SNACK Magazine – September 2020 – Issue 20

ISSUE 20

SEPTEMBER 2020

IDLES | KLEOPATRA | TAYO SOUND | MAN OF MOON | GRAEME ARMSTRONG MUSIC | FILM | FOOD & DRINK | LGBT+ | BOOKS | REVIEW | GAMING | STUDENT | LIFE

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CONTENTS WHAT'S ON | P10 INTERVIEWS | P24

EVENTS IDLES, KLEOPATRA, TAYO SOUND, MAN OF MOON, GRAEME ARMSTRONG FILM | P66 TAKE ONE ACTION, TAIWAN FILM FESTIVAL, THE (NOT) GAY MOVIE CLUB STUDENT | P94 VINTAGE CLOTHING, LGBT+ STUDENTS: FINDING YOUR WAY, START YOUR OWN SOCIETY, THE VEGAN STUDENT FOOD & DRINK | P120 INDIAN SPICED EGGY BREAD, SPINACH WAFFLES, DARK BEER REVIEW | P132 ANDREW WASYLYK, WE SHOULD HANG OUT MORE, HENRIK VILLARD, POST COAL PROM QUEEN, MAN OF MOON, FAUVES, ARAB STRAP, IDLES, DRIFT, PARIS STREET REBELS, MT. DOUBT, THE MAGIC GANG, SCOTTISH OPERA, PETER ROSS, REPRESSION, TENET, GHOST OF TSUSHIMA

CREDITS E: hello@snackpublising.com Editor/Sales: Kenny Lavelle Sub Editor: Leona Skene Food and Drink Editors: Emma Mykytyn and Mark Murphy LGBT+ Editor: Jonny Stone Designer/Illustrator: Fionnlagh Ballantine Front cover image: Nwaka Okparaeke Disclaimer: Snack Publishing Ltd. All rights reserved.

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

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Hello and welcome to Issue 20 of SNACK. It has been the latest strange old month in a line of strange old months. This magazine was planned to be our first print edition since March – our comeback edition, if you will. Unfortunately, as hard as we worked to make it happen, it wasn’t to be. The continuing uncertainty brought about by the coronavirus (the most tedious phrase of 2020, I know) meant that we’ve had to stick with the digital only magazine for the time being. We’ll be back in print, and soon hopefully, but it’s just not the right time for us, yet. Still, here’s this month’s magazine; I’m hugely proud of, and thankful to, everyone involved.

One thing we’ve become acutely aware of recently is that creativity never ceases, even in the midst of a pandemic. The creative world keeps moving and finding ways to flourish and, ultimately, we’re thankful that we’re still here and able to highlight the work of some of our favourite artists. As a member of the SNACK team quite rightly said to me this week, it’s not about us, it’s about the artists and their work.

So, what about those artists? Well, we’ve IDLES as our front cover interview and we’re delighted that we’re featuring the band at the height of their powers.

Guitarist Mark Bowen has plenty to say about… well, read it and find out for yourself. We also spoke to innovative Scottish artist KLEOPATRA who talked about her upcoming EP and the vividly realised android world she has created.

Ali Braidwood chats to Graeme Armstrong about his critically acclaimed novel The Young Team and the importance, politically and morally, for working-class voices not to sanitise themselves.

What else? Oh yeah, there’s also this year’s Student Guide, complete with handy recipes, helpful tips for starting your own society, and loads more besides – that’s all in there too.

As for the rest, I’m sure you’ll find your way around.

Kenny Lavelle, Editor

WHAT'S ON

A momentous month for us all, September sees the return of a limited amount of outdoor cultural events. Museums are welcoming back guests, fairs are scheduled, and, fingers and toes crossed, there seems to be a sense of normality returning to everyday life in Scotland. It may seem like the last six months have been the longest on record, but we stuck together and with a little adjustment we can now embrace and experience the best cultural events that our wonderful country has to offer.

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BLACK LIVES MATTER MURAL TRAIL Various Locations Across Scotland From the inspirational mind of creator Wezi Mhura, the BLM Mural Trail has locations throughout many of Scotland’s major cities.

Edinburgh, Glasgow, Stirling, and Inverness are now connected through the trail, and further locations such as Perth, Linlithgow, Kirkcaldy, Dundee, and Aberdeen are in late development. A call out to Scottish people everywhere, the trail and murals have been designed to encourage us all to challenge racism wherever we encounter it. There’s striking imagery and empowering titles such as Empower, Human, and Visibility, sitting alongside historical symbols of Scotland’s 200 year old anti-slavery movement.

Prominent contributors include Scottish international musician Emeli Sande, artist Neon Requiem/Rudi Vitoria, and almost 20 other Scottish artists. The list is being regularly updated as more contributors add to this incredible social movement.

Visit the Black Lives Matter Scottish Mural Trail online for more in-depth detail.

What’s on By Gregg Kelly Page 11

SCOTTISH OPERA POP UP Glasgow Riverside Museum, Festival Theatre, Edinburgh & Various Locations Across Scotland till 28th September If the people can’t go to the opera, then by gosh the opera shall come to the people. Scottish Opera has announced that it's going on the road and bringing the thrill and wonder of the auditorium with it. The Riverside Museum in Glasgow will be hosting open air performances over two days in September. Unique 30 minute productions of iconic works Don Giovanni and The Gondoliers will allow the limited crowds the chance to experience the musical and dramatic highlights of opera in less than traditional settings. New operatic creation The Song of The Clyde is a family-orientated expression of love surrounding the history of Scotland’s famous river. Physical distancing and other safety measures will be observed at all times, with no compromise on protection or audience experience.

Head to the Scottish Opera website for more information on further tour locations across Scotland.

Tickets are free but must be pre-booked.

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BIG BEER SHOWCASE Glasgow Beer Works – 10th September till 13th September There’s no denying that Glaswegians (and Scottish people as a whole) love a right good bevvy. With the craft beer industry having been fully embraced by local patrons, the Big Beer Showcase presents a varied selection of Glasgow’s finest independent craft brewers, many of which are exclusive to the showcase and can’t be found anywhere else in the city. Brewers involved include Dead End Brew Machine, Overtone, Hidden Lane Brewing, and Acid Brewing Cartel, amongst plenty of others. Glasgow Beer Works will also be offering their own specially crafted brews, as well as the additional option of a tasting session featuring five different beers and the incredible history behind each flavour. To quell that inevitable day time hunger there’s also the option of YuCa-Taco's Mexican street cuisine, bites and snacks.

Entry is free Check Glasgow Beer Works Facebook page for more info.

What’s on By Gregg Kelly Page 13

DOCKYARD SOCIAL Haugh Road (Near Finnieston) - Open every Friday/Saturday/Sunday Situated not too far from the Finnieston strip, this former industrial warehouse is now an epicenter of street food vendor excellence in Glasgow. As a result of the virus that shall not be named, the number of food vendors has been reduced slightly. However, the quality is still second to none, and vendor listings are regularly rotated and updated. With the addition of cocktails and craft beers, the venue has become more than a bench to sit at and food to eat. Due to social distancing regulations both pre-booking and contactless payment are now necessary and punter numbers are limited. But hey, at least we’re allowed out, and you can bring your dog.

Check out Dockyard Social on Facebook for more info.

Entry is free

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PAISLEY

SILENT MOVIE SCREENINGS The Bungalow Ever fancied watching a silent film while drinking a pint? Of course you have.

Who hasn’t? Following the enforced silence in all Scottish venues, the ingenious owners of Paisley’s Bungalow are offering screenings of classic silent movies featuring the stars of Hollywood yesteryear. Greats such as Charlie Chaplin, Buster Keaton, and Harold Lloyd will all be featured on their big screen. As the films are being shown back to back from open to close, it’s really just a matter of chance as to which golden oldie you find yourself watching. Why not take your gran or the oldest member of your family along to the venue? Whilst obeying social distancing and shielding recommendations, of course.

Entry is free.

What’s on By Gregg Kelly Page 15

BEITH

GARNOCK VALLEY CARVES FESTIVAL 12th September – 10am till 5pm Nothing says a return to Scottish normality quite like a bunch of people swinging chainsaws while the general public watch on with a mixture of awe, suspense and genuine fear. Luckily the people wielding the chainsaws are incredibly talented competitors, using their chainsaws to sculpt designs from wood and competing to be crowned Beith's top carver. The festival provides plenty of interactive events for everyone to get involved with, and also features food stalls, crafts, games, and axe throwing, as well as workshops. All of these contribute to an atmosphere unlike much else in Scotland. All profits go back into the local community, and will help the festival become a yearly sustainable celebration.

Social distancing, social bubbles, hand sanitizer stations, contact track and trace etc will all be carried out during the event. Masks aren’t mandatory, but the public are encouraged to bring them.

Entry is free Visit Garnock Valley Carves Facebook page for more info.

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EDINBURGH

BEYOND REALISM – DADA AND SURREALISM National Gallery – Daily, 10am till 5pm There’s never been a better time to visit the Beyond Realism exhibition at the National Museum in Edinburgh. Surprisingly, the surrealist art exhibition isn’t simply a calendar of 2020 stuck onto a wall with Sellotape. Instead, the exhibition features more than 40 of the finest pieces from the most prominent artists of the movement, including Salvador Dali, Leonora Carrington and Rene Magritte. Some of the works on display include Salvador Dali’s Lobster Telephone, Max Ernst's dark and brooding La Joie de Vivre and countless other masterpieces that will leave you spellbound and a little unnerved, as if staring into another person’s painted dreams. Considered one of the greatest collections of surrealist art worldwide, admission to the exhibition is completely free. However, advance booking is currently required.

Free entry Visit National Galleries Scotland’s website for more information.

What’s on By Gregg Kelly Page 17

THE REAL MARY KING'S CLOSE Socially Distanced Walk Through Edinburgh’s History Take a socially distanced stroll back through 400 years of Edinburgh’s history. Beneath the famous Royal Mile lies the infamous and haunting truth about Scotland’s capital city. As a tour guide walks you through Edinburgh’s astonishingly well preserved 17th century street, be regaled by tales of plague, death and murder, and take solace in the knowledge that you didn’t exist in a time as grim as historic Edinburgh. Fully compliant with new Government guidelines on Coronavirus, the safety of all guests is paramount and guaranteed.

Pre-booking for the tour is necessary.

Child tickets - £11.25 Adult tickets - £17.95 Concessions available Visit the Real Mary King's Close website for more information.

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VIRTUAL KILTWALK WEEKEND 11th September till 13th September Because, well, you know, the Glasgow, Edinburgh and Aberdeen Kiltwalks have all moved online, becoming for this year only the Virtual Kiltwalk.

Would-be participants are being encouraged to carry out their own Kiltwalk, be it on a trampoline, bicycle, unicycle or whatever form of travel you wish.

And with any money raised, the Hunter Foundation will add a further 50% to your fund. Remember to wear that tartan.

Registration costs £12 per adult £6 per child Visit the Kiltwalk website for more information.

What’s on By Gregg Kelly Page 19

EVERYWHERE TENET

Cinemas Nationwide Christopher Nolan’s newly released epic surely has to be viewed on the biggest screen possible. The first film post Covid-19 to receive a worldwide release, this is an incredible piece of filmmaking from a man who respects his audience enough to have them guessing until the very last scene. With time travel, explosions, spy hijinks, suits, spivs and the fate of all humanity at stake, Tenet is the film of the summer and all summers past, present and future. A breathtaking piece of filmmaking from a genuinely incredible filmmaker. Go for the explosions, car chases and excitement; stay for the mind-bending plot.

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EDINBURGH SPANISH FILM FESTIVAL 6th till 25th October The wonderful Edinburgh Spanish Film Festival is back this October with their 7th annual edition. Due of course to COVID-19 restrictions, this year will be a unique online experience. ESFF shares a vibrant and varied programme suited for all ages and tastes: there will be 12 feature films, 5 documentaries, and 7 short films, as well as Q&As and panel discussions with selected filmmakers and actors.

Women Film Directors are the highlight of this year’s edition – focusing on women who observe, participate, and evaluate. Make sure to catch Ojos negros (Ivet Castello and Marta Lallana), The Innocence (Lucía Alimany), and The Invisible (Gracia Querejeta). They are also hosting CartasVivas – an audio-visual project centering the voices of 20th century women.

As always, ESFF will be showcasing new directors and their debut films: Camilla Urrutia with Gunpowder Heart, Polo Menerguez introducing The Plan, and Guillermo Rojas with Once Again.

The festival will also be opening a window to Latin American cinema, with The Weasel’s Tale by Juan J. Campanella, Spider by Andrés Wood, and Camilla Urrutia’s debut, Gunpowder Heart. In addition, ESFF will include a short film showcase - The Shortest Afternoon - and Cabezas Parlantes, a monologues competition created during the COVID-19 lockdown.

The full programme will be announced soon. Follow the festival on social media (@_esff) to find out more. edinburghspanishfilmfestival.com/en/

What’s on By Gregg Kelly Page 21

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INTERVIEWS

IDLES KLEOPATRA TAYO SOUND MAN OF MOON GRAEME ARMSTRONG

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Photography: Nwaka Opkaraeke

If you’re not angry, you’re not paying attention. By that ethos, IDLES have spent every waking hour devouring what is going on around us. The band’s brutal takedowns of society and the human condition have seen them go from strength to strength.

On the eve of the release of Ultra Mono, SNACK caught up with guitarist Mark Bowen to capture the state of the IDLES camp prerelease. As with their music, they don’t miss many targets.

As a band known for singing about social justice, do you find it a struggle coming up with topics these days?

I mean, yeah! It’s strange how prescient this album has become. It was written in September of last year. This album was really about isolation, social media, the loneliness of touring and being away from our families. Lo and behold, this new and tangible isolation crops up. Also, we touch on the Black Lives Matter movement. We had a feeling about the world around us, and it’s only been exacerbated.

Everything has been ramping up to this point, which is terrifying.

‘Grounds’ and ‘Reigns’ are frighteningly on point right now – did it surprise you how well it tied in?

Grayson Perry said in one of his Radio 4 lectures that an artist’s job is to notice things. An artist should be more sensitive to what is happening around them and then convey it in a way people can see and understand it.

We tryto offer a blunt and exaggerated version of what is happening. There’s so much in the news, COVID, the murder of George Floyd, Prince Andrew, and all the issues around those.

Do you worry that you are only preaching to the converted?

I don’t think preaching to the converted is a thing. People who share our views aren’t doing enough. That’s why there’s not a Labour government, that’s why there’s not Scottish independence. We are Music by Andy Reilly Page 27

not doing enough.

People on the left and with socialist values aren’t doing enough; we’re being walked over and craftily manipulated by the media, the right-wing press, and the Government.

Our job is to get people thinking about what their stance is and how it can be more active. We search out unexpected venues and arenas for our music. We do Soccer AM on Sky; we do interviews with rightwing newspapers.

Given your growth in recent years, how did you approach writing and recording Ultra Mono?

Our process has remained similar. We come up with a manifesto, we come up with a title and then we work out what the title means. I deal with music and Joe writes lyrics, and we discuss a lot of it.

We wrote most of it in the two weeks before we went to the studio.

Joe wrote most of the lyrics in the booth when he was doing his takes.

That was almost a comfort blanket; we didn’t have the chance to second guess ourselves.

That added an exciting energy to proceedings, and it adds an interesting dynamic in interviews. A lot of considered thought went into the writing and recording process, but we wanted it to be spontaneous and of the moment. The themes and sonic side of it were well thoughtout, but the bones of the album only came out in those two weeks.

There are a few guests on the record – was it easy to bring them into your recording process?

A lot of the guests came about by accident. With the album, we wanted to distill IDLES into its most vital form. Everything was written around a single part, filtered into this ultra mono theme, which is there across the album. The lyrics are blunt and to the point, but there are also elements of what IDLES is.

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THAT’S WHY THERE’S NOT A LABOUR GOVERNMENT, THAT’S WHY THERE’S NOT SCOTTISH INDEPENDENCE. WE ARE NOT DOING ENOUGH Photography: Tom Ham

Music by Andy Reilly Page 29

I WONDER IF MARY BERRY HAS HEARD ABOUT US?

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Photography: Tom Ham

IDLES is about community and a shared experience, so it’s appropriate that there’s people from our community at large on it. If you put all these people in a room, they don’t fit together, but that’s the IDLES way. Even within the band we are different people, so our collaborators are people with different backgrouns., But there’s a shared enthusiasm for life and music.

Has anyone you’ve name-checked in a song got in touch with the band?

No. I was hoping we could get someone involved in a video. It would be really great if David Attenborough got involved. I wonder if Mary Berry has heard about us?

For a band with so much to say, do you ever worry about your music being overlooked?

I think we’re on a journey with the music. With this album, as we were so involved with the production, it’s the best we’ve been musically in conveying what we intended to. We wanted to make sure that the points of the lyrics come across and convey what Joe is saying in sound as well.

I’ve realised that, in reviews, the only thing I’m interested in is whether people understand what we intend to do and say. We’re trying to be blunt, and people are getting that. It is interesting because in interviews, 99% of the focus is on the lyrics, but we write musically first.

You recently streamed sets from Abbey Road – how was that experience?

It was one of the hardest things we’ve done as a band. We touted this idea at the beginning of lockdown. We foolishly assumed lockdown would be a three-week thing, and we’d have two or three months rehearsal. We ended up with four weeks.

Even then, with the way lockdown was, Joe and I were looking Music by Andy Reilly Page 31

after our kids. We were only able to rehearse once a week. So we had four rehearsals before we went in. It felt very raw and new. It missed the audience.

On your last tour, you played two nights at the Barrowlands.

Next year, you’re playing three nights. How do you keep your energy levels high when you have a run like that?

One of the greatest privileges of being in the band is playing to Scottish crowds. We know that if we go out all guns blazing, we give an energy to the audience that we’ll get back in return.

I could play Barrowlands every night for a year. There’s an energy you get from that room and crowd that is something else. I’ve had gigs where I’ve been hungover, vomiting off stage, but when you walk on and get the energy from the crowd, the hangover disappears. Also, can you imagine what those Barrowlands gigs are going to be like after not playing for a year and a half?

I’m not going to say we aren’t going to do socially distanced gigs, but an IDLES show will only really work in normal circumstances, so let’s hope there’s a vaccine.

If you could give people one message to help them get through the rest of 2020, what would it be?

Humans are really clever. We’ve worked out how to not live in the wilderness, we live in houses, we have central heating, internet... we have ways of communicating with people from other continents immediately.

In a year or two years’ time, things will be normal. Those things we cherish and love will be there, because we cherish and love them. The important thing now is to stay healthy and safe.

Ultra Mono will be released on 25th September on Partisan Records.

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I COULD PLAY BARROWLANDS EVERY NIGHT FOR A YEAR Photography: Tom Ham

Music by Andy Reilly Page 33

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KLEOPATRA’s MACHINA EP creates a brilliantly realised cyberpunk world, with its futuristic DIY synth pop songs filled with personal storytelling filtered through an innovative android gaze. In ‘MACHINA’ and ‘Pretty Bones’ it features two of the strongest tracks we’ve heard from a Scottish artist in 2020. We caught up with KLEOPATRA to talk about the EP, the decreasingly perceptible gap between the real and the synthetic, and producing her most hands-on work to date.

Can you tell us about the KLEOPATRA project?

It’s very difficult to start explaining it. It’s not abstract, but I guess it’s more of an abstract concept than most musicians have. I’m inspired by technology and how science and art can come together. I grew up watching films like Ghost in the Shell, Bladerunner and things like that. That [idea of a] dystopian cyberpunk future has seeped its way into everything I do – I just love it so much.

What is it about that theme and genre that you love?

I find everything to do with AI, robotics, Deep Learning, so fascinating because it makes me think about what it really means to be human. Especially when AI is getting so advanced that you could be talking to a chatbot and not realise it. I don’t know if you’ve heard of Sophia the robot; she’s phenomenal.

She obviously looks like a robot from the outside, but when she’s talking she’s having these very intellectual three-dimensional conversations, and it’s just fascinating. So I wanted to make art that was themed around these things, around AI, advances in technology and human enhancement – it’s a kind of Black Mirror vibe. If I’m learning about a new cyberpunk thing or about Music by Kenny Lavelle Page 35

androids or robots that develop consciousness because their programming evolved, I love that, and I wanted to come from a similar angle with the KLEOPATRA project.

Would you say that you’ve put yourself in the android’s shoes?

Exactly, I want to create a world around the music: sonics, but also visual elements and narrative. I wanted the KLEOPATRA project to be this android who developed human consciousness and expresses her emotions through music and visual art.

For me, it’s got a very personal element as well – I have always struggled with my emotions. I’ve had quite poor mental health, and feel very deep emotions that are so hard to navigate sometimes. I feel sorrow and anxiety and things deeply, but I also feel happiness and love deeply too. I suppose I’m learning every day how to express my emotions and how to live side-by-side with them. So the narrative around the character’s story comes from that place, learning to express my emotions in a good way and develop into the artist that I want to be.

Do you see the concept and character evolving beyond where it is now?

I think that the idea is pretty much there, but I don’t think any artist ever stops developing. If you look at Charli XCX recently for example, her work is completely different from the ‘Boom Clap’ era. And for me that’s fantastic. I love seeing artists reinvent themselves and develop. But I think that my persona and the things I want to express through my music, the things I want to talk about, are pretty much there. I’m looking forward to making more music.

Even after this EP was finished, I was making new music for the next EP or album. I’m continually looking to upgrade.

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Music by Kenny Lavelle Page 37

I’M CONTINUALLY LOOKING TO UPGRADE Back to Contents

Would you say that it’s easier to talk about certain things while you’re in character?

I wouldn’t say so, because I think that at this point, the character and I are one and the same. I didn’t want the character to be something that I had to gear up to or change myself to do – I just wanted it to be an extension of myself.

In a way your song ‘Generic’ talks about this.

With ‘Generic’ I’m talking about what’s real and what’s synthetic.

I wrote the song about a need for individuality in a world that’s obsessed with trends – everybody is obsessed with TikTok at the moment, for example – things are always like that. There’s always mass appeal, but the song’s about my own need for individuality.

It’s also about our failing ability to be able to tell what is real and what is not in an age when so many of the images we see are doctored or even completely false. It’s about how much of what we’re consuming is real or synthetic... the things we see or even the food we eat. How many artificial chemicals are in that, how much is synthesised in a lab?

The visual element of the project is very interesting.

I quite recently got into 3D modelling and design, making 3D characters and putting them into locations that I’ve never been to, or couldn’t go to because I couldn’t afford to. That element of it is about escapism and exploring how far art can go. The one thing that I never do is doctor images of myself in terms of my body or my face – I don’t airbrush my skin or remove blemishes.

The images of me are all real and unchanged, but I’ll take the background out and experiment with putting my character or myself in new locations.

A lot of people message me or comment on how ‘I’ look. I then All images courtesy of KLEOPATRA

Music by Kenny Lavelle Page 39

explain to them that it isn’t real, and that has a powerful effect every time. I want people to investigate the things they see and hear more.

Do you think that the story and world building you’ve done on Instagram has benefitted from the distance brought about by lockdown?

I never really thought about it like that. I thought that perhaps I would struggle more during lockdown as I’m not able to communicate well in real world settings. I thought that KLEOPATRA might suffer, because I feel that the best way – it doesn’t matter how big your Instagram following is – the best way is always in person. I’ve struggled in lots of ways during lockdown, in personal and music ways, and I was worried that if I wasn’t doing live shows I would just fade away into the background. But I feel very lucky, very thankful to the people that do follow my music and do support me – they’ve kept with me and kept championing me, and I feel so grateful.

That must be a comfort for you.

Definitely. Things seemed very bleak at the start, but I feel more hopeful now.

You’ll be looking forward to your work being out in the world, people experiencing the music and that being the focus. That change of focus from the visual side of your work to the music, that must be an exciting shift.

Yeah, absolutely. I feel that the visual content is the primer for the musical content because when the music is out there I can connect with people on a new level. When lockdown starts to lift more, and we can start doing live shows, I can further connect in an even better way. So, yes, I am excited about this, but I know that Back to Contents

Music by Kenny Lavelle Page 41

IT WAS AROUND A YEAR IN THE MAKING AND SO MUCH TIME, CARE, AND ATTENTION HAS GONE INTO IT Back to Contents

it’s going to take a while to get there.

I love this EP from the bottom of my heart. It was around a year in the making and so much time, care, and attention has gone into it. It’s the most hands-on piece of work that I’ve ever done. I was directly responsible for the production, the mixing, mastering, and recording, which is amazing for me because I have been learning to produce for years, but never had the confidence to fully commit to producing on a project. This project has really changed me as an artist and it’s helped me to define my sound. It perfectly encapsulates all the sounds and themes that I love.

KLEOPATRA’s MACHINA EP will be released on 18th September.

Music by Kenny Lavelle Page 43

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Scottish-Nigerian singer songwriter Tayo Oyekan – aka Tayo Sound – ‘s music career began in earnest at the age of just 16, when he left school to pursue music full-time. He found his feet busking in his home town of Reading. Now aged just 18, it feels like Tayo could be on the verge of something substantial with his sweetly cool, radio-friendly tunes.

Latest single ‘Heartbreaker’ is a chilled-out pop bop which explores the insecurities within a relationship. The song’s smooth vocals and catchy tune paired with lyrics riddled with doubt makes it a perfect end of summer song. You’ll probably start seeing the name Tayo Sound around a whole lot in the coming months.

Can you introduce yourself to our readers? Who is Tayo Sound?

Tayo Sound is a singer-songwriter who has never spoken in the third person before and is a little uncomfortable with this.

Can you describe your sound, for those who are not familiar with you as an artist yet?

My sound’s got a bit of everything - pop, indie, r&b - something in there for everyone.

Everyone has spent the majority of the last few months in lockdown because of Covid-19. Have you found the lockdown to be helpful or detrimental to you creatively?

It’s been really good actually. I’ve been writing a lot cause there’s not been much else to do. I’ve been video calling other producers and songwriters and collaborating virtually. It’s meant I’ve been able to work with people across the globe.

In a similar vein, Covid-19 has taken away live shows for the time being. Do you enjoy live streamed gigs?

Music by Abbey McGugan Page 45

I’ve not done any live stuff yet. It’s actually more scary to do online live streams than actual gigs for me. Hopefully there will be a couple things before the end of the year if not next year.

Performing is the reason I do music, so I’m excited for it to get back to normal.

Your music is distinctly chill. Which artists do you think have influenced your sound?

I don’t know, it’s really just been experimenting in the studio that has produced the sound as it is. I love people like Dominic Fike and Easy Life though. That whole genre is defo an inspiration.

What music has influenced you or gotten you through lockdown?

I’ve listened to a lot of old Nigerian music like Fela Kuti.

You’ve previously collaborated with George Reid and Rob Milton. Have you been able to work with people during the lockdown? Any Zoom collabs?

The people I’ve worked with on Zoom have generally been new people I’ve never met before, lol. Can’t wait to get back in the studio now with more familiar faces.

Your singles ‘Heartbreaker’ and ‘Cold Feet’ are both about relationships. Do you focus on that theme in your upcoming EP? What can we expect?

Yeah, more sappy love nonsense.

You’ve also just released a music video for ‘Heartbreaker’.

Did you enjoy making that?

It was cool cause it was the first time I’d seen actual people since lockdown. We just went around my town filming lil bits and then the Bedroom [British filmmaking duo] guys did the animations.

Apart from the EP being released later on in the year, do Back to Contents

you have any other big projects on the way? Where will we see you next?

Just more music. I’ve made so much this year I need to sort through it all and figure out the next steps.

Music is [fill the blank].

Music is like Fifa cards. Most of it is either worthless or overhyped and it’s all about finding the hidden gems.

Music by Abbey McGugan Page 47

In SNACK Tracks we’ll ask some of our favourite artists questions which are linked, often tenuously, to their new album’s track names.

Guitarist and singer Chris Bainbridge of Man of Moon is up first. The band release their excellent debut album, Dark Sea, later this month – read our review elsewhere in this issue.

THE ROAD – What has been your favourite tour and why?

That’s a tricky one because we’ve had so many tours that we’ve really enjoyed, but for different reasons. The tour with Django Django in 2018 was incredible. That was like our first serious tour where we got to play some big shows in loads of different cities right across Europe and the UK, and we got on really well with the boys in the band. But we were driving this pure shite old van that couldn’t go above 50 mph, so some of the drives were taking fucking ages. We would watch out the window as lorries and Megabuses were zooming past us on the autobahn in Germany, which was quite funny to be honest, but also made the journeys pretty daunting.

Our tour with The Twilight Sad last year was amazing as well as it was our first ever big bus tour. It’s been a dream of mine to tour on one of those buses since I was about 13, so when we got asked, we were both absolutely cheesing. Was really cool to get to watch the boys go out on stage every night and smash it. What a band - such nice guys too. We all had such a laugh.

If I had to pick my favourite tour that we’ve ever done though, it would be when we supported my cousin Dave’s band Boy Azooga across the UK, just after they released their amazing Music | Questions by Andy Reilly Page 49

debut in 2018. I think we literally laughed from start to finish. Me and Dave have been super tight since we were wee kids and have always talked about going on tour together someday, so it was really special for it to actually happen. They were pulling really good crowds too, so we would just go on and play as hard as we could, then jump off, grab a beer and then jump about like mad while they were on. Was seriously fun and I would do it again tomorrow.

STRANGERS – Have you become good friends with any bands you’ve played with over the years, and what drew you to them?

One band that sticks out is The Van T’s. I can’t remember the first show we played with them exactly, but I think it was at Stereo in Glasgow, years ago. We all just hit it off really well. They were super supportive of me and Mikey [Man of Moon drummer Michael Reid] and we all just had a proper laugh backstage. Like me, the guitarist, Chloe, loves loud, crazy sounding pedals so we chatted about that and recommended different pedals for each other to try. Me and Mikey love the fact that they go out on stage every time and just fucking go for it, playing really loud with loads of feedback and energy. Great band to watch live.

Another artist I have become really close with over the years is Ross Clark, who used to play in a band called Three Blind Wolves.

He now has a project called Fiskur and their debut album came out last month – it’s an amazing album and I recommend it! Me and Ross actually recently had a funny, drunken night where we discovered that we both absolutely love The Cribs. So we then proceeded to listen to them for about 4 hours straight, belting out all the lyrics...sorry, neighbours.

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All images courtesy of Man of Moon

Music | Questions by Andy Reilly Page 51

WE TRY TO CONVEY A STRONG SENSE OF ‘START, MIDDLE AND END'

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SILVER LININGS – Are there any positives to take from the current situation regarding the music industry?

One of the positives I’ve noticed in this situation is the fact that artists have been playing more live streamed sets and finding new ways in which to interact with their audience. I think this is great for fans of music who are unable to attend live shows for disability reasons, or if something like anxiety stops them from wanting to go to a crowded busy room with strangers for a gig. These performances allow people to enjoy live music without leaving the house, and I think it’s great that the fans can also interact with artists via the comments section whilst they play.

I played a few live streamed sets during lockdown and really enjoyed it. I was surprised, to be honest, because I thought it was going to be really weird. But it was actually very uplifting watching it back afterwards and seeing what people were saying during the gig. I was super fucking nervous for the first one, but once I got going it was fine. I hope live streaming will continue to be a thing artists do even occasionally, as it also allows music fans from countries that maybe aren’t always included on tour dates to experience the songs too.

WHEN WE WERE YOUNG – What were your key influences when you started the band, and do you still feel the same about these acts?

When we started the band, we bonded heavily over bands such as Russian Circles, Mogwai, She Keeps Bees, TOOL, Radiohead, CAN, Jagwar Ma, and loads more. I think elements of these very different acts are still present at times in our sound, and I love these bands just as much as I did when we started out.

Music | Questions by Andy Reilly Page 53

There’s no doubt that our sound has changed over the years, especially since the very early days. When we started out, we were a lot rawer and more sparse. We have gotten a lot louder over the years, adding extra elements to the live sound, but we still enjoy using dynamics and we like to bring the volume right down for parts of the set.

One thing that stands out for me, regarding the bands I’ve mentioned, is that they’re all good at making something sound intense and emotional at times. That is something we definitely try to replicate through our sound and with certain songs.

BLACK SNOW – What’s been your biggest slip-up in the industry so far?

I think, like many bands, we’ve had our fair share of slip-ups.

One would definitely be not working hard enough when we first started out. We were 19 and partying a bit too much; it took me a wee while to realise that you have to work really hard to make a band successful. It’s definitely not just about having fun.

Another learning curve would be managing to sift through the bullshitters in the music industry. There’s a lot of really sound, genuine folk in this industry who I have a lot of time for, but there are also people who chat total shite and who I don’t feel are in it for the music. We’ve had experiences with agents etc. in the past who have acted as though they support the band and want to help, but then come to the show and not even watched us play. At the time it was very disheartening and affected our confidence levels a fair bit, but you kinda learn to care less about those folk. It becomes easier to tell when someone is chatting shite.

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Music | Questions by Andy Reilly Page 55

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RIDE THE WAVES – We’re all surfing the web more; any sites or accounts you’ve got into during the lockdown?

If I’m completely honest, nah. Not really. I’m not that big on surfing the web. But I have got into reading a bit more, which is great because I’ve wanted to do that for years – I didn’t read books at all when I was growing up – so that’s been nice. I also set myself a task at the start of lockdown to become more comfortable with recording on [audio software system] Logic and better at recording at home, so I’ve been working on that a fair bit. And I’m working on album two right now, which I’m really excited about.

RUST – What do you want the legacy of Man of Moon to be?

Whoa, that’s a pretty big question, haha! I think I’d like people to remember us for our live shows. I’ve mentioned in other interviews that we try to take the audience on a bit of a journey when they’re listening to us live. We take that into consideration a lot when planning our set. We’ve worked hard over the years to try and make our live show strong, so I’d like for that to be something people think about when they’re talking about us, I guess. We try to convey a strong sense of ‘start, middle and end’ when playing live, and we’ve gone for a similar idea with this album through dynamics and lyrics.

COMING BACK - There are obviously no gigs as we know them right now. But when they come back: where’s your ideal venue to play, and what other bands would you love to have on the bill?

Music | Questions by Andy Reilly Page 57

My ideal venue in Glasgow is probably Stereo.

We’ve played it a few times now but there’s just something about that venue that I pure love! I like how it’s underground and has a sorta grungy, rough around the edges vibe to it, and I really like the stage. We headlined it last year when we brought out Chemicals; it was absolutely jam- packed and it was one of my favourite shows we’ve ever played.

So I have a special place in ma heart for that venue.

Lots of amazing bands about, too, that I would love to play a show with, like Working Men’s Club, Domiciles, SHHE, Lizzie Reid, and my good pals The Kidney Flowers. If I’m talking about my absolute dream venue to play again, once things are back to normal, it would probably be VEGA in Copenhagen.

We played there with Django Django and then again with The Twilight Sad and it is hands down one of the coolest venues I’ve ever been to. It’s an old communist headquarters and it still has the original signs on the walls and floors.

There’s also an amazing band called FEWS that we’ve always been big fans of, and I think we would work well together on a bill. So if I got to pick a venue and a band it would probably be that combination.

Man of Moon’s debut album Dark Sea is out on 25th September, and is available to pre-order now from their Bandcamp page. manofmoonband.bandcamp.com/album/dark-sea-2 Back to Contents

I LIKE HOW IT’S UNDERGROUND AND HAS A SORTA GRUNGY, ROUGH AROUND THE EDGES VIBE TO IT Music | Questions by Andy Reilly Page 59

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Graeme Armstrong’s The Young Team is one of the most widely discussed and critically acclaimed Scottish debut novels of recent times. SNACK caught up with Graeme to find out more.

Can you tell us how, and why, you became a writer?

GA: The ‘how’ is probably best summed up as a war of attrition. In 2009, I scraped into the University of Stirling to read English Studies as an undergraduate. I followed this with a Masters’ in Creative Writing, under the tutelage of poet Kathleen Jamie and Janice Galloway, who would mentor me later. I began writing my own novel in 2013 in my first days of drug withdrawal. The process took seven years and roughly 300 rejections. The ‘why’ was a purge of my old life on paper. Was it cathartic? Almost certainly. Challenging my past in literary form held the key to a different future. There was no plan B. How much does The Young Team draw on your own experiences?

GA: The Young Team is a work of fiction, first and foremost. However, all the characters and action within the novel are inspired by my real lived experience of young team gang culture in Airdrie and Coatbridge.

Fictional characters revolve in the fictional world I have created. Azzy [the lead character] and I share most experiences, especially those dealing with mental health and addiction. The exposure to serious violence (including murder), suicide and trauma is first-hand. I was very careful not to include real gang names and only use the physical locale of Airdrie as a template for my world. The last thing I wanted was to create a shrine to our culture or to glorify violence. It’s a realistic fictional portrait of how it was then, told in the high definition which lived experience affords.

Have you had feedback from anyone who shared those experiences? If so, how has the novel been received?

Books by Alistair Braidwood Page 61

GA: I have had some great interactions with readers. One young man messaged within the first few weeks to tell me he was inspired to stop using drugs after reading.

A woman from Lanarkshire told me she and her brother, who was serving a prison sentence, discussed it at length. She was sure it would change his life as she felt the energy of my transformation. I was very sad indeed to learn that on his release he took a fatal accidental overdose of street Valium. Unlike fiction, there’s not always happy endings here. Many young men and women have messaged to say they feel seen and represented. Some message to tell me this is the first book they have ever read. I cannot convey how this makes me feel. It feels like vindication. It feels...beautiful.

The language just flows off the page. It’s written in dialect, which can be hard to get right. How did you approach the writing, and did you find it came easily or not?

GA: The dialect is a true representation of my daily speech and thought. People often say it is written in ‘Scots’ or ‘slang’ – which, of course, it isn’t. It’s written in the vernacular dialect of North Lanarkshire. This is, without doubt, one of the most controversial elements of the novel. Commercially, it’s less attractive and was one of the main rejection themes from many agents and publishers. It is very important politically and morally for working-class voices not to sanitise themselves. If I was to, what message does that give to my community? Our voice and truth aren’t worth hearing? It is a privilege to represent my community in a literary work. That carries linguistic responsibility and I take that seriously. Voice is attached to self-worth. Mine is intact. Theirs should be too.

You deal with addiction and mental health issues through your protagonist Azzy Williams. Did you find those difficult to address?

GA: There is a barrier in sharing both emotions and suffering. It isn’t stoic, boys. It causes the high number of male suicides which we see in blackspots around Scotland – including one of the worst in Lanarkshire. I have lost several friends and know countless more young men who have taken their own lives. It was a huge responsibility to represent suicide and mental health and get it right. Young men confide in me that they have had similar untold experiences. Finding language to communicate the rush of Back to Contents

CHALLENGING MY PAST IN LITERARY FORM HELD THE KEY TO A DIFFERENT FUTURE. THERE WAS NO PLAN B Books by Alistair Braidwood Page 63

IT IS VERY IMPORTANT POLITICALLY AND MORALLY FOR WORKING-CLASS VOICES NOT TO SANITISE THEMSELVES Back to Contents

sensations of a panic attack is tough. It’s hard, even for me, to be honest around mental health, but it’s incredibly worthwhile. It can save other’s lives. It can save your own.

You also write quite beautifully about the importance of music and clubbing in Azzy’s life. How important were they to you growing up, and does music still influence you now?

GA: If anything, I think it’s understated in the novel. Azzy and the gang go to two raves in the novel. We went to around twenty. Scottish rave culture experienced a renaissance in the mid-00s. Ecstasy use exploded and was a fundamental part of our drugs landscape. I try to capture the effect of the Class A drug on human consciousness, while not glorifying it. In the second rave scene in the novel we see the darker side, as it all goes Pete Tong. I underestimated the power of music in The Young Team. Lots of people mention it to me. It’s culturally emblematic and takes readers back to a specific place and time. Music is a huge part of my next project. Its nostalgic energy is massive.

I have significantly mellowed. A friend put it, ‘Yeev swapped hardcore beats fur armchair seats.’ A younger one said, ‘Yi cannae handle the scandal, eld yin.’ I’d call it re-entry after the stratospheric 00s. I’m at peace with it. I’m seven years drug-free, and four teetotal.

How do you feel about how The Young Team has been received? Do you think people have got what you were trying to do?

GA: I think both the literary and drug prevention communities see the value of my lived experience on the page. I am very pleased the ‘literariness’ of the novel is turning heads too. The rich interior life of the Scottish ‘ned’ has never really been explored.

The exterior ‘hard shell’ of our young men (tracksuits, Berghaus jackets and cultural camouflage included) is often a product of the tough environments of modern poverty.

If The Young Team allows people to see beneath this on a human level, then I have achieved what I set out to do. It often exceeds expectations. Maybe I do too. People expect a violent gang story. It is that, but it tackles much more delicate themes. I think people get that.

The Young Team is out now, published by Picador Books by Alistair Braidwood Page 65

FILM

TAKE ONE ACTION TAIWAN FILM FESTIVAL THE (NOT) GAY MOVIE CLUB

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For Tamara van Strijthem, the issue of how to host the 2020 incarnation of Take One Action has been a conundrum.

The Edinburgh-based film festival is centred around social justice, in a time when cinemas are closed but equality is news. Campaigning may be prominent, but socialising is limited. Indeed, before deciding how to host came the quandary of whether to host at all.

‘That was a big question at the time. Is there a rationale for us not doing one this year?’

Ultimately, Tamara, Take One Action’s Executive Director, and Operations Assistant Daisy Crooke, decided to proceed. Their conclusion was that the ideas that tie the films they curate together - climate justice (the Shared Planet strand), inequality (All Equal) and women’s empowerment (Sister) - needed prominence this year as much as any, if not more. The compromise was that, for the first time since it began in 2008, Take One Action will be wholly online. The recipe of films, discussions and special events will remain recognisable to those familiar with the festival, which Tamara has overseen for the last five years. However, with venues such as The Filmhouse and CCA unable to hold screenings because of Covid-19 restrictions, 2020 will see all 26 films – 12 features and 14 shorts – made simultaneously available on day one via Vimeo OTT. Live Q&As featuring directors, protagonists and organisations will then complement the programme each evening at 8:30pm. These will be held on Crowdcast, as will four special events on subjects ranging from the recent ‘Decolonising the Curriculum’ movement, to holding corporations to account. All live events will be free, and the films are pay-what-you-can.

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The honour of opening the festival falls to documentary Coded Bias, an investigation into prejudices within algorithms that steer society. Tamara is enthusiastic about this curtain-raiser, whose director Shalini Kantayya will join the film’s Q&A alongside civil liberties group Big Brother Watch: ‘It’s a really fascinating exploration of the racist and sexist biases at the heart of the algorithms that preside over most of the AI that controls our lives: facial recognition software, HR software, approval of mortgage applications. It’s an American film but it has a very strong UK component.’

Coded Bias has received hugely positive reviews since appearing at Sundance. Its presentation at Take One Action will be its UK premiere, as is the case with six of the twelve features on the slate. It also exemplifies a trend towards female directors for the Scottish festival: three-quarters of the films at the festival are directed by women, and nearly a third by women of colour.

Securing premieres such as Coded Bias is a catch for any event.

However, a festival dealing with social justice has to be more than merely movies and a chat. Many desiring social justice fear they lack the power, energy, time or base knowledge to make the difference they want to instigate, and so Take One Action aims to point people in appropriate directions.

‘We can’t just shove on a film and say do your own research’, Tamara says. ‘I mean yes, if you want to, by all means, but if we can help in that process that is very much where we see our role.’

This is especially relevant when you consider that Take One Action envisages activism as a collective activity rather than a solitary crusade. In fact, Tamara goes so far as to downplay the idea of the pioneering individual, seeing it as a toxic myth.

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WE CAN’T JUST SHOVE ON A FILM AND SAY DO YOUR OWN RESEARCH

Film: Coded Bias

Film by Jamie Wills Page 71

FORGET ABOUT VOTING WITH YOUR WALLET AND START WORKING AS A GROUP OR COLLECTIVE Back to Contents

Film: Coded Bias

‘It’s a bit like the romantic notion that there can only be one person for you in your life; that is poisoning people’s understanding of what relationships should be.

‘While it is true that individuals can spearhead movements, and an individual can actually make a massive impact, people don’t usually do that by themselves. If there is an issue that you find particularly urgent, or one you’re particularly passionate about, for me the best way to go about it is to find other people who are fighting the same battle. For various reasons, one being that the voice of many is louder than one person’s voice. But also because change takes a long time to come and it can be such an uneven and uphill battle sometimes, and it can be easy to feel disheartened when things are not going the way you want them to. So forget about voting with your wallet and start working as a group or collective.’

It’s for this reason that guests such as Big Brother Watch and collaborations with organisations working in the field are vital for the festival’s purpose. Yet despite the upsurge in visible activism in 2020, Covid-19 has restricted who can appear at this year’s festival.

Tamara explains: ‘It’s difficult when you only work with charities and NGOs, most of whose staff are furloughed, to then ask them to take time to do something like a film festival. We don’t want our partners to be beyond capacity.

‘Christian Aid, Oxfam, UNISON, and Global Justice Now are still going to be credited as our main partners, even though there might not have been the same level of partnership or collaboration as would happen in a normal year. But they’ve been with us for 12 years.’

Film by Jamie Wills Page 73

Other partnerships have been vital in getting ideas for how to run an online festival.

‘There is a difference between knowing you have to go digital and knowing what that entails and how it is delivered. It took a lot of consultation and watching what other people were doing. I don’t know how many webinars I took part in, how many round tables I listened to...people in the industry discussing the merits, or not, of going online and what a film festival can achieve online. It’s like yes, we had made a decision to make something happen, but how, what, and why was still quite a big question.’

Namechecks at this point go out to SQIFF (Scottish Queer International Film Festival) for pushing concepts of access, and Visions du Réel in Switzerland for ideas on structure. Film marketing specialists Together Films also garner credit for their Digital Perspectives lockdown webinars, which brought together exhibitors, producers and festival programmers to discuss the parameters of what is possible. Tamara says these helped prompt her organisation into believing it could take the plunge.

She also credits Daisy, for organising the team of volunteers who helped evaluate the short films, add SDH and image descriptions, and spread the word.

Partnerships also lead on to the unavoidable aspect of money. Whilst the conscious choice to not cancel this year was down to not wanting to scrap Back to Contents

HOW, WHAT, AND WHY WAS STILL QUITE A BIG QUESTION

Film: Coded Bias

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DISSENT IS OBVIOUSLY TO BE EXPECTED. INSULTS AND AGGRESSION ARE DIFFERENT

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Film: Coded Bias

ideas, having two years of funding in place via Screen Scotland was a fundamental base. Without it, Tamara is certain the festival would have folded.

‘It meant that we started in March knowing there was an agreement in place, and they [Screen Scotland] announced that they would honour that. I really don’t know what we would have done otherwise. There is absolutely no way this festival could happen if we didn’t have those funds.’

Understandably, transitioning a festival online will lose elements, such as the joy of a curated cinematic space. Online spaces, conversely, can be notoriously cruel, and Take One Action will employ moderators at its discussions in case words move from feisty to nasty.

‘I’m hoping people won’t just go in there and shout at each other and insult people. There is a risk’, Tamara continues.

‘Dissent is obviously to be expected. Insults and aggression are different.’

This leads to the question of audience composition for this year’s event. While numbers for a paying audience for a documentary screening at a venue such as The Filmhouse can be roughly predicted, a free online discussion is open to the world. Indeed, Take One Action has gone to great lengths to promote online accessibility: every film this year will be captioned, events will have live sign language, and it is hoped subtitles will be added to discussions within three days of their happening. On top of this is the novel prospect of gaining viewers not restricted by geographical proximity. Tamara states that although a Scottish context remains key to the identity of the festival, films based in locations such as Bangladesh and Palestine could bring in global viewers.

Film by Jamie Wills Page 77

For cynics, the suspicion that a social justice film festival merely preaches to the converted – and an online version will only lure woke clicktivists – might deter interest. These are accusations that Tamara understands, yet she feels the festival’s raison d’etre is about deepening understanding rather than saluting a moral flag.

‘Film can be a very accessible medium, and it has a way of making you understand very complex problems from a perspective you may never have come to grips with if you hadn’t actually seen someone’s living circumstances or passion’, she says. “You can witness it in a way that an article cannot convey. You can explore the reality and complexity of an issue in a way few other media can. The question then is what do you do with that knowledge or understanding, once you have seen that. And this is the role of the festival.

‘I think showing the reality of how people’s activism looks and is lived by them is a very powerful thing. They aren’t just online signing petitions or complaining about the wording of a tweet; a lot of them are involved in organisations and support groups, and many are volunteering, giving a lot of themselves and their time to others.’

She knows that some will remain unconvinced about the value of speaking against injustice, and will continue to be mistrustful of online spaces and the need to change systems. However, Take One Back to Contents

THEY AREN’T JUST ONLINE SIGNING PETITIONS OR COMPLAINING ABOUT THE WORDING OF A TWEET

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WE ARE MANY. AND WE ARE MANY. THERE ARE A LOT OF US, NOT JUST WILLING BUT ACTUALLY WANTING TO MAKE A DIFFERENCE Back to Contents

Action will appeal to people who acknowledge there are wrongs, but perhaps have a superficial grasp of the causes, catalysts, or how to engage with the problems.

‘Just because people understand there is an issue somewhere, doesn’t mean they understand its complexity and what is behind it.’

Which leads to the question of what issues need to be addressed. In Scotland specifically, Tamara feels the rhetoric from Holyrood is more promising than that of Westminster, although the reality beneath the words is not always rosy. Significant inequalities remain in people’s housing, prospects, and education. Complacency is also a problem.

‘There’s a danger in Scotland of patting yourself on the back and going “we’re better than England, at least we’re not that bad”, and then not looking at the issue. Especially on racism. Racism is a prime example of that in Scotland.’

And as the recent Black Lives Matter, Climate Justice, Beirut, Hong Kong and other protests show, the broader world still has an encyclopaedia’s worth of problems.

Nonetheless, Tamara is hopeful that society can shift in a positive direction. Her concluding message to potential participants at this year’s festival reiterates this positivity: ‘We are many. And we are many. There are a lot of us, not just willing but actually wanting to make a difference. It’s good to be reminded of that sometimes.’

Take One Action Film Festival runs from September 16th till 27th September. takeoneaction.org.uk Film by Jamie Wills Page 81

I AM ALWAYS AMAZED BY HOW DIVERSE AND OPEN THE LOCAL AUDIENCE ARE

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Film: Jade Miners

For a nomadic festival like the Taiwan Film Festival Edinburgh, a move to digital in light of the ongoing pandemic could have resulted in an event untethered to a specific place. But with screenings now happening online between 18th and 27th September, its organisers still hope to be able to present physical screenings to Scottish audiences later in the year.

For Chief Curator Liu Kuan-Ping though, the decision to keep the festival tied to the city is based on reasons more personal than just future screening plans. ‘I have lived in Edinburgh for 5 years now’, she says. ‘I am always amazed by how diverse and open the local audience are. People are willing to try new things, to experience different cultures through the Fringe, EIFF, and most importantly, the thriving indie film scene.’

Kuan-Ping has previously singled out cinemas such as Edinburgh’s Filmhouse as one of the few venues where Taiwan’s rich, 60-year library of cinematic offerings have started to be shown inside the UK, and is excited about the conversations that she feels a cultural exchange between the voices of Scotland and Taiwan’s filmmakers can encourage: ‘Due to the political and historical complications in post-war East Asia, Taiwan has been in a tricky place in that our national identity is being challenged continuously. It might seem subtle in the Festival programme, but you can see there is a theme of seeking identity and reliving the golden era of Taiwanese film industry. Similarly, national identity has been a widely discussed topic in Scotland in recent years.

I hope that, through the screenings and the accompanying events, more young filmmakers and curators will be inspired to discover and discuss the history and identity of Scotland through cinema.’

Elaborating on national identity, she points to The Mountain, a Film by Louis Cammell Page 83

documentary which uses archive footage to show how Taiwan’s indigenous people have come a long way to fight for their rights and their identity. A nation of numerous cultures and languages, it’s only in the last 30 or so years that Taiwan’s government has begun to value first-language education. Through this education, younger generations are finally learning to appreciate their cultural heritage.

Documentaries and shorts constitute just two strands of a line-up that depicts the country’s political, societal and cultural fluctuations throughout the last six decades. Taiwanese Hokkien-Language cinema includes three classic titles from the 1960s: The Bride Who Has Returned from Hell, Six Suspects, and Husband’s Secret. Also referred to as ‘Hoklo-language’, the term is used to differentiate the films from Taiwan’s Mandarin output, as well as other countries’ own Hokkien-language cinema such as Hong-Kong’s Amoydialect films that were introduced in Taiwan following the end of the country’s Japanese period. In a prosperous four-year period between 1965 and 1969, more than 400 films were produced in practically every genre - detective, thriller, musical, comedy, romance, and fantasy.

Historically tied with Hoklo-language films is also a propensity for subjects considered taboo for those in the Mandarin-language industry, which demonstrates the way that language and culture are inextricably tied. As such, it would be a shame, agrees KuanPing, for these films to be dubbed (rather than subtitled) and to thus lose the cultural context that speech can bring to a character.

Yet a growing shift toward phones and tablets, on which subtitles are ill-served, highlights the importance of the festival’s proposed physical presentations on big screens later in the year.

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MORE THAN 400 FILMS WERE PRODUCED IN PRACTICALLY EVERY GENRE Film: Husbands Secrets

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TAIWAN’S INDIGENOUS PEOPLE HAVE COME A LONG WAY TO FIGHT FOR THEIR RIGHTS AND THEIR IDENTITY

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Film: The Mountain

The remaining selections include: A Borrowed Hong Kong, The Imagined China in Taiwan, and Transregional Cinema, this last featuring the iconic 1970s anthology Four Moods; Melodrama Divas. This celebrates films based on the romance novels of Chiung Yao, the author with quite possibly the greatest influence to the romance genre in the Chinese-speaking world; and Taiwan New Cinema and its Legacy, amongst others.

The festival is primarily funded by Taiwan’s Ministry of Culture.

In collaboration with The Scottish Documentary Institute, there will also be a series of Q&As and panel discussions with featured filmmakers from Monday 21st September.

More details can be found on their website taiwanfilmfestival. co.uk where every film is free to watch.

Those wishing to attend live screenings should follow @TaiwanFFE on Twitter for updates.

Film: God Men Dog

Film by Louis Cammell Page 87

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To fans of Brokeback Mountain, you may wish to sit this one out: this is not the feature for you. Cult movies that embody camp, the absurd, glamour and otherness always find their audience, even (or especially) the box office bombs. The (Not) Gay Movie Club presents cinema classics that have captured the hearts of queer audiences, even if against the intention of the filmmakers. Last issue, we inducted the legendary Auntie Mame, and joining the heart-warming technicolour classic is a film that feels radically different. Much darker; more sequins; this month we pay homage to Drop Dead Gorgeous.

I remember watching Drop Dead Gorgeous with my brother in our bedroom on Channel 4. This was a late broadcast, which should have been a red (white and blue) flag that what we were about to witness was not your average coming of age tale of girldoes-good. We were transfixed by this grossly inappropriate, savage take on pageantry, adorned with one-liners we quote to this day (“They remade my belly with skin from my butt!”). The late nineties were teen-comedy heaven: the likes of 10 Things I Hate About You, She’s All That and Bring It On became enormous cultural milestones. You may assume there would be no space for a dark pageant mockumentary in which contestants are murdered in this pop culture landscape. And you would be correct. But therein lies the beauty of Drop Dead Gorgeous, an indisputable gem in the camp cult classic crown.

This faux doc follows Amber Atkins, played impeccably by 90s staple Kirsten Dunst, a trailer trash teenager desperate to win the Sarah Rose Cosmetics Mount Rose American Teen Princess Pageant held in Mount Rose, Minnesota. She faces competition/ imminent assassination from Kirstie Alley’s maniacal Gladys LGBT+ by Jonny Stone Page 89

Leeman, former title holder and mother to Becky, Amber’s rival played by Denise Richards. An array of girls, including the late great Brittany Murphy and Amy Adams, suffer the often-fatal consequences of the Leemans' desperate bids for glory. This has must be the most 90s paragraph ever written. Upon revisiting the film, what is most glaringly apparent is that this film would not be made now. It is simply too absurd, dark, and low budget to survive what the film industry has become. I can imagine something like this film perhaps being a multi-episode series on a fledgling streaming service, but its $10.5 million budget feels like a work of fiction. Drop Dead Gorgeous joins the pantheon of camp classics under-appreciated upon its release and derided by critics.

It’s the film’s stellar cast that proves to be its greatest asset. Kirstie Alley delivers a majestic turn as Gladys.

She is given buckets of material to work with (“I know what your big-city, no bra-wearin’ hairy-legged women libbers might say”) and she strikes the perfect balance of former pageant winner beauty and chicanery, topped off with that sublimely stupid Minnesota accent. Stealing scenes everywhere they turn, however, are Ellen Barkin and Allison Janney playing Amber’s mother Annette and surrogate aunt Loretta, respectively. The epitome of trailer trash, their chemistry is tangible, and the duo deliver some of the film’s most valuable to-camera moments.

Poor Annette sees her hand fused to a beer can when their trailer is set alight. Gross. Morbid. Iconic.

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LGBT+ by Jonny Stone Page 91

JESUS LOVES WINNERS

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Oh, and this film is camp. One slice of sublime absurdity comes when last year’s winner Mary Johansson lip synchs to 'Don’t Cry Out Loud' by Melissa Manchester, complete with wheelchair and nurse, while Denise Richards dances with a crucified Jesus to 'Can’t Take My Eyes Off of You.' But the film truly shines in its grimmest moments: Tammy’s charred varsity jacket, Amber meeting her crush as a cadaver during her shift as a mortuary make up artist, or Jenelle’s elation that Gladys’ attack has left her deaf, allowing her to put her ASL knowledge to good use. This film is outrageously morbid; one can’t help being surprised that John Waters had no participation in it.

The film’s anchor, however, is undoubtedly Amber. Gay icons can be typically characterised by their tenacity and triumph through adversity, and no one has a tougher paper route than Amber Atkins. You know your hero has seen some shit when she can grab the microphone out of a dead reporter’s hand in the throes of a mass shooting and exuberantly keep reporting, remaining cool, calm, and collected. Despite dismal part-time jobs, unfathomable bad luck and having a literal target on her back, Amber remains profoundly optimistic in the face of every obstacle in her way.

Perhaps that’s the lesson Drop Dead Gorgeous wishes to impart: emotional tenacity can lead to personal triumph, even against the odds. Perhaps the message is to beware fervent pageant contestants. Perhaps it’s never to eat the shellfish. Regardless, the film has cemented its place in The (Not) Gay Movie Club vaults thanks to its irreverence, biting satire and camp sensibility. Underappreciated upon its release and derided by critics, Drop Dead Gorgeous is the quintessential pick for those living on the outskirts of the norm, looking in with a scathing eye.

LGBT+ by Jonny Stone Page 93

STUDENT

VINTAGE VIRTUES FINDING YOUR WAY START YOUR OWN SOCIETY THE VEGAN STUDENT

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The unavoidable pressure of how to dress when you start university or college is something that troubles everyone.

Do you plan in advance, or do you do what I’ve done for the past three years: wake up late for the bus and throw on whatever comes to hand in the painfully early morning darkness? You quickly realise it’s not only day-to-day outfits you have to worry about, but the question of what to wear on the multitude of nights out that don’t screech to a halt after Freshers’ Week. Cleverly placed adverts and promises of prompt next day delivery from our favourite fast fashion sites tempt the best of us. We easily forget the less than humane source of the half-price jeans in our bid to look good.

Transitioning your buying habits to reflect a more ethical and more long-term economical solution seems stressful and time consuming – something we don’t want when battling deadlines and mountains of coursework. I excused my thoughtless purchases with this statement for years, until I realised the simplicity of ethically shopping on a student budget.

The easiest place to start if you are tight for time or unable to get to the shops is, of course, online. Switch your daily ASOS browse to a scroll through Depop or Vinted, two fantastic buy, sell and swap platforms that allow pre-loved pieces a second chance.

Not only can you find second-hand and vintage items, but many sellers offer their own creations, some made to order. Bagging bargains whilst funding individuals and small businesses is a winwin situation, and you can’t beat the satisfaction of knowing your new outfit is stylish, ethical, and environmentally friendly.

Next time you crave a day spent browsing the shops, why not veer off the beaten track and venture into the wondrous vintage Student by Beth Cook Page 97

shops that you might once have overlooked? The options are endless: retro sportswear, vintage designer gear, Victorian pieces.

Vintage shopping is an entirely different experience to browsing the usual High Street choices. It forces you out of your comfort zone and brings your creativity to the forefront.

Both Glasgow and Edinburgh boast impressive vintage shopping scenes. Hidden in the corner of Glasgow’s Kings Court is West Vintage, a one-stop shop with a minimalist vibe and rails of reworked pieces, incredible denim, and vintage tees. Make sure to also check out their other shop on Great Western Road.

Still on Kings Court, a few doors round, you’ll find the infamous Mr Ben Retro Clothing, an eclectic vintage shop complete with a comforting musty scent. You’re sure to leave with some one-of-akind goods. If you’re in the West End of Glasgow, a trip to Starry Starry Night on Dowanside Lane is a must. This is a hidden gem where you can find the most amazing vintage dresses, bags and jewellery. Walking through the door is like taking a step back in time. Staying with the West End, Glasgow University’s Queen Margaret Union often holds vintage clothing sales, where many items retail from as little as a fiver. This is another great opportunity to shop ethically if you’re in the area. The next sale, organised by online boutique Headlock Vintage, is on Tuesday 3rd of November. Just the time to furnish your winter wardrobe.

If Edinburgh is your student stomping ground, there’s certainly no shortage of vintage stores to satisfy your needs. W. Armstrong & Son in the Grassmarket is a classic vintage shop dating back to 1840. With a similar vibe to Mr Ben’s, a variety of spectacular retro goods is guaranteed with every visit. There are a grand total of three Armstrongs stores distributed throughout Edinburgh.

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Mr Ben's

Mr Ben's

Student by Beth Cook Page 99

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Starry Starry Night

W. Armstrong & Son

Student by Beth Cook Page 101

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W. Armstrong & Son

CarnivĂ le Vintage

Student by Beth Cook Page 103

Carnivàle Vintage on Edinburgh’s Bread Street is also worth a browse. Stocking a range of garments dating from the Victorian era to the 90s, it certainly covers all bases. Many vintage shops stock other miscellaneous goods as well as clothing; Martha’s Attic on Brighton Place in Portobello offers a range of vintage items, from household essentials to collectibles, and of course the main attraction – clothes!

Whilst on the quest for a more sustainable and wallet friendly wardrobe, your local charity shops are your new best friends.

The British Heart Foundation and Cancer Research stores that crop up in most towns and cities can offer some clothing treasures, and it’s always a plus when you know the money you pay is going towards a charitable cause. If you want to throw yourself into the wonderful world of ethical shopping, Oxfam are currently advertising for their 30-day event, Second-Hand September.

They’re inviting anyone and everyone to pledge to only shop second hand for the entirety of September. Michaela Coel, writer, actor, and co-director of the fantastic BBC drama I May Destroy You has taken the pledge: she hopes the campaign ‘raises awareness and encourages us to reflect on our buying habits.’

Second Hand-September is a great way to kickstart a transition to better choices when it comes to how we fill our wardrobes.

Next time you’re panicking about what to wear to the pub, or hunting for the perfect outfit for those cold hours spent wandering between classes, think twice before adding those half-price Instagram-worthy garments to your cart. Looking closer to home in order to fulfill your fashion needs will be friendlier to your pocket, and it’s certainly better for the environment.

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VINTAGE SHOPPING IS AN ENTIRELY DIFFERENT EXPERIENCE TO BROWSING THE USUAL HIGH STREET CHOICES.

Student by Beth Cook Page 105

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Ah, uni in the late 2000s. Gaga was merely a blip on the pop radar, we needed a digital camera to document nights out, marriage equality was but a pipe dream and Beyonce was still entertaining the notion of an alter ego. Simpler times. We didn’t, however, have to deal with a global pandemic. That distinction falls upon our nation’s new prospective students.

But don’t let Miss Rona spoil your good time: being LGBTQ+ at university may have its occasional challenges, but we’re here to welcome you to the fold and help you down the Yellow Brick Road in (socially distant) style.

While most people are getting to grips with the student life essentials – navigating your way round the kitchenware your parent has supplied, perfecting the perfect hangover solution you may instead be having the experience of coming out to your family. This is a big step for anyone, even the most confident, (somewhat) out and proud among us. It is normal to feel nervous, and crucial to be realistic in preparing for whatever end result coming out can have. Only you know when the right time is to come out to the people in your life. Having a chat with a close friend first will ease you in, perhaps, before broadening the circle.

You will inevitably spend the rest of your entire life coming out to colleagues, bewildered aunts and beyond. You will learn, however, that doing so becomes your favourite thing to do. The next step – going out and actually meeting your new tribe – may be easier said than done.

Despite the red tape in evidence around the world, many universities are still running an alternative Freshers Week. And in Glasgow alone, each university has a distinctly gay-friendly society. Stonewall Scotland Diversity Champion, University of LGBT+ by Jonny Stone Page 107

Glasgow, boasts several bodies around campus that support and celebrate LGBT+ students and staff. And GULGBTQ+, a group proactive in promoting inclusivity on campus, are still taking part in Freshers Week in any way they can. As President Emily Tunstall admits, “We know this semester is going to potentially be a bit of a struggle for new students, but we are very excited to meet everyone starting university in September in any way we can!” She assures us they will be hosting a socially distanced freshers fair to meet new students and that other events will be occurring online, such as an LGBTQ+ Panel, in which they are participating. “Where it is possible to run smaller events in person, we will try our absolute best to provide those spaces for new and existing members, and where that isn’t an option, we will be running online alternatives.” While party-focussed events may be logistically difficult, GULGBTQ+ in the past have run a quiz night in the first couple weeks of term and are now offering an online alternative. “We are looking into our options for doing whatever we can to give new students as much of the university experience as possible.” Keep your eyes trained on their Facebook page and be sure to investigate what your new college or uni’s LGBTQ+ society has to offer in these uncertain times…

While taking that first step into student life is an exciting prospect, bear in mind there are a few things to consider to keep you safe, especially when it comes to your sexual health. Don’t be frightened, but don’t be complacent: no one is impervious to STIs, particularly HIV. Campuses supply free condoms and lube, and each city offers LGBTQ+ specific health services. Plus, your new life may feel overwhelming at times. You may need someone to talk to, and luckily help is always at hand. You can reach out to LGBT Helpline Back to Contents

WE ARE LOOKING INTO OURÂ OPTIONS FOR DOING WHATEVER WE CAN TO GIVE NEW STUDENTS AS MUCH OF THE UNIVERSITY EXPERIENCE AS POSSIBLE LGBT+ by Jonny Stone Page 109

READING THE WORKS OF FEMINIST, GENDER AND QUEER THEORISTS CHANGED THE TRAJECTORY OF MY LIFE Back to Contents

Scotland on 0300 123 2523, and your on-campus organisations are also there to help keep your head above water.

When it comes to further education itself, now is the time to become acquainted with all things LGBTQ+, not excluding the other wonderful letters that make our community what it is. This may feel like a given, but I urge all my LGBTQ+ siblings (and our allies, for that matter) to spend your limited time at university educating yourselves. The phrase ‘Reading is Fundamental’ has become nauseatingly commonplace, but when it comes to knowing your history, never a truer word was spoken. Take advantage of your library to bone up on queer history and literature. Academia is by no means an essential component in exploring one’s identity, but in my own experience, reading the works of feminist, gender and queer theorists changed the trajectory of my life. Work from the likes of Judith Butler and bell hooks informed the queer person I became; I learned about intersectionality and how I need to address and harness my own privilege to elevate minority groups within my own community. On the other hand, I also watched sublime queer cinema – from Paris is Burning to Tangerine – and fell in love with John Waters, which is an education in itself. So, keep an open mind and remember you’re here to learn.

Life for all students is going to be radically different this year, let alone for LGBTQ+ students navigating the first years of their new lives. But if there are two things our community knows how to do, those things are surviving and thriving. Make the best out of a tough situation. Be bold and meet new people to cultivate your chosen family; listen to Björk; try to eat enough vegetables; and have fun!

LGBT+ by Jonny Stone Page 111

For anyone who feels like there’s a gap in their university’s social scene, or space for some new niche or hobby group, starting a society is a beneficial path to follow. Anyone can tell you it looks smashing on your CV, but it’s also a rewarding experience. When people show up and meet other like-minded people because you printed out a black and white poster from your Union’s free printer and rented out a room for a few hours – that feels special.

I’m not saying there’s no stress involved. I have no idea why I thought that creating my own society during my final year at university was a good idea.

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Every piece of coursework was incredibly important; my grades would determine my honour’s classification. But still, I was thinking like, yeah, let me opt in to give myself a bunch more work. So, here’s a tip: if you want to start a society, try and do it earlier in your university career. You’ll have so much more time to make it a great community!

Nearing the end of my third year, I was active in Strathclyde’s spoken word club, Live Poets Society, which was a fantastic outlet for budding poets and creative writers. That said, there wasn’t really a space for writers to engage with longer form prose, especially outside of classes. When I started the Wee Story Society, I was surprised to see so many students come from science, technology, engineering, and mathematics (STEM) disciplines. I thought the group meetings would be loaded with the people I knew from my creative writing course, so getting the sense that the club was a way for students from different groups to engage with a community they didn’t have access to before, that felt great.

That said, being there early for your meetups before anyone else can be like waiting for people to come to your birthday party, terrified that no one is going to turn up. This is why you have to build a good team to support you; organising everything alone can become stressful. At Strathclyde (your institution may vary), it is mandatory for societies to at least have a President and Treasurer. On top of that, you can add any other positions you like, for example, Vice President, Events Coordinator, Social Media Manager, and so on.

Looking for a treasurer came with some challenges because the word is loaded with connotations of money handling. In reality, WSS had no expenses whatsoever for the year, so my treasurer, Student by Holly Fleming Page 113

Ellen, was free to help with organisation. She was fantastic – she kept me on task and was dutiful in helping with freshers, social media...everything. To anyone thinking of starting a society, be sure to bag yourself an Ellen – it’ll make the world of difference when it comes down to getting what needs done, done.

As I said, I started my society in my fourth year when I had no plans for coming back to do a post-grad. This meant that I had to find people in years below me to carry on the legacy – Ellen would be graduating with me. Together, we reached out through every course we could imagine to see who would be willing to head the new club. My timing was misjudged: it was around April, and everyone was more concerned with finishing coursework remotely and staying safe in lockdown. Heading a club at uni wasn’t really on the forefront of anyone’s minds. It took us some time, but finally someone from our year, who had been studying abroad, told us she wanted to be President, and the position of Treasurer was filled shortly after as well. So, WSS will indeed be living on for another year.

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To anyone who wants to start a society, but is worried about no one coming or caring – I promise you someone out there wants a sense of community like you do. Your friends and classmates will want to support you – all you have to do is let them. If you put enough hard work and passion into your club, you’ll have established yourself a tidy wee legacy at your college or university, and you’ll have gained a huge sense of wellbeing.

Student by Holly Fleming Page 115

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Whether you’ve lived in Scotland all your life, or you’ve ended up here by boat, plane, or through Clearing – there’s plenty of ways you can try out some traditional Scottish fare and go a wee bit more vegan this September.

Now, unless you’ve spent your life living under a rock, you’ll have heard of the famous Scottish delight that is haggis. I can’t say that even in my pre-vegan days the traditional recipe for haggis held much appeal, but this version is a must. You can serve it up with some neeps and tatties, or take a look at the Macsween (@ macsweenhaggis) Instagram page for some inspiration: think haggis nachos, haggis pasta, haggis burgers... It’s one ingredient you can definitely transform into a multitude of different meals – a definite student plus.

When I first arrived in Scotland to study, my first venture to the fish & chip shop, or chippy, with my housemates proved to be not quite as expected. Chippy sauce is not standard fare south of the border. Pakora, I’d never heard of [Ed: you’re kidding, right?] and as for deep-fried pizza covered with salt ‘n’ sauce – mind-blowing. And if you’re vegan, there’s no need for you to miss out on these delights, as many a chippy is now offering plant-based alternatives. In

Vegan by Laura Woodland Page 117

Edinburgh, Marchmont’s #Fish provides a whole vegan platter so you can try it all. You can find vegan fish and chips at Land & Sea in Falkirk, and The Kent Fish & Chip Shop in Finnieston, Glasgow, has an entire vegan menu. If you’re heading to the west coast for a late summer day at the beach, don’t forget Gino’s Fryer in Largs. Their vegan menu is extensive, and nothing beats eating their deep fried pizza and chips down by the water – you’ll make some happy seagull friends while you’re at it.

There’s been a raft of vegan meat alternatives to hit the market, so you’ll not struggle if you pop into any supermarket, even the small ones. For a proper Scottish treat, try Bells new Vegan Scotch Pies, which launched back in May. Other vegan meat alternatives include vegan Lorne Sausage (square sausage) – Simon Howie makes a tasty one. You can shove this in a roll for a quick breakfast, add it to a full vegan breakfast or (and I recommend it) follow the below recipe and recreate my first night in Scotland, with some traditional Stovies.

VEGAN STOVIES

Five portions – Flatmate approved 1kg peeled and sliced potatoes 500g chopped onions 350g (5 slices) vegan Lorne sausage 1 veggie stock cube (10g) dissolved in 200ml hot water (Oxo Meat-free Beef Stock Cubes are perfect) 1 tsp vegan Worcestershire sauce

METHOD Pour the veg stock into the bottom of a large pot.

Put a layer of sliced potatoes in the pan then a layer of onions.

Sprinkle a fair amount of salt and pepper and top with the remaining potatoes.

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Careful though, you can always add seasoning, but you can’t take it away.

Put on high heat with a lid on.

When it comes to the boil, turn it down to a low flame and sprinkle the diced vegan sausage on top.

Put the lid back on and try not to take it off to check for at least 15 minutes. It will take about 45 minutes to cook.

The more often you take the lid off the pot, the more moisture you’ll lose.

Once the potatoes are nice and soft (test with a fork) mix in the Worcestershire sauce.

You can serve stovies on their own or with oatcakes. For a treat, my favourite vegan kind are thick Fife Cut Oatmeal Oatcakes from Your Piece Baking Company – I discovered these in Real Foods, Edinburgh.

You’ll find Scotland is one of the most welcoming places in the world to be vegan. I hope you enjoy these traditional tastes as much as I do.

Vegan by Laura Woodland Page 119

FOOD &

DRINK

RECIPES

INDIAN SPICED EGGY BREAD SPINACH WAFFLES

DARK BEER

Brunch has become kind of a big thing over the last few years. Once something you only did on holiday, the fortifying mid-morning repast seems to have become a weekend tradition for many. There's now a multitude of Glasgow and Edinburgh cafes serving excellent (or should that be egg-cellent) brunch items throughout the day, although admittedly they’re not always budget-friendly – not everyone has a tenner to spend on fancy eggs and bacon. So we’ve pulled together a couple of inexpensive recipes that we ourselves enjoy making for a leisurely brunch at home.

Waffles need not be boring, and these bright green, spinach-laden delights are particularly good. Not only are they pretty, they are also a good source of Vitamins A and E, zinc, thiamin, calcium, and iron. You could make them in a frying pan – however, we definitely recommend investing in a waffle maker for the best results, especially if you plan on making them often.

There's no need to splash out on an expensive Belgium waffle machine; any budget version will do. Occasionally they appear in places like B&M, Home Bargains, and the magical centre aisle at Lidl, so keep your eyes peeled.

INGREDIENTS 150g flour 1 teaspoon baking powder 1 large free-range egg 240ml semi-skimmed milk 100g spinach Back to Contents

METHOD Switch on your waffle maker, or place your frying pan on a medium heat.

Put the spinach, milk, and egg into a blender and blitz until smooth. Alternatively, mix and mush together by hand.

Add the flour and baking powder.

Blitz again until mixed through and there are no pockets of ingredients showing, or again, mix by hand.

Add the mixed batter to the waffle maker or frying pan and cook. How long this takes depends on your waffle maker/pan; a rough guide would be 4 minutes for a waffle maker. Different pans and machines will vary. If using a frying pan, cook until bubbles form around the sides, just as you would for pancakes. Try not to open the waffle maker too early as the waffle may rip.

Top with whatever extras you like, from smoked salmon and avocado to fried egg and bacon.

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

Next up we have a twist on the classic eggy bread. Whether you know it as French Toast or something else, this exotic take makes things more interesting, with just enough spice to wake up your tastebuds. You can add in some extra chilli flakes if you want to make it hotter..

INGREDIENTS 4 slices of bread 4 eggs 1/2 teaspoon of chilli flakes 1 onion (medium sized, finely chopped) 1 teaspoon of ginger (paste or finely chopped/grated if fresh) 1 tomato (small, finely chopped) A small handful of fresh coriander (chopped)

METHOD Whisk together the eggs and chilli flakes in a bowl.

Then add the ginger, onion, tomato, and coriander to the egg mixture and whisk together.

Heat some oil in a pan or heat up a panini maker/grill.

Soak each slice of the bread in the egg mixture.

Remove the bread and add to a medium hot pan or grill.

Pour a little more of the eggy mixture onto the top of the bread for extra gooeyness.

Cook the bread on each side for 5-7 minutes until crisp and golden brown on the outside and cooked throughout.

Be creative with your ingredients and make your eggy bread as spicy as you wish. Maybe add some ground cumin or garam masala mix. A sprinkle of freshly chopped coriander or a dollop of ketchup is all that’s needed to finish this off.

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

Usually when you walk into a beer-focused bar, there are a plethora of pale ales and a good few sours on the go as well. But one of my favourite styles is often hugely under-represented: the humble dark beer. In fact, darker beers in general are often missing from tap line-ups, as most customers are drawn instead to juicy, refreshing pale ales. Bar managers don’t want to use up one of their precious lines for something that isn’t a guaranteed sell-out.

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However, as the nights are getting longer and the temperature is dropping, it’s time for darker beers to shine. The same cosy, delicious flavours that you find in coffee and chocolate are also present in darker beers. They get their colour because the grains used have been roasted for a much longer time, giving a richer hue and a deeper flavour. Light malts give beer a biscuity flavour and hops are used to balance this out, whereas the hops used in darker beers are usually much more subtle, letting the roasted malt do most of the talking. I’ve pulled together a selection of dark beers, all very different in style, to show the complexities and range of flavours across this fantastic category.

LOCH LOMOND – SILKIE STOUT Ahhh, Silkie Stout. This has been up there as one of my favourite beers for a very, very long time. A stout is the most well-known and classic of dark beer styles, and for me, Silkie has everything I want from this type. Wellrounded malts, a slight hint of coffee and cacao and a velvety, smooth mouthfeel. Oatmeal is used to give a little bit of viscosity, which I love in darker beers as it emphasises the indulgent, almost dessert-like flavours even more.

Food and Drink by Isla Mercer Page 127

IT REMINDS ME OF CINDER TOFFEE, BUT FOLLOWED WITH LIGHTER, FRUITIER NOTES LIKE RIPE PLUMS OR FIGS

ORKNEY BREWERY – DARK ISLAND This is a beer you’ll probably have seen before, as it’s a classic in the Scottish beer world and has been on the go for as long as I can remember! Beautifully mellow and smooth, yet with quite a tingly carbonation, this beer delivers all the roasty, malty flavours that a dark beer should, whilst remaining remarkably refreshing. It reminds me of cinder toffee, but followed with lighter, fruitier notes like ripe plums or figs.

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BREW TOON – DARK NITE This vanilla milk stout is part of Brew Toon’s nitro series, where nitrogen is used in the conditioning as well as CO2. CO2 gives beer carbonation, whereas if you add nitrogen into the mix, you get a beautifully smooth mouthfeel – think Guinness. The further addition of lactose and vanilla give this a very sweet flavour – and to be honest, it really does just taste like a chocolate milkshake.

They even have a QR code on the bottle where you can watch a re-enactment of the beer’s ‘perfect pour’.

IT REALLY DOES JUST TASTE LIKE A CHOCOLATE MILKSHAKE

Food and Drink by Isla Mercer Page 129

BOXCAR – DARK MILD Boxcar are a fairly new brewery to the scene and are based in London. I was intrigued by the title ‘Dark Mild’, and I must admit their label designs, which play with different patterns of light, did draw me in too. For being as low as 3.6% volume, this packs a fair flavour punch. It’s very fruity on the nose, but you are hit with bitterness at first impact. This quickly mellows into a rounder, nuttier flavour, with more roasty notes coming through.

FOR BEING AS LOW AS 3.6% VOLUME, THIS PACKS A FAIR FLAVOUR PUNCH

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BURNT, BITTER AND ABSOLUTELY DELICIOUS!

SIMPLE THINGS FERMENTATION – FOREIGN EXTRA STOUT I’ve had a few STF beers recently and have been very impressed by this new brewery from the Southside of Glasgow. Foreign Extra Stout is very much like drinking treacle with a hint of beer – and I loved it! Molasses are added to the brew to give it a sweet and indulgent note to balance out the super-toasted malts. Think very dark chocolate or strong espresso. Burnt, bitter and absolutely delicious!

Food and Drink by Isla Mercer Page 131

REVIEW

ANDREW WASYLYK WE SHOULD HANG OUT MORE HENRIK VILLARD POST COAL PROM QUEEN MAN OF MOON FAUVES ARAB STRAP IDLES DRIFT PARIS STREET REBELS MT. DOUBT THE MAGIC GANG SCOTTISH OPERA PETER ROSS REPRESSION TENET GHOST OF TSUSHIMA

TRACK BY TRACK FUGITIVE LIGHT AND THEMES OF CONSOLATION

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Photography: Fraser Simpson

Andrew Wasylyk’s fourth solo album comes just a year after The Paralian was short-listed for album of the year at the SAY awards. Andrew’s particularly scenic tour of musical styles remains impossible to pigeonhole. Even if the pigeon was Andrew-shaped and the hole was exactly genre-sized.

If 2017’s Themes for Buildings and Spaces was a representation of Dundonian architectural shadows, and The Paralian brought the Angus coastline to listeners’ ears, then Fugitive Light and Themes of Consolation seems to cap off the trilogy by exploring the light, the land and everything that lives under our skies.

Known for his work with The Hazey Janes and Idlewild under alternative moniker Andrew Mitchell, his work through alter ego Andrew Wasylyk still ensures he’s a busy enough guy. Still Life, Sweetheart with Liz Lochhead, the second album he’s released with the former Makar, came out at the end of August. The piano work seems to be built around the prose, using seemingly the same unaccompanied piano throughout, each note and phrase only existing to carry Lochhead’s observations. Picking out the metaphor from the earnest is half the joy in listening, but despite the musical and poetic virtuosity on display, it’s undeniably niche and unlikely to be getting blasted by schoolkids up the back of a bus.

Fugitive Light and Themes of Consolation comes with string arrangements by fellow Taysider and longtime collaborator, Pete Harvey. FLaToC (I know this is a horrendous looking acronym but it’s necessary and, trust me, it sounds even worse said out loud) kicks off with ‘A Further Look At Loss’ where mournful thematic modulations eventually give way to a gentle swaggering bass, Music by Stephen McColgan Page 135

suggesting an attempt to be distant from the loss in the title.

Lead single, ‘Last Sunbeams of Childhood’ showcases Andrew and Pete’s clever layering. Intricate variations are played out on overlapping instruments, including possibly the creamiest-sounding jazz guitar amp sound ever captured. It’s the end credits to a dream’s in-flight movie.

‘Fugitive Light Restless Water’ is my favourite track.

Shifting from sonic visions of a rainy Film Noir street made of blue brass notes, it moves smoothly to a sunrise of clàrsach swirls.

The album is instrumental, but just over halfway through ‘The Violet Hour’, a very human voice or sample guides us through the piece with a ghostly air, kept low enough in the mix to be more comforting than haunting.

Each side ends with the two shortest tracks on the album.

Side A ends with ‘Everywhere Something Sublime’ which, in context, almost sounds unfinished in its relative simplicity.

‘In Balgay Silhouettes’ is driven by the album’s most persistent, precise drums. There’s something unsettling in the melodies, suggesting the eponymous suburb is hosting more than meets the eye.

If you’re looking for a full-on soundtrack to lounging around, ‘Awoke in the Early Days of a Better World’ is the standout. Imagine the trumpet from the James Bond theme was supposed to give off a feeling of relaxation rather than suspense. 808-style percussion drops in and out of delay levels, further reclining the listener’s posture. ‘(Half-Light of) The Cadmium Moon’ begins with a simple piano motif joined by what is either a theremin played by Back to Contents

Photography: Fraser Simpson

Music by Stephen McColgan Page 137

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a ghost or a giant playing a tiny saw (do people still play saws with bows? Did they ever? Have I just misremembered this? Is this too many questions for one set of parentheses?

Does music even exist if we can’t imagine it being made?

What is love?) Anyway, other instruments join in for the last two minutes and it sails off somewhere with fewer toothbased tools and phantoms.

‘Black Bay Dream Minor’ is well-titled. Whether intentional or not, it’s a regretful look out at sea when everything on land is terrible. Andrew always takes his songs on journeys rather than through formulaic structures, but this maintains and wears its steady sadness throughout.

So effective was it that it nearly ruined my day.

By the time ‘Lost Aglow’ gently blows its last windy trumpet note past you, there’s a feeling that, across the span of three albums’ worth of bewitching arrangements, you’ve journeyed through an assortment of gale-battered bays and uneven streets that have only ever appeared in the mind.

Like Wasylyk’s body of work before this, FLaToC isn’t for everyone, and anyone yearning for anything resembling a verse or a middle-eight is going to be looking elsewhere.

There’s something more evocative going on in the way Andrew uses his intuitive musicality to build journey pieces that almost always end somewhere very unlike the place they started.

Still Life, Sweetheart is out now on Blackford Hill.

Fugitive Light and Themes of Consolation is out on 4th September via Athens of the North.

Music by Stephen McColgan Page 139

EP: MARCH LAST YEAR

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The essence of Glasgow’s underground electronic scene, distilled into one sonic realm. This is exactly what you’ll uncover in the latest offering from We Should Hang Out More. John Markey and Oliver Melling’s exploration of deep, atmospheric house comes in the form of three-track EP March Last Year. Exemplifying their cohesive production style, the release is proudly backed by up and coming Glasgow label Jackie Knows Karate.

Opening track ‘tao b.u’ unveils a cosmic blend of groovy synths that kickstart the track’s gradual ascent. As the grounding house beat is introduced it becomes a euphoric affair, painting hazy memories of warehouse parties spent amongst a sea of hot ‘n’ sweaty ravers all riding the same high energy wave and dancing in unison.

A steady drumbeat leads us into second track ‘TSDM.’ Although wandering even further into deep house territory, the track maintains the same radiant energy through playful electronica riffs.

Concluding the trilogy is final track ‘Tokens.’ An ambient drumbeat climb begins, and distorted samples gracefully build and layer, teasing the incoming of a juicy bass drop in the minutes to follow. Already this track has excellent potential for a closing set in the pivotal moment when dusk turns to dawn. Reaching the cumulative drop, Markey and Melling send us off with a final few bars of raw house music. Stripped back and played in all of its glory.

‘March Last Year’ is out now on Jackie Knows Karate.

Listen via Bandcamp, Spotify and most major streaming platforms. soundcloud.com/we-should-hang-out-more/sets/ march-last-year-ep

By Jo Dargie Email: review@snackmag.co.uk Page 141

SINGLE: WHAT I WANT YOU TO DO Picture this; you’re laying poolside, soaking up the sun, glass of sangria in hand. It’s the summer we all imagined 2020 would bring, right?

Henrik Villard’s hot new house track ‘What I Want You To Do’ might just conjure the sounds of the summer that never was. The Norwegian producer has partnered with Glasgow-based electronic label Dealt With Records for their latest release.

A funky bassline and syncopated rhythm set the tone of a feel-good summer house anthem within seconds of the record’s first spin. Soulful organ keys carry your mind off into a distant dreamy haze, before an isolated build brings us back down to earth and leads us to the first drop. Reverberated vocals bounce in and out of the foreground, as Villard relaxes into the role of maestro, gradually building more texture into the track with a dainty xylophone sequence and zorbing synth riff.

‘What I Want You To Do’ radiates Balearic attitude. Whether it’s at a luxury beach club or on Ibiza’s famous sunset strip, Villard’s work evokes the chilled out summer vibes perfectly.

Having previously released music on labels such as Tooman, Nite Records, and Beatservice Records, it’s fantastic to see Villard dipping his toes into the Scottish electronic scene with the help of Dealt With. The new release also coincides with the Scottish label’s first birthday. What better way to celebrate the occasion?

‘What I Want You To Do’ is out now on Dealt With Records.

By Jo Dargie Photography: Dealt With Records

FT. MACAROOM SINGLE: ZOU

This playful and glitchy new track from Post Coal Prom Queen is the second of their collaborations with Japanese electro-pop band Macaroom – the first being the excellent ‘Body of Water’, released earlier this year. This time Macaroom singer Emaru’s Japanese language vocal takes centre stage, with Lily’s delicately whispering voice teasing a gossamer thread of narrative. To non Japanese speakers/listeners, ‘Zou’ (象) is the Japanese word for ‘elephant’ – I’m guessing the song is about an elephant. It’s a beautiful track, furnished with plenty of little sonic sprites with which to feed your ears. A proper headphones experience.

‘Zou’ will be released on 15th September.

By Kenny Lavelle Email: review@snackmag.co.uk Page 143

ALBUM: DARK SEA There aren’t too many Scottish acts making music like Man of Moon, in terms of genre or level of consistency. While time has lost virtually all meaning in 2020, the promise of Man of Moon has been brewing for many years. It’s great to see their potential realised on this dark yet sanguine debut album.

Dark Sea is a mix of familiar and new material, songs like ‘The Road’ and ‘Ride The Waves’ are old favourites, both in recorded format and for those who recall live shows. ‘When We Were Young’, one of the album’s previously unreleased tracks, is reminiscent of ‘Rano Pano’ by Mogwai, which should be all the recommendation anyone needs to listen to a song!

The band have already publicly discussed their second album, so the wait might not be as long next time. However, don’t worry about that for now – dive into Dark Sea and enjoy the labours of one of the best bands in the country right now.

Dark Sea will be released on 25th September and is available to preorder via Bandcamp now.

By Andy Reilly

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SINGLE: F

It’s to Fauves’ credit that they don’t instantly strike me as being a Glasgow band.

In recent years there’s been such a mass of interchangeable bland boys with guitars that it’s sometimes easy to lose enthusiasm for the local scene.

It shouldn’t be a surprise that bands of the same age, hailing from the same place, sound alike or have similar output. That’s how scenes become scenes. It’s just hard to get worked up about them if you’re not directly involved. Fauves seem to have sidestepped all that, and with their falsetto vocals and smooth sounds, they’ve immediately got a leg up over a fair few of their peers.

Okay, that leg is encased in flares, but musical freedom should be the in thing these days. If it feels good, and it does no harm to others, go for it. ‘F’ wouldn’t feel out of place on the commercial radio stations we no longer listen to because we don’t work in offices.

‘F’ is out now on First Run Records.

By Andy Reilly Email: review@snackmag.co.uk Page 145

SINGLE: THE TURNING OF OUR BONES The boys are back in town, and they do so with a level of self-reverence and confidence that few returning bands would dare to contemplate.

‘The Turning of Our Bones’ sees Arab Strap return, and while there’s no sense they’re wiser or bolder than before, the magic is still very much alive. How could Aidan fail to weave gold over the musical accompaniment on display? It’s a looping and creeping track, and if the story weren’t about shagging, it wouldn’t be Arab Strap.

It’s not as if we’ve had a chance to miss Malcolm or Aidan, two hard-working artists, but together, they climb that little bit higher. The recent-ish live shows might have scratched an itch, but new material tears at it with a sharp instrument.

With a sleazy celebration of life like this, there’s nothing to suggest the glory days of Arab Strap have passed.

The vinyl version of ‘The Turning Of Our Bones’ will be released 23rd October via Rock Action Records and is available to stream on YouTube and Spotify now.

By Andy Reilly Back to Contents

ALBUM: ULTRA MONO

Ultra Mono is a pulverising record, with one-liners and riffs popping up more frequently than diversions and distractions in the media. It seems a less personal record than previous offerings, more focused on the shitshow around us. It’s not as if there’s a shortage of worthwhile topics.

Idles, at their best, deliver lines that burrow into your mind. They still do so here, and are scarily on-point with many rants.

If you’re the sort of person who relies on music to escape from the world around you, Idles aren’t for you. When watching the news is like being forced to sit through a mundane horror film, with the worst leading actors imaginable, not everyone appreciates music with such bludgeoning force and heavy weight.

And that’s okay; you’ve got to do what gets you through.

For everyone else, Ultra Mono is a blistering record which punches in all the right places.

Ultra Mono is released on 25th September on Partisan Records.

By Andy Reilly Photography: Tom Ham

Email: review@snackmag.co.uk Page 147

SINGLE: LIFELINE

When we don’t have discotheques, do we need disco music? That is a matter of personal opinion, but as long as there is kitchen and bedroom dancing, there will be a need for songs like ‘Lifeline’ by DRIFT. As with so many songs of this style, there’s a coolness to it. The music steps into the background, passively, with a touch of menace. Linzi Clark’s vocals never break into a bellow, but they don’t lack in passion or poise.

It isn’t much to start with. But long before the song ends, it picks up in pace and spirit, and you’re right there on the dancefloor. The instrumental passages keep the song ticking over and set up a good payoff when the change kicks in.

With the spirit of Hot Chip hanging around, you should find plenty of reasons to add ‘Lifeline’ to any light electronic playlist you have lying around.

‘Lifeline’ is out now.

By Andy Reilly Back to Contents

SINGLE: DIANE SINGLE: DIANE

Paris Street Rebels’ ‘Diane’ is as scrappy and energetic a slice of straightthrough-the-quick rock ‘n’ roll as you’re likely to hear. The Fifers’ love of classic punk is pretty evident, and they do a tidy job of tweaking the classic sound without ever particularly bothering to stray from that well-worn path. The track finds its mark, for me, when Kevin ‘Trev’ Murphy’s vocals are just on the edge of falling apart, bringing to mind Ezra Furman’s broken tone.

It’s a track that’s sure to go down well in sweaty alcohol-fueled basements – whenever we can get to participating in those types of shenanigans again.

They’ve a couple of shows lined up for Glasgow and Dundee in early 2021, which will be well worth checking out if you’re into The Clash, The Sex Pistols, The Libertines, and the like.

‘Diane’ is out now.

By Kenny Lavelle Email: review@snackmag.co.uk Page 149

ALBUM: DOUBTLANDS

We’ve all spent time of late questioning everything we do and looking for answers. For some, that’s been a state of affairs for a little more time. The artists who make the music that covers some of the big questions are now well-placed to connect with more of us.

Mt. Doubt is one of these bands. There’s a brooding intensity here, and even the songs that swing with jaunty panache, such as ‘Caravans On A Hill’, carry an introspective weight. ‘Stairwell Songs’ strides with purpose, reaching to us from monotonous depths.

Doubtlands is a record to immerse yourself in. Sure, on first listen it’s tense yet pleasant, and musically enticing, but it’s a record that offers more when you put the time and effort in. That’s probably a metaphor for life, and definitely a recommendation to check the album out.

Doubtlands will be released on 18th September via Last Night From Glasgow.

By Andy Reilly Back to Contents

ALBUM: THE MAGIC GANG - DEATH OF THE PARTY Brighton-based The Magic Gang’s second album has been a long time in the making. Written across 2018 and 2019, and recorded this time last year, its release has been pushed back since May with an impressive five singles already out ahead of the album launch. From the first single, ‘Think’, it was clear the band were heading for a departure from the mellow indie-pop of their eponymous debut album while still maintaining their reasonably distinctive sound. Bigger, bolder, and more adventurous: Death of the Party is well worth the wait.

Each release since has been a curveball, resulting in an album that spans pure pop, classic rock influence, disco, and more. The catchy singalong chorus of ‘Take Back the Track’ demands to be played on repeat, while title track ‘Death of the Party’ is mellow but upbeat. A standout even in such an eclectic album, ‘I Am Sunshine’ delivers just that: pure summery goodness, in contrast to the dreamy melancholy of ‘(The World) Outside My Door’.

The band’s debut established their breezily hooky sound. Death of the Party has proved they aren’t afraid to experiment while still holding on to their roots, with the risks paying off for a more diverse and exciting listen.

The Magic Gang were set to support Blossoms on tour earlier this year but, as with everything else this forsaken year, this had to be postponed. They have since announced a headline UK tour of their own in March and April 2021, including dates in Dundee and Aberdeen.

Death of the Party is out now.

By Lily Black Email: review@snackmag.co.uk Page 151

OPERA: LA BOHÈME 6th September

With a public starved of live in-person entertainment, it probably would have been enough for Scottish Opera to stage their comeback in a reasonably conventional manner. Any audience would likely have been happy to experience things moving towards what we previously took for granted as ‘normal’. Having successfully navigated through the safety and legislative obstacles, they could legitimately have said ‘job done’. So great credit is due to SO for their new outdoor staging of La bohème – not only have they created a viable and entertaining performance, but they’ve done so with wit and ingenuity in spades.

The action is mainly played out across three stages: two articulated lorry trailers Back to Contents

Photography: James Glossop

and a square astroturfed platform which sits in the middle of the audience. This (safe and socially distanced) breaking of the barrier between performance and audience is particularly effective given the paucity of personal interaction we’ve all become accustomed to lately.

Rhian Lois plays manipulative singer Musetta as sassy as you like, and, along with Francis Church’s aloof sucker Alcindoro, steals the show. Time-wise, coming in at an hour and a half, the story zips along at a fair pace, and before you can get inured to the charms of the concrete car park setting, it’s over. At times the Glasgow wind smudged the sound, leaving me guessing at some of the lyrical add-ons, but that’s probably the only negative I can fathom from a fantastic evening’s entertainment.

The remaining performances of Scottish Opera’s La bohème will take place on 10th, 12th, and 13th September 2020

By Kenny Lavelle

Photography: James Glossop

Email: review@snackmag.co.uk Page 153

BOOK: A TOMB WITH A VIEW Previous works from Glasgow-based writer and journalist Peter Ross, such as Daunderlust: Dispatches from Unreported Scotland and The Passion of Harry Bingo: Further Dispatches from Unreported Scotland showcased collected examples of his work, and through them a picture of a Scotland lesstravelled emerged. They also marked Ross as one of our most interesting and insightful reporters on this nation and its people. His latest, A Tomb With a View: The Stories and Glories of Graveyards, sees him applying his gentle and empathetic investigative approach to a single subject, and this unity of theme makes for his most engaging book yet.

Ross could write about the phone book, in fact he could rewrite the phone book, and I would want to read it. As someone who made his name as a print journalist, he has the perfect balance of an inquiring mind and a love of language. Each word counts; he doesn’t just want to tell stories, he wants to do so in the right way, exhibiting a duty of care to his subject, his interviewees, and his readers. Ross is interested in the things that unite us as much as individual experiences, and proves that the two are never exclusive.

A Tomb With a View is a book for everyone - one that will make you laugh, cry, think, feel, and reflect on your own life and the lives of others.

A Tomb With A View is out now published by Headline

By Alistair Braidwood Back to Contents

FILM Repression is a Hitchcock-style psychological horror, filled with alarming twists which culminate in a big reveal in its final scenes. The film was shot on location in Aberdeenshire, and the gloomy, rainy atmosphere perfectly reflects the mindset of protagonist Marianne (Thekla Reuten). Look out for small roles given to Peter Mullan, Rebecca Front, and Bill Paterson.

Marianne is a child psychiatrist who moves from New York to Scotland in an attempt to escape some tragic events in her past. One of her patients, 10-yearold Manny (Elijah Wolf) is a tough case, and Marianne soon finds herself caught up in psychological torment, as it appears that Manny may be able to somehow control her destiny. Reuten communicates well both the trauma and rationality of her character, a rationality which is constantly questioned throughout.

The opening, featuring Peter Mullan, doesn’t convince, and I squirmed in my seat a little hoping things would improve. Thankfully the film recovers, relying on strong performances from Reuten and Wolf, without which it wouldn’t work nearly as well. Its complex premise is given room to breathe within a solid logical narrative, and the well-written script keeps the viewer guessing.

Repression is a creepily effective horror. During a pivotal scary scene, the picture of the stream I was watching faltered and was replaced by a jolt of white noise...I almost leapt from my seat. While the ultimate payoff and a less than virtuosic style mean I won’t revisit it any time soon, the film is definitely worth a watch.

Repression will be released on Digital HD from 28th September.

By Martin Sandison

Email: review@snackmag.co.uk Page 155

FILM

‘Don’t try to understand it. Feel it.’ A key quote from director Christopher Nolan’s latest mind-bending blockbuster, and one that will help you navigate its ambitiously tangled web of secretive plotting. Worry less about the mechanics and focus your attention on the experience, and it’s a genuine thrill ride.

The core plot is relatively simple, centring on a character credited only as The Protagonist, played by John David Washington, here oozing natural movie star charisma. He’s a CIA operative recruited by a shadow organization, on a globe-trotting assignment to stop dangerous Russian oligarch Andrei Sator – menacingly played by a heavily Russian-accented Kenneth Branagh – from starting another World War. This leads our protagonist to cross paths with mysterious operative Neil – a sharp-suited, sharp-talking Robert Pattinson – and Sator’s beguiling wife Kat (Elizabeth Debicki). For me, the most notably disappointing aspect of the film is how Debicki’s role boils down to little more than the time-worn damsel in distress trope, repeated several times throughout.

The ingenious visual language of the film is what makes it such a complex and engrossing watch. The so-called ‘time inversion’ that allows the characters to move backwards as they interact is an odd thing to witness. But it’s that sense of visual innovation and how it marries that with an entangled narrative that makes it feel, as with past blockbusters Dunkirk and Inception, as if Nolan is once again pushing boundaries.

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Being straight-forward is clearly far from Nolan’s mind here, with a cinematic experience that expects you to keep up. That said, there’s absolutely no shortage of exposition. As in Nolan’s most comparable film Inception (which feels like something of a companion piece to this) you’re bombarded with explanations of what’s being done. Sometimes that’s an absolute necessity, because the concept is so heady, while at times this comes across as Nolan simply liking the sound of his own voice. Half the time it feels like your head has been put in a blender, the other half like you’re floating in a futuristic pool. It’s best not to question what’s keeping you afloat.

The complex process of this enigmatic concept is complemented by an impressive sense of scale and spectacle and an almighty score by Black Panther Oscar-winner Ludwig Göransson. It’s a droning and pulsating soundscape that positively engulfs. Unfortunately, it drowns out some of the dialogue – a curious artistic choice on Nolan’s part that enraptures as much as it impedes, especially when the machinations of the plot are so dense.

As with all of his work, but particularly those with crazy high concepts, there’s a real swagger to Nolan’s filmmaking here, and a confidence in his own ideas that compels you along an often befuddling narrative. Did I understand absolutely everything that was going on? No. And I’d doubt anyone who said they did. But it’s a film that compels you to lean in closer. If you’ll permit me to hit upon a cliché, this is a film that demands repeat viewings. While Tenet might not be the best Nolan film, it’s perhaps the MOST Nolan film. And a great reminder of what the expansive big-screen experience is all about.

Tenet is on general release in cinemas now.

By Ross Miller

Email: review@snackmag.co.uk Page 157

GAME

Recently released PS4 exclusive Ghost of Tsushima has had a curious effect on me. As well as falling hopelessly in love with the Kurosawa camera mode, I found myself bowled over by main character Jin’s attention to self-care. It seems we could all take a lead from the feudal Samurai lord – killing aside, of course.

When not duelling other swordsmen, stealthing your way around Mongol camps, or helping out islanders, you can take Jin on a number of side activities.

While many of these are common fare for open-world sandbox games, borrowing heavily from the early Assassin’s Creed titles with tasks such as retrieving a peasant’s stolen rice or hunting for lost armour, some of Ghost’s side objectives are far more meditative in nature.

Throughout the game, Jin from time to time comes across small pedestals with swarms of birds circling overhead. The player is greeted with a sweet cinematic moment, where they’re able to select an aspect of the environment and use this as a prompt to compose a reflective Haiku.

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Covered in the blood of your enemies? Shaken from seeing your friends and allies slaughtered on Komoda Beach? Why not take a dip in one of the hot springs which abound in Ghost’s landscape, and take some time to contemplate life? As the attendant at Hyoshi Springs puts it: ‘There are hot springs all over the island. Make use of them, take time to heal and reflect; the practice will keep your body ready for battle.’

These incongruous moments are interesting to see in a game as action-heavy as Ghost. Being able to pick up in-game bonuses or customisation options from doing something outside the game’s ostensible remit is a bold decision. While this could have easily upset the flow and pacing of the game, the wee rest that you get by hanging out in the tub or letting your Samurai killing machine write some poetry is pretty dope, and allows for welcome moments of reflection.

Playing games, for many, is a welcome means of escape from our real-world problems. While the vast majority of traditional gamers still turn to shooters like Call Of Duty: Warzone, or slightly more story-driven experiences like The Last Of Us: Part 2, these stalwarts are definitely not for everyone. Take, for example, Animal Crossing: New Horizons. This gentle game, which, for the uninitiated, invites you to catch bugs and chat to wee animal villagers, all the while catapulting yourself into shitloads of debt, has been an unparalleled success. It’s interesting that the pace and feel of more casual games are influencing the direction taken by what would be usually be considered hardcore titles.

In the same sense that Ghost’s Jin takes time to wash up in a hot spring, marvel at the beauty of his home, or create some poetry, I think it’s important to take a break from the relentless nature Gaming by Dominic V. Cassidy Page 159

of some games served up by the big studios. As cool as it is to crush a huge monster in Witcher 3, to me it’s equally rewarding to wangle the optimum turnip price from some Animal Crossing village dudes.

Here’s an introductory list of games which contain little-to-no violence. These should hopefully scratch any kind of chill-out itch you might have. If you find you’re still in need of some chill, maybe you could take a break from the screen: take a leaf out of Jin’s book, soak in a long hot bath, and write a Haiku or two.

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Gaming by Dominic V. Cassidy Page 161

A SHORT HIKE You are a wide-eyed little bird named Claire, on holiday in the middle of nowhere, hiking to the top of a mountain in an attempt to gain mobile reception.

It is very nice. Cop it on Switch or on PC.

PIKUNIKU This puzzle-platformer sees you playing in the inquisitive form of Piku, a longlegged red bean guy with versatile limbs and a social conscience. Solve some conundrums, overcome problems, and help the villagers to victory over baddie industrialist Mr Sunshine. Available on PC.

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JOURNEY The classic peaceful minimalist narrative experience. Take your cloaked traveller persona towards the mountain, and let the soothing, scenic gorgeousness unfold around you. Available on consoles and PC.

Gaming by Dominic V. Cassidy Page 163

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