Snack - Issue 07

ISSUE 07 JD TWITCH – BEATS IBIBIO SOUND MACHINE GWENNO SISTER JOHN BERLIN MUSIC FILM FOOD AND DRINK TRAVEL LGBT+ THEATRE VISUAL ARTS WORDS

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CONTENTS WHAT’S ON MUSIC FOOD & DRINK TRAVEL PREVIEWS, SOUTH SIDE FRINGE FESTIVAL | PAGE 06

JD TWITCH – BEATS, IBIBIO SOUND SYSTEM . . . | PAGE 13

YAMATO, THE PARLOUR | PAGE 32

BERLIN | PAGE 38

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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.

E: hello@snackpublising.com Editor/Sales: Kenny Lavelle Food and Travel Editors: Emma Mykytyn and Mark Murphy LGBT+ Editor: Jonny Stone Sub Editor: Leona Skene Designer/Illustrator: Fionnlagh Ballantine Spine Quote - Inspired by Scott Hutchison

LGBT+ FILM THEATRE WORDS

MARVEL, LGBT+ NEWS, MADONNA, SCI-CURIOUS | PAGE 42

BEATS, CINEMA CLUB | PAGE 49

THE MAGIC FLUTE | PAGE 52

BARRIERS | PAGE 59

MESSAGE FROM THE EDITOR “While I’m alive, I’ll make tiny changes to Earth”.

Scott Hutchison It’s now a year since Scott Hutchison, following his lifelong battle with depression and anxiety, took his own life. Scott was of course publicly candid about his struggles and helped an uncountable number of us through our own issues by sharing his joyously vulnerable and honest words. In his music he had a hopeful way of cutting through to the heart of what it feels like to wrestle with mental

ill health, and by sharing this he helped in making it feel ok to be doing so too. I know he helped me.

In his memory, Scott’s family have recently set up the Tiny Changes mental health charity, to carry on his legacy and turn the tragedy into something positive by providing help and support to young people.

You can donate to Tiny Changes and find out more at maketinychanges.co.uk Kenny Lavelle

WHAT’S ON GUIDE EDINBURGH CRAFT BEER FESTIVAL

The Biscuit Factory, Leith – 24th-25th May Scotland’s largest beer festival returns for another year bringing us bevvy, burgers and belting tunes. This year taking place at The Biscuit Factory in Leith, there will be brewers from all over the world, some of Edinburgh’s finest chefs, and topclass acts to keep you all entertained. Boasting indie royalty Belle and Sebastian, DJ Yoda, Gentleman’s Dub Club, Hip Hop Karaoke, The Pitt’s stalwart Buffalo Truck (for some good ole street food) and some of the worlds hottest new breweries, it’s guaranteed to be quite the sesh.

THE LODGER The Glad Cafe, Glasgow – 29th May Alfred Hitchcock is known for many things, but his standing as the master of suspense is probably the most universally confirmed. Resound a Silent are back with The Lodger - A Story of the London Fog, the 1927 electrifying silent feature starring Ivor Novello, cast against type as a mysterious man in the centre of a murderous plot. This controversial casting almost led to the end of Hitchcock’s career before it even began. Complete with live music from Dave Abbott.

thejazzbar

edinburgh

1a Chambers Street eh1 1hr

LIVE MUSIC UNTIL 3AM EVERY NIGHT!

JAZZ//FUNK//SOUL//BLUES//ACOUSTIC @thejazzbar www.thejazzbar.co.uk

What’s on by Sara McCombe Page 7

SEVERED HEADS The Flying Duck, Glasgow – 22nd May The Australian electronic synthpop group return for their second live Scottish appearance. They formed in 1979 and were pioneers in the postpunk scene, releasing several chart topping dance club songs and influencing new waves such as EBM. Support from the very bebopy Kubler-Ross, a Glasgow trio combining electronic body music with catchy as f’ hooks. This opportunity probably won’t come round again, so get involved.

THE MOODS Broadcast, Glasgow – 1st June Manchester hip-hop but so much more than a band, rather a collective of talents. With 10 members made up of poets, musicians and producers, bringing their strengths together to create a massive live sound. Support from Glasgow’s own hip-hop reggae acoustic outfit, Busker Rhymes (music for hippies by hippies) will set the tone nicely.

BILL BAILEY Caird Hall, Dundee – 29th May The inimitable Bill Bailey returns with Larks in Transit, a compendium of travelers’ tales and the general shenanigans of twenty years as a travelling comedian. With musical virtuosity, surreal tangents and trademark intelligence, he tackles politics, philosophy, the pursuit of happiness, death metal, ringtones… and an excruciating encounter with Paul McCartney.

THE JULIANA HATFIELD THREE Friday 24th May - CCA, Glasgow Hatfield rose to fame as a founder of altpoppers Blake Babies in 1986, and later with The Lemonheads. She started her solo career with 1992s Hey Babe, one of the highest selling independent albums that year.

Hatfield solidified her alterna-rock fame with The Juliana Hatfield Three and the addition of Todd Philips + Dean Fisher. Promoting their new album Weird, they will grace the halls of Glasgow’s art hub the CCA. Not to be missed!

DAVID BLAINE Edinburgh Playhouse – 20th May You remember ‘that guy’ who hauled himself up in a glass box for many many days without any food? Well he is kicking his first ever UK and Ireland tour off at Edinburgh’s Playhouse.

David Blaine is a magician, an illusionist, a self professed endurance artist (keep with, I know) and a stunt man. I mean he is invincible, or so he thinks. But the man can do some pretty cool tricks and so he should absolutely be worth a watch, as opposed to ‘for the watching’...

WHAT TO GET ON? MR BENS

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Kings Court King Street Glasgow

www.mrbenretroclothing.com

What’s on by Sara McCombe Page 9

SPICE GIRLS

THEM!

Murrayfield, Edinburgh – 8th June This is no joke! The most successful girl band of all time are reforming for their Spice World 2019 tour and coming to Edinburgh’s Murrayfield to Spice Up Your Life. It’s difficult to get the head round that while they were only active between 1994-2000, in this short time they sold 85 million albums worldwide. We’ll not dwell on the not one but two deliciously terrible films. Their first album reached #1 in 37 countries, they scored 6 consecutive UK #1 hits, and became a marketing empire raking in 75 million a year. Will certainly be a show to remember. Say You’ll Be There!

Tramway, Glasgow – 27th-29th June and 2nd-6th July How can I be me and you be you, and we might still be we?

On the set of a live TV chat show, the host interviews the guest, the film rolls, and the band plays. People and power and pop music.

They’re there to get to the heart of the matter but everything keeps on changing. Including time, space, and the audience.

Them! is a visionary new performance event from Stewart Laing and Pamela Carter exploring identity in an ever changing world. Can we ever really change who we are? Or if change is inevitable, then what are we so scared of?

GLEN MATLOCK AND BAND La Belle Angele, Edinburgh – 24th May Probably best known for being the original bass guitarist of one of the greatest punk bands in history, Sex Pistols. He also co authored one of the greatest albums of all time with Never Mind the Bollocks, Here’s the Sex Pistols. He went on to form Rich Kids, Spectres, and worked with Iggy Pop. He will be performing with his band at Edinburgh’s La Belle Angele. Get Yourself Along and Never Mind the Bollocks.

PRIMAVERA FLAMENCA Leith Parish Church Hall – 25th May I mean, who doesn’t want a Spanish themed evening, especially when it comes to the dancing?

It’s all very seductive and as the Spanish say “muy caliente”. Scotland’s own itinerant music and dance school returns to Edinburgh to transport your soul to the south of Spain for one very sultry evening. Featuring flamenco music by composer and flamenco guitar player Daniel Martinez, flamenco singers Inma Montero and Danielo Olivera, and the wonderful dancer Mayte Betran who only ventures to Scotland for this event, making it a pretty special evening. Olé.

THEM!

The Audience. The Host. The Guest.

The Band. The Ants.

27 June – 6 July 2019 Tramway, Glasgow nationaltheatrescotland.com

National Theatre of Scotland is core funded by

National Theatre of Scotland, a company limited by guarantee and registered in Scotland (SC234270) is a registered Scottish charity (SC033377). Photograph

by Michaela Bodlovic.

DUNDEE ARTS FAIR

THE FUREYS

Cairds Hall, Dundee – 24th-26th May Billed as Dundee’s first ever Art Fair, bringing us artists and galleries from not only Scotland and the UK but also from further afield. This will not only be a great opportunity to meet artists and curators and buy art directly from them, but also to browse a massive variety of contemporary gems. Bring the weans – they’ll have arts and crafts to keep them entertained.

The Gardyne Theatre, Dundee – 24th April Irish music legends and, arguably, one of the biggest contemporary influencers of traditional Irish folk music. They have played for presidents, the pope, prime ministers and more in their 40 years in the music biz. Formed in 1974 by the Finbar brothers who inherited their musical talents from their parents, and nurtured it as a means to travel the world.

CARFEST County Square, Paisley – 15th June St Vincent’s Hospice are holding an annual fundraiser via their car extravaganza at Paisley County Square. Featuring cars old and new from Mini to Muscle and everything in between. Bring your kids. There will be plenty cars to gawk over plus stalls, games and music fun to keep them entertained.

What’s on by Sara McCombe Page 11

SOUTHSIDE FRINGE FESTIVAL

The Southside Fringe Festival is back with its biggest, most diverse lineup yet.

Snack caught up with festival Marketing & Development Manager, Meg Curran to chat about the festival’s aims and some of this year’s highlights.

For those who are not so familiar with what you’ve been doing the past few years, what’s the history of the festival?

We started in 2013. It’s been self-funded up until this year where we now have a year-round

home when we realized there’s a need to bring together all the different community groups, local audiences, musicians and performers. This year we’re really trying to engage with as many people as possible - we’ve added more classical music events, cabaret and an ever-growing range of music. There are also some really awesome small bands, small theatre companies and a tonne of new ideas and exciting events! It truly is to try and bring together everything that the south side has to offer.

There are so many events, where to begin? Let’s start with the Southside Video Games Festival, hosted by Joe Bain. Can you tell us about that?

It’s going to be a one-day festival that’s for all ages up and it will be a mix of video games from older and obscure games straight through to newer games. We have a few places dedicated to video games throughout Glasgow and in Shawlands we have a games café. We hope we’ll get a nice mix of the enthusiasts along with people who don’t play video games as much.

This really caught my attention because I was a big fan of the band, Electric Six – Dick Valentine is coming to the Glad Café!

The Glad Café are doing regular music events and they’re getting some massive names – Deacon Blue are playing in September and they also get so many American performers.

That we have Dick Valentine is pretty incredible.

What about, Where Are You Really From?

It’s at the World Spirit theatre. Why do you think this is an important thing for people to come along and see?

I think it’s so important that we are highlighting the different cultures and different issues that are raised for them. It’s things like these spoken word events that are giving a voice and a platform to people who want to explore that and talk to a wider audience. And I think, for most people, we’re not in that situation, so it’s a positive thing to have something like this in the program. It really is so positive for people to see that, to be able to understand more and connect with it.

Southside Fringe Festival runs from 10th-26th May Find out more and book tickets at southsidefringe.org.uk

What’s on by Peter Greenwood Page 13

J D TWITCH BEATS

In the early 90s I was a little bit young for actually taking part but I was obsessively watching the rave scene from afar. Collecting event flyers from record stores and clothes shops for my bedroom wall, nervously shuffling up to the counter at 23rd Precinct to buy the latest Metro tape, trying to catch pirate radio stations at the far ends of the dial; as with many, it’s a time that shapes my tastes and attitude to music to this day.

So, Beats is right up my street. Set at the tail end of the Scottish 90s rave scene, Beats is a tender and touching story of two boys on the cusp of adulthood who fumble their way to an illegal out of town party for one last shared experience before life inevitably gets in the way.

With a soundtrack made up of classic tracks from the era including The Prodigy, Orbital, Leftfield, Human Resource, N-Joi, Carl Craig, Model 500 and Inner City; JD Twitch has perfectly captured the energy of the time. I caught up with him for a quick chat about the film and its music.

What was it about the project that you thought, ‘I need to get involved in this’?

The Genesis story is, Brian Welsh the Director and producer Camilla Bray, they came to see myself and Jonnie when we were down doing a gig in London over three years ago. They said they had this project, based on the play. I hadn’t actually seen the play when it showed in Glasgow but I knew all about it. Having read the script and seen that it was an amazing story . . . obviously

I GUESS THE OBVIOUS COMPARISON IS TRAINSPOTTING, THOUGH I PERSONALLY THINK THEY ARE VERY DIFFERENT FILMS.

MUSIC

Music/Film by Kenny Lavelle Page 15

it was an era that I had lived through and felt a deep personal connection to, particularly the music. Being asked to help choose music for film is probably a dream job, so it was really a no brainer to agree from the off.

Is music for film something you harboured ambitions in for a while now? I’ve read that you used to DJ over Koyaanisqatsi at parties?

A couple of times over the years, once in London and once in Glasgow I’d done it with Baraka, which is similar to Koyaanisqatsi, I’d done a live rescore, but DJing. I’m a big film fan, I’m a big music fan. It’s always been something that I’m open to but opportunities don’t come around very often. I’ve been involved with a couple of small short films with friends and family. But something like this, I’ve never known how you would break into it. So it was a great opportunity to see what it was actually like on the ground.

There’s a lot of talk about how Beats could be seen as the spiritual successor to Trainspotting.

I guess the obvious comparison is Trainspotting, though I personally think they are very different films. Who knows? You never know how these things are going to go. I always err on the side of pessimism and then I’m pleasantly surprised if something does well. It’ll be interesting to see. I’m not sure that it has quite the commercial appeal of Trainspotting, it’s a slightly darker story in places.

But I guess Trainspotting was quite dark in its own way as well. Who knows? We’ll wait and see.

You were DJing at the party scene in the film.

I was. They used a huge amount of the film’s budget just for that scene because they were determined [to get it right]. I’ve seen so many films where they’ve tried to recreate what it was like, either a rave or at a club and they just failed to get it, they just completely got it wrong. Brian was determined that they would have as authentic an attempt as possible to recreate what a rave was like in that

era, so a lot of time and effort was put into it. On the day, it was quite emotional as I felt like I had stepped back in time because all the extras had made a huge effort to look as much as possible as people would have dressed in that era. There were a couple of haircuts that probably wouldn’t have passed on closer inspection for the haircuts of that time but it really felt like going back in time; the way that the place looked, the atmosphere, the way people dressed and then of course the music.

ON THE DAY, IT WAS QUITE EMOTIONAL AS I FELT LIKE I HAD STEPPED BACK IN TIME

To you, what is the film about?

I think it’s a love story, not in a homoerotic way.

It’s a love story between two boys growing up.

I mean, it’s such a typical thing. We’ve all got experiences where we’ve had best friends from when we were young and you imagine you are going to be best friends for life, and then life gets in the way and your lives go in completely different directions. So I guess it’s about them knowing that it’s the end of their boyhood

friendship and they’re going to go their different ways in life.

I think it’s obviously a story of Scotland at that time of massive structural change. I think Brian was coming from that slightly political perspective. The implications of the terrible policies that the Conservatives reaped on Scotland and the damage that caused to the socio-economic fabric of the country. It’s deeply rooted in that time and of deep friendship.

Music/Film by Kenny Lavelle Page 17

What do you think are the long term implications of the Criminal Justice Act? Do you see its tendrils still working their way around Scottish culture and our opportunities to get together, be together?

I think so, in that it’s still very hard to… there a load of illegal events that go on in and around the west of Scotland simply because licencing hours are so strict, because of the very paternalistic way of looking at events happening. One thing about the whole rave era is that everyone was very hedonistic and hence not very politicised. It was suddenly something that went boom because it affected people personally, it made a lot of people very political. A lot of people from that time got political and went on and still to this day are doing things related to that, in perhaps a subversive way or trying to push the barriers of what is allowed to happen.

Even now, you can see things being pushed about from the fields to the city and back again. They don’t know what to do with it.

Like The Arches for example.

Absolutely, even though it’s a huge part of the economy and it’s a sign of a vibrant life. Look at other cities around europe and around the world, they look at their nightlife as an important part of the city and their culture. I think Glasgow has a very poor attitude towards that, you’re absolutely right, they try to push it. Closing The Arches was a foolhardy, stupid act of cultural vandalism I think.

My theory of it is that they didn’t like a couple of thousand people being out at one time, having a good time, being maybe a little over enthusiastic.

I think the police just couldn’t be bothered with it.

Another stupid thing about shutting down The Arches, they had some instances... and it was terribly tragic that someone died there. But you had thousands of people going there week in, week out and it was an environment where they were at least trained and knew how to deal with these things, rather than pushing things out into this underground and illegal aspect where there is no way to look after them and it’s far more likely to have an incident.

What are your favourite film scores?

It’s funny that you mention Koyaanisqatsi because that’s a real favourite of mine. I’m a huge fan of the act Popol Vuh who did a whole load of film scores for the likes of Fitzcorraldo, Aguirre, the Wrath of God - those are favourite film scores. I’m a massive David Lynch fan, Mulholland Drive is a huge favourite of mine. A Clockwork Orange is a huge favourite. I could go on and on, I’m a huge collector of soundtracks.

To you, what makes a good soundtrack?

I think some sort of unified atmosphere. With Beats, it’s mainly what’s called a needle drop, where it’s external music from other sources throughout the film - there are little bits of sound design and also some composing work by The Golden Filter.

I think the best most classic actual soundtracks are those which have been done specifically composed for that film, perhaps with one or two key songs dropped in. Which is not the case with Beats, I think Beats is a great soundtrack but it’s not a classic soundtrack type film. It has a rave sound to the film but it’s music by other artists, rather than composed as a film score.

After the Glasgow Film Festival showing, there was a party in The Arches.

Yeah, that’s right, there were two afterparties. So there was the one in The Arches, and there was another one in the Sub Club, which was more of a music from the film type affair.

And then we got the news the next day that Keith Flint had passed on.

Actually, I was talking to Brian the next day, he called me saying he heard the news and that it had happened early in the morning. I think the last song that played in the Sub Club at 3am was The Prodigy, the whole place was going crazy.

We were thinking that perhaps at that exact point, Keith Flint had died. It was terrible.

Beats is out on general release from 17th May.

Music/Film by Kenny Lavelle Page 19

It’s a couple of months since Sister John released their self titled follow up to Returned From Sea. We caught up with singersongwriter / guitarist Amanda McKeown to talk about her songwriting and reflect on the album finding its place in the world.

The Sister John LP has been out since the beginning of the year. It’s your second album, so you’ve been through that process before. Having had time to reflect, how do you feel about it all?

It is our second record, and it was slightly different to do it the second

time around. I think, the first time was completely novel, I had no idea what was going to happen.

We did the second record really quickly I feel, 15 months between them. It’s got a slightly different sound and that was going to be interesting to me, how people would react to that. You never know, you work on it and you never know. It has a life that’s kind of separate to you. There’s an element of it feeling like - it’s yours, it’s yours, it’s yours - then you let it go and then it’s not yours anymore. You find people in Spain or New York or somewhere across the world playing it and you think ’my god, it

does literally have its own life’. You become a bit of a bystander in an odd way; even though it’s a really personal thing, it does exist without you.

Last Night From Glasgow are doing great things. What’s it like being part of that, it looks very much like a family?

It absolutely is. We started working with LNFG in 2016 when we put out our first single, ‘He Came Down’. I can’t really believe our luck to be involved with them, just a complete pleasure. The membership aspect of LNFG and the community that’s involved of… just music lovers and supporters of music is pretty unique. As an artist, you get a great sense of being part of something that’s bigger. There’s also a community of artists as well and it’s really nice to get to know them, watch their careers and to be cheering them on. I just don’t think there’s anything like it in the country, it’s a total privilege. We get so much support from Ian himself, that I don’t really know how we would do this without him.

Where does the name Sister John come from?

It sort of dates from when I wasn’t sure if this was going to be a band or a solo project, it was a persona I invented that could be either. I guess it’s part nun part man, [laughing] which I thought were quite interesting personas to take on. It just sounded right, and there it was. There’s something feminine about it; but that’s not it completely.

What’s your favourite song from the album?

There was one song, ‘Where She Came From’ where the arrangement clicked really quickly, I like the themes in that. It’s supposed to be quite a comforting song. It’s about the power of nature to tell you that you’re part of everything, an antialienation song. I like to hear that one come round. But it does change, you’ve got to be in a particular mood for ‘Lost and Won’, it’s long and it’s quite a deeper song but ‘Eight Years’ is just straight in there and out again. It just depends on what mood I’m in.

What do you like to be writing about?

YOU FIND PEOPLE IN SPAIN OR NEW YORK OR SOMEWHERE ACROSS THE WORLD PLAYING IT AND YOU THINK ’MY GOD, IT DOES LITERALLY HAVE ITS OWN LIFE’.

I think the themes on the second record are slightly different from the first one. Sometimes it emerges in retrospect, you look back and think ‘ok, I can see those things linking things together’.

A lot of it was about the presence of the past and the tangibility of the past in the present. It was also about the individual and relating the individual to the society or the grouping they find themselves in, that kind of interplay. The second record felt to me a little more pushed to the edges, it’s a bit cheekier and more playful, but also a bit darker and a little bit starker. It felt to me more that I was writing about things I was observing around me, my own situation. It’s very much more rooted in the present. You write a collection of songs and they’re inevitably about something you’re thinking about. They seem to somehow have a cohesiveness that you don’t really know or don’t really plan. I do find that with my writing, I’m gradually picking off my preoccupations and recurring themes of thoughts that I have in my life.

They’ve not all come out yet, and they all come out in different ways through different lenses. One example is that connection to nature and what that does. Like I was talking about with ‘Where She Came From’ and my love of other songs that do that. Songs like ‘Rapture’ by Laura Veirs or ‘Lay Down Your Weary Tune’ by Dylan or ‘Dear Prudence’ by The Beatles. It’s all a connection to something bigger, being part of something.

Sister John - Sister John LP is out now on Last Night From Glasgow.

Music by Kenny Lavelle Page 21

IBIBIO SOUND MACHINE

I once had a music teacher who moved to Glasgow from Nigeria called Bryan. Bryan didn’t know anyone, so one year he came to our house for Christmas dinner. By 11pm that evening Bryan and my Uncle George (a musician in his own right) had established a bromance on astronomical levels: stuffed with turkey and high as two kites. George, a white, fat balding plumber took the rhythm and Bryan, a skinny equally bald whippet of a man was the pidgin-English rhythm. I had never heard anything like it – until I heard Ibibio Sound Machine.

Of course, the two are totally different on many levels: there were no electronics or horns or signifiers of afro-funk in George and Bryan’s home-made musical musings, no production, no legible stories within. But the bare bones, the foundations, were of the same stuff –people coming from different sides of the world coming together to make something that sounds like happiness: uniting on the basis of a positive vibe and transcending limits of language, sound, energy; creating the sound of a good time.

When I told Ibibio Sound Machine’s front-lady Eno Williams this, she roared with laughter. ‘That’s amazing! That’s what it’s all about!’ she cries. ‘I would have loved to have been there!’

Ibibio Sound Machine have just released their third album, Doko Mien, a mere four years since their debut hit out ears. Fronted by Eno, the band has seven members: Alfred Kari Bannerman on guitar, Anselmo Netto on percussion, Jose Joyette on drums, Derrick McIntyre on bass, Tony Hayden and Scott Baylis on trumpet and synth and Max Grunhard on the sax. It’s a massive group whose origins are global in scale – from London to Nigeria to Ghana to Australia and Trinidad. Meshing together African, electronic, jazz and funk as a backdrop against Eno’s mix of Ibibio & English lyrics, ISM are an overwhelming sensual overload.

‘It sounds like a party’, Eno tells me. ‘it’s a collective effort: I write most of the lyrics, but every member adds their own style to it, whether its funk or afro. It’s totally flexible.’

‘The most important thing we try to put out is that positive vibe, giving people hope and a reason to dance and smile. The world is sombre as it is. Music has a way of lifting us up. It’s about keeping alive the positive message and putting that out there.’

Doko Mien is a record that even if you think you haven’t heard it, you recognise its sound when you sit to listen. Comprised of a mixed bag of tracks – huge fast paced belters, smaller and slower snippets of simple repeated lyrics,

ever-expanding afro-jazz riffs – it would be a challenge not to dance along. I ask Eno if the constant dancing ever tires her out.

‘I do get tired. But the adrenaline gets you ready to go again. It’s fun but it is very intense, and sometimes I do get nervous. But once the adrenaline kicks in the nerves are good – our crowds are lovely.’

‘Live is so different from the record’ says Eno. ‘With Doko Mien we really wanted to touch on the live element: how do we keep the energy on the stage on the record? We’ve tried: obviously, we can’t capture all of it, but it’s deciding what works and what doesn’t.’

There are so many unique elements to ISM, from the mix of genres to the lyrics, which are largely in Ibibio or pidgin-English. ‘Music is a universal language, and I’ve found from listening to foreign language music where I don’t always understand what the song is about, there is a totally different draw.’

‘It felt more authentic to speak in Ibibio. I speak in Pidgin when I’m breaking things up, but the Ibibio language itself is so rhythmic. I keep English as a backdrop for what I’m singing about, when I want people to know. I want to write about the stories I knew as a child, it would be strange to do that in a language not Ibibio.’

Eno says that London has been a massive influence on the group. ‘The sound we have couldn’t have happened anywhere else than in London’ Eno says. ‘it’s such a cosmopolitan city, a melting pot of different cultures and people.

I always say that we’re the united colours of music, being from all over, but London brought us together.’

Playing All Points East at the end of May, they’re heading to Edinburgh in July to play the Edinburgh Jazz Festival. ‘I just love it, I just love coming back’, Eno tells me. ‘Every time we play in Scotland…’ she trails off. ‘You guys love a party. It’s no holds barred, it’s just go for it. it’s so lovely to see that.’

Ibibio Sound Machine play Edinburgh Jazz Festival on 18th July.

Music by Carla Jenkins Page 23

NNO GWE With a fantastic pop history and boundary-pushing albums, the ability to seamlessly blend some of our favourite musical genres, and with upcoming shows in Glasgow and at Doune The Rabbit Hole, Gwenno is exactly the sort of artist we want to speak with. So we did.

Was the decision to record Welsh and Cornish language albums something you did for yourself, or did you feel there was a broader purpose in reaching out to others?

I think it was convenient, using tools that I had in the box and that I hadn’t explored, and it was just reconnecting with that. As an artist, you have to write with what you’ve got. The languages hadn’t been adequately explored, and they created their own subject matter in

a way, which really helps with writing. I wasn’t thinking beyond that; I made a Welsh album, and it got re-released on Heavenly.

Then I had the chance to make a second album, the difficult second album as it were. It was tough because the first album took a long time to make.

So writing in Cornish was fantastic, because it immediately took me out of that headspace and put me somewhere else, and it forced me to write something different.

That was because the language was different, and I feel fortunate in that I have three languages I can fluently use and explore.

Did you ever feel that you had to use the different languages you knew?

I felt with my last Cornish album, Le Kov, that this was a chance, and it felt like the right thing to do. I spoke to Jeff and Dan at Heavenly about recording an album in Cornish. And they were like, “all right”, and it was an exciting platform to sing in a language not many people know about.

They told me to go ahead, and I like taking that attitude towards creativity. It’s a challenge.

It wasn’t a challenge to create it, but it was quite an exciting challenge to try and explain it or try to connect with something unfamiliar. I’m always interested in music and art that makes you think, and it was just an interesting opportunity.

Does singing in a language many listeners don’t understand provide you with more freedom to express yourself?

Yes, I find it interesting. It gave me a chance to really focus on songwriting and not worry at all or be aware of the world outside, within that process, which I think is quite an essential point in songwriting. You need to reach that level of intimacy when communicating in this manner; you have to avoid feeling self-conscious and not feel as though you are being watched. It reinforced that feeling, so it was a lucky tool to have.

I really enjoy playing gigs and singing the songs as well, because I try my heart out, to try and express emotion. It’s just a brilliant exercise to try and communicate that, even if no one can

understand the words I’m saying.

Music is about communicating and connecting, often without words.

It is. We’re really interested in that process as well; creating that world, that atmosphere and the abstractness around it, to create space for the listener to be in.

I really like ambient music. If I’m writing, it helps, and it creates the space to think, especially if you’re on your own. The dynamic of music changes quite a bit, doesn’t it? Especially as you get older. I’ve generally got Radio 3 on or something with a tonal sound.

Your vocals and lyrics receive a lot of focus, but how does your music come about?

It’s a process. For the last record, I was looking to write songs that had a lot of space in them. Rhys (Edwards, Welsh music producer and Gwenno’s husband) doesn’t understand Cornish, so that was interesting. He is a Welsh speaker, so he knew exactly what the first record was all about. But with the next album, I was having to explain to him what the context of the song was, dipping into the historical context. And it was about trying to create a landscape, which is Rhys’ main interest in production, creating landscapes. As a producer, I think he’s terrific at that.

He grew up in Anglesey, and he evokes to me that sort of landscape where I can see mountains, I can see rough seas. It’s a sort of conversation between us both about what songs are about and trying to define what that is. It takes months; we record everything at home. It’s quite domesticated.

We make the dinner, do some recording, and then put the baby to sleep.

With respect to digital music, recording and so on, and your personal circumstances, how do you feel about the digitalization of music and where we’re heading?

It’s a big question. It’s all around you and your life, because obviously digitization of music hasn’t created the revolution that was going to empower artists. It has been a failure from an artistic point of view, and it still is a failure, and it’s becoming Music by Andy Reilly Page 25

a worse failure as it goes on. Of course, that’s not unique to music, because I think it’s across the board, and it’s tough to pinpoint what the best move forward is. From a personal point of view, the whole system is not working for anything.

What do you think?

My biggest concern, as a music fan, is that I don’t know how people can afford to make money or to continue to do it.

You can’t. Rhys works, he’s still in a job, and you know, I live in Wales, and we’re all on pretty low incomes here. You diversify, and you do different sorts of work. You are on the breadline. I think everybody is apart from the 1% who can afford it or who have parents backing them.

The lack of social diversity has become more apparent in music in terms of people’s backgrounds. Oh my God, you can look at it and think, this is pretty tired.

We’re supporting the Manic Street Preachers, and I don’t know if the Manics could happen now, because I don’t think they would have had the opportunity, or feel that they were respected in any way to be able to reject something and define their own selves. They had a pretty tough background, you know, it’s not like they had it easy. But yeah, you don’t hear that voice these days.

With the internet and the digital age, there is so much more choice, but it can be hard to find interesting acts.

Consumerism is becoming more and more dominant as well. There was a time when there weren’t so many things you could buy and afford.

THE BOTTOM LINE IS THE SYSTEM ISN’T WORKING, IT’S UNFAIR. I THINK MUSIC IS AS ESSENTIAL AS BREATHING TO HUMAN BEINGS.

Consumerism is huge these days, and it feeds into music.

I think about this a lot and it gives you a chance to step back and think, what is music? Because this is a template that isn’t working. And it allows you to rethink and re-evaluate what music is for. Because it’s going to get to a point where no-one’s going to be able to make music to sell, because people can’t afford to make it or won’t have the time to.

Identities are the at forefront of everything these days, you know, both good and bad, but it seems as though identities are tearing people apart, especially on social media.

It’s weird. You’d think we’d open up and be less scared of other people. Maybe that’s the problem; perhaps this new technology isn’t allowing us to see ourselves for what we are. It should really be helping us to understand, when actually it’s creating a feeling of mistrust and being scared instead. I think it feeds into inequality and the economy, and it makes people feel scared.

The bottom line is the system isn’t working; it’s unfair. I think music is as essential as breathing to human beings. Now that we don’t congregate in religious ceremonies, we don’t have the opportunity to see music as anything else other than something that is sold to us. And that shouldn’t be what music is about.

Well, the system doesn’t work for it, but it doesn’t mean that music itself is not working. You have to detach music from the system that’s been created for it. It doesn’t help us, as listeners, to connect to what it is.

The current system and the market set-up also influences the sort of music that is made. Everything is an ecosystem and, in a way, if we need nutritious food to survive, we also need nutritious music. You need music that is good for you, especially in a cynical and capitalist system. In a world where music is created and shared by algorithms and large corporations, I’m not sure if some music is healthy for you.

I sometimes hear music that makes me feel unwell. It’s nothing to do with authenticity, because

I’m not interested in authenticity and I love pop music, but some music affects me badly.

Music is really powerful, and it affects every part of your body. It’s a potent tool, and I think that if it’s misused, it can be harmful to you. If you think about the way music can make you feel better, it’s

a testament to how powerful it is, so if you’re hearing music that isn’t good for you, it will surely have an adverse effect on you.

You’ve said you missed out on many artists and pop culture growing up. Is there an artist you’ve since discovered that you wished you had heard as a child?

I’ll definitely go with Kate Bush. If I had access to her music as a child, I would have been really happy about it. I feel, when I read her interviews and learn about her creative process, that there’s a cultural connection.

It’s a cliché to say, as she’s enormous.

And I came across her in my late teens/ early 20s, having had no grounding in what she was coming from. There was no natural connection between us, because I didn’t have anything else to join the dots to, but I’d choose her.

It’s not as if I didn’t have music; I had loads, and I’ve come to appreciate that now, but it’s nice to have a different set of influences in a world where we all have the same ones, in a way. Not that you should deny people access either. That’s why I joined The Pipettes because I was like, fuck you, I’m going to join some English band that’s all about fun.

It’s funny because you could have thought that these less prominent cultures were restrictive, but actually, they’re so rich. Particularly with the Celtic cultures that go so far back, offering stories, music and an outlook that provides such a deep understanding of the world. There are still lots of stones to be turned, and it helps us understand who we are and how to be. So I feel lucky now, to be honest.

And we’re all lucky enough to have the chance to see Gwenno in Mono on Wednesday 29th of May or at the Doune The Rabbit Hole festival in July.

Music by Andy Reilly Page 27

YOUR CHURCH ON MY BONFIRE PAWS – Track by track PAWS’ career arc might’ve led them to their greatest and most natural moment. At the risk of over-simplifying, their first general release was a slice of youthful emotion being defiant in the face of losing loved ones. Second album was more of a reflection on inner conflicts and would suit an evening in ruminating on a break-up. Their 3rd and 4th offerings have reflected their choice of producer. Whether that’s finding the right guy for your new direction or whether they soak up the influence of those they’re working with is hard to tell.

Mark Hoppus produced 2016’s No Grace and it showed. However, Your Church on My Bonfire, produced by Frightened Rabbit’s Andy Monaghan reveals Phillip Taylor at the height of his sincerity. His voice has never sounded better nor more tinged with the bittersweet wisdom of experience. It does sound like Frightened Rabbit in places but given the events around this album’s recording, it’s not the sound of a band allowing a producer to dictate to them – it’s soaked in the influence of a lost friend on what sounds like a collective of band and producer.

The album opens with ‘What We Want’.

Background harmonics give way to a stabbing clean guitar and the opening couplet of “He was here/Now he’s gone” is achingly poignant even if it’s not a direct reference to Scott Hutchinson.

The chorus is soaring and reminiscent of the more accessible bits of Sigur Ros and the time change for the last 30 seconds arrives exactly when you want it to.

PA

Lead single ‘Not Enough’ follows and delivers a chorus even more soaring than ‘What We Want’.

By this point, you’ll realise that this is a different beast to previous PAWS records. The song writing is irresistibly mature – songs are allowed to grow and develop without a bludgeoning hook dominating proceedings. Lyrically, you’ll go a long way to find a single better line than “We can’t fix what nobody wants” this year.

With such emotive gems dominating side one of the record, there’s a danger ‘The Watering Hole’ could go unappreciated. There’s been a lot of talk about the more folky direction of this record but, broadly, I thought it fairly subtle with only a couple of obvious nods (the notes used when Phillip sings the word “hole” as “ho-ohole” is one).

‘Joanna’ is a deceptively simple song – deceptive because the arrangement and structure move along in a fashion that means you could almost not notice the repetition of the

PAWS chorus and the lead guitar line. It’s a pleading tale of bus journeys, non-apologetic inebriated priests and has a breakdown section that rides on a paradiddle for an admiral length of time before the understated solo ghosts in.

‘Anything Worse’ combines nimble acoustic lines with layers of quiet background fuzz and pads that transforms the morose opening section into something slightly more hopeful than it has any right to be.

Possibly, the most business-as-usual-PAWS song on the album is ‘Honoured to Be Honest’ but it still feels fresh thanks to the epic sounding production and crisp snare sounds couched in neatly put together instrumentation. Like the whole album, it has a lush, cushioned yet slightly cinematic texture.

‘Like Some Injured Fawn’ plays with the dynamic of scattered drums during the verses and a motown style snare-heavy beat in the choruses.

It contains probably the loudest guitar solo of the

whole record yet maintains the restrained nature of the rest of the album.

Meredith Godreau of Gregory and the Hawk fame lends her vocals to ‘The Slow Sprint’ and the result is devastatingly gorgeous. The track is fairly sparsely rendered – acoustic guitar along with deliberately plain bass and drums only sets the scene for when the vocal harmonies steal the show. When they both sing “Whether you want me or not” you’ll find yourself drawn to looking skyward. 3:25 of beauty which is both hopeful and regretful sounding at once. A feat.

‘Milk, Honey and Sweat’ is driven by power chords on a relatively clean guitar while a slightly whistling synth dances over the second half of the song.

‘Arachnids’ is full of inventive use of acoustic guitars. The strumming rhythm along with little start/stop sections are counter-intuitive to the song’s folk clothing but the whole thing interlocks in an almost ethereal manner. The more you listen to this song, the more you’ll like its idiosyncrasies.

If you’re going to record a song over 12 minutes long, conventional rock wisdom dictates it’s almost certainly going to be an album closer. ‘Not Goodbye (See you later)’ spends its first 3 minutes convincing you it belongs on one of PAWS’ earlier albums. It quietens down on the chorus section before building back up accompanied by a talk-over section. One of the hardest things to do as a musician is to get the playing dynamics right – so many bands overegg their aggressive impulses but on this epic, sweeping finale the band hit the right mix of subtlety with swelling emotion.

Calling a band’s 4th album mature would usually feel lazy – it’s an easy epithet when musicians get to the periods of their careers where the barstool comes out. However, in this case, particularly in view of the song construction as well as the emotional themes present, maturity is not a detraction or a lazy label.

PAWS – they’re a lot more than just a couple of funny tweets about Morrissey.

Music by Stephen McColgan Page 29

FAT WHITE

FAMILY

SWG3 7 MAY TH

It can only be a testimony to how debauched and depraved the Fat White Family were that I left their SWG3 gig thinking the lads have cleaned up their act. By any given standards, it was a sleazy hour and a bit romp, tickling and tormenting your mind and body in a way that seemed somehow fitting for a grubby warehouse.

Interviews and lyrics have undoubtedly cast many opinions against the group, but as they roll on, these thoughts will hopefully dissolve into the ether. ‘Feet’ from Serf’s

Up, the band’s recently released album is a clear example of how the group has upped its game, tapping into a range of influences while making a record that is unmistakably now and them.

Sometimes, you don’t need to dig deep to find their sources, a song called ‘I Am Mark E Smith’ will do that for you. However, there are times when the echoes of Talking Heads, Peter Gabriel, Joy Division, Roxy Music, Achtung Baby-era U2 and even the Velvet Underground gnaw away at you mid-set.

Maybe not, perhaps the tinnitus that threatens to derail this writer’s life has finally caught up with him, leaving certain tunes reverberating in his ears for eternity, but more likely, it’s the sound of the Fat White Family evolving and making their mark in their own right.

Of course there are times when the guitars sound out of tune, yes, you wonder if a group of adults should engage in a call and response of “touch the leather leather, touch the leather” and you know that crowd surfing still looks immense fun, while simultaneously being an act that is best left to others. All these thoughts and a whole lot more come together to leave you with the impression that the Fat White Family are finally delivering on their promise and intent.

Climaxing with ‘Bomb Disneyland’, a ramshackle rockabilly number, left room for one last lusty singalong and then they were gone, off to terrorise another town. Modern day Britain doesn’t deserve the Fat White Family, but it certainly needs the group rattling cages and making people feel uncomfortable. Long may they run!

Music by Andy Reilly Page 31

YAMATO It took us a wee while to find Yamato - we looked down Lochrin Terrace from the main road but couldn’t see it. Assuming we had the wrong street, we made our way to Lochrin Place on the opposite side of the Cameo cinema. But no, we were actually right at first, so did an about-turn, arriving late and indicating our gaijin-ness. Actually, we’ve been to Japan - see Snack Issue 6 - and one thing which stood out on our trip (or rather didn’t!?) was the two kaiseki restaurants we visited. Both served traditional and expensive 8 course+ meals, and both were hidden down narrow alleyways in the Gion (geisha) district of Kyoto. Kyoto being an ancient capital of Japan, and Yamato being an ancient name for Japan, it seemed fitting to us that we should have trouble finding this restaurant!

It also seemed apt that the menu at Yamato is fit for an emperor, filled with extravagant ingredients such as wagyu, uni (sea urchin) and on the day we visited, Otoro. Sounding a bit like the main character from a Studio Ghibli movie, this is the most expensive and flavoursome cut of tuna, from the belly. It’s so desired that it even has its own website - otoro.com.

We took our seats in the sophisticated yet relaxed restaurant. Instrumental Japanese music and a colour scheme of grey, black and pastel shades set the tone. The geometric wooden beams, squares and hexagons hinted at Japanese minimalism, but there was a kawaii element - origami-style and cloud-shaped lampshades above us, and little bonsai trees and cute teapots on the tables. Fresh fish on display on the counter and bottles of sake, whisky and gin lined up behind. This looked like our kind of bar, bringing back happy memories of our trip to Japan.

On the table, an oversight for many - thick, quality napkins. These are things food bloggers tend to get excited about, rather than latte art!

We didn’t focus on the wine list, but dived straight into the sake page. They have at least a dozen, most served cold but some can be served hot. We felt there was more of a ritual to hot sake and so shared a ‘pot’. It’s like a teapot...only not!

Crispy Brussels sprouts with yuzu sauce and pine nuts surprised us on the menu - it did appeal, but we decided to stick to the authentic items. Then we got home and googled, and it seems that this is a popular dish in New York Japanese restaurants after all. Who’d have thought?

Dishes come out when ready, and the Otoro tuna belly nigiri arrived first. We could taste why it’s so revered. This is the leanest, tastiest slice of tuna you’ll find.

Next we ate takoyaki - octopus balls. These plump doughy balls with a crispy exterior are seasoned with Japanese mayonnaise and a tangy okonomi sauce (a bit like Worcestershire sauce).

The sushi soon followed - eel and egg maki, snow crab gunkan and the best of the lot - grilled wagyu gunkan, which was sushi rice topped with little cuts of rich, buttery steak.

Chawammushi arrived next in a dinky lidded pot. This was something that we had actually

eaten in Japan, but didn’t realise it. Like a hot eggy savoury custard with scallop, prawn, brown himeji mushroom and truffle sauce, it sounds a bit odd to western palates, but is quite comforting.

We ate the best tempura in our life at a restaurant underneath Tokyo train station, and the assorted selection of king prawn and vegetables which was soon delivered was almost as good.

For dessert there are only two choices, so we ordered both. Matcha mochi, coming with a ball of your chosen flavour of ice cream, and a trio of all available ice creams: matcha, white sesame and black sesame, which was our favourite.

In Britain we perhaps don’t have the appreciation of sushi that leads people to revere the likes of Jiro Ono (see the movie Jiro Dreams Of Sushi), but Yamato excels in lifting it above the level of what may appear to be something basic and unsophisticated. Of course, it’s not all just sushi either. The tempura, takoyaki and chawanmushi were all great.

Date night coming up? Heading to the Cameo and need a pre-movie dinner? Yamato may have you covered!

FOOD AND DRINK

YAMATO 11 Lochrin Terrace, Edinburgh

IN BRIEF Chilled out Japanese decor High end sushi Hot sake

Food and Drink by Mark & Emma, foodieexplorers.co.uk Page 33

PARLOUR

THE

28 Vinicombe Street, opposite Hillhead Bookclub, has been home to The Parlour since April Fools’ day 2017 (no joke, according to their website!). The last time we were here was years ago, in its previous incarnation as Booly Mardy’s. Now, The Parlour conjures up images of a welcoming, relaxing place in which to entertain guests. We arrived in daylight, but it was very dark inside and we were seated underneath a wall projection of the movie Stand

By Me, soon followed by Blade Runner, so it felt like we had our own private cinema.

On the picture rail were black and white portraits of film stars and musicians. Speaking of which, the soundtrack to our dinner featured James Brown,

Chic, Kool & the Gang and Stevie Wonder, but we were here for the food and drink and not a boogie!

Tap water flavoured with cucumber was promptly delivered to the table while we pondered our food and drink choices.

The £10 house wine looked like a steal, but the cocktail menu warranted investigation. Some pictures are provided to illustrate how good these looked. Oh, to hell with it - we ordered a Unicorn Juice comprising Ketel 1 Vodka, triple sec, candy floss syrup, lemon and Prosecco. The candy floss was especially good, and, being Aperol Spritz fans we also ordered the The Parlour Spritz, their take on the Italian sunshine classic. This arrived in a massive wine glass filled with Tanqueray Sevilla Orange, Aperol, blood orange and Prosecco.

The food menu has been through a few revisions, and it now focuses on Mexican cuisine. It’s also reassuringly small, in order to ensure things are kept fresh and funky. Like the cocktails, the crunchy pig skin popcorn stood out like a mother . . . I wish we could’ve had that, but sadly it was sold out! It must be popular!

Instead, we settled on a mix of dishes which included Elotes Mexicana - grilled sweetcorn

smothered in spring onion, coriander and lime juice, and full of flavour.

The Pineapple & Habanero Wings were awesome. Hot, sweet and sticky yet also crispy, salty and moreish - but not too hot. The Jalapeño Poppers with Lime & Avocado Crema on the other hand were hotter than July - physically hot and spicy.

Tacos are actually the main draw, and at £4 each we couldn’t leave without ordering a couple of these. The Al Pastor was filled with buffalo cauliflower, fresh habanero chilli, pickled onion and sweet juicy pineapple, which offset the spiciness; while the Carne Asada with steak, cheddar cheese and red salsa was overflowing with moist non-fatty meat heaped with a healthy dollop of guacamole.

There was also a taco of the day to keep things fresh(er), and other specials on our visit included the El Diablo Burger (presumably quite spicy!), and hash brown fries served nacho style - in other words heaped with cheese, spring onion, coriander and chilli. Like tater-tots in texture, we fought over a messy portion of these.

Obviously with all that chilli we needed drink reinforcements, and were overjoyed when we saw a selection of £3.50 cocktails (Monday - Thursday). Luckily for us we were there on a Wednesday, so added a Watermelon Mai Tai and Crushed Oreo White Russian to our midweek celebration.

Sadly we didn’t have room for pudding, but the Crushed Oreo White Russian practically was a dessert. Savour the thought of what you can have to finish your meal, though: Frozen Margarita Cheesecake, Deep Fried Oreos, or Affogato Mexicana.

So, to sum up our visit, the cocktails were ace and the food was awesome! We love that the menu is geared toward Mexican cuisine, as Glasgow is lacking quality Mexican restaurants, and we live south of the river where there’s a severe drought. So it was great to find a bar with quality scran that is worth travelling to. Hillhead underground is just a

A welcoming creative community hub in the Southside of Glasgow

few blocks away, so it’s easy to reach.

Ladies toilets are clean but a bit cramped and could do with a spray of air freshener. No probs with the gents, nice and clean.

THE PARLOUR 28 Vinicombe St, Glasgow

IN BRIEF Great cocktails and drinks promos Quality Mexican food A short walk from Hillhead underground

Food and Drink by Mark & Emma, foodieexplorers.co.uk Page 35

VEGAN FASHION With the rising popularity of vegan food, there has been an upsurge in the types of vegan clothing available, taking the stress out of getting dressed.

Orange silk, pineapple leather, coconut fibre… the fashion industry seems to be getting more inventive with their fabrics, and this makes me as happy as punch. Not only are these new fabrics vegan, but they tend to be sustainable to boot.

When looking for vegan fashion I want beautiful clothes, created sustainably, which allow me to show my style and adhere to my values. No animals used in their production, no slave labour, and quality, responsibly sourced items. Ideally, I would like these to also be cost effective, because I don’t have a huge budget to play with. It’s a lot to ask, but thankfully the high street is starting to move towards meeting these needs. There are also some great bloggers out there who can provide a good starting point; Livia Van Heerde (@liviavanheerde on Instagram) is one of my favourites.

I wasn’t always such a conscious consumer.

When I first went vegan I had no idea what to do with my wardrobe; the de facto agreement seems to be if you already have it, value it and use it. Some people donate non-vegan items to charity. As time has passed, it’s become clear that I do need to start replacing things, partly because I went down some dress sizes eating all those veggies. So learning what was vegan and what wasn’t was a good step forward.

My advice? Avoid fur, silk, wool, cashmere, leather…basically anything that is derived from an animal. Check labels, but sometimes - especially with shoes - you might have to investigate if the glue used is animal derived. Companies are being responsive now, so you should be able to find the

information, but some clearer labelling would be a godsend. To the UX designers out there – please add ‘vegan’ as a search function to your online stores, already! Synthetic fabrics tend to be ok, though less sustainable. Thankfully there are lots of healthy plant based natural fabrics out there too; think hemp, bamboo, cotton, linen, beech tree fibre, pineapple leather, soybean, orange silk, to name a few.

One of the harder items to find quality options for is shoes. Cheaper shoes often will be fine, but not necessarily the healthiest choice for you.

My first vegan shoe purchase led to me limping around Florence on holiday, as they were too flat for my apparently fussy feet. There are a few fabulous online shops where you can buy some beautiful items; Mat & Nat and Will’s Vegan Shoes come to mind. Many brands are also releasing

vegan versions of their bestsellers; Birkenstocks, Dr Martens, Hugo Boss, Toms, Vans, and Nike have all taken the plunge. Stella McCartney’s collaborations with Adidas are, as you’d expect, both vegan and sustainable. Some of these options you will be able to find in stores and try on, but others are online only, which can be a source of frustration for many.

So, with all these emerging ranges, how easy is it in Scotland to get a hold of these shiny new finds?

Turns out, not very. I popped down to Edinburgh’s Princes Street for a few hours to see what I could get on a quick shopping trip, entertaining visions of beautiful vegan sandals and a fabulous vegan silk dress which I would just have to buy. I thought I would be able to just wander in to Topshop (who have recently released vegan sandals), and H&M (with their Conscious Collection range, which is all sustainable but not all vegan) and there they would be. Turns out most of the specifically vegan items are only available online and in London. Do they not know how many of us there are here in Scotland?

On the plus side, all of the shop assistants I spoke with were totally helpful and pleased to answer all my questions.

You can buy vegan Birkenstocks in Office, and Dr Martens again have an extensive range online but not always in store, meaning you won’t necessarily be able to try on the Docs you want.

My one complete surprise of the day came from Marks and Spencer - 40% of their shoes and bags are now vegan in both the men’s and women’s range, and they actually have a vegan sticker on them so it’s super quick to spot them. If I ever need some shoes in future, they are going to be my first point of call.

Things are looking up in terms of cruelty free fashion, but it still takes way too long to find what you want. The fashion industry increasingly has their vegan customers in mind, but sourcing and buying these elusive items needs to be made easier. Let’s hope it happens soon!

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Vegan by Laura Woodland Page 37

BERLIN Willkommen! Bienvenue! Welcome!

HISTORY Well, what can we say to sum up the history of Berlin? It really has been in the middle of everything. Dig out the film Cabaret for a glimpse of 1930s Berlin; Downfall, A Woman In Berlin, and Conspiracy for World War II; and The Lives of Others, Good Bye, Lenin! and Sonnenallee for a glimpse into life during the Cold War. The city is scarred by the past, but it wears these scars with pride, a bit of humility and a touch of arrogance.

We love Berlin, from Bauhaus to Iggy Pop and David Bowie, its fantastic food scene and its people - they really are welcoming and they DO have a sense of humour!

SHOP East or West, there is shopping and lots of it. The main players can be found at Alexa Shopping Centre beside Alexanderplatz, Mall of Berlin and Kurfürstendamm. Close by the ‘Ku’Damm’ is the iconic KaDeWe department store, or to give it its full name, Kaufhaus des Westens, which has been in operation for over 100 years. It is the second largest department store in Europe after Harrods. If you want more choice, the Mall of Berlin has over 250 shops to keep you occupied. Hackescher Markt, on the other hand, is a more traditional shopping area. There is a mixture of brands (e.g. Muji), boutiques and tourist

shops, with a market every Saturday on the square in front of the station. For a more independent experience, Friedrichshain, Prenzlauer Berg, Neukölln and Kreuzberg all have small creative and niche shops. Wesen in Neukölln design and produce their own brand of clothing, with a nod to sustainability and fair working conditions.

In Friedrichshain, Schwesterherz have designled homeware, whilst next door Küechen Liebe is heaven for foodies, with almost every kitchen product you didn’t know you wanted!

TRAVEL

DRINK Beer gardens and Germany go together like beer and pretzels . . . try the traditional Prater Biergarten, where there is not only an outdoor terrace for fine weather but also an indoor restaurant for when it’s not so sunny. If seeking a panorama is your thing, head along to Neukölln’s Klunkerkranich, a bar atop a 7th storey car park. Berliner Republik next to the Spree River is a novel concept, where the price of a round is rarely the same twice, as prices fluctuate like a stock exchange. Buy a round of one beer and watch its price rise, while the beers no-one is buying decrease in value. Don’t worry about paying through the nose; there’s a minimum and maximum price! Fan of a brewpub? Lemke is a long-established Berlin chain, and there are three to try: Brauhaus Lemke at Hackescher Markt, Lemke am Alex, and Lemke am Schloss opposite one of the entrances to the Charlottenburg Palace.

Lahmacun (Turkish Pizza).

Kreuzberg’s Markthalle Neun is an indoor market with an on-site brewery (Heidenpeters).

Visit on Street Food Thursday for an array of cuisine from Asian and South American to, of course, German. The rest of the time the markthalle is quiete,r and you can peruse the artisan vendors at your leisure. Burgermeister have legendary status for their burgers. Not bad for an outlet which was originally a toilet! Good Bank in Mitte has an unusual vertical-farm-to-table restaurant, and the salads served there are actually grown and harvested in-house – you can’t get much fresher than that! Data Kitchen is a vision of the future perhaps; download the app and order your food en route, picking it up from a window which you

EAT It is reported that 70 million sausages slathered in curry sauce are eaten by Berliners every year. The best places are Konnopke’s Imbiss (Shönhauser Allee) and Curry 36 (Mehringdamm). It’s not all currywurst; there are of course kebabs - make space for a visit to Imren (Boppstrasse) or Tadim (Adalbertstrasse). Or for something different, try a Travel by Mark & Emma, foodieexplorers.co.uk Page 39

can only unlock with your phone. They also have a hidden courtyard for sunny days.

Vegan? Don’t fret, it isn’t all sausage and kebab, but actually Vöner does a good attempt at vegan kebab. Kopps (Linienstrasse) is something different in the vegan food world - fine dining!

From brunch to a restaurant worthy of a romantic meal for two. No need to miss out on delicious dessert; Brammibal’s Donuts have three outlets (Maybachufer, Danziger Strasse and Alte Potsdamer Strasse). Completely vegan and sometimes gluten-free options are available. The maple smoked coconut has my name on it!

SLEEP Being Berlin addicts, we have stayed in a number of different places over the years, but two in particular stand out. Hüttenpalast is odd in that it’s an old vacuum cleaner factory which is now home to a collection of caravans and wooden huts, in which you can spend the night without having to brave the elements.

Want to experience life in East Germany? Ostel is a hostel decorated in the style of Ostalgie - that is, nostalgia for East Germany.

Naturally, you won’t pick up any WiFi here, but you can sleep surrounded by large patterned wallpaper, teak furniture and the hopes of the DDR!

CULTURE Speaking of which, at the Kulturbrauerei in Prenzlauer Berg you’ll find a free DDR (East German) exhibition which is every bit as good as the main museum beside the river. Outdoors, there are also many preserved relics from wartime Germany and the Cold War. Sammlung Boros Bunker is a former Nazi-era concrete bunker which is now home to a private art collection. Visits are by appointment only. Teufelsberg (Devils Hill) is an

ex-Allied listening post that has been left to the elements, but is still an imposing site with its golf ball structures looming over the Grunewald forest.The hill was built with the rubble of WWII Berlin, so it stands out in what is otherwise a very flat city.Nearby is the Olympic Stadium and Corbusierhaus Berlin for architecture geeks. Urban Spree in Friedrichshain is a gallery, concert room and event space, all housed in one huge artistic compound. Of course there are also lots of museums, art galleries and attractions. In the past we’ve used the Berlin Welcome Card, which has over 200 sights and attractions as well as discount partners, plus free public transport. The Berlin Welcome Card Museum Island 72 hours option additionally gives you exclusive access to the five museums on Berlin’s Museum Island.

TOURS Not one for walking and think a Trabi tour is cliché?

Well, Berlin Horizontal is a tour with a difference, as you will be biked around the sights of Berlin from the comfort of a bed being pulled behind!

“BERLIN HORIZONTAL IS A TOUR WITH A DIFFERENCE, AS YOU WILL BE BIKED AROUND THE SIGHTS OF BERLIN FROM THE COMFORT OF A BED BEING PULLED BEHIND! ” A blanket and brollies are provided to cater for the weather. Berlin Unterwelten, AKA Berlin Underground, is another favourite of ours. They run tours in a number of usually off-limits locations, including a ruined WWII flaktower and a disused gasometer that has been used as an air-raid shelter and refugee centre.

TOURIST INFORMATION Visit https://www.visitberlin.de/en

GET THERE Berlin has two airports, Schönefeld in the South and Tegel in the North. EasyJet fly direct from Glasgow to Schönefeld and Edinburgh to Tegel, while Ryanair fly from Edinburgh to Schönefeld.

Travel by Mark & Emma, foodieexplorers.co.uk Page 41

GRIEVING MAN . . .

Fun fact: Marvel introduced its first gay character in Avengers: Endgame. But don’t get your cape in a twist, as this is not the exciting landmark moment you think it’s going to be, to the extent that it may not even be worth including a spoiler warning. But here it is anyway. Spoiler warning.

The character is not one of several LGBT+ characters in Marvel’s rich canon, but instead one you can only describe as “grieving man,” who is introduced to the audience for 30 seconds at the counselling group speaking to Captain America about going on a date. I have nothing more to tell you about this character. I had to whisper to my boyfriend that that was the first gay character in the MCU, and eye-rolling ensued. Someone should really take down this rainbow confetti, and maybe cancel the celebratory cake.

Co-director Joe Russo, who himself dazzled audiences across the world with his poignant portrayal of “grieving man,” stated that “It is a perfect time, because one of the things that is compelling about the Marvel Universe moving forward is its focus on diversity.” And he is absolutely correct: diverse representation, especially on such a humungous scale, is wonderful and vital.

This renders this disappointing attempt at inclusion even more laughable: why go to such lengths to congratulate yourself on what is a non-existent landmark? It felt like a colossal let down having been promised a seismic event only to receive the most hollow, insignificant of cameos.

And there is scope within these films: there has long been suspicion that Valkyrie could be bisexual, as actress Tessa Thomson has portrayed so far. Thomson reminded Vareity that “In the canon, [Valkyrie] is bisexual. You see her with women and men, so that was my intention in playing her.” And imagine Captain Marvel, hands down the strongest Avenger, happened to be a lesbian – that could shape the perspectives of children and young people in a meaningful way.

And when Black

Panther and Captain Marvel each made at least $1 billion at the box office, there is evident demand for stories that aren’t told from a straight white point of view. And there is no shortage of stories to tell.

Between the Marvel and DC universes and beyond, it’s not as if there aren’t scores of LGBT+ characters to bring to the big screen. With diverse characters like Batwoman, X-Men’s Mystique, Rat Queens’ Braga and Young Avengers’ Wiccan, the progress that has been made in portraying queerness in an amplified and bombastic medium like comic books is promising. Adapting such inclusion to the big screen is a little more sluggish: after all, it was only last year that Marvel’s cinematic universe was led by a person of colour (Black Panther) or a woman (Captain Marvel), and we are yet to have a single LGBT+ character in the MCU’s 11-year reign. And yes, Wesley Snipes led the Blade franchise, but what five-yearold is dragging his parents to see that? We have a unique opportunity here to introduce positive LGBT+ role models that is going to waste. So what’s the hold up?

One could argue that it comes down to the films’ international market, especially in countries like China. While homosexuality is no longer illegal in China, explicit references to homosexuality are banned under Chinese laws and LGBT+ content is commonly cut or censored by Chinese media anxious to comply fully. And when, at time of writing, Endgame has taken $579 million at the Chinese box office, surely this is one market Marvel will want to keep onside. Or perhaps, just as disappointingly, we are still at a point where executives are simply homophobic and reluctant to risk their franchise in the name of ticking a diversity box.

Yet queer presence is so important in comics, a medium that can be a catalyst for real social change. North Star, for example, from Alpha Flight was Marvel’s first gay superhero and came out in 1992, in the throes of the HIV/AIDS epidemic.

Through their first gay superhero exploring the controversial topic directly, Marvel presented loyal

LGBT+ readers with an invaluable chance to become more compassionate and tolerant towards those affected by the virus. Comics are enormously influential, and with the key demographic of these films becoming younger by the film, surely these studios have a moral obligation to give us the representation our community deserves.

There could be hope in the future, however.

Marvel assures fans there will be more diversity in their upcoming adaptation The Eternals, following super-powered beings who gained powers due to experiments by an alien race called The Celestials.

What would be even better is if these films and characters were written by writers who identify as LGBT+ to offer more insight into how they can be portrayed honestly on the big screen. Brie Larson herself, in response to the criticism, said “I don’t understand how you could think that a certain type of person isn’t allowed to be a superhero. So to me it’s like, we gotta move faster. But I’m always wanting to move faster with this stuff. It wasn’t enough for me to just look strong on a poster ... I feel like I can’t at the end of the day go to sleep at night if I didn’t do everything that I possibly could [to empower others]” Time will tell.

I’m not asking for much: not even a delicious, tempting LGBT sandwich from M&S. I would just like my favourite LGBT+ superheroes to make it to the big screen. If the Avengers can survive a literal apocalypse, surely we can make that happen.

LGBT+ by Jonny Stone Page 43

LGBT+ NEWS

LGBT+ SANDWICH

Stop what you’re doing: my LGBT+ brothers and sisters, we finally have a sandwich to call our own.

No longer will you have to stomach the pitiful straight sandwiches you have been conditioned to endure, as Marks and Spencer have given the people what they want and created the LGBT Sandwich (Lettuce Bacon Guacamole Tomato) to raise money for the Albert Kennedy Trust, a charity that helps LGBT homeless young people, and the BeLong to Youth Services, an LGBT+ charity helping young people in Ireland. This lighthearted move from the company has – because it’s 2019 – created a furore from both sides of the fence. Reader, I too was initially confused

by how this sandwich could divide to many, but many believe that this is a hollow attempt to promote an inclusive agenda, while many others see it as a greedy exploitation of the pink pound. I personally see it as a sandwich raising money for vulnerable people in our community who need help. Is it cringe? Yes: sorry, straight marketing executives. Are there bigger fish to fry? Perhaps…

BRUNEI BACKPEDDLING Following on from our previous discussion on gay rights in Brunei, some progress has been made in securing a little more security for the LGBT+ community there. Following the Sultan’s decision to offer a penalty of stoning to death for homosexual activity (a crime that had previously resulted in 10 year prison sentences), he has backpedalled and extended a moratorium on the death penalty to cover the new legislation. This follows intense pressure and scrutiny from across the world, with celebrities intervening (who worryingly have more power than politicians, apparently) and boycotting the Sultan’s may business ventures. The moratorium at least eases pressure on minority groups in Brunei, but as always security is not guaranteed: pressure must continue to be placed on the Sultan to ensure the protection of LGBT+ citizens, in a country where Sharia law threatens their wellbeing.

TV INCLUSIVITY Ahead of Elton John biopic Rocket Man’s release, Scottish actor Richard Madden has dipped his toe in the debate surrounding whether straight actors should be permitted to play LGBT+ roles, a matter well-covered in SNACK in the past.

Madden contends that “It’s a really terrible

route to go down if we start restricting people’s casting based on their personal lives. We have to focus more on diversity and having everyone represented, but I’m also a firm believer in the best actor for the part.” There is something to be said for his argument: after all, inclusion for inclusion’s sake can often risk tokenism, which is harmful in the long run. However, he speaks from a real angle of privilege. Taron Edgerton states that “I want to live in a world where people are excited about playing people who are different from themselves, and I believe that there is something inclusive and progressive about that.” That is a very skewed definition of progress, one where stories of LGBT+ characters and characters of colour are owned by those who, with the best intentions, simply do not have the experience to justify appropriating their stories. More importantly, positive discrimination needs to exist, when opportunity is withheld from minorities in all sectors. To quote author Reni Eddo-Lodge, in her discussion of systemic racism, “Opposing positive discrimination based on apprehensions about getting the best person for the job means inadvertently revealing what you think talent looks like, and the kind of person in which you think talent resides.” Madden is firmly in the wrong.

PRESIDENTIAL CANDIDATE In an unsurprising statement, US politics is largely depressing. But there has been a glimmer of excitement and hope in many of the 2020 Presidential candidates; for one, the inimitable Elizabeth Warren is finally running for office, as are Andrew Yang and Cory Booker, the former being the third American of East Asian descent to run for President. However, I am particularly excited about Democratic candidate Pete Buttigieg, who has had an incredible wealth of experience: former naval intelligence officer, Harvard and Cambridge graduate, the youngest

city mayor ever elected and he’s only 37. Oh, and he is a homosexual, in fact the first openly gay presidential candidate for the Democratic Party. You guys, he’s the gay Leslie Knope. He is polling as high as third in some polls and seems to be gathering real momentum, focussing on the younger voting demographic, and while he isn’t without criticism – especially from the black community – he told Buzzfeed News that he “can represent obviously a certain community, but the real important [question] is whether I can represent every community in some way,” he said. “And that’s what every candidate ought to be able to demonstrate. Then the next president better be really good at making everyone feel included and lifted up. Through policy, but also through that moral leadership. I think it’s where a president earns their paycheck.” Exciting times.

NORTHERN IRELAND Could same-sex marriage finally be a possibility in Northern Ireland? Newry and Armagh MLA Conor Murphy informed the BBC that the UK government assured Sinn Fein that if a restored Stormont Executive failed to pass legislation on equal marriage, the matter would be passed by Westminster. Murphy contended that “…there are well above sufficient numbers in the House of Commons to pass equal marriage for the North to ensure the rights that people enjoy in Britain and the rights people that people enjoy in the South after delivered here.” While a Sky Data survey last year found that 76% of the country supported same-sex marriage, Northern Ireland is the only country in the UK not to recognise marriage equality, a fact particularly distressing for those who have married here and see their marriage invalidated when they return home. While the ramifications of overruling Stormont are unclear at best, surely protecting the civil liberty of LGBT+ citizens should have been at the forefront this whole time.

LGBT+ by Jonny Stone Page 45

MADONNA Madonna is the boss. Not like Springsteen, the actual boss. I guess it’s in our DNA, to flock towards her, given her status as one of the quintessential gay icons (next to Judy, Barbra and Cher). No one has, or ever will, have a career like hers, and I am eagerly anticipating the release of her new album Madame X- eye patch and all- and the new era of reinvention that comes with it.

I was recently speaking to some teenagers about music. Unfortunately, I am now at the age where bands, MCs and DJs are mentioned and I can’t tell if what I’ve asked them to repeat is a legitimate band or they’re mocking my inability to remain current. And I am not that old. Upon discussing what music was important to me, I listed with glee some of my favourite singers and bands, only to wrap up with Madonna: the undisputed Queen of Pop. “Didn’t she fall off stage once?”

I was stunned: a trailblazing forty-year-long career reduced to a costume malfunction at the BRITS four years go. They had no idea who I was talking about, and seemed indignant to my efforts to remind them of why she is so amazing. Devil’s advocate, teenagers may vaguely remember Hung Up being a hit when they were tiny, but Madge is no longer in their cultural zeitgeist: however, for gay youth, this is no excuse. Ariana and (insert current gay favourite) have a lot to be thankful for, as they wouldn’t be here without Madonna. Ladies: this is a call to arms.

For above all, Madonna is a survivor, one that actively defies convention. Her career has inevitably had highs and lows (I personally consider American Life an underrated classic…) yet she persists and strives to deliver something bigger and better every time. With each year, Madonna redefines what a pop star really is. No one – perhaps not even Cher – has achieved a

“SHE IS RESHAPING WHAT A POP STAR LOOKS LIKE, ACTS LIKE AND REPRESENTS, AND FUTURE GENERATIONS WILL THANK HER FOR HER TROUBLE.”

career in pop by her age, a cool 60 years old: many may criticise her desire to be culturally relevant or experiment with cosmetic surgery, but she is no Annie Lennox. She is reshaping what a pop star looks like, acts like and represents, and future generations will thank her for her trouble.

Her drive is second to none, and her constant reinvention makes her a compelling character.

Madonna is criminally underrated, especially by young gay fans who may be oblivious to the contributions she has made to our community.

She had our backs when nobody else did: few other pop stars of her stature, save for the likes of Janet Jackson, were as vocal about the US government’s lethargic progress with AIDS and as compassionate to the plight of a demographic wiped out and denigrated by society. A New York resident, Madonna wasn’t immune to the pain of the HIV/AIDS epidemic. In her recent GLAAD Advocate for Change award speech, she stated “After I lost my best friend and roommate Martin

Burgoyne and then Keith Haring, happy birthday Keith, I decided to take up the bullhorn and really fight back.” She had the assertion and passion her peers and followers needed – advocating safesex at her concerts and including an AIDS PSA in the album sleeve of Like a Prayer, and she used her high profile concert at Madison Square Garden that year as an AIDS fundraiser – when the authorities really weren’t doing enough. Even her documentary Truth or Dare was ground-breaking in portraying gay men in such a positive, heartwarming, honest light. In short, she has earned her stripes and we should always respect her support for us.

And her body of work! More hits than you can count; looks and shocking moments we will always remember; her jaw-dropping stamina. And while we can appreciate her drive and genius, she is indebted, too, to the LGBT+ artists she has helped showcase over the last 40 years. She has collaborated with, employed and celebrated

queer artists her entire career. The most significant that come to mind include French designer JeanPaul Gautier, the genius behind her cone bra and Blond Ambition costumes, and Willi Ninja, the iconic master of vogueing.

It is great to see so many artists for whom Madonna paved the way succeed: that is the measure of real influence and success. Without Madge, Rihanna may not have the effortless, unshakeable confidence, Ariana wouldn’t be so media savvy, and Gaga- well, she wouldn’t be Gaga. And while she may not be perfect, Madonna is a fierce, defiant icon, one our community should always revere. Go out and buy Madame X when it’s released; watch Medellin a bunch of times on YouTube; wear a cone bra to brunch on Sunday. She summed it up best herself when, in a Reddit AMA, she was asked “if you were a gay man, would you be a top or bottom?” to which she replied, “I am a gay man.”

And we’re happy to have her. All hail the queen.

LGBT+ by Jonny Stone Page 47

SCI-CURIOUS Scientists, assemble! As part of the Glasgow Science Festival, podcast Sci-Curious is hosting a live panel discussion, welcoming LGBT+ scientists from Glasgow universities and beyond. Sponsored by Institute of Physics in Scotland, the panel boasts Jonathan Orgill, Dr. Emily Nordmann, Prof. Martin Hendry and Lawrence Chaney, as well as voices from the wider LGBT+ community who are passionate about STEM. Sci-Curious is a podcast exploring ideas from the brightest minds in the world who research in STEM (science, technology, engineering and mathematics) fields. These contributors are typically part of the vibrant and diverse LGBTQ+ community that lives within STEM research.

Representation and diversity in STEM are crucial; in 2018, researcher Professor Bryce Hughes from

Montana State University held a study that found that queer men experienced lower retention rates than heterosexual men in their undergraduate STEM studies, though they are still more likely to stay in the STEM major than women of all sexual orientations. While this is a disheartening statistic, initiatives and projects like Sci-Curious can help encourage LGBT+ scientists to persevere and celebrate the success our community has made in STEM fields. So join Sci-Curious in meeting experts in the field, science enthusiasts and those who wish to celebrate the inclusion and diversity of STEM as much as possible.

The Sci-Curios podcast itself can be found on iTunes, Spotify, Pocketcasts and beyond. Tickets can be purchased through the Glasgow Science Festival website, and via EventBrite.

Kelvin Hall, Lecture Theatre Fri, 7 June 2019, 19:00 – 20:30

FILM

BEATS

REVIEW

The 2019 Glasgow Film Festival concluded with an exceptional film, perfectly highlighting the talent and gritty beauty of Scotland, Brian Welsh’s Beats. Over the years GFF has gone from strength to strength and to have the closing film be a love letter to the nation, and the people within, is a colossal win. The film stars Royal Conservatoire of Scotland graduates Lorn Macdonald and Cristian Ortega as Spanner and Johnno and focuses on their coming of age relationship, their shared love of rave music and the effects of the myopic Criminal Justice Act on the scene.

I was 12 in 1994, the year the film is set, and I recall wandering along listening to it on an oversized Walkman. My parents compared it to the continuous ‘din’, or ‘pulse’ I would have argued, of an enthusiastic fire alarm. I didn’t listen to the music for long, the cultural movement had passed me by, but I am forever grateful to the genre. It led me into hip-hop and some of the more abstract strands of soul and blues (True story: I knew the entire soundtrack to Gordon Parks Jr’s Blaxploitation gem, Superfly before I knew the film existed, and I owe that to rave). In the opening seconds of the film, hearing Ultra-Sonic’s technicolour ‘Annihilating Rhythm, I couldn’t help but smile and remember those times.

The film, mainly shot in black and white, looks gorgeous and perfectly captures an era on the precipice of change. John Major was fending off the destruction of the Conservative Party while

Britain’s economy and National Health Service lay in ruins. The desperation of Spanner’s situation is wonderfully realised: an unpleasant and chaotic home life with no positive guidance; harassed by an aggressive, bullying, drug dealing older brother Fido, played with suitable menace by Renfrewshire’s Neil Leiper, he can’t escape his surroundings or avoid his future. The core of the film is a tender love story between Spanner and Johnno, two kids on the cusp of adulthood who know they belong together, and can only watch as the forced trajectory of their futures drives them apart. This common bond is beautifully realised through their conversations, one particularly touching scene has Johnno explaining his admiration for Spanner’s bravery - somehow in 2019 it’s still unusual to see such openness from two young male characters.

The stunning central set piece, the final rave gathering, is spectacularly realised, giving a real feel of release, freedom and joy. I was reminded of Gaspar Noe’s Enter the Void when the ‘trip’ began and, having been drawn so deep into their world, I shared their considerable disappointment and angst when it was abruptly broken up.

The film regularly splices soundbites of Tony Blair’s political speeches, delivered during Labour’s successful run to power, describing the upcoming ‘revolution of equality and fairness’.

Irrespective of your political views, it is an upsetting realisation that Spanner, and the real life people his character represents, will not see any aspect of revolution. Their future is certainly blighted by the false promises of politicians and the heartbreaking truth that they were being left behind.

Beats combines a beautiful love story and a stunning soundtrack with the heartbreaking backdrop of broken political promises and the trampling of a generation’s future. It is released on May 17th and it is essential viewing.

Film by Chris Grant Page 49

CINEMA CLUB Back in the 70s, in places such as New York and San Francisco, theatres called grindhouses appeared. They were small, fleapit cinemas where you could see the latest low budget exploitation pictures, Kung Fu movies and other assorted weird and wonderful cult cinema. This era, for the people who experienced it, and those who grew up romanticising and fantasising about it (such as myself) was a golden age for every type of film. Nowadays, film club screenings of cult cinema - in theatres and anywhere that can house a small screen - are exploding and recreating the wonder of those times.

There are so many pop-up screenings and film clubs emerging that it’s hard to keep track of them all. Some I need to check out are Leith Cult Film Club, which just screened Zardoz (with the greatest mankini ever to grace the screen, sported

by Sean Connery) and Glasgow’s Yikes Film Club, whose next screening is the Chris Morris political comedy Four Lions.

My most recent experience occurred after seeing a poster for Glasgow-based Venom Mob Film Club, advertising their showing of notorious Japanese Samurai exploitation film, Shogun Assassin.

As a teenager I saw this film for the first time, and it blew my mind. Despite having seen the movie many times, I had to catch this screening

in the Flying Duck. I was surprised to see it was sold out.

I’ve always been on the lookout for fellow martial arts movie fans in Scotland, and so was delighted to catch up with Venom Mob’s Johnny Docherty (bassist in Twilight Sad) and Chuck O’ Donnell. We discussed a variety of martial arts films, such as cheese-fest American Ninja 5: The Annihilation and the Flying Duck’s next screening, art-house Samurai flick Zatoichi. The guys seemed humbled and inspired by the growing film club scene.

“We were like, can we do a film club just based around this genre? And suddenly all the other film clubs were following us and really supportive.” Chuck muses. “We also wanted to tie in the food thing, we wanted to get along our pals and others, eat a bowl of noodles and watch a Kung Fu movie!” Venom Mob Film Club do a ticket deal for a tenner; you can see the movie and get fed with a bowl of tasty vegan ramen or pho.

Venom Mob’s screenings are in association with Matchbox Cineclub, an independent distributor which works tirelessly to produce and promote such events. Under their roster are such wildly popular events as Cage-a-rama, Europe’s longest running Nicolas Cage festival, and Keanu-con, the first Keanu Reeves film festival, both at the CCA Glasgow.

“Crucially, they’re a lot more affordable than

mainstream screenings.” explains Matchbox main man Sean Welsh. “And on one hand, audiences are thirsty for unfamiliar, interesting events, while on the other they’re looking for a like-minded community for things they love.” It’s this passion that fuels the film club scene, and a knowledge that there is an audience for cult curios just as much as a movie like Bill and Ted’s Excellent Adventure.

Across the way in Edinburgh, film club Cinetopia has been making a name for itself in the local film community. With special event screenings in the Leith Theatre (I caught the 90’s classic Home Alone here before Christmas), networking nights and a radio show, Cinetopia aim for inclusion, with all types of cinema-goer encouraged to get involved. “We don’t just programme for our own tastes; we programme for what the community wants to see. We literally ask our members and audience what we should play.” This spirit of openness is significant – it means that anyone can realise the dream of seeing a film they always wanted to see on the big screen.

Both Cinetopia and Matchbox Cineclub have strong connections with Scalarama, a creative collective which organizes and celebrates movie club screenings. Each September, Scalarama coordinates a month-long event in which cinemas, clubs and festivals join to show a huge array of movies, in the spirit of the Scala cinema in London, which closed its doors in 1993. I grew up hearing about the infamous and mystical Scala and its screenings of old school Kung Fu films, which recreated the beauty of 70s-style cinema experiences. Anything that harks back to that time and place, immediately has my attention.

When speaking with these film clubs, it was clear their passion, spirit of inclusion and support for each other was purposely strong. Johnny Docherty explains, “Everyone started following us and were curious about what we were doing.

We couldn’t have been supported any better by the film club scene.” The guys from Cinetopia aim for “a greater link between the film-making

community and the film exhibition community…we should all be in the same room talking about the thing we love - film.”

Venom Mob Film Club will show Zatoichi at the Flying Duck, Renfield Street, Glasgow, at the end of June. Cinetopia will show Dead Good on 13th May at Edinburgh Film Guild Cinema, Filmhouse, Lothian Road, Edinburgh.

Matchbox Cineclub’s Weird Weekend is at the Centre For Contemporary Arts, Glasgow, on 2nd and 3rd June.

Film by Martin Sandison Page 51

A

MAGIC

FLUTE FOR TODAY

Scottish Opera has revived its 2012 production of Mozart’s The Magic Flute.

Hoping to discover a little more about this acclaimed production, I had a quick chat with actor Richard Burkhard, after his first revival performance in the role of Papageno.

I think it’s safe to assume that, like me, you were not at the 1791 original production. Things have changed a lot since then, but this opera is still accepted as one of the most entertaining and accessible to date. If you have never been to an opera but fancy trying it, this is probably a good bet… apparently there’s fire, magic, juggling and robots!

The Magic Flute is in fact an Opera Singspiel, meaning the whole performance is a combination of song and speech, kind of like a posher musical. This version is even performed in English, and there are English subtitles, just in case ye cannae catch their drift – so you’ve no excuses.

It’s a classical fairytale, according to Richard. ‘It’s an old fashioned story; the prince comes along on the stallion to rescue the princess.’ Apparently the original was a feast

of misogyny and masonic mentions, with a little bit of enlightened absolutism thrown in to boot. Many of these opinions just don’t hold up with today’s audiences. ‘It’s amazing how different the world is now even to six years ago, with the rise of Me Too, feminism, socialism…a lot has changed.’ Richard reflects.

In the course of the opera the prince, Tamino, falls instantly in love with the image of the beautiful Princess Pamina, the daughter of the queen of the night. He vows to rescue Pamina from her kidnapper, the high priest Sarastro. It gives me hope that if I’m ever in danger, my single years spent swiping on Tinder may just send me a champion... oh wait, it’s 2019...I have to rescue myself. Richard believes it’s just these type of gender issues which stand out when staging a production today: ‘Nowadays the princess is more likely to think he’s a bit odd for falling for her, having never met her, something which some productions have played with.’

It’s clear that a lot has changed since the 19th century - they were indeed different times. You had to fight snakes and be rescued by a queen’s attendants before you could just fall in love with a portrait. And there were no apps. What does come

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across, though, is how women were viewed in the past: ‘It can be quite misogynistic in places. The opera was written by Mozart, who was a mason, and it talks about the role of women as being subservient – we have to reference that as it’s in the piece – but it’s incredible how awkward that feels now.

We don’t dwell on it.’ says Richard. It’s a challenge that anyone adapting a piece written in the past must face; authenticity versus the message you want to send today. Richard explains, ‘We also have to think about how we can end up disrespecting the fairytale nature and not honouring it. I think we can be a bit too clever with theatre - it’s a bit out-moded. It doesn’t all have to be gender non-specific or non-binary; I think there’s room for different interpretations.’

Thankfully for Richard, the production’s director, Sir Thomas Allen (who’s a big deal in the opera world) is happy to refresh things. ‘Some directors hate that, but Sir Allen likes jokes to be updated.’ he says. Improvising is half the fun of performing as Richard’s character Papageno. It turns out the original actor, Emanuel Schikaneder, was terribly famous back in 1791 - think reality tv star - but he wasn’t a very good singer. So this part was created to be comic, commentating on society, breaking the fourth wall and having a rollicking good time doing it. Richard says of this production, ‘Sir Allen wanted Papageno to be a vaudeville character.’

He has had, he says, ‘the most fun - it allowed me free range, to be inventive and creative and to make some of the jokes relevant. My character is allowed to extemporise and play with jokes; he can challenge those ideals. Taking the mick out of it means its outdatedness has the ability to be transposed. But there is a fine line between getting away from what The Magic Flute actually is.’

This production enlists everyone in the audience, creating a magnificent show. The orchestra is Mozartian style, not down in the pit, and the audience are called upon to contribute, like a pantomime. It’s definitely a production which veers towards the fun side of things.

In partnership with

Discussing the production’s first night, Richard reflects: ‘The audience really loved being a part of it – the difficult thing with opera is that you never have previews, because it’s too expensive. And so you can’t be certain that jokes are working...there’s a lot of trust involved. By the time you get to the first night, we in the cast can all be a bit bored of the joke, so you’ve got to trust that people are going to enjoy themselves.’

The ephemeral nature of operatic performance fascinates me. Shows can be transformed and reperformed with a thousand different interpretations.

It’s a tricky balance to retain the past and tradition of the work, as well as respect the present day, when the opera is being performed and examined.

It sounds like this production has created a fitting equilibrium, so it’s possible to just enjoy the revelry and fun. With magic, queens, surprises and fire, it shouldn’t be a hard task.

The Magic Flute is touring Glasgow, Inverness, Aberdeen, Edinburgh and London, until the end of June.

Theatre by Laura Woodland Page 53

‘I want to make something that lives with the eye as a beautiful piece of art, but on closer inspection, a polemic or an ideology will come out of it’. Grayson Perry A slight trend is forming in Glasgow’s artistic arenas. With Katherine MacBride’s ruminations on the intersections between space and feminism being explored through having been breathed out / patriarchy over and out at the CCA in the last few months, the newest exhibition at the Glasgow Museum of Modern Art is reflecting on similar themes in a simultaneously localised, grander scale.

Domestic Bliss asks the same questions beginning from the inside out. Presenting works from the Glasgow Museums’ collection to reflect on the building’s history first as a house, then the Royal Exchange and then Civic Space, Domestic Bliss aims to explore domestic labour and feminism, public and private spaces, intimate relationships and historical narratives. I say it is on a grand, yet local scale for two reasons: firstly, the exhibition attempts to wrestle with the giant of consumerism and its effects on the interior, domestic lives of its subjects through the presentation of fine art by the likes of Grayson Perry and Alasdair Gray – giants amongst themselves. Secondly, the exhibition achieves a localisation through its attention to its Glaswegian aspect, with the inclusion of works such as Mandy McIntosh’s FEGSURNYMUGS, presented in a self-aware interior. Visitors of the gallery are met by the sound of Ilana Halperin’s audio piece, which curator Katie Bruce says that to her, ‘speaks to loss, change and impermanence… I wondered if people would wonder if the building was

DOMESTIC BLISS AIMS TO EXPLORE DOMESTIC LABOUR AND FEMINISM, PUBLIC AND PRIVATE SPACES, INTIMATE RELATIONSHIPS AND HISTORICAL NARRATIVES. cracking, moving’. The recent tragedies that have occurred in Glasgow – namely the Art School fire and the suspected loss of the O2 – perhaps allow the answers to questions posed by Domestic Bliss become all the more poignant.

“I have a real interest in being able to show what I have the privilege that I as a curator can see” Katie tells me. “I wanted to bring some of the richness of what we have in the Glasgow museum’s collection into this exhibition.

“For example, one opportunity Domestic Bliss presented me was to bring to the GoMa some of the works by Alasdair Gray. It’s a series that recorded people within Glasgow. Alasdair made personal connections with them then drew them: it’s an incredible connection with writers and workers, the unemployed and the powerful.”

“I wanted to bring these portraits in because they look at the domestic: they have the sitters in their home space, but actually the impact that they have is much wider than within their domestic space.”

‘We also have Edwin Morgan, which for me something that as a Curator you can do involving things that are personally relevant. For my wedding day I had some lines embroidered around my dress from his poem ‘Love’. It was something that I just wanted to do.’

Domestic Bliss is both an exciting and comforting collection. Conceived by Bruce’s initial interest in the work Untitled (Yellow Foot Sofa) by Nicola L, which was acquired in 1990 for Glasgow Museum’s collection, it quickly mutated onto questions about the building itself, the role that it plays within the Glasgow art-scape and the interior lives of the public viewers. ‘There are often layers of meaning, complex histories and experiences in the works here and portraits of intimacy, domesticity and important stories from our collection are included.’

“I was thinking about the idea of the feminine space”, Katie tells me. “Nicola’ L’s yellow foot was listed as furniture, traditionally aimed for the domestic space…she was making and designing pieces that were meant to be found in the women’s traditional space, but she was really pushing the boundaries in challenging the pieces found in the spaces that women were expected to occupy.

VISUAL ARTS “We are more aware of the gendering of space now, questioning it, arguing it, claiming it. How artists work in that space, especially female artists, that’s really interesting to me.”

“I’m interested in putting some of those questions out there to the public about questioning how we work as a gallery space.

This exhibition is open in the longer term with changes to be made within that are presented from the conversations that happen here.”

Turning in on itself with commissioned pieces that question the integrity of its title of Domestic Bliss, GoMA will hold a series of events, discussions, talks and readings this season that invite the public to do the same. Can bliss still be achieved in domesticity? It is an answer that only the public, when we see the final product of a constantly shifting exhibition, can know.

Domestic Bliss - GoMA, Glasgow till 31st December 2020

Visual Arts by Carla Jenkins Page 55

DUNDEE DESIGN FESTIVAL 2019 LIVEABLE OR LOVEABLE?Â

May 21st-28th As part of the third Dundee Design Festival, Agency of None led by Lyall Bruce and Ryan McLeod, are transforming under-utilised parts of

the 1970s Keiller Centre into a series of exhibition spaces and design-led experiences.

2019.dundeedesignfestival.com

DESIGN

LOVEABLE? L IVEABLE? Design Page 57

BARRIERS “Cappuccino, love. Quick.” Whistling engines and steaming milk muffle his voice. I nestle behind the silver machine, pulling and pouring and burning my thumb.

He yanks the hot cup from my hand, throws change in my direction and dives off, ticket in mouth. And the next suited man goes. And the next suited man. And the next. Some of them huddle together, armoured with briefcases and umbrellas. The barriers slide open and each cluster glides off to a distant platform.

I watch from under my cap, the purple rim blocking the station ceiling. I toy with the apron string, loosening the knot just a little, and glance at the place names glowing in orange letters. Edinburgh. Manchester. London. I pretend one is printed on my ticket, ready in my purse.

But my elbow bangs off the countertop. It pens me in. I tighten the string. The ticket vanishes.

“Black coffee, doll. In a hurry.” I don’t see his eyes and while I imagine splashing his pristine shirt, watching brown watercolour bleed into the starch white, I burn my thumb again.

By Matthew Keeley

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