s giving me the chance to get serious about it. I don’t know! For us right now, the main concern is finishing Annie’s album. Let’s finish this and then we’ll see. We did start writing more Slow Weather stuff. I think if it wasn’t for lockdown, we probably would have written another EP by now, or maybe even an album. It just depends on what happens. We’re working together, it’s just not Slow Weather.

Annie: Yeah, no pressure for that, hopefully.

Music by Maya McDowell Uppal Page 65

The two singles you’ve released so far from the ‘Clean Living’ EP – ‘Clean Living’ and ‘Great White Male’ – are quite different in tone. Was there a connecting theme for the album, or was it written on a song-by-song basis?

Chris: The EP is quite funny in that the running order, five tracks, are the order in which we wrote them. Those were the only tracks [as of recording the EP] that we had written.

It is quite interesting for us as artists and as music fans to listen to the progression of an artist. In the progression of the EP you can hear Annie and I and who we are as a collaborative effort. There wasn’t that much thought to it other than, ‘let’s just meet up and write songs because we get on quite well.’ Maybe there is some kind of theme that links it... I think Annie would probably know.

Annie: Yeah, I would say that the fact it’s in the order we wrote it, there is something very satisfying about that. It just naturally fell into place. I would say in retrospect themes such as bitterness, getting lost or clinging onto some kind of hope runs through it. I think a lot of it was spontaneous and it did very much feel like it came from both of us. It was a very good contrast of both our styles.

Coming together from different musical styles, do you have any shared influences for this project?

Chris: There’s obviously the public image of Catholic Action or Mt. Doubt or whatever, but we tend to like different styles personally. When we met up to do Annie’s ‘Spectral’ EP we already knew that we had a lot in common musically. In a way we don’t: we come from very different backgrounds, but there is a sort of intersection, I would say.

Would you say that you like Andy Shauf and Chris Cohen, Annie?

Annie: Absolutely. There is a crossover. I’m thinking of people like Bowie, Lou Reed, Neil Young…I was a big fan of James Taylor growing up. I maybe listen to a bit more modern stuff, whereas Chris has an extensive range of influences. I think Chris is more into the old school at times. I would say we both have different lyrical approaches.

I would tend towards more melodic approaches and Chris would come up with absolutely brilliant, clever lyrics that would throw me off guard with their take on things.

I think the term intersection is definitely apt.

Back to Contents

Music by Maya McDowell Uppal Page 67

Chris: Annie was really good at fitting lines I would come up with into a narrative that made sense.We kind of balanced each other out.

Annie: That made it a lot more fun though.

Chris: Yeah, the cool thing was that it kind of happened without us having a conversation about it – it’s only now that it’s basically out that we’re like ‘oh right, yeah, that actually worked really well.’

Do you think that working within the same close-knit Scottish scene has changed the way that you sound, both throughout your careers and in this project?

Chris: I’ve always had bands that I like in Scotland, but I’ve always wanted to get out of Scotland. I love it, and it will always be my home, but the world is a lot bigger than Scotland. It’s only an hour and a half until you’re in England and then only a day or two’s drive to Europe, and so on. I remember saying to the guys in Catholic Action quite early on, 'Glasgow’s great but let’s get as far away from it as we possibly can.'

Recently, as far as contemporary music goes, I’ve been much more influenced by what’s going on outside of the UK. There are amazing Scottish bands and we’re so lucky to be from Scotland, because there is such an incredibly healthy scene in Glasgow. For me it’s always been the intersection of the strong music scene and the art school that’s made Glasgow really interesting. You’ve always had this strong guitar pop thing here, but there’s also an electronic and dance music scene that’s arguably as healthy But as a direct influence on us? For me, I’m not really too sure.

Annie: I’m kind of a geographical and musical hybrid, because I was born in England, grew up around Perth and I’ve lived in Edinburgh for a long time now. I also go through to Glasgow a lot and I’m inspired by a lot of European and American music as well. I try and find what I like wherever I go, but I keep my own sort of compass. For our individual projects and for Slow Weather I think that we do try and find inspiration to an extent in other styles and music, but we keep to our own path at the same time.

Chris: It’s never made sense to me to follow a local scene too closely or participate in making the same music as all your pals, because that’s kind of boring. I mean who Back to Contents

wants to listen to the same band ten times?

Annie: I would say I’ve probably been influenced subconsciously by bands like Mt. Doubt just by being in it for so long and admiring the work of Leo Bargery.

It’s more like the personal support of people around you in lots of different places and different cities that’s encouraging, I would say. If there’s a bit of camaraderie it incentivises you to keep going with it all.

The only other question left is to ask if there’s anything you particularly want to say to our readers?

Chris: If you like the music, please buy the record! Buy the physical record. You’re not only supporting us as artists, you’re supporting a really healthy scene in Last Night from Glasgow. I think they’re doing something great in the way they operate, being not-for-profit and working with a hell of a lot of artists. If you could support them and us by buying the physical record, that would be great.

'Clean Living' is out now on Last Night From Glasgow

Music by Maya McDowell Uppal Page 69

ANGELA HUGHES

Back to Contents

Every now and again a book comes along that reminds us real-life is often stranger, and more life-affirming, than fiction, and that’s what Angela Hughes’ memoir My Heart’s Content: A Journey to Transplant does beautifully. Angela spoke to SNACK (alongside husband, Paul) to discuss her incredible story.

My Heart's Content: A Journey to Transplant is an unusual memoir, to say the least. How do you describe it when people like me ask you what it's about?

Angela: What I’ve discovered is the answer to that question is a moveable feast. My initial intention was to provide an insight into the flip-side of organ donation – what it’s like to wait, for an indefinite time, for a high-risk operation, which could potentially give you back your life. To know your only means of survival relies on the death of another. To acknowledge and come to terms with your mortality.

As I wrote, I realised it was also a simple love story, albeit in extraordinary circumstances. And that far from being sombre, there was a lot of laughter. The importance of a community also emerged as a strong theme. Of family and friends. Of those close to me but also those unknown, rooting for me from afar. Of the medical and hospital staff. How we who wait for a transplant, don’t wait alone.

More recently, early readers of the book have described it as a love letter: to my friends and family, to the NHS, to Paul. I guess it’s all of those things.

How did you approach writing about yourself in this manner? Did you have other books in mind when you began which acted as inspiration?

Angela: In hospital, one of the nurses lent me a copy of 'Will I Still Be Me?', a memoir from a heart and lung transplant recipient. The Books by Alistair Braidwood Page 71

author was about my age at the time of her transplant and her story gave me hope of a future. But it was The Iceberg by Marion Coutts that really inspired me. I found it a moving and beautiful rendering of love in the face of illness and subsequently, in her story, death. Although she wasn’t the one who was ill, I was struck by the honesty of her account.

Her writing often said much more than was on the page.

From the beginning I decided not to consciously censor my thoughts or feelings. I wrote the book during the two years of my recovery and everything was still very present and raw. I wanted people to feel that.

One of my fellow transplant recipients sent me a message after reading the book, saying ‘nailed it’. That was really important; I realised I’d pitched it at the right level. Writing is musical but also visual for me. I enjoy the shape of words and the pattern they form on the page; the slipperiness of form. There were parts of my story that were intimate, particularly regarding my relationship with Paul. For these I drew on poetry; on a sparsity of words. Throughout, the opening stanza of ‘Miracle' by Seamus Heaney looped through my mind.

At times it's a hard book to read as you touch on thoughts and fears which everyone has to face at some point. What effect did writing this book have on you? Was it traumatic, cathartic, or a more complex mix of emotions?

It didn’t feel immediately cathartic, that came later. It was certainly emotional. I often had to walk away from it. The best way I can describe it is that putting it down on paper made it real. Throughout most of my time in hospital and much of my recovery, I felt detached. Absent. Almost as if I were an onlooker. Writing it down solidified the experience and returned me to myself.

Back to Contents

Your family are a huge part of the story. How did they view you revisiting this time in your life, and was their input into the book essential?

Angela: Their support was essential and, without exception, offered unequivocally, though their reactions varied. My brother’s attitude to life is to keep moving forwards; never look back. At the time I wrote it, my mum found it too painful to actively contribute, whereas my sister, Lorraine, managed to find a way to do so and still maintain some emotional distance.

Paul: Angela was a gifted fiction writer before this happened, and we know that she felt a responsibility to use her skill with words to give an account of this experience. When she began to write it was all still raw and uncertain, but the process allowed us to discuss those events at a distance: as words on a page, bounded and controllable. Much later, dipping into the completed manuscript, I found myself transported back into that room, those emotions. I can still only return to those places in small doses.

Memoir is reliant on memory, which can be different depending on who is doing the recalling. How do others contribute to the book, and did their versions of events surprise you?

Angela: I’ve read several memoirs around illness and trauma and often wondered about the reactions of the other people in the story.

It intrigued me to know how my transplant had affected some of those close to me. Again, I didn’t want to censor their thoughts, so I invited family and the friends who visited me in hospital prior to my transplant, to write me a letter about their experience. I gave little direction and no word count. The letters are included in the book. I hoped they would add a further dimension both to the story.

Books by Alistair Braidwood Page 73

I was surprised at the depth of feeling. These are the parts of the book I found the most difficult. It felt a little like reading eulogies. What struck me was the overall positivity. Their collective belief that I would be fine. Also the pervading sense of calm that seemed to inhabit them on the day of the operation, which was exactly how I’d felt.

The book is also a love story. Was it as hard to reflect on the emotions of your relationship as it was the prospect of the journey to transplant?

Angela: Harder, I would say. Retelling my transplant journey was much less personal. I struggled with how much detail to include.

My relationship with Paul has always had a magical quality which I wanted to convey but I was aware of how difficult some of it was and didn’t want to lessen or trivialise it. During my illness we shied away from the patient / carer dynamic but it became unavoidable in hospital, and though I didn’t want to dwell on it, I felt it necessary to touch on the fear around whether we would be able to return to an equal partnership.

Paul: It’s strange looking at your relationship from the outside, but I was glad Angela was able to capture the joy and laughter we shared, even when tears and goodbyes were just a breath away.

Like Angela, I felt as though I was behind a glass wall in those days – constantly in the moment, and trying to hang on until the next step.

My Heart's Content has been described as 'fearless', which is the perfect adjective for the way you tell your story, and that's in no small part down to you being so honest about how vulnerable and fearful you felt at times. Now that the book is out, how do you feel about other people reading your story?

Angela: I initially intended to write a fictionalised account of my Back to Contents

experience, to tell the story at once removed, but I felt it somehow lacked the honesty or veracity of memoir. Now it’s out there I feel naked but exhilarated. And more than a wee bit excited.

My Heart's Content: A Journey to Transplant is available at liminalink.com

Books by Alistair Braidwood Page 75

Back to Contents

Photography: Harrison Reid

In 2000, actor David Arquette became a virtual pariah in the professional wrestling world. In the course of promoting his slapstick comedy turkey Ready to Rumble, he was not only written into the WCW storylines in real life, but eventually crowned world heavyweight champion – a script even Arquette did not like. Fans felt the sport had jumped the shark, and poured hate upon both WCW and the star.

Twenty years later, and after film choices he himself said made his life a joke, Arquette seeks redemption in the sport he loves. In the documentary You Cannot Kill David Arquette, filmmakers David Darg and Price James follow Arquette, now in his late 40s, as he learns to wrestle for real. The pursuit of credibility involves heavy training, hitting wrestling competitions held in backyards, and voyaging to Mexico to try out the famed and flamboyant professional wrestling style known as lucha libre.

You Cannot Kill David Arquette is a therapy session, a journey through the undercards of wrestling, and an opportunity for Arquette’s well-known family members to wonder openly what the hell David is doing.

How are you, and where are you?

I’m in Connecticut at the moment, on my way back to LA tonight. I’m doing good.

Can you give us a brief summary of You Cannot Kill David Arquette?

Yeah! It’s a love letter to wrestling. After being crowned the world heavyweight champion 20 years ago, I returned to wrestling to prove myself, to show the fans that I could do it, that I can be considered one of the boys.

Do you think you were successful in that?

I do. There’s a moment in the film where there is a death match which is kind of gruesome and scary. And in that room I walked in and they hated me, just as they had for 20 years. But as I left, they were cheering me. So in that one moment I really turned the whole crowd around. You know, there are always Film by Jamie Wills Page 77

Back to Contents

going to be haters out there, but it’s good to believe in yourself, and that is the message in the film that I had to learn personally. That I had to believe in myself and stop beating myself up.

Whose idea was the film?

It was my idea. I got two stents put in my heart after a really bad reaction to a stress test, and when I came out I told my wife, ‘I’ve been thinking about wrestling.’ She thought I was crazy. I just knew I had to do this. It was something that had stuck with me for a long time. I wanted to stand up, I wanted to prove myself.

Your wife is a producer on the film, but doesn’t seem too happy at the beginning about your pathway. Why did she get involved in it?

Oh, she had to put up with a lot. She has to put up with a lot being married to me anyway because I’m a complicated, crazy, man-child. I have to give her all the credit though: she’s really the champion of this film. She produced it, she was on the phone with promoters, booking travel, and getting the film finished. She came up with some of the great ideas. And David Darg and Price James were tremendous directors who put a beautiful story together. I was really lucky to work with such talented people.

The film begins with a lot of vitriol aimed at you. What went wrong, back in 2000?

I think you’re talking about the first scene that we shot in the whole film. We went to this Legends of Wrestling event, and we wanted to interview [former President of WCW] Eric Bischoff there, but it was The Nasty Boys who put it together, Brian Knobbs and Jerry Sags: they just weren’t happy for us to put a camera in their little safe space of this bar. So we got in a bar room brawl on our first day of shooting, and David Darg and Price James were like ‘I think Film by Jamie Wills Page 79

there’s something crazy going on here.’ So it was just this rocket ship of adventure for two years, of independent wrestling and going to meet all these fans. It was a really mind-boggling experience.

You’ll have answered this many times, but what is the attraction of wrestling?

I love wrestling because I loved it as a kid. There is something about it that just sort of stuck with me. I love the larger-than-life quality to it - you know, these people with these flashy clothes. I like that it’s good against evil. There’s a lot of that going on in the world right now, so I think it’s really interesting to tap into that, to tap into people’s emotions. I don’t know, there are so many things I love about it. You meet some really great people in the wrestling world.

The arc is that of a redemption story. Have you enjoyed fame?

There are definitely aspects that are really cool and beneficial. Just being able to make a living nowadays is important - so many people are going through hard times. The real benefit is being able to lend your voice to charities you believe in, to be honest. That is where the qualities of celebrity are best served. But being able to work with really talented actors, directors, and writers is an amazing gift. When that happens I feel very blessed.

The counter to this is that in some of the scenes you are doing backyard wrestling, and you’re down in Mexico doing independent wrestling. You seem happier in those moments.

Which side of wrestling do you prefer?

Man. Well, the match in Mexico was just kind of a dream come true.

I’ve always loved lucha wrestling. There is such a deep love of it in that country, for sure. And independent wrestling, I love that whole world.

You meet a lot of really interesting characters. As an actor I’m always doing character study, trying to see why people have their certain Back to Contents

Film by Jamie Wills Page 81

Back to Contents

ways, and that’s always fun in the wrestling world too.

In one line in the movie your brother Richmond says ‘David wants love.’ Is that a fair comment?

[Laughs] Yeah, I think that is a fair comment. I mean I love love. I want to spread love. I try to open my heart to others. I’m not big on putting people down or bullying people. That’s part of the reason I wanted to come back: I felt I was being bullied. I just don’t like that feeling. So I wanted to stand up. But yes, love is my main goal in life.

Kayfabe is the word used in wrestling to describe staged events that are pretending to be reality. Is there anything in You Cannot Kill David Arquette that you feel follows that kayfabe idea?

We tried to respect kayfabe. I mean in one part we show behind the curtain. It’s fun. I never wanted to know anything that was going on: they always just sort of sent me on this journey. I knew I wanted to start from the bottom and work my way up and train properly and all that. But the bar room brawl - I’m sure people think things were set up, but they weren’t. Meeting with DDP (Diamond Dallas Page) I knew we were going to talk about what happened in the past and I was going to ask him for some help. But it’s a fun adventure. David Darg and Price James did an incredible job. David Darg does documentaries for things like the Ebola outbreak - he was out there filming all that stuff - and Price James does more comedic storytelling stuff, so both of them together really captured this form of storytelling. I think they did a great job.

How have wrestling fans reacted to the movie?

For the most part I think wrestling fans have enjoyed it. You’re always going to have your haters out there, so I’m just trying to let it live as a journey that we did, and hopefully people love it. It has gone both ways, but most people have enjoyed it.

Film by Jamie Wills Page 83

Wrestling is obviously very big in America. Do you think that affects the way that Americans communicate with each other?

As big as wrestling is in the world and in America, it is still a niche audience. It’s this weird world. It crosses over a lot - I see that a lot of wrestling fans are horror fans, and you have different fan bases that cross over to a certain extent. There is a ‘wrestling world’, so it is a microcosm of America for sure, and a lot of what is going on here. But you have different promotions throughout the country that are doing different sorts of things, or stand for different stuff. You get a feeling for who to work with and who not to work with. But you hear some stories!

A lot of your family members appear in the film.

Sometimes they are not complimentary. Were they generally supportive?

Yeah, they were generally supportive. I love my family a lot, and I love the fact that they were part of this. My wife Christina, I just can’t give her enough credit for producing this film and having to deal with the whole wrestling world, and really coming through. She is my hero. I have a six-year-old daughter and she wasn’t completely embarrassed by it, so that was also a huge accomplishment.

You had a film crew in with your family life for one or two years. Did that affect the family dynamic at all?

They weren’t filming at my house for all that time - we went on the road a lot. But I went on the road without them and captured a lot of this stuff on my own, or the different promotions would capture it. It is weird having a camera Back to Contents

Film by Jamie Wills Page 85

Back to Contents

in your face and having to be really open and vulnerable, but it was a fun experience. I don’t know what else to say: it was a once in a lifetime journey that I’m glad I went on. I am sure I would never do it again though.

In the film you show quite a lot of your body, from the wrestling to a spray tan scene. How do you feel about letting the world see you minus clothes? [laughs] Oh, you know the spray tan…There is a humorous undertone. I was a really big fan of Andy Kaufman, and I loved his involvement in the wrestling world, being another actor and wrestler, so there is definitely that undertone.

This is one of the comedic moments. But you learn quickly in wrestling that you’re always kind of semi-nude, so you have to get pretty used to that part.

And your body takes a bit of a beating in the film. Has everything recovered?

Yeah, everything has recovered. I mean, I still have pains in my neck and back - it sticks with you a long time. It’s a painful sport. There is a lot you have to go through. You have to train quite a bit so that your body is prepared for the impact it’s going to take. It’s kind of like being hit by a car every time you step into a ring.

What comes next for you?

I have Scream 5 coming out, which I was really excited to work on. We missed Wes [Craven] tremendously, but it was great to work with Courtney [Cox] again. And Matt and Tyler [directors Matt Bettinelli-Olpin and Tyler Gillett] did an incredible job bringing this really wonderful cast of young actors together. I think the Scream fans, and horror fans, and film fans, will really enjoy it.

You Cannot Kill David Arquette will be in UK Cinemas from 19th November and on Digital Download 23th November

Film by Jamie Wills Page 87

FILM

FANS YOUTH FILM FESTIVAL THE (NOT) GAY MOVIE CLUB BLU RAY CHRISTMAS CHEER

FANS YOUTH FILM FESTIVAL

ANNA AND THE APOCALYPSE Back to Contents

‘I’m the old person’ is how Frances Higson describes her role as project manager of the FANS Youth Film Festival. This modesty doesn’t do justice to the role of the 50-year-old filmmaker. Her annual task is to assemble a team of 16 to 25 year olds from Film Access Scotland’s regional partners, and set these young people on a path to create their own three-day film festival. The end result of this process is FANS, ‘designed and delivered by young people for young people’, which is now in its third year and inevitably heading online due to Covid-19.

‘For young people’ is slightly misleading, as all ages are welcome. Nonetheless, the primary audience for FANS is youngsters with an interest in film, whether as viewers or aspiring creatives. This year, attendees using Facebook or Twitch can expect an array of short films, workshops, master classes, and Q & As, all for free; with talks including tips for entering the industry from Hit the Ground Running’s Linda Fraser, and how to set up a production company, taught by Mike Webster of Spiral Out Pictures. Anna and the Apocalypse director John McPhail will also return to speak. A combined film quiz and pizza party event will also be held for those aged 14 to 25, with pizza delivered to contestants. Of course, there is also glory to be gained. Around 80 short films have been submitted this year by young filmmakers, and the prizes are not to be sniffed at. ‘We have an audience award and a youth team award. It’s £1,000 prize money for each of those categories’, explains Frances. Meanwhile, audience members can also seek success, as FANS has set challenges in filmmaking, storytelling and design. These will run until the end of January. The prize Film by Jamie Wills Page 91

money is a little more modest, but winning would still provide a positive start to 2021.

Unsurprisingly, the annus horribilis that is 2020 has caused Frances’ assembled youth team organisational problems, not least the inability to meet in person. In lieu of residential trips and perks like visiting the Glasgow Short Film Festival, the youngsters have had extended Zoom sessions. The festival programme itself will incorporate shorter sessions to alleviate potential ‘Zoom fatigue’. Happily, the team’s dedication to aiding young people into film has not been extinguished, and they speak forthrightly about the challenges of entering the industry: ‘I feel that younger people aren’t being taken as seriously,’ says Alannah Dunipace, a 17 year old from Arbroath. ‘It is hard to get your voice out as a young person, as people don’t think you are experienced enough.’

‘I think it’s a very difficult industry to get into,’ says Callum McArthur, who at 20 is practically an elder statesman of the team. ‘There are a lot of hurdles around it and, as much as I hate to say it, it is the people you know that gets you into filmmaking. It’s a lot of connecting and a lot of going to meet people. You can do it by yourself – submitting your film into film festivals and getting buzz that way – but I think the majority of it is connecting with different people.’

This notion of being outside the circle is why FANS’ purpose runs deeper than just its culminating festival. As well as having the opportunity to watch, organise and submit, participants Back to Contents

are able to create a network of friends and contacts. This concept is evinced by Maisie Pirrie, 17, who attended the festival as an audience member last year before joining the 2020 intake to manage social media. Also returning is Kaitlyn Roper, 22, who was part of the original 2018 youth team, and who now works on a freelance basis helping the current iteration with its tasks. This sense of ‘moving up the ladder’, as Kaitlyn says, is valuable for confidence. In her case, thanks to her stint at the festival and subsequent employment, her experience also taught her the financial value of her time in an industry often too keen to utilise unpaid internships and volunteers.

Anyone wishing to follow the paths of Maisie and Kaitlyn may note both came to FANS via Screen Education Edinburgh (SEE). Other organisations represented include GMAC Film in Glasgow, SHMU in Aberdeen, Eden Court in Inverness, Screen Argyll, and Media Education. The groups, and FANS’ utilisation of them, are an effort to ensure Scottish filmmakers are not prisoners of geography.

But many still make sacrifices. The most extreme example in this year’s team may be Elgin native Callum, who travelled for an hour to Inverness every Wednesday night for five years to learn film. Maisie visits SEE from Dunfermline, and Kaityln also travelled some distance, from Tweedsmuir in the Borders. Nonetheless, access to professionallevel equipment at a formative stage makes the travel worthwhile.

Film by Jamie Wills Page 93

‘You really need to understand how cameras and sound and editing stuff works, and all of those are incredibly expensive,’ explains Kaitlyn. ‘It’s great making films with your mates, and running around doing stuff for fun, but when you want to take that next step towards professionalism it’s a whole other ball game.

Getting people who have never held a camera and literally putting it in their hands and saying “These are the buttons you push” – that’s a better way to get people interested.’

The youngest member of this year’s team is Kirstin Hardie, who’s 16 and another member of SEE. Despite speaking articulately on concepts such as language and manipulation in adverts and the news, Kirstin still recognises the importance of Frances’ role in ‘organising us’, as if the youth team were unruly ponies requiring tethering. Ultimately, it is this notion of educational guidance that FANS promotes, increasingly necessary as the industry enters a time of unintended flux. Indeed, the media landscape is already altered thanks to the C-word, as adaptations in running and watching a festival like FANS are mirrored on the ground in socially distanced shoots and even content - much to Kirstin’s annoyance. Looking ahead to 2021, she already sees the need for change. ‘I think there’s going to be a lot of Covid stuff,’ she laments. ‘A lot of TV series will be like “Here’s our Covid stuff”, and I think a lot of people are going to be sick of it. We don’t need to hear anything more about Covid.’

FANS Youth Film Festival will run from 27th till 29th November, 2020 filmaccess.scot/festival Back to Contents

Film: The Cancer Journals Revisited

Film by Jamie Wills Page 95

THE LONG KISS GOODNIGHT

Back to Contents

Important question: have you ever watched Die Hard and thought, ‘I’m looking for less substance?’

Last issue, we inducted Halloween cult favourite Elvira, Mistress of the Dark, but the season of the witch is sadly over: we are firmly on Santa’s turf now. I previously contended that Halloween is gay Christmas, but what does that make actual Christmas? Depending on your particular indulgences, Christmas can be an equally camp affair. Picking one classic film that meets our criteria was initially tricky: in my rolodex of useless cultural awareness, I struggled to find a camp Christmas classic with a mindless plot, outrageous production, and subtle queer sensibility. After all, Netflix alone offers countless titles worthy of intellectual discussion (I would recommend 2013’s Christmas in the City starring Ashanti), but most of them fall into the category, ‘so bad it’s actually just bad.’

However, there is ultimately only one title that fits the bill. We present this month’s inductee into The (Not) Gay Movie Club: midnineties Christmas action bonanza The Long Kiss Goodnight.

We should preface this celebration by stating that Geena Davis is a movie icon, one that inarguably resonates with queer audiences.

She exudes unfaltering confidence and the roles she plays tend to be powerful women who subvert gender stereotypes. And of course, she and the similarly iconic Susan Sarandon made lesbian subtext history in Thelma and Louise. However, she has also made a huge impact on gender parity in Hollywood behind the scenes.

Tired of seeing how women are stereotyped and hypersexualized on screen, she created the Geena Davis Institute on Gender in Media to study and enhance positive female representation in film and television. The institute measures how female screen and LGBT+ by Jonny Stone Page 97

speaking time is disproportionate to men in film and television. Yet her efforts go woefully underappreciated.

In short, we don’t deserve Geena Davis, and The Long Kiss Goodnight captures her star quality perfectly.

Geena Davis plays Samantha Caine, a seemingly normal (and earth-shatteringly beautiful) schoolteacher who lives in upstate Pennsylvania following an accident that left her with amnesia eight years previously. In the middle of her Christmas festivities, she experiences a car crash-induced head injury that reminds her of her former life: when she was a ruthless assassin caught up in some global espionage, naturally. Samantha manages to unlock some of her former skills, as seen when she masterfully chops a lot of vegetables in a short amount of time. She decides to explore her assassin instincts and, with the help of low-rent P.I. Mitch Hennessey (played by Samuel L Jackson), becomes embroiled in a geopolitical conspiracy in a bid to discover more about herself. Spoiler: the plot is endlessly stupid. Just roll with the complicated logic and unlikely scenarios, and you will not be disappointed.

At the time the movie was made, Davis was still reeling from the poor performance of her most recent release Cutthroat Island. I wish that too was Christmas-related, as discussing the gleefully awful pirate romp would be a sheer delight. She had made Cutthroat Island with her now ex-husband Renny Harlin, who also made The Back to Contents

IN SHORT, WE DON’T DESERVE GEENA DAVIS

LGBT+ by Jonny Stone Page 99

Back to Contents

Long Kiss Goodnight: what an indisputably creative power couple. However, the film is wildly entertaining, regardless of whether or not Harlin intended for it to be a camp thriller. For one, Davis brings such physicality to the role, embodying the contrast between the warm, hospitable schoolteacher and the merciless mercenary facets of her identity. It’s an amalgamation of Die Hard and Jekyll and Hyde, but with cheesy dialogue (‘Chefs do that!’ Samantha cries, as she hurls a knife across her kitchen).

The Long Kiss Goodnight is spectacularly camp.

One notable moment occurs when experiencing the adrenaline of a car crash leads to Samantha snapping a deer’s neck in a hilariously deadpan fashion. At one point, she throws her daughter through a hole in a brick wall and into her treehouse. The duality of the protagonist is almost met in the movie’s overall balance of camp and action: the set pieces are so bizarre and ludicrous, but their intensity definitely elevates what could easily be a cookie-cutter spy thriller. The special effects and stunts are outrageous and over-the-top, but executed with surprising success. Davis herself is authentically formidable: the audience buys without question that she can ice skate faster than a speeding car, and I want to live in a world in which that is a reality.

LGBT+ by Jonny Stone Page 101

The film’s gayest moment is gifted to us in the form of a makeover, when Samantha reverts to her old aesthetic.

She cuts her hair into a severe, scraped back bob, bleaches it, and wears black eyeliner and red lipstick.

She also starts dressing like Sandy at the end of Grease, if Sandy was a brutal murderer. She then proceeds to perform a bizarre little ritual with a shot glass, in which she rolls it across her face before downing the contents. Why? Not certain. Is it a culturally significant moment not respected enough by the masses? Without a shadow of a doubt.

Like our other entries to the club, The Long Kiss Goodnight isn’t inherently queer at all: there are no evident LGBTQ+ characters to speak of. But what ultimately gives the film our seal of approval is its adherence to the trope seen in countless titles adored by queer audiences. Samantha is a complex and powerful woman, emotionally and physically, and she spends the entire film overcoming the adversity in her life in the pursuit of understanding her identity. At the risk of speaking on behalf of my community, I can’t honestly say I have ever thrown a child through a brick wall, but we can absolutely relate to her complicated quest to understand herself. Even though her past is riddled with trauma and regret, she needs to embrace it in order to live her present life to the fullest. If that doesn’t relate to the queer experience, launch me into the nearest treehouse.

Back to Contents

The Long Kiss Goodnight is so much fun. It joins our roster of underappreciated gems with queer subtext for several reasons, but ultimately, it’s the heart Geena Davis brings to Samantha that offers the movie more depth than your average action thriller. Like every gay icon, we are rooting for her to succeed, which in this case means understanding herself more and embracing who she is really meant to be. But who am I to lie and say the unintentionally camp one-liners, ludicrous stunts and labyrinthine plot aren’t the real selling points?

The Long Kiss Goodnight has earned its place in The (Not) Gay Movie Club unequivocally, and deserves to be top of your Christmas movie list this year.

LGBT+ by Jonny Stone Page 103

BLU RAY CHRISTMAS CHEER

Even in these peak streaming times, Blu Ray and DVDs in the UK continue to sell at a decent level, enough that old classics and new films are released in good numbers in the format. This year has seen many great movies given the HD treatment, and if you know someone who owns a Blu Ray player, here are a few picks to fill the stocking.

One of my favourite films of last year was Quentin Tarantino’s Once Upon a Time In Hollywood. The movie follows Leonardo Dicaprio’s washed up actor and his stunt double played by Brad Pitt as they work on movies and soak up late 60s LA. Tarantino has described the film as some time spent in the lives of these two, and it is just that; like hanging out with two interesting guys, in very interesting times. The recreation of the sights and sounds of ‘69 is a heady, immersive one, and you can see where the money was spent. Pitt deservedly won the Oscar for his languid, yet deep portrayal, one which

Back to Contents

has emboldened stuntmen and women in the film community. Here’s hoping there’s an Oscar for stunts soon. Being a massive Bruce Lee fan, I’ll say this: I loved the controversial scene featuring Mike Moh playing him, it’s hilarious and precious to martial arts fans.

Korean auteur Bong Joon-Ho’s Parasite was a surprise success at the Oscars, the first Asian movie to win best picture. This led to a scramble for those who loved it to see what many believe to be his best film, Memories of Murder. The DVD I bought of the film for a few pounds some years ago is now going 2nd hand for 30 quid! Luckily, Criterion have acquired the rights and it will be released at the end of November. It’s a mind-bending serial killer thriller with an exceptional lead performance from Parasite’s Song Kang-Ho; the film features the dark humour, deep themes and incredible film-making that make Bong one of the best modern directors.

With Game of Thrones finished, fantasy fans may have some time on their hands. If you’re a fan and have a 4K Ultra HD player, never fear, as the Lord of the Rings trilogy is about to get a release. The lavish, brilliantly made adaptations of Tolkein’s game-changing FIlm by Martin Sandison Page 105

novels will be presented in a picture and sound quality not seen before, and it looks like there will be even more extras for fans to salivate over. My favourite is The Two Towers, a narrative that culminates in what is still one of the greatest large scale battles ever filmed, the Battle of Helm’s Deep.

Released a few months ago and readily available, Jackie Chan’s late 80s classic Miracles: The Canton Godfather is just what you need to liven up what may be a harsher than usual Christmas.

Set in the 1930s and combining gangster thrills, comedy, and Chan’s trademark astonishing action set pieces, it’s a treat. The plot follows Jackie’s country bumpkin who by chance becomes the leader of a huge criminal gang, and as a good deed helps a down on her luck rose-seller. At the time Western critics slammed Jackie in the press, saying he could only direct action. In reaction, Chan infused Miracles with sweeping crane and steadicam shots, making it arguably his best directed movie in the process. The invention in the two centrepiece action sequences never ceases to amaze me, despite having watched them so much I know every move and cut, to the extent I can recreate them in my mind.

Back to Contents

My favourite Christmas film used to be Tim Burton’s magical stop motion animation The Nightmare Before Christmas. For many years I watched it every Christmas eve, too many times it seems, as now my favourite is now The Muppet Christmas Carol. This hilarious version of Dickens novel features Michael Caine as Scrooge, in perhaps his best performance, as the only human in a Muppet Christmas universe. Kermit as Bob Cratchit is heartbreaking, Mrs Piggy kicks ass and still has a funny way of delivering lines. The songs throughout are some of the most memorable in any Christmas film, especially the emotion-wringing ‘One More Sleep ‘til Christmas’.

Settling down with a good movie at Christmas is one of my favourite things; usually stuffing cheese and crackers, crisps and chocolate down my gullet. At least we can all still do that, eh?

FIlm by Martin Sandison Page 107

FESTIVE

FOOD &

DRINK

RECIPES

BEETROOT, RED ONION AND CLEMENTINE TARTE TATIN SIMPLE HERB ROASTED SPATCHCOCK CHICKEN HASSELBACK POTATOES

BARREL AGED BEER VEGAN

BEETROOT, RED ONION AND CLEMENTINE TARTE TATIN (V) Step away from the boring nut roast and forget having to sit with a plateful of potatoes and sprouts. This beetroot, red onion and clementine tarte tatin will not only make a colourful addition to the Christmas table, but is vegan to boot!

Watch how your carnivore guests get jealous sitting with their bland turkey.

You’ll share though, right?

INGREDIENTS 400g beetroot, cut into wedges 1 red onion, cut into wedges 3 tbsp olive oil 2 tbsp rice wine vinegar (or apple cider vinegar, lemon juice, or white wine vinegar) 2 tbsp soft brown sugar (use white if you haven't got any, but brown helps with the moisture and adds that molasses flavour which makes this so addictive) 500g block puff pastry (we used vegan Jus-Rol) 4 clementines, zested with the fruit inside removed for adding to the dish Some salad to go along with the dish.

METHOD Pre- heat oven to 200C/180C fan/gas mark 6.

In a bowl, toss the beetroot, onion and clementines with 2 tbsp of the oil, the vinegar and sugar.

Season with salt and pepper and mix.

Heat the rest of the oil in a large, ovenproof non-stick frying pan – or use any round ovenproof dish.

Add the veg/fruit mixture to the frying pan so that the surface is covered.

Back to Contents

Cover the frying pan with foil and cook in the oven for 45 mins.

Roll out the ready-made pastry on a floured surface. A thickness of half a cm will do, and it should be about the same size as your frying pan.

Now carefully take the pan out of the oven and remove the foil.

Put the pastry on top, tucking it in all around the edges.

Return the pan to the oven and bake for 35 mins or until the pastry has puffed up and is a deep golden brown colour.

Remove the frying pan from the oven.

Slide a palette knife (or fish slice) around the edge of the tart, then put a plate on top of the pastry, serving side down.

Flip the pan over to turn the tart out onto the plate. Careful now.

Don't panic if the tart doesn't come out of the frying pan in perfect condition – this is part of the charm. Well, that’s what I tell myself.

Scoop the beetroot/onion/clementine mixture and place on top of the pastry.

Top with clementine zest and some greenery, to pretend to be healthy.

Food and Drink by Mark & Emma, Foodie Explorers Page 111

SIMPLE HERB ROASTED SPATCHCOCK CHICKEN This herb roasted spatchcock chicken is fragrant with rosemary, thyme, and garlic. It’s so much tastier than bland old turkey for Christmas dinner; you’ll be won over by its crispy skin and juicy fullof-flavour meat. Cooking takes about an hour, as opposed to around 2 hours using the traditional method. Once you have learned how to spatchcock, with the cooking time saved and the moist meat served, you’ll wonder why you kept on roasting chicken the way your folks showed you. The full process, including the marinade, will take two days. If you can plan in advance, do the marinade. If you don’t have the time to marinate, don’t worry – the meat will still be moist, tender and juicy.

How to spatchcock a whole chicken (it’s really easy) Remove the giblets and pat dry the chicken.

Use a pair of kitchen shears (or a sharp knife) to cut down each side of the back bone from the cavity up to the neck.

Remove the back bone and turn over the bird. Then use your hands to gently press both sides down to flatten the bird.

INGREDIENTS Medium whole organic chicken for roasting (giblets removed) 1.5 tbsp coarse salt 1 tsp ground black pepper 1 tbsp grated garlic cloves (about 3 large cloves)

Back to Contents

Couple of handfuls of fresh herbs, chopped (rosemary and thyme, or any poultry seasoning fresh herbs) 1 tbsp extra virgin olive oil Lemon Herb Chicken Gravy 2 tbsp cornflour 350ml chicken stock Salt and pepper to your taste Juice of half a lemon

Food and Drink by Mark & Emma, Foodie Explorers Page 113

METHOD Spatchcock the chicken and lay it skin side up in a roasting pan.

Mix salt, pepper, garlic, herbs, and olive oil in a bowl.

Use your fingers to gently separate the skin from the meat, creating small pockets while being careful not to tear the skin.

Stuff the herb mixture under the skin and use your hands to carefully spread the herbs as evenly as you can.

Remember to season underneath the bird, too.

Drizzle with half of the lemon juice.

Cover and leave to marinate overnight in the fridge, if you can. If not, leave as long as you can.

The next day: Preheat oven to 200C/180C fan/gas mark 6.

Uncover the bird and place in the roasting pan and into the oven.

Bake for 30 minutes.

Rotate the pan, then loosely cover the wings and any other parts which tend to brown quickly with foil.

Bake for an additional 20 minutes until the skin is crispy. If you have a meat thermometer the temperature should be 75C. If not, check that any juices from the chicken run clear.

Remove from the oven and let the chicken rest while you make the gravy.

To make chicken gravy: Use the roasting pan from your chicken. This is not only to save dishes, but to get every bit of flavour from the bird.

Place the roasting pan on your hob. Over a medium/low heat, whisk in the cornflour until blended.

Then, whisk in the chicken stock.

Back to Contents

Reduce the heat to low and let the gravy simmer.

Stir the gravy often and remove from the heat when it is thick enough to coat the back of a spoon.

Season with salt, pepper, and lemon juice to taste.

Strain through a fine-mesh sieve into a gravy boat.

Food and Drink by Mark & Emma, Foodie Explorers Page 115

HASSELBACK POTATOESw Thinly sliced, fanned out like accordions and lavished with fat, Hasselback potatoes look and taste scrumptious. Slicing increases the exposed surface area, meaning that the potatoes cook more quickly. This also means that more flavour from the butter and herbs can penetrate. They look quite pretty too. The only minus for these beauties is a small but significant danger while cutting the raw potato into the slices required to cook evenly. Keep an eye on your fingers!

Hasselback potatoes are fab with just butter and a twist of salt, or add garlic slices, cheese, onions, peppers – the possibilities are endless.

INGREDIENTS 4 potatoes 4 tablespoons melted butter Salt Pepper

METHOD Heat the oven to 200C/180C fan/gas mark 6.

Wash and scrub the potatoes, then pat them dry.

Cut parallel slits into each potato, stopping just before you cut through so that the slices stay connected at the bottom of the potato.

Tip: place your potato on a wooden spoon before slicing. The spoon edges will stop the knife from slicing all the way through.

Arrange the potatoes evenly in a baking dish.

Brush the potatoes all over with half the butter.

Season with salt and pepper.

Back to Contents

Bake for 30 minutes, then brush with more butter. The potato layers should be separating at this point in cooking, so brushing with more butter adds even more tastiness.

Bake for another 30 to 40 minutes until crispy around the edges and easily pierced in the middle with a knife.

Food and Drink by Mark & Emma, Foodie Explorers Page 117

If you’re looking for something indulgent and delicious this Christmas, barrel-aged beers are the answer. There are more and more Scottish breweries experimenting with barrel ageing which has been great to see given the opportunity and access the industry here has to ex-whisky barrels. Barrel ageing was traditionally used by Belgians to create sour beers with the sour flavour coming from the naturally occurring yeast left over in the barrels which was used to ferment the beer. Nowadays however, not all barrel-aged beer is sour and it is just left to take on the flavour of the wood and whatever liquid had previously been stored in it rather than yeast from the barrel. I’ve rounded up some of my favourite Scottish barrel-aged beers for you to give as a present this Christmas‌.or just to treat yourself.

Back to Contents

PILOT – BARREL AGED DOUBLE MOCHACCINO STOUT Pilot produce a range of great beers and are a staple on the beer taps around Edinburgh. Their much-awaited barrel-aged version of the popular Double Mochaccino Stout has just been released on a limited run of 3,000 bottles.

Added to Speyside whisky barrels in April 2019, the resulting beer is absolutely delicious. Black treacle, dark brown sugar, cacao nibs, coffee, vanilla and sea salt are all added to give that classic mochaccino taste, but the barrel ageing intensifies it and pulls out more of the vanilla notes. I’d say this has got to be my beer of the year.

THAT CLASSIC MOCHACCINO TASTE, BUT THE BARREL AGEING INTENSIFIES IT AND PULLS OUT MORE OF THE VANILLA NOTES

Food and Drink by Isla Mercer Page 119

DARK, SWEET FRUITS LIKE RAISINS AND PRUNES ARE THE OVERRIDING FLAVOUR

6° NORTH – DARK DAYS WHISKY BARREL IMPERIAL STOUT This is another imperial stout aged in a whisky barrel but tastes very different to the Pilot version – as is the beauty of brewing so needn’t think because you’ve tried one beer in a certain style you don’t need to try any more. Dark, sweet fruits like raisins and prunes are the overriding flavour which is backed up by a musky, vanilla oakeyness coming through from the whisky barrel and a light effervescence lifts everything so it doesn’t taste overly sweet. I can imagine this being a great dessert-wine alternative, especially with a chocolate-based pudding.

Back to Contents

TEMPEST – ALL THE LEAVES ARE BROWN An imperial brown ale aged in bourbon barrels and re-fermented with maple syrup. I think if you were going to liquidise a Christmas pudding doused in brandy, it would probably taste pretty similar to this. Sweet and malty with rich, fragrant spices like cloves and nutmeg, rounded off with a warming alcohol kick. This would be a great Christmas alternative to mulled wine.

THIS WOULD BE A GREAT CHRISTMAS ALTERNATIVE TO MULLED WINE

Food and Drink by Isla Mercer Page 121

DEAD END BREW MACHINE DEAD BARN BARREL III: HEATHER HONEY SOUR Heather Honey Sour is a lovely example of a sour barrel aged beer. Sour beers can be a bit of an acquired taste but I very much recommend giving them a go. Aged in red wine barrels, with honey added, this is a very interesting and complex beer. There is a huge initial hit of honey and sourness, but once that burst fades, you’re left with a menagerie of aftertastes. The honey really opens up into a bouquet of floral notes like you’d find in a really good, small batch honey and some of the malty characteristics appear towards the end. Heather Honey Sour is part of a series of barrel explorations for Glasgow based Dead End Brew Machine, but I think this one has got to be the winner. They’ve won quite a few awards and I can definitely see why.

THEY’VE WON QUITE A FEW AWARDS AND I CAN DEFINITELY SEE WHY

Back to Contents

A PERFECT REPLACEMENT FOR RED WINE AT THE CHRISTMAS DINNER TABLE

ORKNEY BREWERY – DARK ISLAND RESERVE I’m finishing with a favourite of mine, and what I think could quite possibly be the best Scottish beer. Finished in Orcadian whisky casks, Dark Island Reserve is packed full of flavour. Dark fruits, bitter chocolate, and a rich, warming spiciness make it a perfect replacement for red wine at the Christmas dinner table. It comes in a 330ml version as well as the 750ml and the beautiful packaging make it a great Christmas present for any beer lover.

Food and Drink by Isla Mercer Page 123

TRADITIONAL VEGAN CHRISTMAS

This year more than ever, I want to dive into Christmas traditions like Santa's elves down a rather large stocking.

I'm picking out the cosiest pyjamas, loading up the Christmas playlists on Spotify, and working out the vegan gifts, foods, and traditions to bring that much needed festive cheer.

It's easy to worry that a vegan Christmas won't be quite the same as it was in previous years, but embracing the spirit of Christmas and the many versions available will still make it sparkle. There are plenty of fantastic vegan options and vegan-friendly activities you can include to make your Christmas feel as warm and fuzzy as any before. According to Tesco, 10% of women in the UK will be having a plant-based Christmas this year, which is quite astounding. It also means I'll be pre-ordering my essentials ahead, just in case!

For me, the run-up to Christmas has always been more enjoyable than the day itself. Misty walks across frozen grass to collect mistletoe and evergreen cuttings to make a wreath. Hot chocolate and mince pies in front of the fire, with a Christmassy magazine and Bing Crosby playing in the background. Greggs mince pies are tasty and vegan, and Divine salted caramel hot chocolate is sneaking its way into my grocery basket, ready for this year.

Nowadays, I'm not likely to have the time to get out of the city to find cuttings. Thankfully, there are several socially distanced in-person wreath courses available, and you could even order homemade kits from Etsy or Notonthehighstreet and organise a Zoom party with friends to make them. If you are aiming to shop Food and Drink by Laura Woodland Page 125

local, Birch and Bloom in Livingston also have some stunning home kits you can pre-order now.

I'm of the mind that everyone deserves daily chocolate over the Christmas period, and still emphatically insist that someone buys me an advent calendar. Last year I had the Moo-Free advent calendar, but honestly, I don't enjoy their vegan chocolate all that much – to the point I actually lost track of the days. Top of my list this year is the NOMO (No Missing Out) calendar, available from The Vegan Kind, Tesco, Sainsbury's, Waitrose, Amazon, and NOMO's online shop. If you can get your hands on Holland and Barrett’s 25 days of Christmas Beauty Advent Calendar, then that's maybe even better than chocolate...maybe.

Back to Contents

Christmas Eve for me has always been about sausage rolls; it's a family tradition to bake them from scratch, possibly down to the fact that my mum met my dad over 40 years ago handing out a plate of them. I think for a decent vegan sausage roll, it's best to make them from scratch. Cheat and use shop-bought vegan pastry, then make the filling from mushrooms, walnuts, and herbs and spices. If you don’t want to improvise, vegan blogger Lazy Cat Kitchen's recipes never fail to disappoint.

I'm not sure I'll have a Christmas stocking filled with gifts this year, though it’ll still go up on the chimney, just in case Santa comes.

If I was to make up my own stocking, I think it would be full of self-care goodies. The Pink Clay AHA Face Mask from Face Theory would be very welcome, as would the charming Gervase Bamboo Robin Gift Socks from wearethought.com. I would slip some Divine chocolate coins in there, and also the Sunday Rain White Jasmine Massage & Body Oil, available from Oliver Bonas and sure to promote some deep and restful sleep.

Food and Drink by Laura Woodland Page 127

When it comes to the main event of Christmas dinner, I'm not a massive fan of the seitan roasts you can now easily find – they can be pretty difficult to digest, being mainly gluten. If you do want to try one, Tesco's Wicked Kitchen version looks like a decent choice.

I usually focus on piling my plate high with as many veggies and roast potatoes as possible. One year my sister-in-law (before announcing no one was to complain) managed to load my plate with 16 brussels sprouts – which was pushing the boundary to Vicar of Dibley levels! This year I'll be trying some of the vegan Wellingtons which are on offer - the Co-op and Tesco's Wicked Kitchen ones look delicious. In the run-up to Christmas, I’m going to have to test-run some options, just to be sure...

Boxing Day in my family is all about port, cheese, and Poirot. It's my dad's favourite family tradition and is especially important this year, as sadly his health isn't in the best shape. To make it extra special, I'll be ordering a Christmas hamper from La Fauxmagerie and a bottle of vegan Delaforce Port from Edinburgh based Vegan Tipples.

Whatever your Christmas traditions, if you wrap them up in the cosiest moments of family time, with lashings of hot chocolate and mince pies, it's sure to be the comforting Christmas we all need this year.

Back to Contents

Edinburgh’s famous fossil shop

5 Cowgatehead, Grassmarket Edinburgh, EH1 1JY 0131 220 1344 www.mrwoodsfossils.co.uk

REVIEW

SIGUR RÓS INDOOR FOXES HYYTS PROBABLY FINLAY GUSGUS DHARMA GEDDON CANAAN BALSAM DEAD PONY THE VEGAN LEATHER LIZABETT RUSSO NATIONAL SERVICE JIGSAWTIGER NEIL YOUNG BARRY CAN'T SWIM CASSIUS X HIGH STAKES FISHY 3D HOPE

TRACK BY TRACK ODIN’S RAVEN MAGIC

Back to Contents

Image credit: Eva Vermandel Music by Stephen McColgan Page 133

The far-reaching influence which Sigur Rós have had on contemporary musical culture could well be adapted into a medieval epic of its own. Their use of niche innovations such as inventing their own language or playing guitars with cello bows was enough, in the late nineties at least, to garner suspicion from anyone fearful of being hoodwinked by something as obtuse as a gimmick.

However, their unique Icelandic sound became ubiquitous in late 2005, when Hoppípolla became the go-to montage background track for BBC nature programmes, every conceivable form of sports coverage, and even Oscar-winning movies. By the time it became the theme song for any reliefladen situation on the caravan of horrendous talent-farming vehicles crowding Saturday night TV, the band were in danger of being dwarfed by their own disarmingly beautiful albatross.

Throughout this time, one piece of Sigur Rós’ own lore, intrinsically wrapped in Icelandic folk mythology, remained frustratingly elusive. Icelandic music legend Hilmar Örn Hilmarsson and Steindór Andersen, a renowned chanter of Rímur (a sort of Icleandic musical poetry), were rumoured to have penned and recorded a modern epic with the band.

The inspiration was Hilmarsson’s long-standing fascination with one particular chapter of Iceland’s medieval literary canon known as the Edda, entitled Hrafnagaldur Óðins, or Odin’s Raven Magic. The poem recounts a banquet held by the gods, in which ominous signs foretell the end of the world of both gods and men.

Following hot on the heels of frontman Jónsi’s fantastic recent solo album, Shiver, and featuring the vocals of Cocteau Twins’ Elizabeth Fraser, this fabled work will soon be available in the form of a 70-minute score, recorded live at Paris’ La Grande Halle de la Villette.

Opening track ‘Prologus’ takes the listener to a scarred audio landscape of Back to Contents

Music by Stephen McColgan Page 135

wind, ice, and jagged rock. Sweeping strings embody dark menace, before unsettling modulations and a terrifying cacophony convey images of billowing clouds gathering over rocky outcrops.

Andersen’s throaty folk chant drives ‘Alföður orkar’, and is almost Gregorian in its ability to penetrate and enchant. The woodwind and brass elements carry the choral melodies throughout the final couple of minutes of this track; what begins as an airy lament to an open sea eventually becomes almost overwhelming.

Lead single ‘Dvergmál’ is built around a riff played on a home-made marimba built by sculptor and artist, Páll Guðmundsson. The playful sound of this instrument, constructed from roughly-hewn pieces of stone, gives an ethereal tone to the entire mix. When the drums and falsetto backing vocals crash in, the track becomes utterly airborne – as if guided by the feathered messengers of Odin themselves.

‘Stendur æva’ references the Earth and Sun in a section of the poem where the established order of the universe is in peril, with the two heavenly bodies no longer certain of their fixed positions. The opening of the song joyfully skips over marimba notes, before clashing yet complementary choral voices pull certainty from under your feet, replacing it with something between enchantment and atonal daydreaming. In the midst of a record full of impressive musical adventure, this is a high point of huge proportions. ‘Áss hinn hvíti’ is such a perfectly layered example of one motif growing beyond the sum of its parts that it should really become forced listening for any aspiring dance music producer. The central brass line never gets cosy or repetitive enough to allow the listener to let their guard down, but every element builds to take the track further into the stratosphere.

Probably closer to Celtic folk sensitivities than the rest of the album, ‘Hvert stefnir’ nonetheless marries circling chimes, the ghostly chanting of Andersen, and swirling orchestral elements to create a sonic stupor. The strings manage to Back to Contents

convey stormy winds, crashing waves and tales of lost souls.

On an album described as orchestral, ‘Spár eða spakmál’ is the most orchestral track on here. Stabbing strings are backed up by punctuating brass and woodwind before giving way to sweeping sections of high-pitched vocals.

Signing off in suitably epic fashion and weighing in at over eleven minutes long, ‘Dagrenning’ represents the piercing of dawn after a long and draining night. The horns that sporadically guide the tower of choral layers clearly reference the horn of Ragnarök, which the entire epic poem foreshadows.

If you don’t like Sigur Rós, then you are almost certainly going to hate this record. The collaborative elements will only accentuate the elements you probably already don’t like. However, if you do like Sigur Rós, or are even broadly ambivalent about them, Odin’s Raven Magic will have you staring out of your wintry, urban window dreaming of volcanoes, gods and their winged emissaries.

Odin’s Raven Magic is out on Krunk (via Warner Classics) on December 4th 2020

Music by Stephen McColgan Page 137

INDOOR FOXES

SINGLE: PEACH STONE Melodic and full of heart, the new single from Indoor Foxes (Martha Barr) is a blinder. The Edinburgh artist’s Scottish accent comes through thick: the verses an economical half rap, soulful yet rugged in the chorus. Listening to ‘Peach Stone’ is akin to experiencing a particularly humbling heartbreak. The song is shot through with a super creamy guitar riff that is at once busy and laid back.

The very idea of swallowing a peach stone is frightening enough – I’m hoping that it’s a metaphor – but Martha's claim that she will as a result ‘die alone’ is haunting.

By Alisa Wylie

Back to Contents

HYYTS SINGLE: SOS

Glaswegian duo HYYTS’ latest single ‘SOS’ tackles the important subject of mental health support with some grace. With simple lyrics accompanied by an understated but steady electro-pop backing track, the song provides an uplifting message with an equally positive sound; it’s catchy enough to sing along to, and deep enough to make you think of that friend you haven’t spoken to in a while but probably should.

Released during a year where the message is especially needed, in association with World Mental Health Day, the group have made it clear they are making more than music – they are building a community for their listeners to make connections in a time where many people are more isolated than ever. ‘SOS’ shows they aren’t afraid of approaching important and potentially difficult subjects, and that they’re capable of doing this while making fun tracks you’ll keep coming back to.

By Lily Black

Email: review@snackmag.co.uk Page 139

PROBABLY FINLAY

SINGLE: WHEN THE WAVES COME

Probably Finlay is Finlay Pablo Mayers Porras, an 18 year old musician hailing from Portobello. After experimentation with alt-rock projects and some LCD Soundsystem-esque electro, he has set his latest work under the banner of a folk-rock / singer-songwriter for ‘When The Waves Come’.

Having picked up the bass around five years ago and the acoustic guitar a couple of years later, Finlay has gathered a small but varied catalogue of work via his Bandcamp page over the last couple of months.

‘Basement Diaries’ is a six track EP which has tinges of Elliott Smith or a ramshackle Libertines jam session. Undoubtedly a talented writer, his bare and stripped-back production is as DIY as it comes. He describes ‘Basement Diaries’ as ‘An EP in which I play everything, quantise nothing, and sing very badly’. With the young musician recording, mixing and mastering from his bedroom, it is clear that imperfections are the essence of his charm.

This latest release, ‘When The Waves Come’, took all of four days from conception to completion. It features incredible drumming throughout, and in fact it started out as a drum improv. The musician then duets with himself, adding another drum track – one track panned hard left and the other hard right. The tempo and energy ebb and flow throughout, as does the jazz-tinged emotive feel of the song.

Inspired by Virgina Woolf’s novel The Waves, Finlay explores themes of recognising the self and expressing truth in character. While his commitment to Back to Contents

the message is commendable — with moments of calm set against a precipice of intense energy of its guitar and a sustained dark bass, à la ‘Paranoid Android’ — the grandiose crescendos eventually overwhelm his voice before the whole thing feeds back on itself and abruptly ends.

On the b-side is ‘Geordie’, inspired by an old folk song of the same name and in particular a late 50s version by Shirley Collins. Sounding as if it’s plucked from a Wes Anderson soundtrack, there’s a tenderness here that is nofrills and heartfelt. The vulnerable vocals are at odds once again with a build in the track which brings Arcade Fire to mind, with its huge pipe-organ finale and pounding kick drum.

Whether or not the Probably Finlay moniker is a complete destination for this young artist is probably beside the point – he’s plainly still finding his feet, and having fun experimenting. ‘When The Waves Come’ is best considered as an early marker of the work of a talented drummer and emerging songwriter.

'When the Waves Come' is out now via the artist's Bandcamp

By Donald Shields

Photography: Rene Passet

Email: review@snackmag.co.uk Page 141

GUSGUS SINGLE: HIGHER FT. VÖK

GusGus are an Icelandic duo who have been there, done that and got the t-shirt. 25 years of making and playing music all over the world hasn’t slowed them down one bit. Known for performing with a smorgasbord of electronic equipment, their analogue live sets are impressive to behold. If you haven’t seen them, their ‘Live on KEXP’ or ‘Boiler Room Mexico 2015’ shows are good places to start. In their live performances, GusGus transition from bubbling, progressive electronic sounds to electro-pop by way of experimentation with different guest singers. Leaning towards the latter once again on their latest release ‘Higher’, the band have recruited compatriot Margrét Rán, lead singer of indie-electronic band VÖK. VÖK sound like an Icelandic Toro y Moi, with the gloomy, lovelorn attitude of 80s Morrissey.

‘Higher’ begins with a solo kick drum and pulsating synths; slow, steady and

Back to Contents

powerful enough to grab your attention. What elevates the track is MargrÊt’s voice, without which the track would be the musical equivalent of going swimming and forgetting your trunks. The vocal gives a point of focus, but the lyrics are redundant for those who missed the emo phase growing up.

Where the latest effort from GusGus misses the spot is their attempt at an arena-filling, industrial, grand sound while at the same time maintaining such a low BPM. This strangely emotionally charged mix with its constant slow build and lack of any snare conjures images of a slow-mo scene, or the final credits from a sci-fi film. Real edge-of-the-dancefloor energy. Not quite suited for the dancefloor and not quite the pop charts, but absolutely ripe to be included as the backing track of the next carbon copy advert for an unattainable car. That, or a Netflix movie about space dragons who go clubbing but are refused entry.

By Donald Shields Email: review@snackmag.co.uk Page 143

DHARMA GEDDON SINGLE: BOKX

Music needs to reflect the times we live in, and who better to capture the mood of 2020 than a button-pushing drag popstar? Shattering boundaries and piecing them together anew, Dharma Geddon is the self-professed queen of innovation.

Forever shapeshifting, this androgynous performance artist commands a legion of props and effects to ensnare you into their dark stories, ‘always with one heel firmly planted in the future.’ Based in East Kilbride, Dharma has developed a following as a result of their role in The Drag-Opticon Show at the Panopticon Music Hall. They are also the creative mastermind behind Drag 101 at Glasgow University, Drag Me to Sloan’s at Sloan’s Glasgow and Maskara at Wild Cabaret Glasgow. So, one can imagine the toll not being able to entertain the masses would take on Dharma.

Justifiably frustrated by the way 2020 has resulted in the absence of any live performances across the country, Dharma has instead focused their creativity towards producing new music for fans to enjoy the comfort of their homes. ‘We

Back to Contents

always put on a huge Halloween show spectacular every year and seeing as we can’t do that this time around, I wanted to make something purely digital that people can enjoy’, they say. And ‘BOKX’ succinctly captures the mood of this year, namely the ominous feeling of entrapment and uncertainty. There are moments that capture the feel of the music one is likely to hear in Barbeau’s work on the Dragula soundtrack. And Dharma’s voice – reminiscent of Dave Gahan from Depeche Mode – really lends itself to the track’s pulsing chorus.

Audiences can arguably connect with Dharma’s struggle to obtain a creative outlet as the year has dragged on. ‘It’s about feeling trapped, feeling the walls closing in around you. Having all of these goals and energies that you can’t channel, and the monsters that can grow from that frustration.’ ‘BOKX’ may be the anthem to close the door on 2020 and look ahead to what comes next.

God knows it can’t get any worse…surely?

‘BOKX’ is gloriously sombre pop with an infectious chorus and a stellar voice to carry it. While it may be some time before we can see Dharma Geddon perform it in the flesh, the single was launched on Spotify and all streaming platforms on Friday 30th October, with a new music video dropping on YouTube the following day. And in these uncertain times, we have seen that drag performers and artists need our support more than ever. The season of the witch may be over, but when it comes to drag, every day is Halloween.

By Jonny Stone Email: review@snackmag.co.uk Page 145

CANAAN BALSAM ALBUM: CRUISE UTOPIA

There are ten songs on the album, and rats feature in the titles of four. But it’s not an angry or venomous record; it’s a record at peace with itself.

‘I Feel Like A Cigarette Burn’ has that softly spoken majesty that we praise J. Spaceman for, and we should do so equally here. In another time, and by a different name, Canaan was in legendary East Coast act St. Jude’s Infirmary.

Emma-Jane from the band also makes a guest appearance. It’s not quite the full reunion the world needs right now, but, it’s closer than many would have hoped to find this year.

When music can be so fragile yet robust in the space of a heartbeat, you don’t need to look for every meaning and nuance. You can, but there’s no harm in turning off and letting things glide for a little while.

One of the best things about Canaan’s work is that it operates well above the pay-grade level of this writer. Whether it's exploring concepts such as loneliness and disconnection or stabbing at straw gods, it all plays out so serenely that you’ll find yourself washed away with the flow.

Cruise Utopia is out now on Passat Continu.

By Andy Reilly

Back to Contents

DEAD PONY SINGLE: 23, NEVER ME

Hashtag be kind. 2020 has been a rough year, and we could all do with being easier on ourselves, and each other.

However, there are also times when some people deserve what’s coming to them, and you need to take care of yourself. If that means breaking away from toxicity which is holding you back or grinding you down, so be it.

Dead Pony don’t mess about, and ‘23, Never Me’ once again shows their boundless energy and drive. With lines like ‘your face could use a bruisin’, there’s an element of playground charm to the insults. However, there’s nothing childish about the force of musical delivery, or in the channelled fury from vocalist Anna Shields.

It’ll be next year before we get to see what Dead Pony can really do, but in the short salvos they’ve launched at us in 2020, they’ve been on target every time.

‘23, Never Me’ is out now on LAB Records

By Andy Reilly

Email: review@snackmag.co.uk Page 147

THE VEGAN LEATHER SINGLE: GLOAMING

‘Gloaming’ is a cracking return from Paisley art-poppers The Vegan Leather.

The single, released the day before Halloween, moves listeners to a creepier version of the land often visited by the band, bearing a more outwardly dark vibe than previous material. It kicks off with synth sounds right out of John Carpenter's playbook, before Marie Collins’ vocals entice listeners to a dark dreamscape.

‘Gloaming’ really makes moves into wildness - Collins, lead vocalist for this particular track, notes a link between this song and Emily Brontë’s Wuthering Heights, with a similar eerie atmosphere and the idea of being led away from your comfort and thrust into chaos.

With no clear release schedule for more new material, ‘Gloaming’ is an interesting stepping stone to the next chapter of The Vegan Leather’s sonic canon, with the band looking back to old ways of working to find a way forward.

Check out the cracking video from digital artist Bovine, which hammers home the sense of threat and pushing through the unknown.

By Dominic Cassidy

Image credit: Bovine

LIZABETT RUSSO

ALBUM: WHILE I SIT AND WATCH THIS TREE VOLUME 1

In a very different time and place, Lizabett’s music and vocals would probably be described as haunting, but right now, they’re soothing. Anything which evokes a return to nature and simpler times should be welcomed, and you should find this to be a record you can submerge yourself in.

It would be a mis-step to simply file this record in the folk section of your mind, not that it’s an insult, but there is more going on. The uplift in the second half of ‘Release’ couldn’t be described as jaunty, but it has a buoyancy that should place a smile on your face.

For some people, there won’t be enough of a kick, and perhaps there is too much meandering. However, not all who meander or wander are lost, and you get the feeling Lizabett Russo knows exactly where she is going. If you’ve got nowhere to go, go here.

While I Sit Here and Watch This Tree Volume 1 is released on 27th November on Last Night From Glasgow.

By Andy Reilly

NATIONAL SERVICE SINGLE: CAVING

You could draw up an extensive list of much-heralded indie guitar bands of the 2000s, and no matter where you place your finger, you’ll land close to a band who National Service have been likened to.

This isn’t a bad thing, it means that right from the start, you’re on sure ground and you’re disposed to liking 'Caving'.

Lead singer Fintan Campbell calls himself out, imploring the need to take it easier on himself. I’m not sure if anyone can relate to that sort of feeling right now, but if you can, it appears you’re not alone.

Also, the instrumental passage around the three-minute mark is one of those uplifting sparks of joy that elevate merely decent songs to a higher level. The vocals are gravelly and familiar, but it’s the hurtling sense of energy in the music that encourages you to return to the start time and time again.

'Caving' is out now.

By Andy Reilly

Back to Contents

JIGSAWTIGER SINGLE: BONES

Backing vocals of this nature haven’t been launched at us so unexpectedly since KT Tunstall jammed similar 'woo-hoos' into our ears on 'Black Horse & The Cherry Tree'. The difference being, Jigsawtiger welds them to a darker, more progressive backing.

It creates a song which is less commercial, but which is a lot more compelling.

In many ways, the vocals would be enough to carry a song or two, Jigsawtiger has a good range, and the delivery is spot on. As a performer and producer, she’s able to veer off in a darker, more unsettling and slightly trippy manner.

The way technology has helped new and emerging artists to debut in such a strong manner is impressive, but underneath it all, it’s the songs that matter. As a standalone track, 'Bones' is more than enough to whet your appetite for what should come next from this fresh Glasgow talent.

'Bones' is out now.

By Andy Reilly

NEIL YOUNG ALBUM: RETURN TO GREENDALE

Neil Young’s Performance Archives series has treated fans to such wonders as the legendary 1971 Massey Hall performance; this full concert of Young’s polarizing 2003 album Greendale, the 16th entry in the series, is something from the leftfield. This concept album about a family called the Greens is one of Young’s most bizarre efforts, and Return to Greendale catches an early performance. Revisiting this album in live form has been a strange one. Previously I enjoyed some tunes and others not so much, not a lot has changed on that front.

Young’s legendary backing band Crazy Horse were called in again, minus rhythm guitarist Frank ‘Poncho’ Sampedro, with Young’s guitar and vocals taking centre stage. While being technically an essentially basic electric guitar player, Young twists it creating a style all his own, much mimicked and never equaled.

Here he alternates blues sludge like ‘Double E’ and considered guitar solos on songs such as ‘Carmichael’ with his usual raw, ragged playing. Compared with the recorded album, here Young blasts on his harp with more intensity and lengthens the guitar solos – I welcome this.

The songs’ lyrical content and the concept album style are aspects of Greendale that have led to extensive discussions among fans and critics over the years. To me, some of it works and some of it doesn’t. Young’s post 90s output has been criticized for poor lyrics, and some of the content here makes me cringe. It’s not Back to Contents

just the lyrics, their delivery is often laboured and jarring. Opener’ Falling From Above’ contains the lyric ‘sing a song for depressed angels, falling from above’.

It’s not great on paper, and it sounds worse on record.

Where the original record and the live versions soar is when we are reminded of Young’s duality; from tender beauty to ragged glory in the blink of an eye.

Centrepiece ‘Bandit’, which is seemingly unconnected to the Greens narrative, has always been one of my favourites for its simplicity and emotional honesty.

It’s the album’s only solo acoustic performance and I wasn’t hugely convinced at first; it sounded a bit too ragged. But as the middle eight hit in with the beautiful refrain ‘someday you’ll find everything you’re looking for’ I was reminded of how Young can speak straight to the human heart, with no hint of pretension or show.

Album closer ‘Be the Rain’ is an urgent, euphoric rallying call that reveals the true themes of the album, namely the plight of the environment and harmony with nature. With an urgency and intensity bettering the original and a heartfelt delivery, the song’s message is even more important today.

I listened to the audio of this performance. I’ve not seen it but there will be a release of the filmed show on Blu Ray, so you can experience the Green families story as performed by actors onstage miming along to the songs. It’s sure to be surreal and enjoyable. For many superfans purchasing this one will be a must, and Young has many of them. For me the improved versions of the songs I already enjoyed make it a better listen than the original, and if you have love for Greendale it’s worth seeking out. If you’ve never heard it, and have love for Young, it’s time to dive in.

Return to Greendale was released 6th of November on Reprise Records.

By Martin Sandison

Email: review@snackmag.co.uk Page 153

BARRY CAN'T SWIM SINGLE: SOME DAY I WILL (FEAT. HAWI)

Originally from Edinburgh and now living in London, Barry Can’t Swim is a jazz-trained multi-instrumentalist. This background has undoubtedly aided and influenced his approach to music production; his housey stylings are akin to contemporaries such as Laurence Guy, Dan Shake and Folamour (actually, this would be a dream lineup).

Barry Can’t Swim has self-released three tracks previously and they’re of a quality you would expect from a veteran producer; his earlier release ‘Because I Wanted You to Know’ is a personal deep house favourite of mine. His latest is on new London imprint Part Four Records, who continue their Scottish love affair having just released ‘We Can’t Be Dreaming’ by Edinburgh duo LF System.

Barry Can’t Swim has also been lauded by none other than Elton John, on his Apple Music show Rocket Hour – yes, the Rocketman is a fan. Why wouldn't he be? He’s also had plays on BBC Radio 1 from both Pete Tong and new dance music champion Jaguar. For a relatively new artist, these are some impressive accolades in the ever-crowded arena of dance music.

Back to Contents

‘Some Day I Will’ is also a debut for Ethiopian singer Hawi, who sings in her native tongue about her homeland of Oromia. Artists such as Black Coffee and Black Motion have shone a spotlight on African house music, and these rhythms and influences can be heard in this uplifting piece of music: plush syncopated bass, dusky beats and a harp that’s played rhythmically like Zimbabwean marimba music. 70s-sounding keys with warm and bold tones then permeate, in a brief moment of calm before the infectious rhythm returns. Combine with Hawi’s positive tone and enchanting words, and you’re instantly transported to a sunnier place. And if you wanna dance around your living room – go for it.

‘Some Day I Will’ is out now on Part Four Records

By Donald Shields

Email: review@snackmag.co.uk Page 155

STUART COSGROVE BOOK: CASSIUS X

Stuart Cosgrove’s ‘Soul Trilogy’ (Detroit 67, Memphis 68, Harlem 69) offered an alternative history of the USA in the late 60s through the prism of the rise of soul music and the places, and people, who were central to it, and they introduced many readers to Cosgrove’s forensic investigative style of writing which manages the balance of educating and entertaining perfectly. His latest book, Cassius X: A Legend in the Making, does something similar by looking at the early days of Muhammad Ali as he worked his way through the ranks of heavyweight boxers towards his legendary first world title fight against Sonny Liston, an event which arguably marked the end of one era and the beginning of another in a similar manner to The Beatles appearance on The Ed Sullivan Show only weeks before. As Cassius / Ali begins to become famous, and infamous, to the wider American public, he also becomes interested and involved with the Black Power movement, the Nation of Islam, and particularly the equally charismatic Malcolm X. We learn how Cassius / Ali constructed the personality that the world would come to, mostly, love and admire, combining the showmanship of the performers with whom he was starting to mix (his friendship with Sam Cooke is a key one) and the fast-talking, boastful, DJs who play their music on local music stations.

Cassius X doesn’t quite have the authoritative authorial voice that is found in the ‘Soul Trilogy’. Although Cosgrove clearly has an interest in Muhammad Ali as a cultural icon, he seems less keen on the sport of boxing itself (for understandable Back to Contents

reasons) and you can’t shake the feeling that he is always looking for a way to return to writing about the music in which he is so immersed. However, that matters little as Cassius X is not simply a biography of the young Muhammad Ali, it puts those early years into a cultural context that shines a light not only on the man himself, but on the country which shaped him, and which he, in turn, changed for good.

Cassius X is out now published by Polygon

By Alistair Braidwood

Email: review@snackmag.co.uk Page 157

INDIE GAMING ITCH.IO

Indie gaming has changed a lot over the years, from web browser based flash games to Xbox Marketplace pusing titles like Super Meat-Boy, indie games have become arguably the most innovative area in gaming.

One of the best places to pick up these games, is on the website Itch.IO. Itch carries a huge range of video games, spanning from ultra DIY games to bigger indie titles, and even visual novels. And with this already massive range constantly growing, I’ve taken up the task of making it easier for you to dip a toe in the water!

High Stakes ‘Las Vegas 2024. Vampires have stolen your blood. Play the card game of your life and win it all back.’

This is the simple premise of this tense but fun gambling game. As you play the vampire’s game to try and win back your blood, the stakes get higher with each new foe you face.

High Stakes has an almost rogue-like quality to it; when you get a game-over, you have to restart the game. You begin the game with 20ml of your blood, and as you win your blood back from the vampires you start to fall into a rhythm . By the time you get to the second or third vampire though? A few wrong moves or a really bad round could scupper you, as you don’t know where the vampire will be in this game of chance. And when you’re empty, you’re out, exsanguinated and back to the start of the game.

Back to Contents

With only light exposition giving the player some idea of the setting, the gameplay becomes the sole focus for the player. It’s a solid card game with each card you flip bringing your closer to winning the round or losing it. On the occasions when your choice comes down to just two cards it’s a white knuckle click trying to decide which one you’re going to pick. After a few rounds, and figuring out how to play the game, you will definitely find a hard time putting it down.

High Stakes is free to play in your browser, both on computers and on phones.

It’s free though there is an option to support the game by donating. krystman.itch.io/high-stakes

Fishy 3D Sokpop collective, a dutch dev team, have been producing small games at a breakneck pace, releasing a new game every two weeks (2 GPW, if you will) – one of their most recent games is Fishy 3D. It's a cute puzzle game, in which you play as a little fishy who has to grow, shrink, and eat it’s way through a polluted waterway. Looking like an aquatic Untitled Goose Game, Fishy3D is filled Email: review@snackmag.co.uk Page 159

with mechanically minded puzzles and little secrets – these secrets massively increase replayability and speed running value.

This game is super polished, seeming like a concept that could easily be expanded into a longer title expanding on its purposeful, systemic gameplay, which sees objects in the world interact and clash – again, think Untitled Goose Game, or Grow Home. Fishy3D definitely uses the ideas in those games as a jumping off point. While traversal, and the occasionally muddy objectives can take away from the experience, the sheer joy of discovering and experimenting is hugely rewarding.

With complex puzzles which can really stump you if you're not in the mind of a fish, this game is a fun way to pass an hour or two, and for only $3 it’s an absolute steal. If you dig it, there's a steady stream of excellent content coming from SokPop, you can peep their back catalogue on Itch.IO or on their website — if you like what you see you can also support the team via their Patreon. sokpop.itch.io/fishy-3d HOPE HOPE, an Australian game, made in collaboration between developer Cecile Richard and punk band Cable Ties is about as indie as you can get. It features an ultra punchy narrative about moving out, anxiety, and working together to make things better. It only takes between 10 and 15 minutes to play the game from start to finish; that it packs a tiny wonderfully tangible world into such a short amount of time is really fantastic.

Quick heads up: an advance trigger warning should be noted for HOPE as there are depictions of anxiety attacks in the game. The game actually does point out that if you are struggling with any themes related to the game, it may be an idea to come back later – a consideration that is nice to see.

Back to Contents

The way HOPE communicates the challenges of anxiety is particularly well executed, pushing the chaos and claustrophobia of a panic attack and doing so without any real graphical fidelity and almost entirely through its sound design.

The music, story and gameplay work together beautifully. The game’s music is a song of the same name by the band Cable Ties. It’s layered throughout, turning a three minute song into the soundtrack for the 15 minute game.

Hope is playable for free in your browser, but you are able to support the developer if you would like to. This is definitely one to check out for fans of games like Firewatch or Gone Home. While HOPE is much shorter than either of these games, the punchiness and messaging are just as striking. haraiva.itch.io/hope

By Dominic Cassidy

Email: review@snackmag.co.uk Page 161

YOU CAN

FOLLOW

US @snackmag

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