SNACK Magazine: January 2022 – Issue 35

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GOODNIGHT LOUISA KATHRYN JOSEPH TIM BLANCHARD & MORE

THEON CROSS MUSIC | FILM | FOOD & DRINK | LGBT+ | BOOKS | COMEDY | THEATRE | VISUAL ART | WORDS

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CONTENTS WHAT'S ON

P8

Celtic Connections – Paisley Book Festival – The Typewriter Revolution Exiles – Burns Big Night In – Our Climate Journey – Pardes – Prism

INTERVIEWS

P18

Theon Cross – Goodnight Louisa – Kathryn Joseph Tim Blanchard – Paisley Book Festival

FOOD & DRINK P42 Food & Drink News – Burns Night

LGBT+ P56 The (Not) Gay Movie Club

REVIEW P64 Brecon – Polly – Slim Wrist – Gossiper – St. Dukes Dahlia – Isik Kural – racecar – Rhona Macfarlane Andrew Greig – Honorée Fanonne Jeffers Prodigal Son / Warriors Two

CREDITS Editor: Kenny Lavelle Sub Editor: Leona Skene Food and Drink Editors: Emma Mykytyn and Mark Murphy LGBT+ Editor: Jonny Stone What's On: Natalie Jayne Clarke Design: Julia Szekeres Sales: Philip Campbell Cover photo credit: Gearbox To advertise in SNACK hello@snackpublishing.com 0141 632 4641

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Happy New Year! And welcome to issue 35 of SNACK, With the ongoing pandemic rollercoaster still rattling along its indeterminate track, in late December we reluctantly came to the conclusion that stubbornly battering on with our plans for a print edition of this month’s magazine was no longer an option. So, we’re back to digital-only, for the moment. We’re fully committed to glorious paper and ink and we’ll be back to our physical format as soon as it’s prudent/safe to do so – we’re hoping for February. Apologies to all of our print magazine subscribers, we’ll be adding two months to the end of your subscription period to make it up to you.

This month’s magazine does have references to events that have been cancelled or postponed due to the current surge in the pandemic. My best advice is to always check with the event organiser before you leave the house.

Moving on, this month’s mag has lots to keep you occupied and we lead with a cracker of an interview with Sons of Kemet’s Theon Cross. He talks about his boundary pushing plan to utilize the tuba as a sonic universe within itself, the fundamental importance of bass, the influence of Jamaican Sound System culture, and his place in an imaginary UK jazz Wu-Tang. He’s set to play Glasgow’s Nice ‘n’ Sleazy on 28th January. If it’s still on, we’ll definitely be there.

As for the rest of this month’s magazine. I’m sure you’ll find your way around.

Stay safe and we’ll see you in February.

Kenny Lavelle Editor

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WHAT'S ON Back to Contents

CELTIC CONNECTIONS Various locations, 20th January till 6th February Poetry, music, and the beauty of theatrics, all in one gift of a festival and spanning many splendid locations. If you like some funky cello bass and very tall hats, check out Ukrainian quartet DakhaBrakha’s serving of self-dubbed ‘ethno-chaos’. Performing at the same event are Project Smok. Be hypnotised by Ali Levack’s centre stage whistling and piping, underscored by Pablo Lafuente’s spirited guitar, and Ewan Baird’s brisk beats on the bodhran. Shetlandic talent is on show at the ‘Shetland 550: Norn Voices’ event. Expect fiddles and accordions aplenty, from frenetic to flowing. Experience the artful blending of the humorous and melancholy in Cat Hepburn and Clara Mann’s spoken word event, with poetry from Leyla Josephine and Ross Wilcock too. There are over 300 events for you to get stuck into. celticconnections.com

DakhaBrakha What’s on Page 11

PAISLEY BOOK FESTIVAL

Victoria McNulty Back to Contents

NOVA SCOTIA THE TRUTH

Image credit: Kat Gollock

Various locations, 17th till 26th February The festival, now in its third year, has announced its programme, and it’s as expansive as ever with its interpretation of what constitutes a book event. There are workshops galore, from Dr Tawnya Renelle’s exploration of memoir writing, to Sandra Ireland’s Inspiration Through Folklore, to Leela Soma’s workshop utilising Indian classical dance as inspiration. Plenty of poetry pervades this festival too: showcases from Scotland’s Makar Kathleen Jamie, The Scribbler’s Union, and a celebration of Makila Booker’s Poetry Kitchen, and much more besides. The hands of the two guest curators weave throughout the programme.

Harry Josephine Giles’s hand directs poetry events exploring language and islands. Mara Menzies brings together events about ‘the joy and power of storytelling’. Spoken word artist Victoria McNulty is 2022’s writer-in-residence – she will be working with the festival and local communities to reach the limbs of the festival even further outwards. paisleybookfest.com

THE TYPEWRITER REVOLUTION

Image credit: National Museum of Scotland

National Museum of Scotland, 24th July 2021 till 17th April 2022 Anyone with a bit of a typewriter fetish should check this exhibition of typewriters out. Curated by Alison Taubman, the collection journeys through the last 150 years, showcasing upheavals of war, class, and gender through this nifty invention. The typewriter itself typifies the struggle for women to enter the business world. Whilst you are in Edinburgh, take a visit to Typewronger at 4a Haddington place. They are primarily a bookseller (Scotland’s smallest), but they also buy, sell, and repair typewriters and have a typewriter that is free to use. nms.ac.uk/exhibitions-events/exhibitions/national-museum-ofscotland/typewriter-revolution

What’s on Page 13

EXILES Websters Theatre, 4th February A breath-taking combination of spoken word and film, conveying love, war, community, religion, and the way Glasgow seeps into and bursts open the past, present, and future. This is written and performed by Victoria McNulty, the 2021 Winner of Scots Writer o The Year. What’s played out on screen is Victoria’s mesmerising shift between poet, proselytiser, activist, and actor, alongside shots of Glasgow and the lovers at the centre of the story, acted out in scenes across the city. This is the first in-person screening, and will be followed by discussion with Victoria McNulty and director Kevin P. Gilday. webstersglasgow.com/whats-on/event/exiles

BURNS BIG NIGHT IN Online, 22nd January DJ and presenter Edith Bowman hosts the National Trust for Scotland’s Burns Big Night In from Burns Cottage in Ayrshire. This celebration of Robert Burns and Scottish culture spans music, poetry, and whisky. Whisky distillers Glenlivet are hosting a cocktail masterclass. A ‘Box of Braw’, which has drinks and snacks for two to complement the evening’s events, can be purchased as well. Plus, there’ll be live music from Siobhan Miller and plenty of recitals and reverence for Rabbie himself. burnsbignightin.org

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‘SCOTLAND: OUR CLIMATE JOURNEY’ Online, 24th January Directed by Ted Simpson and produced by Finbar O’Sullivan, this documentary highlights the vastness of the progress in Scotland’s action in climate change, spanning industries and communities large and small. It features narrations from those in industries, activists, and community organisers. The screening is one hour long and is followed by a Q&A with the director and producer. scotlandsclimatejourney.co.uk

CEILIDH CRAIC & CULTURE CLUB Online, 27th January Every month features a one-hour set from a different Scottish dance band, plus an ‘interval floor spot’ from a duo in the Scottish traditional music scene, with interviews and chats with the musicians and presenter Gary Innes. Once the live concert is purchased, it can be kept and rewatched an unlimited number of times afterwards as well. January’s show features Tom Orr & His Scottish Dance Band, and Kathleen MacInnes & Mike Vass. ceilidh.tv What’s on Page 15

PARDES The Fruitmarket, 27th November 2021 till 18th April 2022 This installation by artist Jyll Bradley is the first installation in the Fruitmarket’s new Warehouse. The focus is on fruit. It pulls its shapes and themes from ideas of growth and the physical structures of Scottish fruit growers. It is lit from within, providing a life-giving lumination of warm green to suffuse the darkest parts of the year. A place, a moment, to reflect and wonder. fruitmarket.co.uk

PRISM Online, 2nd till 5th February Written by Scottish playwright Claire Wood, ‘prism’ is an online and interactive theatre show put on by theatre company Production Lines. This show follows the story of a young child, Storm, who is buffeted in the middle of an adult dispute – each adult will put their cases to a children’s panel as to which school she should attend. You, the audience, will act as the panel and decide the fate of Storm and the version of the story that you wish to see played out. citizenticket.co.uk/events/production-lines/prism Back to Contents

BONES Wasps South Block Gallery, Glasgow 7th December 2021 till 8th February, Monday-Friday The artist, Harriet Selka, made medical history in 1995 when she was the first child to have her ovarian tissue frozen. She had a kidney tumour, and this was done before her radiation therapy began. This exhibition displays rediscovered newspaper cuttings, photographs, and diaries from that time period, delving into ideas of ‘fertility, hope, uncertainty and gender’. harrietselka.com

What’s on Page 17

INTERVIEWS

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THEON CROSS GOODNIGHT LOUISA KATHRYN JOSEPH TIM BLANCHARD PAISLEY BOOK FEST

THEON CROSS Photo credit: Gearbox

With nearly a decade at the forefront of UK jazz, tuba player Theon Cross (Sons of Kemet) has gone from strength to strength, collaborating with the likes of Jon Batiste and Emeli Sandé. SNACK spoke with him about his third album and upcoming Glasgow gigs.

First off, congratulations on Intra-I – it’s an album we were all really excited for. Can you talk me through what your thoughts were going into making this album?

Thank you. The intention of this album was to go into a completely different sonic space from my previous works and utilize the tuba as a sonic universe within itself, where it acts as all parts, to the point that listeners question what sounds they are hearing and what’s generating them. The goal was certainly to subvert expectations and push the boundaries of my artistry. The title Intra-I means ‘within self’, and the aim of the album is to exemplify what it means to go into self across the ten tracks. For me, it was a means to cover topics that were important in my journey of selfdiscovery, such as understanding my roots and acknowledging the journeys of those who have come before me.

Image credit: Gearbox

It was also important for me to include lessons that have helped me gain a better state of mental wellbeing, such as having trust in my personal journey and treating every day as a blank canvas for growth.

You’ve said before that you want to return the tuba to its rightful place: what is it about the instrument that makes it so essential?

I think that bass as a frequency and role is a fundamental element of music. For me, the tuba is an incredibly unique bass instrument that’s not only effective at being the sonic ground in music, but also has the natural presence of breath that gives an extra sense of humanity to whatever music it's involved in. I also think that in modern music, the sound of synth bass that’s often used has a wide-rounded sound, very similar to the tuba. I think that the tuba has a timbre that fits right into the space that is utilised for bass in a lot of current styles of music.

Music by Chris Queen Page 21

You mentioned that you’d been reading Lloyd Bradley’s Sounds Like London - do you think the spread of global styles on Intra-I come from something unique to London?

It feels like a very personal album, and your father’s influence in particular is prominent. Your grandparents also make an appearance - how did their journey impact upon the music?

Definitely. I think reading that book gave me a broader understanding of all of the musical genres and scenes that have led up to where the sound of black music in London is today. I think what is interesting about the jazz scene in London currently is that many of the artists within the community reference styles which are descendants of Jamaican Sound System culture, and are now unique to London, such as jungle, garage, grime etc. My intention for Intra-I was to reference many of the genres that are prevalent in my own musical DNA as a born and raised Londoner, and to use the tuba as a metaphorical paintbrush to paint the sounds that have influenced me.

Intra-I for me is all about the journey into self, and for me part of that journey is questioning where I come from, which naturally led to me acknowledging the journey of my parents and grandparents.

My grandmother would sometimes mention that when being invited to work in the UK she was told that the jobs she would have would be enough for her to be able to move back to Saint Lucia and build a home within five years. This was untrue, and she and my grandfather ended up staying in the UK for 40 years, before building their house and moving back home in 2000. That story made me think that if they and their generation had only stayed for the short period they intended, the cultural landscape of Britain would be completely different. The song '40tude' is about commending that generation, for the fortitude of coming here to a hostile environment and paving the way for my generation to have the opportunities that we have.

Back to Contents

Image credit: Gearbox

There’s a righteous anger at the heart of a lot of your music – and justifiably so. What is music’s place in the revolution?

I think music’s place in general is to be the sonic embodiment of a state of mind, whether that be political, ceremonial or emotional. I would hope that my music acts as a vessel for people to gain inner peace and mental wellbeing.

‘Play To Win’ references 2-step and UK garage. Is that a nostalgia thing for you?

‘Play to Win’ is actually more of a nod to the type of early grime instrumentals from the 2000s that I used to hear when I was at secondary school. Grime as a sound feels like an integral part of my upbringing, growing up in London, and it felt right to have that influence represented on this album.

You’ve always been a collaborator, and this is the first time you’ve worked with vocalists on your own work – was there something about this album which made that important?

As the themes on this album were about introspection, it was important to have words attached that amplified the sentiments I was trying to express. Working with Remi, Shumba, Ahnanse, Zu and Consensus really helped solidify the messages, especially as they are all so gifted lyrically.

Music by Chris Queen Page 23

Almost every note on the album is played on the tuba.

How is that working out, live?

The interesting thing about creating this record is that it forced me to develop a new way of performing and to learn new technological ways to be able to perform the songs. It became a fun challenge I was working on during the lockdown of 2020.

At the moment I have two types of shows. A solo Intra-I set where I recreate most of the album tracks with just me, pedals and a loop station, and a band setup where I perform with my usual quartet, but will also work in some solo moments into the set as well.

You’re involved with the community space in Lewisham Music. Is the sense of music as something that’s passed down from person to person an important aspect of how it develops?

Definitely. I see myself as a product of many great youth music programmes such as the Kinetika Bloco, Tomorrow’s Warriors and the Lewisham Music programme. I think that giving back by offering help and advice to up-and-coming musicians is a big part of maintaining a healthy ecosystem of musicianship. As the saying goes: ‘Each one must teach one.’

There’s a real theme of progression running through the work. Where do you think your music is heading next?

I think the process of creating music that’s more studio-produced and technologically moulded, as opposed to recording a band live and editing after, is a process I’ve really enjoyed, and is a way of working that I’m likely going to repeat for the next project.

This project was about utilising multiple sounds that I could get from one instrument, so I think the natural progression will be to use a wider range of instruments for the next. But we’ll see.

Back to Contents

Image credit: Gearbox

Congratulations on winning the MOBO - UK jazz feels like it’s in a really healthy place right now. Are there any artists you’re really excited about at the moment?

Thank you! At the moment I’m really into BackRoad Gee’s music, I think the amount of influences and styles he’s able to utilise effectively is really impressive. And the energy in his music is insane and infectious.

Steam Down, Sons Of Kemet, Ezra Collective – there’s a lot of crossover and community in the UK scene right now, and you’re at the heart of a lot of it. If there’s a UK jazz Wu-Tang, are you the GZA? I would like to think that I’m Method Man, but I’ll happily take the GZA!

theoncross.com

Music by Andrew Reilly Page 25

Photo credit: Jordan Hemingway

Theon Cross plays Nice ‘n’ Sleazy, Glasgow on Friday 28th January Intra-I is out now

GOODNIGHT LOUISA When a chat starts with someone describing their day programming a drum machine as ‘trying to drive a spaceship’, you know you’re in for an intriguing conversation. Goodnight Louisa’s brand of dark 80s-vibing dream pop was one of the most refreshing things to come out of 2021, and with her soaring debut album Human Danger due soon, SNACK caught up with her to discuss that new album. But what we did was open a few doors and potentially let a few ghouls in at the same time...

Image credit: Craig McIntosh

You touch on a lot of subject matters on the record. Was this intentional?

I wrote these songs as a bit of, like, a fuck you to a lot of the shit that's been happening with women. The whole concept of the album was to point out the different factors of human danger.

A lot are perspective songs, trying to put yourself in someone else’s shoes. Some came from when I was in Iceland, as well; they have a particular creepy, haunting vibe.

Your residency in Iceland sounded quite an intense experience...

It was such a beautiful experience, but the only thing you could do was work and that drove me crazy quite quickly.

There was just a creepy vibe about where we were staying; everything was open and windy. I'm superstitious, I'm convinced I'm haunted. Everywhere I go I’ve convinced myself someone is following me.

Do you have any stories of these personal hauntings?

I was walking to work and there was no one else around. It was pitch dark and I turned a corner and a woman was coming at me, but her eyes were yellow, with no pupils. I thought I was going to have to fight her. I was so scared. Then I felt like she just walked through me. I turned to see if she was still there and she'd gone. I still don't understand what happened. I don't know if she was a ghost or she was just off her nut.

Music by Iain Dawson Page 27

The track ‘Diana’ is intriguing.

Were you aiming to write a song about her?

My work had this unrelated flower display around the 20th anniversary of Diana’s death, but people were coming up and laying flowers because they thought it was a memorial. I was watching, fascinated, and I ended up having a dream about it. One of the lyrics ‘you've got to save the world, even if it kills you’, was something I remember dreaming about her saying to me.

What do you think that that dream means?

Not trying to compare myself to Diana, obviously. I always wanted to try and make a difference. It's always something I've aimed to do with music. I've always wanted to just try and feel like I could level with people. Being kind was generally the sort of consensus for the whole song; it’s such an underrated trait and easily squashed by other people's arrogance.

The song ‘Judith’ represents some kind of spooky figure that you felt was around you throughout your life. Can you elaborate on that?

I've always been really superstitious with ghosts and a bit afraid of what's out there in the dark. Ever since I was a kid I've always had this dream about the same woman. She's shapeshifted and grown, but she's still there. When I was in Iceland I had convinced myself that she was sitting outside in a rocking chair. I was like, I'm gonna write about that because that's creepy. And it kind of was helping me get over it. I feel like writing that song was a really therapeutic experience.

Image credit: Craig McIntosh

Some tracks feel like they are about particularly bad experiences that have happened to you or someone close to you. Is that the case?

A lot of it is very personal, but it’s happened to every single person I know. The title track was about having a really bad experience, then imagining myself as this sort of superhero saving people from these experiences. ‘Get Your Hands Off My Girlfriend’ originated from a guy trying to strangle me because I wouldn't speak to him. That sort of thing happened loads of times; I'd go out with a partner and someone would say something or force you into doing something. It was a really vulgar side of people that maybe you don't see if you're not a woman in another relationship with a woman. It makes you feel really inadequate. I've not had a lot of abuse for being gay, but I’ve just been over-sexualized in that respect. That was something that never got talked about, that I've always been quite passionately willing to rant about for hours.

Human Danger will be released 21st January

Music by Iain Dawson Page 29

Image credit: Chris Scott

KATHRYN JOSEPH & TINDERBOX COLLECTIVE

Ever-so-creepy yet eminently personable singersongwriter, Kathryn Joseph, has teamed up with 30 musicians from Tinderbox Collective to offer rich and vibrant new orchestral versions of work from across her discography, which includes tracks such as ‘Weight’.

This EP marks the coming together of two very different musical spheres within the Scottish music scene, and is out on 29th January, alongside a Celtic Connections concert.

What can we look forward to from The Blood, The Weight, The Weary?

So basically, the Tinderbox is making them better. It’s as simple as that.

Making them beautiful.

I’ve played with some of the orchestra before, but I’ve never played with the full orchestra, and just to be working with them and have that amount of noise, and for my music to suddenly sound like music or written down as music is just amazing for me. And they are all just the most beautifullest humans, and they are genius musicians.

Listening to ‘Weight’ earlier today, with that fleshed out percussion and those gorgeous strings, I felt they added a very different sound and changed the overall vibe. How do you personally feel about this version?

Yeah, I love it. When it first got sent to me the noise wasn’t on it properly, so it was quite weird. But to not even be in control of the piano part anymore, for it not to be on it, I was originally a bit frightened of it. But now I am just like, oh my, I love it so much, maybe I should do it all like this. Sam Irvine, who arranged it, is one of those beautiful humans. I know his mum as well, who played in an orchestra too (and is also a perfect people genius human). It’s a total privilege to have my songs changed by them, but just made into these other creatures that I love more.

Music by Keira Brown Page 31

You’ve worked with the Tinderbox Collective before – it’s not your first time working with these young musicians. What is it about what they do that makes you enjoy that collaborative work?

I just think their joy in it; they just absolutely love playing. They are all separately brilliant, but it’s so beautiful to see people loving what they are part of, and that’s really important, that they are showing that when they are playing –they are looking at each other and their reactions to one another.

When you hear them all play individually, you think it’s the best thing you’ve ever heard, and Jack [Nissan, Tinderbox musical director] just has this way of bringing all of them together. And the fact that they are doing other things for young people, you know, going into schools and running workshops, all of that is just so, so important. All of the things I wish I was a good enough person to do, they’re doing it. So I am clutching to that as much as I can.

And we can expect some live performances around this EP? Yes, I hope so. Definitely the Celtic Connections gig, which is the same time as when it’s being released. We have nothing else planned at the moment, but I hope to. I love it; the last one we did was in Leith Theatre and it was absolutely gorgeous. It felt amazing, looked amazing. I just feel so lucky to be part of this, and I want to do as much as I’m allowed to.

The Blood, The Weight, The Weary is out on 29th January 2022, with a Celtic Connections performance that evening

Image credit: OC

celticconnections.com

Music by Keira Brown Page 33

TIM BLANCHARD

Although Tim Blanchard’s Like Magic In The Streets ostensibly focuses on five critically acclaimed early-80s albums, it’s about so much more than just music. SNACK spoke to Blanchard to discuss all aspects of this fascinating book.

Like Magic In The Streets looks at five much-loved bands and albums. How, and why, did you pick them?

After ditching my vinyl in the early 90s I was starting to build a collection again. The LPs I found I most wanted back were things like [Aztec Camera's] High Land, Hard Rain. Why? Such an odd album in the context of 1983 and synth-driven pop.

Listening again to Orange Juice and the Blue Nile it struck me that something special was going on around that time, when there was so much 'one-off' music. Romantic outsider music that we still cling to.

I was sceptical, to begin with, about writing a book, and it all took time to come together. It just felt like plain nostalgia for the music I’d grown up with. That was until I started to read more and talk to some of the band members. They shared that same feeling of excitement about the early 80s as an unrepeatable moment in time, that period of transition between an old and new world, politically, socially, and culturally.

The five I ended up with, I think, share the most connections when it comes to people, producers and essential spirit.

Books by Alistair Braidwood Page 35

In the introduction you suggest that the book is about '[...] a short-lived and failed romance, a defeat [...]'. Can you explain what you mean?

Indie labels like Postcard and Rough Trade believed they could change the nature of what pop music was.

They could stand up to the stiffs of big business and make music that wasn’t ruled by a fixed commercial formula, that could be meaningful and political and yet still popular. There was a sincerity and an innocence about this that now looks incredibly naive. But for many of us these bands did offer a glimmer of hope that there might be an alternative to meaningless, disposable chart pop and old school rock.

From 1984 onwards the music industry just co-opted ‘indie’ bands for themselves, and opportunities and tastes just narrowed. By talking about a ‘failed romance’ I was also making a nod to the bands’ sympathies with 18th century Romanticism, in their counter-cultural rebellion, interest in the importance of place, and all-round bookishness. How they’d overdosed on Keats.

You mention other influences on these bands aside from music –the writers of the Beat Generation, existential philosophy, UK cinema of the 60s. How important do you think a sense of their own aesthetic was to who they were?

It’s all an act of rebellion against the forces of an ever-stronger, slicker 80s consumer culture: whether that’s Morrissey looking miserable and sticking his fingers up at the grinning bourgeoisie, Edwyn Collins out on Sauchiehall Street wearing a Davy Crockett hat, or Paul Buchanan railing against careerism.

I got the sense that if any of the musicians you write about had the potential to be a superstar (perhaps Morrissey aside) it was Roddy Frame. How do you view his career?

The standard view is that Roddy Frame never managed to live up to the promise of High Land, Hard Rain, turning his back on indie guitar music.

I think he would have made a great 70s superstar singer/songwriter — but in his own age he was too much of a muso, too honest, too much of a romantic who didn’t bother trying to be cool. As the Ramones said after seeing a Love tour gig in the US, he very obviously didn't give a fuck.

The Blue Nile have arguably become the most loved band of all of your chosen five, at least in their own country, with Hats and A Walk Across The Rooftops being at or near the top of many 'Best Scottish Albums of All Time' lists. Why do you think love for that band and their music has endured and even grown?

Maybe because they really were such one-off wonders – the albums and the band themselves. There’ll never be another Blue Nile, with their lack of interest in being pop stars, and how they worked so hard at not producing conventional pop tunes. It could also be that the music taps into an everyday kind of poetry that everyone can relate to — if not necessarily acknowledge or feel able to talk about. The Blue Nile were obsessed with moments of heightened experience and how they could be expressed in music. Lots of people can write songs to get people up and dancing, but not everyone can make them feel like the view from their window across the rooftops could be something magical.

Books by Alistair Braidwood Page 37

Paisley Book Festival is a relatively young event that is rooted in radical concepts. This year, it takes a slightly different form, as it takes part in Scotland’s Year of Stories and reflects on the histories that reside in Scottish culture. Optimistically, they are planning a hybrid festival, taking place online and across various venues across the town from 17th till 26th February 2022. Assisting with the programme are guest curators and writers Harry Josephine Giles and Mara Menzies, both with very different lenses on the concept of stories. SNACK caught up with them to find out more about the process and their events.

What can we expect from both of your strands?

HJG: I've curated a strand that is about language, and Scotland. And that's partly drawing on my own work, and Scots, and the Orkney language - the Orkney variant of Scots. I’m also trying to broaden the conversation and the poetics of language beyond national languages, and I’m also considering the role of translation in poetry. And so, it's a series of three dialogues between poets working in languages, against English, through English, around English in different ways.

MM: Mine was from the perspective of storytelling, because that's primarily what I do; performance storytelling.

What is it about the festival that encouraged you both to agree to be involved on this basis?

Mara Menzies

MM: Jess (the programmer) is very persuasive and very passionate, and she's just this force of nature, you know, she's this bubble of energy.

And it's natural to want to be part of that. I think when you see what Paisley Book Festival stands for, and the values that it incorporates, it's really exciting. So, there was something just really magnetic about being part of that, especially in the early stages as well. Jess was the biggest draw.

HJG: They just came to me with a suggestion that I do something around language and a really open brief on how and what I programme. That's a gift. It's just giving somebody a space and a small budget and saying: what do you want to see happen? And this is what I wanted to see happen. I'm excited about these conversations.

And I think there's something about having these conversations that can be valuable for literary culture.

Books by Keira Brown Page 39

‘Stories Mak Us’ is the theme.

How did you interpret this theme for your events?

MM: Because of my work, and because I work with live audiences mainly…the thing about storytelling is that the audience takes centre stage.

The story might change, the words might change, the way you tell the story might change, because you don't know who is going to be in front of you. So, it's basically a relationship between people and whoever is telling the story. And it's always that kind of dynamic. And so this thing about ‘Stories Mak Us’ – it's not just that we suddenly come up with stories on our own, you know, we are the people that we have come from, we are the people that we surround ourselves with, we are the places that we exist, we are the societies that we choose to belong to, the groups of people that we choose to make our families, friendship groups.

So all of these things, they're so intangible. They connect us on so many different levels. And sometimes people forget that. So, I think for me, it was just this whole idea of bringing supposedly different people together and having them explore the importance of these stories and the need to share these stories.

And then that way, we're getting quite a wide perspective of how stories connect us. It’s all about connection and building bridges.

HJG: I'm very interested in the particular words that we use, the grammars, the phrasing, that accents, the choices of language, the choices of code switching. That the language that we choose, you know, depends on who we're speaking to – that we all of us use different languages at home, and the shops and office, when we're on the phone to the government – we choose which languages we speak whether or not we're, by definition, multilingual. So, I like getting into the mess of that, and I suppose turning people's attention towards the complexity of that.

And then, occasionally throwing a spanner in the works of language is always fun.

Harry Josephine Giles

Choosing writers and participants to include within your strands: I mean, it's a lovely thing to do, but it must be an incredibly difficult process. How did you go about making those choices?

HJG: I find it fairly easy. I just think about who I want to have a chat to, and then I think about writers I know and people whose books are on my shelves. And then they all said yes.

And that was very nice. I find that a delightful process.

MM: Oh, mine was the opposite.

There are so many people that you admire, you know. Like Josie’s saying, there's so many amazing people out there. So I had my wish list and put it together. But half of them couldn't do it. So, it was restructuring everything, and then trying to get new people on board. There's just something so lovely about having the freedom to be able to come up with anything.

So it was really lovely to have that possibility, and to have those who kind of said yes immediately, amazing.

Which events that aren't part of your strands are you personally excited by and looking forward to attending yourself, as part of Paisley?

MM: I worked with Raymond Antrobus down in London; I was doing an event with him and he was just brilliant. I'm really looking forward to an event with him that's on. And I think also just his exploration, because of his work with the deaf community as well, there's just something really beautiful and physically poetic about that. So, I think because I'm really interested in not only the language, but the performance of language, as well, I think that he's going to be somebody really exciting. And his poetry is just amazing.

HJG: That's one of mine, Mara, that's one of my events. We started in spoken word at the same time. So I'm really glad that Raymond could come up and do it. Yeah, I'm going to have to see if I can get back to Paisley for Mara’s weekend, because we're on different weekends. And I really like going to storytelling events, because it's a discipline I don't do myself. It's really nice, like going through an art form that is close to mine.

Books by Keira Brown Page 41

FOOD &

DRINK

FOODIE NEWS Back to Contents

MCINTOSH PUDDINGS

McIntosh of Strathmore, better known for their macaroni cheese or haggis, neeps and tatties ready meals, have now moved into sweeter territory by launching three flavours of Scottish-themed steamed puddings: Sticky Tablet, a sticky toffee pudding made using Mrs Tilly’s tablet; Dundee Marmalade, a chocolate sponge pudding made with Mackays vintage Dundee orange marmalade; and Scottish Raspberry, also made with raspberry preserve from Mackays. Each pack comes with two puddings that can be microwaved in little in over a minute. Available in the chilled section of Tesco stores around Scotland (RRP £2.25). mcintoshfoods.com

McIntosh Scottish Raspberry

McIntosh Sticky Tablet

Food and Drink by Mark & Emma, Foodie Explorers Page 45

SMOKEHEAD PRE-MIXED COCKTAILS

Nowadays it’s common to see craft beer and pre-mixed cocktails available in cans, but Smokehead Islay Single Malt Whisky is the first to release ready-todrink single malt cocktails in cans, (6% ABV / 330ml RRP £2.50), which is bound to split opinion in the whisky world. Being an Islay whisky - and as the name implies - Smokehead is a heavily smoky whisky, so perhaps not everyone’s first choice for a cocktail, making these even more unusual. There are two flavours: Smokehead mixed with Cola and Smokehead mixed with Ginger + Lime. smokehead.com

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0% ALCOHOL POUCHES

Spirits of Virtue are a non-alcoholic spirits company from Clydebank, who specialise in alcohol-free drinks that are normally only available in 700ml bottles and 250ml cans. Released in time for Dry January, they have produced a pack of five 50ml single serve pouches, so you can sample a range of different flavours from their brands. These include whisky, vodka, gin, and whisky alternatives. Each pack/pouch uses sustainable packaging, and comes with mixer and cocktail suggestions. The drinks are also vegan and halal accredited, with low or no sugar (£9.99). sovirtue.com

Food and Drink by Mark & Emma, Foodie Explorers Page 47

UHURU RUM

Uhuru, meaning ‘freedom’ in Swahili, is the name given to a new rum and whisky project by spirits and bottling company Young Spirits, who were established in 2019 and released a blended malt whisky last year. Co-founder John Ferguson spent many summers growing up in Kenya, where he developed a love for Africa and its endangered species. This has led to a partnership with the conservation charity Tusk. There are even fewer black rhinos than elephants left in the world, and so 10% of proceeds from their new XO Caribbean golden rum will go towards protecting black rhinos in Namibia. As there are only 5,600 black rhinos left in the wild, only 5,600 bottles of the rum have been released (44% ABV / 70cl RRP £36.99). uhuruspirits.co.uk

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Food and Drink by Mark & Emma, Foodie Explorers Page 49

BURNS NIGHT

Tuesday 25th January marks the birthday of Scotland’s most beloved poet, Robert Burns. With pandemic restrictions possibly pending again, sigh, here’s how you can celebrate Burns Night at home. Whether you like your haggis au natural, vegetarian, or vegan, we have put together a meal fit for a modern bard. So gather your closest friends, or fire up Zoom for a virtual gathering, select your whisky, and then celebrate Robert Burns as he surely would have liked: with a party.

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HAGGIS Everyone can enjoy haggis: Macsween makes an award-winning vegetarian haggis that is actually vegan as well.

For those going the traditional route visit your local butcher, or failing that, Macsween can be counted on again.

NEEPS Did you know that what we call turnips in Scotland are actually swedes?! The easy way to know the difference is that swedes are yellow-brown while turnips are typically white-purple. Whether you like turnips or swedes with your haggis, add cream, butter or vegan alternatives to give them a dash of luxury.

TATTIES Traditionally, mashed potatoes are served with haggis and neeps. Make them as smooth and as creamy as you can to offset the haggis spices.

Food and Drink by Mark & Emma, Foodie Explorers Page 51

WHISKY Well, you can’t celebrate the man without a dram, can you? The good news is that just about all whiskies are vegan, but if you want a whisky liqueur remember to check for any honey or cream. We don’t like rules at Foodie Explorers, so pick a whisky you would like to go along with your meal, add water, ice, or even make a cocktail with it!

There are five main whisky regions in Scotland - Lowland, Speyside, Highland, Campbelltown, and Islay, with each having different key characteristics. Here is a very simplified breakdown.

LOWLAND Lowland whiskies are generally the lightest, with gentle spice, sweetness, and even creaminess. One of the very few city distilleries, The Clydeside Distillery in Glasgow, released their first whisky, ‘Stobcross’ last year.

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SPEYSIDE Speyside are the most popular, with fruitier and spicier flavours, examples include BenRiach, Speyburn and Glen Moray who produce a range of smooth affordable bottlings in addition to more unusual cask finishes like barolo wine and manzanilla sherry.

HIGHLAND Highland whiskies cover the whole gamut, from light to fruity to slightly peated. Choose from Scotland’s smallest distillery, Edradour, to the famous Glenmorangie, who recently released ‘X’, a single malt that is designed to be mixed.

Food and Drink by Mark & Emma, Foodie Explorers Page 53

CAMPBELTOWN Campbeltown whiskies are from the Mull of Kintyre peninsula, so have a hint of the sea about them - somewhat salty and smoky, but not as extreme as Islay. Once considered the whisky capital of the world, today there are only three distilleries left, with Springbank the most well-known.

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ISLAY Islay whiskies are the Marmite of the whisky world, imparting smoky, peaty, and even medicinal flavours. The most heavily peated whiskies in the world are from the Bruichladdich Octomore range. For a strong but mellow (this makes sense once you’ve tried a few Islay whiskies) introduction to Islay try Laphroaig Quarter Cask which is matured for at least 7 months in a smaller cask thus ensuring that the whisky takes on more flavours from the wood due to the different surface area ratio.

Some people also refer to Island whiskies, but this isn’t an official classification and according to the newly opened Lagg Distillery on the south of Arran they will produce a lowland malt once their spirit has matured for over 3 years, while the Arran distillery on the north of the island produce Highland whisky as they are on opposite sides of the Highland-Lowland dividing line.

Then you have Glengoyne, distilled in the Highland region but matured in the Lowlands, and AnCnoc who appear to be in Speyside but they label their bottles as ‘Highland’.

Don’t forget dessert: cranachan is a perfect end to a Burns Night meal, with oats, cream, whisky, and sugar! The traditional dessert layers toasted oatmeal with whipped cream, drizzled with whisky and honey.

Of course, you can make it vegan, with plant-based cream and maple syrup. Slàinte mhath!

Food and Drink by Mark & Emma, Foodie Explorers Page 55

LGBT+

MOONSTRUCK

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I cannot believe that, in the history of The (Not) Gay Movie Club, we haven’t discussed Cher. Frankly, I feel I deserve a medal for demonstrating such self-restraint and not dedicating a feature – nay, the full issue – to the Goddess of Pop. But good things come to those who wait, and 2022 sees Moonstruck’s 35-year anniversary, which means it has been 34 years since Cher defied all odds and snagged the Oscar for Best Actress. On paper, Moonstruck feels no different to any other romcom of its generation, but between its sharp script, surprising sincerity and, of course, its leading lady, the film certainly holds up and earns its spot in the (Not) Gay Movie Club.

Moonstruck opens with Dean Martin’s schmaltzy classic 'That’s Amore,' bellowing Italian chorus in tow, as we are introduced to grey-haired, hopelessly romantic widow Loretta Castorini. Witty and down on her luck, Loretta is convinced she wishes to remarry and decides to settle with Johnny Cammareri, a man more bland than is humanly possible. She has an eccentric Italian family, including her stingy father Cosmo and her Nonno, perpetually walking a pack of dogs. However, Loretta’s plans go haywire when she meets Johnny’s studly brother Ronny, a brooding, volatile baker with one wooden hand. Loretta is powerless to resist him, and romantic calamity ensues.

The moon brings a mystical element to the film: Loretta’s uncle recalls a particularly bright moon, like the one shining now, reminiscent of when Loretta’s parents fell in love. You guys, I think that might be an omen.

LGBT+ by Jonny Stone Page 59

Cher’s journey to the Oscars was far from smooth sailing. She was nominated previously for her supporting role in Silkwood – the first time audiences had seen her in a 'serious' capacity – but she had historically had a complicated relationship with the Academy. By this point, Cher had endured two decades of preconceived notions on what she was and was not – she had been a pop star, a celebrity, a TV host, a wife to Sonny Bono, a punching bag in the media… ’serious actress’ hardly made it onto that list. She was derided by many as being untalented and little more than a silly persona. They snubbed her for her Cannes Award-winning turn in Mask and she was mocked for her Bob Mackie mohawk dress worn when she was nominated for Silkwood, a deliberate attempt to subvert the 'serious actress' prototype. But Cher is so effortlessly good in Moonstruck: her comedic timing is on point, she is magnetic onscreen, and the chemistry with her cast is undeniable. As if it could really have been anyone else on stage accepting that trophy.

Moonstruck’s cast as a whole is stellar, especially with the late, great Olympia Dukakis in her Oscar-snatching turn as Rose, Loretta’s mother. She perfectly balances the warmth and strength required as the matriarch of this hot mess of a family, and her wit is bone dry.

Joining Dukakis, we have the mellow, under-the-radar stylings of Nicolas Cage, so subtle and nuanced one might mistake him for a hat stand in the background. Of course, Cage brings an unparalleled intensity to this otherwise charming romantic comedy. He does possess great comic timing, but the 'My hand!' monologue really delivers on the camp front. Cage and Cher have palpable chemistry; one can’t blame her for patching the notably vanilla Johnny for his gruff, buff, vest-wearing wee brother.

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In line with our very strict criteria, the film does not contain any explicitly queer characters or antics. Unlike many of our previous inductees into the NGMC, however, Moonstruck is surprisingly measured: given the plot and, well, the very presence of Cher, the film could easily have veered into over-theatrics or so-bad-it’s-good territory. However, there are so many elements of the film that bring the camp sensibilities one is desperate to see. The beautiful scenes in the opera house – in which we see Loretta rumble her philandering father’s extramarital affair – bring high drama, while Cage’s alwaysat-a-ten delivery is so sincere one can’t help but laugh at everything he says. The script is above-par and delivered perfectly by a cast with excellent comic timing: Loretta in confession tells her priest, 'Twice I took the name of the Lord in vain, once I slept with the brother of my fiancé, and once I bounced a check at the liquor store, but that was really an accident.' We are also gifted Ronny’s outrageously over the top monologue about bread ('They say bread is life. And I bake bread, bread, bread. And I sweat and shovel this stinkin' dough in and out of this hot hole in the wall, and I should be so happy! Huh, sweetie?!') And, of course, upon being told by Ronny that he loves her, Loretta slaps him twice and yells, 'Snap out of it!' And an endless array of eternally terrible Cher impressions was born.

LGBT+ by Jonny Stone Page 61

But ultimately, Moonstruck is a love story in the purest way. There are at least three notable romances at play, but love in all its forms – romantic, platonic, familial – is explored and celebrated. It’s as romantic as a film can really get, and still, it walks the tightrope of camp so effectively it never feels schmaltzy. But this is Cher’s finest hour. She is the poster child for adaptation; adjusting to her industry’s ever-evolving landscape to sustain longevity. Cher has pioneered the multitudinous scope of what women – in her industry and beyond – are capable of being and achieving, and Moonstruck is symbolic of that. Loretta gets a second chance at love (or third, I guess); and Cher finally gets the recognition she deserves. Anyone in the mood for an uplifting, wonderfully camp affair need look no further. I recommend eating steak and spaghetti ('bloody to feed ya blood!') and enjoying a nice glass of red to enhance the viewing experience.

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LGBT+ by Jonny Stone Page 63

REVIEW BRECON – POLLY – SLIM WRIST – GOSSIPER RHONA MACFARLANE – ANDREW GREIG

– ST. DUKES – DAHLIA – ISIK KURAL – RACECAR – HONORÉE FANONNE JEFFERS – PRODIGAL SON

Track by Track: Brecon Fore There’s a broad rule I used to apply to bands or artists with geographical names: the larger the place referenced, the worse the band in question. However, as time goes on, tastes broaden much the same way December’s calorie intake broadens across waistbands long after their month of intake has departed in Gregorian obeyance.

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It’s a rule so broad that it collapses in on itself once you consider The Ohio Players and Asian Dub Foundation. Really, it’s not a rule, and instead a feeble justification for casting assertion-based aspersions on things I already don’t like. Anyway, it certainly can’t be a coincidence that Asia and Europe are both literally continent-sized and the less we say about any Scottish bands naming themselves after gargantuan US states, the better.

Brecon is a tiny town in Wales. However, the Brecon Beacons are a pretty lengthy mountain range, so whether Will Brown’s chosen name for his solo project reinforces or breaks this already disproven nonsensical premise is entirely subjective. My subjective view is that it’s one of the most atmospheric and intriguing records I’ve heard in recent years, so I’ll happily align it with the quaint market town and not the enormous folds in the landscape where people spend weeks hiking.

Brown’s debut EP Cairns and a slew of remix opportunities (most noticeably, a frantic re-imagining of Morcheeba’s 'Mezcal Dream') caused enough ripples to whet anticipation for a long-playing release. Spanning industrial soundscapes and playful rhythmic interchanges, Fore manages to capture all of Brown’s clever intent without wading too far into self-indulgent waters.

Opener ‘Prodromal’ threatens to be doom-laden, with its opening buzzy synths, but the busy, layered rhythms are much more alive and upbeat than the first 30 seconds or so would have you expecting, and the breakdown section where pulsed synths blaze, a massive chord sequence feels perfectly balanced.

Music by Stephen McColgan Page 67

‘Dart’, if viewed from an old-fashioned DJ slant, could be deployed in a mix as two separate tunes. The tempo maintains throughout but the subtle shifting and piling of elements astutely gives the track a feeling of perpetual forward motion, even if some of the bass kick sounds come across as literal kicks to the head.

Lead single ‘Grit’ takes its sound palette straight from a busy 20th century car factory, despite centring around live drums. It’s all guttural whirls and clicks for the first half of the track, but dreamlike trebly elements appear like disembodied toy pianos, before the industrial underbelly from the start of the track winds back together to create something that is immediately dense but with enough space for the listener to breathe.

‘Seer’ is an emotional journey all of its own. At first brooding with synths that almost sound as if they are in a huff with you, as soon as it feels it has settled into its groove, it blindsides cleverly by exposing hidden rhythms when the bass elements drop out briefly.

For anyone using a proper ol’ mixer and vinyl (*writer pings braces, cocks knee*), ‘Wound’ needs to be in your collection as an atmospheric yet busy track that can be used to mix out of drum & bass and into techno during its later breaks. The last minute of the track is a satisfying mix of chiming melodies being played out amidst panning, swirling buzzes.

‘Transference’ gradually builds up into a pulsing swamp which sounds like it contains a sampled Casio trumpet voice pitched down.

This air of the surreal pleasingly resolves when the beat comes back, accompanied by additional atmosphere-padding countermelodies.

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‘Gone’ is probably my favourite track on the album. All modular synths, so dirty and driving, they should be driving dirtily in a car that is not entirely clean. It is a motivational banger. The effect it has on me is roughly the same as the effect that 1950s prescriptions had on housewives.

Brown appears to love a relatively lengthy, beatless intro and, with its stuttering, organic feel, ‘Divolge’ springs into life with its entrancing synths. They almost sound as if they’ve been so broken that they’ve come back into tune of their own accord. It’s a fittingly wondrous way to finish the album.

Across the eight tracks on Fore, there’s enough variety of mood and texture to keep people revisiting this album repeatedly. Brown clearly has an intricate understanding of grooves, layers and rhythm and he knits together industrial, emotional landscapes where the balance between humanity and the machine oscillates.

If I have any advice to give, it would be to re-name his project after a suitably tiny geographical area, perhaps an exact spot of chewing gum on a pavement, somewhere?

Fore is out 18th February on With Bells Records Music by Stephen McColgan Page 69

POLLY

SINGLE: JUST ASK ME (FOR A BETTER UPGRADE) ‘Cowboy-grunge’ isn’t exactly an oversaturated genre but Edinburgh four-piece POLLY do it well.

The third single to be released ahead of their debut album SLUMP, ‘JUST ASK ME (FOR A BETTER UPGRADE)' is angsty and 90s-rocky with a wild west flair. The spaghetti western influence isn’t in-your-face but the band are carving themselves a niche in the Scottish alternative scene.

‘JUST ASK ME (FOR A BETTER UPGRADE)' is available to stream now Lily Black

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SLIM WRIST SINGLE: LOMOND

Slim Wrist’s new track Lomond, much like the Loch in winter, is frightening in its tranquillity. Brooding and circular, the track has an overture of full-bodied beats, married perfectly with sharp vocals; both soaked in sorrow.

The track evokes cyberpunk fantasy, being steeped in folky forest sounds while embracing the new with open arms, an excellent song to simply enjoy.

This along with Slim Wrist’s next upcoming track Shone, show a band who are ready to bring the goods.

'Lomond' is out now Dom Cassidy

Email: review@snackmag.co.uk Page 71

GOSSIPER SINGLE: SINGLE BED

You don’t need us to tell you that Dundee has been a shimmering hotbed of musical talent this millennium, but the emergence of Gossiper has us paying attention like never before.

‘Single Bed’ is a glorious alt-rock pop blast, by rights the sort of thing that should be clogging up indie radio playlists for months to come. The song has such an easy flow to it that you’ll find yourself wrapped up, hitting repeat over and over. The lyrics are slightly buried in the overall mix, but in a good way, and it probably masks the more serious intent of the track.

Pleasingly, the single is part of an EP, so there is a lot more to look forward to. The band only formed in the summer of 2021, so they haven’t wasted much time, and it’s good to see people have managed to put the past six months to great use!

‘Single Bed’ is released 28th January on Heavenly Creature Records Andrew Reilly

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ST. DUKES SINGLE: TO BE HOME

While it seems as though some Glasgow bands pop up overnight, there’s usually a lot of hard graft and slog behind their story. St. Dukes still look relatively fresh-faced, but their assured confidence comes with over seven years together.

There’s a warm sense of familiarity on ‘To Be Home’, but given you’re crying out for an immediate nod to persuade you to delve deeper, let’s say it carries Camera Obscura vibes with a slight Calypso edge. Or a placated take on The Wannadies. Anyway, it might not be the ideal mood music for a grim and dreary January, but if you are looking for some escapism, this will whisk you away to somewhere nicer. And if you aren’t looking for some escapism right now, what’s your secret? With a debut album coming in spring, this is the ideal time to ease yourself into what St. Dukes have to offer.

‘To Be Home’ will be released 21st January on LNFG Andrew Reilly

Email: review@snackmag.co.uk Page 73

DAHLIA SINGLE: AIRMID

Whether your New Year's Resolution is to uncover emerging acts, get out of your comfort zone or develop your language skills, you can do it all with Dahlia, and her ‘Airmid’ single, featuring Gaelic alongside traditional vocals.

The versatility of the track isn’t just found in the singing, musically, it encompasses a broad palette. The song starts with the sound of a harp, fitting for the January music scene in Scotland, but the glitches that follow add some life. It’s not quite enough to make you dance, but you’ll move; and that’s always good at this time of year. It’s a dark and foreboding number, ideal for when the nights are long, the days are short and we tend to be a bit more reflective.

With an EP of the same name coming in February, you won’t have to wait long to sample some more of this up and coming Scottish talent.

‘Airmid’ is released on 28th January Andrew Reilly

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ISIK KURAL SINGLE: FILM FESTIVAL

With a delicate icy tinkle, film festival lays softly onto the keys of a piano with an atmospheric grace. Isik Kural is a sound designer based in Glasgow and this is a gentle winter air; looping chords and soft vocals that tumble ungraspable through the hand like falling snow.

Image credit: Matthew Arthur Williams

‘film festival’ is out now on RVNG Intl. isikkural.bandcamp.com Chris Queen

Email: review@snackmag.co.uk Page 75

RACECAR SINGLE: FLOOD

Debut singles have the potential to either shove an artist’s manifesto square in your face or act as false beacons of promise, somehow all the sweeter if they’re dashed. One fault that can’t be levelled at Racecar’s first release is a lack of ambition. The East Lothian trio appear to have hatched fully formed and sophisticatedly cinematic. Izzy Flower, Robin Brill and Calum Mason have produced something that ticks the elusive box of being both sad and hopeful in the same moment. The honesty and sincerity of the vocal delivery is accentuated by how polished and shiny the pads and the subtly filtered drum tracks sound.

‘Flood’ is the sound of staring out of the rainy window on a sad car journey in a car that’s slightly too fancy to be yours. Whatever Racecar’s destination is, they’ve left the road ahead wide open, and it’ll be fascinating to hear them in longer formats.

‘Flood’ is self-released and out now Stephen McColgan

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RHONA MACFARLANE EP: CLOSING THE WINDOW There’s a feeling of a life seen from a distance on Rhona MacFarlane’s Closing The Window, the idea of snatched impressions, glimpsed through the curtains of tenements on those lonely government-approved walks we all went on back there for a while. Little moments of observation pepper the character-driven songwriting throughout the EP - the mourner saying, ‘at least there’s no rain’, the parent on the title track holding back a well of feeling. Macfarlane’s love of sixties singer-songwriters is clear in the orchestral swoop of late Nick Drake on Black Wall or the leaping vocals of Karen Dalton on Better When You’re Around, but there are also nods to the languid chamber-pop of The Bathers or The Blue Nile on the title track, and a distinctive Scottish folk influence.

Personal and vulnerable, but with a tentative optimism for new life emerging from dark times.

Closing The Window is out now Chris Queen

Email: review@snackmag.co.uk Page 77

ANDREW GREIG BOOK: ROSE NICOLSON

The best historical fiction always has something contemporary to say, and Andrew Greig’s latest, Rose Nicolson, does that in fine style, bringing forth lessons from Scotland’s past. Set just after the Reformation and the death of John Knox, it’s a novel that encourages comparison between the often-deadly ideological disputes that defined the time and place, and the culture wars of today. The narrator is William Fowler, who we meet as he sails to St Andrews to begin university life as a student, keen to immerse himself in the great philosophers and poets. Great events unfold around him as he becomes the reader’s representative, moving between classes and around the country, revealing a vivid picture. But the most memorable character is the titular Rose, whose public questioning of religion and the church threatens her very being.

Greig makes us ponder the courage and necessity of individual thought and deed, at times of deeply divided certainties.

Rose Nicolson is out now, published on the Riverrun imprint of Hachette Books Alistair Braidwood

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HONORÉE FANONNE JEFFERS BOOK: THE LOVE SONGS OF W. E. B. DU BOIS

Honorée Fanonne Jeffers, acclaimed poet, hits readers with an epic fiction debut that chronicles the journey of one American family, from the centuries of the colonial slave trade through the Civil War to more modern but formidable times: our own tumultuous era. The Love Songs of W. E. B. Du Bois follows Ailey Pearl Garfield as she dives into her history as a scholar and gets to grips with her family lineage, tracing back to the slave trade on an estate in Chicasetta. These eight hundred pages delve deep into a vast proportion of her family and the trauma that has haunted the Garfield women. Looking to inspirational and complex characters, Ailey refuses to allow her past to affect her in the same vein as many others in her family, and she embarks on a full heritage discovery, all in support of her desire to obtain a doctorate and please her mother. Using a character-focused narrative structure and affecting prose that will hit you deep, The Love Songs of W.E. B. Du Bois is a book that you will want to stick with, not only for the reveals, but to also find yourself blown away by the magic and beauty that resides within characters such as Coco, Ailey, and Uncle Root. Heartbreaking yet insightful, it’s a wondrous family drama, with wider issues at play.

The Love Songs of W. E. B. Du Bois is out 20th Jan, published by 4th Estate Keira Brown Email: review@snackmag.co.uk Page 79

PRODIGAL SON / WARRIORS TWO FILM

Sammo Hung is the grandfather of Hong Kong martial arts cinema. Growing up in the Hong Kong Peking Opera school as the elder student of Jackie Chan, Hung began his film career doing stunts in the 60s. Now he has hundreds of credits to his name. Despite his large size, Hung could flip and fly, as well as choreograph and perform complex martial arts sequences. Known in the West for the TV show Martial Law, which he starred in during the late 90s, in the East his contributions to Asian cinema through the decades have assured his place in film history. Now Eureka! are releasing two of his early self-directed traditional kung fu films, Warriors Two and Prodigal Son. I am excited for these; they are two of my favourites, and easily two of the fans’ favourite old school martial arts movies.

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At the time they were made, the late 70s and early 80s, Hung became interested in a historical figure called Leung Tsan, who was alive in the mid-19th century. He was a practitioner of Wing Chun, which was the style Bruce Lee famously studied as a young man. The style was invented by a female nun, or so the legend goes. The first effort, Warriors Two, tells the tale of an older Leung, played by Leung Kar Yan, and his involvement with a student, cashier Hua. Korean super kicker Casanova Wong (what a name!) stars as Hua in his first lead role, and explodes across the screen with deadly speed and technique.

Hung himself has a supporting part, teaming up with Wong to take on the villain in the film’s mind-blowing finale.

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Prodigal Son is the heart-warming and adrenaline-pumping story of the young Leung Tsan and his friendship with his first teacher Leung Yee Tai. Ace acrobat and martial artist Yuen Baio, the younger training brother of Jackie Chan and Hung, is the protagonist this time. Hong Kong cinema legend Lam Ching Ying puts in perhaps the best performance in any kung fu film as Leung Yee Tai, one that may make the tears well up in your eyes. Lee is openly effeminate, something rare in the genre's characters, and his openness and vulnerability lends real depth to this depiction of a kung fu master. Action, atmosphere and thrills are married with some of the best examples of Hung’s sense of humour; here you’re laughing with, rather than at, the movie. Hung’s comic impression of octopus kung fu always has me in stitches. Movies of this time and genre have long been a subject of derision due to their at times rudimentary film-making, and an approach to humour that doesn’t translate well. Most of the great examples of the genre are at their heart pure entertainment – what cinema was invented for.

Just don’t look for Crouching Tiger, Hidden Dragon style artistry here.

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If you wish to see a film combat style that only a few youngsters can pull off these days, in glorious HD, integrated into two of the best overall films of the era, look no further.

The box set of Warriors Two and Prodigal Son will be released on Bluray on January 24th by Eureka! Entertainment

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