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#1 - APRIL





Welcome to

Welcome to the first issue of LOAF! Each month we’ll be scraping together enough cash to print a free magazine (voila!) that gives you the inside track on all the latest and greatest student culture happening right now on your Edinburgh doorstep. We want to do our bit to get people talking about local arts, stoke the fire of Edinburgh’s cultural conversation and make some noise along the way. Bands, clubs, art and

theatre will fill these pages. The secret ingredient is that it’ll all be juicy and studenty, plucked from the ripest branches of Edinburgh’s universities and colleges. Of course, no LOAF is an island, and, to be honest, we’re still figuring out this magazine malarkey. For this reason, we’d love for you to scribble, doodle and scrawl your recommendations onto the back cover – and then pass it on to your pal, your nan or your

flatmate who probably ought to get out more. LOAF is both a print magazine and a physical space to embrace a dialogue between budding student artists, talented writers, and of course, you the reader. So sit down, buckle up, but don’t get too comfortable this is only the first slice. Reuben and Daisy xx

Cover photo: Angus Bradley

Interested in contributing or featuring? Get in touch!


The Vanderblues


Becky Cole


Miss World


Better Halves




Taliah Horner


Infrared Collective




Scribbles: where you’re headed


In the studio, in conversation

Not-so neo soul

Q&A with the all-woman DJ collective Best as a whole


Alternative student theatre

In conversation with writerdirector of Stained

Art What’s on

Through the lens

Contributors’ picks

Jot it down, pass it on




Words and photos: Reuben Fox McClure 4

“ This riff is going to

haunt you in your nightmares!” warns Erin, lead

guitarist of The VanderBlues. The Edinburgh band invited LOAF to join them in the studio for the recording of their new single, Montagues and Capulets — and Erin was right. The Vanderblues, in the studio and out, are infectious — but that’s what Xander, the band’s frontman and songwriter, set out to do. “We try to keep it catchy,” he explains. The band play an irresistible breed of indie-pop-rock that is hard to refuse. This recording session marks their first in over a year, their last bringing the band together not long after they formed to record their debut single Demon in Me. In that time, however, their sound has undergone a drastic change. “We’re mixing it up,” tells Xander. “That’s why it’s exciting.”

Although Xander, having begun as a solo singer-songwriter, is responsible for penning the songs, the final

product is very much a collaborative effort, with each member offering a different musical background and contribution to the table. “We all bring our own stylistic elements and mix them in,” reflects keyboardist Ross, who finds his own musical origin in, as Erin puts, “the bluesy stuff”, an influence obvious in his joyously soulful organ tone. Bassist Ali “is quite heavy”, a surprising insight given his melodic basslines — although he is caught warming up with an Iron Maiden riff. “Floaty and ambient and likes chords!” declares Ali of Erin, a description accepted with a grin and a confessional nod. Being in the studio offers a unique insight into the track — previously only heard live — as deconstructed into its parts, and the process involved in creating a cohesive whole. “I style a lot of my guitar playing off The Paper Kites,” muses Erin. “They’re kinda…what’s that Ali said earlier?! Floaty and ambient and like chords! I like to understate;

small parts.” For this reason, Erin’s lead guitar is equal parts refreshing and enthralling, lightly gracing the tune with a feathery touch – less is certainly more.

“ We’re mixing it

up...that’s why it’s exciting.”

But the synergy of The VanderBlues extends beyond the track. Throughout recording, the studio is filled (besides a mysterious smell of curry) with an amicable atmosphere of laughs and chitchat ranging from the best and worst type of beard to scary first-years turning up to shows. The quintet are all students at Napier University, with Xander and Ali living together (“Ali remembers things about me that I don’t remember”). “It’s not like we just turn up to this” jokes Ross — “We all hate each other really!” declares Erin. At one point, whilst drummer Robbie and Ali prepare for


Live at Sneaky’s

Erin, lead guitarist


Live photos: Angus Bradley

Xander, vocals/rhythm



“We all hate each other really!”

the initial drum take, the band bursts into a spontaneous rendition of the legendary breakdown in Fleetwood Mac’s The Chain, complete with howling guitar solo and whooping vocals. Between takes, Xander reflects on what it takes for a band such as theirs to exist in the streaming age. “It’s hard for for bands to keep going ‘cause there’s no money. Our pal’s band had a million streams but they only got a grand each. “I love Spotify but it’s gutting when your single is worth 0.006 of a penny. Your music is being devalued — it sucks out motivation.” The importance of immediately catching a new listener’s attention is a big factor in the band’s songwriting formula — hence why the songs are so good at getting

stuck in your head.

“ There’s a community between bands”

Finding an audience out in the streets is a different beast, the band says. Edinburgh’s live music scene is often the subject of many a moan but this is not for lack of bands — people just don’t know about them. “There’s a community between bands but not outside” shares Xander. His recommendations: “The Motion Poets, Barbe Rousse, Lewis Ross,” to name but a few. Part of the problem is the lack of venues: “Sneaky’s [Sneaky Pete’s] is great but there’s nowhere that’s big enough…but small enough.” For budding gig-goers, however, this is a blessing, an opportunity to witness

Edinburgh’s secretly thriving gig scene in glorious intimacy. The band breezes through the recording process with fearsome efficiency, yet never abandoning their chilled demeanour. Each take only requires a handful of attempts, the longest being Robbie as he deliberates on whether to use his broken headphones because they let him “groove better”, a choice well worth making — the final track is a formidable earworm. The VanderBlues’ new single comes out this month — don’t say you weren’t warned






Words: Magdalena Jablonska

Sporting a bright pink crop top (all the better to spot her by), I meet Becky in Bristo Square on a sunny afternoon. Easily falling into small talk about the weather like all Brits, we begin a comfortable chatter about music, uni life and boys. I start with the obvious, asking Becky to describe her sound, already wary of her dislike of the marker ‘neo-soul’. Becky isn’t keen on the term, “only because I think it sounds really pretentious,” she says, “but that is what it is. I just think it’s a name somebody made up and everybody just caught onto, but it is neo-soul so I can’t really hide from it. But it’s also quite hip-hoppy, with a jazz-soul influence.” Citing Hiatus Kaiyote, Jorja Smith and old school jazz and funk as amongst her favourites, I wonder whether coming to uni has changed her musical style. “I used to be really into heavy, heavy rock” she admits. Upon daring to ask just how heavy is heavy, Becky jokingly mimics the hoarse rasp of a grizzly frontman screaming down a microphone. “I always really liked rock ‘n’ roll music but then I came to uni and discovered jazz was a thing, and then I started listening to hip-hop and realised there was a genre that combined the two. I was like that’s really cool – that’s what I wanna do. I used to be in a wee rock band but I like more chilled out, groovy kind of stuff now.” Even edgy emo musicians grow up, I guess. “I’m on a music course so I’m obviously really inspired by all the other musicians I’m meeting all the time and what they’re playing,” Becky tells. “Everybody’s listening to different things and it does kind of shape your influences a bit more.”


This idyll where music students jam and exchange ideas seems a distant planet from the all-toofamiliar late-night library session, but Becky points out the practicalities of studying while trying to do the gig circuit.

I’m curious to know where she gets her ideas for songwriting, and she says quite simply that “if there’s something going on in my life [the process] just happens automatically. If I’m sitting down to write it’ll just kind of happen. It’ll be about whatever’s on my mind.” I find myself struck by the therapy that songwriting can be. Becky agrees. “It’s just annoying because I hate that I’m the person who has half of their songs about boys. All my songs are either ‘I hate boys’, ‘I love boys’ and obviously I feel like my band (who are all boys) are gonna be like, can we play about something else please?” We both chuckle, amused by, and in pity of, all boys. Sensing we’ve both relaxed into the

Photo: Domi Ucar

I wonder whether Becky willl always be a musician. “This sounds so cliché but I think it’s just kind of the only thing that I really see myself doing,” she shares. “Obviously when you’re growing up you think ‘I can do this’, ‘I can do that’, but this has been the only thing I’ve been really interested in. I started playing piano when I was really little, so it’s always been something I’ve been learning in some way. Yeah I don’t know, it’s always been my main thing.” Smiling softly she adds, “ I can’t really do anything

else so… I’ve got this now.”



interview, I ask about the biggest challenge of starting out as a young musician. “The biggest challenge is probably self-confidence. Which I know sounds really cheesy but just being able to be like ‘yeah I’m doing this now’ and tell people that that’s a thing that’s happening. Being able to be like ‘I’m performing and you’s are all gonna come and you’re gonna love it’. Being able to sell yourself when you’re not quite sure of yourself is a challenge. But I think it’s something that comes with time. I think that’s the same with any art, it’s just having the confidence to put yourself out there.” By this point, I feel inspired enough to launch my own music career, but a worry reminds me of the brutal competition of the industry. Memories of limited parts in cut-throat school

plays surface. “I think it’s kind of about your own perspective,” Becky clarifies. “If you’re doing a similar thing to someone else and they’re doing amazing, then obviously your first thought is gonna be ‘why am I not doing that?’ You beat yourself up.” “Everybody’s got different skills, styles and approaches to their musical career. If one person’s doing really well right now that doesn’t mean that you couldn’t do that, it’s just that everybody’s at different stages. So I think it is really easy to get competitive, but it doesn’t have to be like that. It’s more collaborative than anything else.” Maybe I’ll pick up that guitar after all.

anything else she wants to add - “Umm...I’m really really good, you should all listen to me,” Becky replies laughing. I’m more than happy to oblige.

Becky Cole and her bandmates (Cameron Bradley, Ali Hutchison and Lewis Cullen) are releasing their not-so-neo-soul neo soul single this summer


Becky has a jam session to rush off to, and I quickly ask if there’s


Who and what is Miss World? We are an all-female DJ collective made up of three women who started DJing around the same time – Emily, Kath, and Julia. How did the collective come together? We formed to directly address the lack of female representation in the Edinburgh club scene – we all knew each other through mutual friends or art college, and had all learned to DJ at the same time.

What was the inspiration for creating Miss World? Miss World was formed as a response to the very male-dominated scene in Edinburgh, as a way to challenge that and also throw the sort of party that we as women would feel welcome to attend.

Any major stylistic influences? As a group, I’d say we’re inspired by groups like Discwoman, who represent some of the best female DJs and producers in the world right now – in fact, we were really inspired by their slogan, “amplify each other”.

How would you describe your style to new listeners? Our style is pretty diverse – we describe it as a musical beauty pageant, where all genres and sounds are welcome! We each have our own influences and tastes, but when we’re together we tend to play a lot of house, disco, new wave and funk. And we’re all partial to a bit of Sade.

Miss Best night you’ve played so far? There are a few – hosting NTS Queen Peach at our February Miss World, playing in the sunshine at Electric Fields festival, playing all the way until 5am b2b during the Fringe and the energy staying constant throughout.

What is the Edinburgh club scene doing right, and what is it getting wrong? There are venues that are getting it right, with razor-sharp bookings and a commitment to fostering safer spaces on the dancefloor. Sadly, a lot of Edinburgh’s venues are closing or at risk of closing, and the smallness of the city is where it loses out to more dynamic scenes in Glasgow and further beyond.




Artwork: Julia Barbour

The club music scene is typically a male-dominated one, what would be your advice for budding female DJs? Make connections with other women where you can – we’re stronger when we’re together, sharing our experiences and booking each other. Listen and play to whatever you want so long as it’s what you enjoy. And check online for second-hand DJ equipment – you can pick up laptop DJ controllers for under £100.

What are you listening to right now? One of the advantages of being in a group is getting to share music with each other. We recently put together a playlist of our favourite songs by female-identifying artists for International Women’s Day on Spotify – search ‘Miss World Edinburgh’ to have a listen!

Recommendations for other nights/ collectives to watch out for? There are so many female DJs working in Edinburgh at the moment that are worth coming out to see – keep an eye on Facebook and Instagram for event announcements since they’re being booked across the board! Hotline at Bongo and Heaters at Sneaky Pete’s are a couple of our faves for featuring both upcoming and established women in the scene.

And finally, what’s your go-to track for a Friday night? One of our favourite Miss World tracks is one Kath introduced to us, which we tend to play at almost every one of our nights: Love Tempo by Quando Quango.

Miss World play the first Friday of every month at Sneaky Pete’s; catch them on the waves on the second and fourth Thursday of every month on EH-FM radio



BETTER HALVES best as a whole

Words: Jo Higgs Photos: Maria Wiik, Isabella Neergard Petersen Sweet coffee aroma and smooth trumpet melody filled the air around us as I sat down in a lovely wee Edinburgh café with student band Better Halves. I could tell almost immediately that the two fellas in front of me, singer/guitarist Liam and drummer Frederick, were a perfect representation of a band that care just as much about enjoying each other’s company as they do making music together (alongside


the absent Joe and Graeme).

“ Dreamcatcher is

the song that most defines as a band”

Speaking on their brand of catchy guitar-led rock, they emphasised a need for a fluidity and an openness of each member to one another’s ideas. Their latest singles, the lush and spacey soundscape of Dreamcatcher and warmly neofolk-tinged You Wouldn’t Believe, don’t strictly adhere to this fluidity of writing, given that both were

composed pre-Better Halves by Liam. They do, however, stand as a testament to the importance of group contribution and varying perspectives. As Liam relays, “they were a bit barebones before. Each member brought an extra something that gave [the tunes] more life.” I explained to the guys that to me, Dreamcatcher seemed a gutsy opening side of a debut single: it isn’t very energetic or danceable, but instead forgoes these traits for an ethereal quality that does more to allure and seduce the

“We’re not trying to sound like one band”

listener than to arrest and grab, as one might expect of a new band’s debut single. Freddie informed me that “Dreamcatcher is the song that most defines us as a band. It encapsulates what we sound like.” — The single is a statement of intent. Talk of the singles leads us onto a discussion of what music the band listens to – an eclectic mix as it transpires. The list floats from Bob Dylan to 2000s pop-punk, and quite fittingly, Frank Turner, an artist who can be seen as the perfect bridge between them (and a man whom, according to Freddie, Joe would give half of his internal organs to be). Turning away from innardsbased chat, Freddie pronouncedly declared his interpretation of differing music tastes: “That’s the beauty of us, ‘cause we’re not trying to sound like one band; we’re all trying to sound like different bands, which in turn makes us sound like us – Better Halves.” Liam and Freddie begin to ponder why they make music – such things do generally seem to require a reason. A grand inhalation of air precedes a booming and caricatured exclamation of “MONEY AND WOMEN!”, before Liam recedes back from his momentarily Spinal Tap-esque parody of rock-stardom into his normal, more modest and socially-progressive self. Freddie and I laugh mockingly at him as he, embarrassed, begs for his joke not to be included in the article (too late). Reality crashes back down on the three of us as Freddie


half-giggles, half-moans “if you play music for the money and the women, you’ll find yourself very disappointed,” as any musician reading can attest to. Back to business, I query as to what the boys think is the best course of action to combat the frequent venue closures and oppression of the arts by all manner of powerful bodies in Edinburgh. Liam bursts with passion as he expresses his views:


“goPetition! Go to gigs! Mainly to gigs! So many people

complain about the music scene yet make little effort to participate in it. Also, to an extent, the idea of Edinburgh’s music scene dying is in a sense a self-fulfilling prophecy ‘cause the minute you say ‘ah well, music isn’t doing well in Edinburgh,’ people are gonna be less inclined to put on shows, people are gonna be less interested in going to the fewer and fewer shows that there are. Resignation to act as if the scene is nearly dead is what will kill it.”

Following this powerful speech riling the troops to gig attendance, we find ourselves discussing the necessity of enjoying what you do, to which Freddie recalls an anecdote of his friend John’s. “He was at a festival with his dad and they were watching a metal band of insanely talented musicians playing the songs really well but looking totally uninspired, so his dad said, “Wow. They’re really good. They should form a band.”’ A crack of laughter once again welcomely fractures the conversation of the table. Much like some medieval fable, Liam concludes this tale with a moral that perhaps sums up the interview and Better Halves as a whole: “You’ve got to enjoy the people you’re with as well as the music you’re playing”



TattleTale: Words: Daisy Graham-Brown Photos: Lucy Branchflower Illustration: Hazel Laing “We’d known for a while that we wanted to perform the play in a flat,” laughs Auriol as she catches Polly’s eye, both shaking their heads in bemusement at the idea. These are the two minds behind TattleTale, Edinburgh’s freshest student theatre company, who caught up with LOAF over a coffee to discuss their debut show. The play saw writer/director Auriol and producer Polly embark on an extravagant, multi-media, period adaptation of Pushkin’s The


alternative student theatre

Queen of Spades — all performed in a student flat in Marchmont. “The neighbours were not happy,” admits Polly with a smile as she explains that the play “very nearly got shut down.” Yet Polly speaks with a wry sense of humour and a quiet confidence in the knowledge that the play was a resounding success, despite a few “bumps in the road”.

“ The neighbours

were not happy”

From its conception, the production signified an important shift away from Edinburgh’s established student

theatre scene. Polly and Auriol both agree that for them, although the preexisting student theatre companies produce amazing work, they can sometimes feel “quite exclusive.” This mutual feeling was, in many ways, the initial reactionary spark of TattleTale’s creation. Auriol had begun thinking about writing and directing a play over her summer holidays, and was already familiar with Pushkin’s story through her Russian Studies class. She knew that she wanted to create a sitespecific performance, yet realised this probably wouldn’t be possible through the traditional routes.

From there, TattleTale began to take shape. Polly laughs as she explains that Auriol had approached her “with this crazy idea” — putting on a play in a flat — “and we just started pretending to have a theatre company!” They both relay stories of late evenings spent “drawing out logos with biros on the kitchen table,” and joke about the house party where Auriol bumped into a friend and brashly asked to use his flat to host the performance, to which he later agreed.

arrival were handed silver masks, ushered into a neighbouring flat and led from room to room to witness the story unfold. Auriol notes that she’d “seen a lot of amazing immersive theatre, yet the person across from you is just wearing a Nike T-shirt which can be kind of distracting… the masks allowed for anonymity.” Live music and physical theatre further added to the complexity of piece; two violinists provided the soundscape to accompany the physical action, alternating from macabre, foreboding melodies to frenzied, heart-racing screeches at moments of tension.

“We wanted to make it as ambitious as possible,” explains Auriol, which, if anything, is an understatement. At “A lot of stuff came crashing down, the opening performance, to which and inevitably each night was LOAF was invited, the audience upon different,” says Polly, “but I think the


cast especially were very excited about the uncertainty of it all.” Auriol explains how the cast had to be flexible in their approach to both rehearsing and performing, with a lot of the physical choreography emerging from rehearsal and each audience offering up new challenges to work with every night. The success of the performance really did lie with the cast and crew who somehow managed to transform a student flat into an entirely different world. With a minimal but effective use of costume, lighting, video and props, the audience were able to step out of Edinburgh and into 19th century


St Petersburg – not your average Wednesday evening.

“ A lot of stuff came crashing down”

It’s hard not to be impressed by both the infectious nature of these girls and the boldness of their ambition. To undertake a play that uses video, live music, period costume, audience participation, physical theatre — and then make it work inside the confining walls of a student flat — is something just short of madness. Yet the success of this madness has altogether redefined the parameters

of student theatre in Edinburgh. TattleTale’s The Queen of Spades serves as a thrilling reminder that theatre is more than a stage and a seated audience; it’s something that can emerge right on your doorstep — literally. Upon the dreaded question of ‘what next?’, Polly and Auriol glance at each other with a shared sense of excitement and nervousness. “We’re currently hoping to take three things to the Fringe,” discloses Auriol; Polly tentatively begins to explain their upcoming ideas. No spoilers now — that would be tattling




TALIAH Photos: Daisy Graham-Brown

Words: Katarina Slater

This March saw the unveiling of an original play, written and directed by the University of Edinburgh student Taliah Horner. The piece, an absurdist comedy, delves into questions of capitalism, transphobia and… a Cornish seaside town. LOAF had the privilege of meeting the talented Taliah in person, where she filled us in on the inspiration and motivations behind the play. Taliah divulged that she originally started writing the piece four years ago, resuming writing last summer to make it work for the Bedlam stage, as well as to build on the individual characters. Many of the core ideas originate from her childhood town of Padstow, Cornwall, where the celebrity chef and TV presenter Rick Stein systematically bought out restaurants. Taliah reflected on how Padstow suddenly became overly “touristy and artificial” as the masses began to flock to catch a

glimpse at the celebrity and taste his oh-so outstanding food.

“Internalised dialogue and transphobia, exacerbated by capitalism”

Taliah has a unique, elevating presence, her colourful, confident sense of style sitting in tandem with her creative energy. Although a long-standing member of Bedlam, Stained was Taliah’s debut as a writer-director. She told of how she wasn’t out of her comfort zone, however, being a veteran director of Edinburgh’s resident improvcomedy troop The Improverts. In a time where directors are spoilt for choice when choosing scripts, an array of historic and modern classics at their fingertips, original writing is a particular achievement. The play grapples with its setting of a traditionally ‘dull’ part of the

UK to create a riveting yet amusing story which asks the hard questions underlying today’s society. Taliah explained that Stained wasn’t precisely autobiographical. Instead it reflected her own experience as a transwoman, and she spoke poignantly of her “internalised dialogue and transphobia, exacerbated by capitalism”. Whilst normally not condoning someone directing their own writing, Taliah highlighted how the personal nature of Stained necessitated a sensitivity and an attention to detail only possible with her at the helm. The play revolves around characters who are personifications of, as Taliah put it, “archetypal” reactions to capitalism as a system that can be chaotically unorganised, escalating conflicts between characters through sheer lack of communication, driving others to a crushing isolation.


Whilst transforming her writing into a dramatic production, one of the most notable adaptions Taliah made was the pronounced stylisation of the characters’ physicalities. The production’s characters are devoid of any names or genders, each wearing a different coloured bodysuit. The intent: to construct a dystopian world which draws out the societal assumption that underpins transphobia: that biological sex equals gender, a supposedly immutable fact that defines a person’s intellectual and physical virtues. Consequently, whilst none of the characters explicitly represent her or any other people in her life (apart from the character of the celebrity chef), each was inspired by people that Taliah had encountered. Many


of the transphobic comments in the script such as “you’re a freak” and “why are you so weak?” originated from Taliah’s actual experiences.

“A well timed joke

‘makes things easier to talk about’”

Although the play explores pertinent and contemplative topical problems, Taliah places comedy at the heart of the script. Explaining the use of comedy in theatre, Taliah muses on how a well-timed joke “makes things easier to talk about”, making sure the intense topics aren’t too heavy for the audience to handle. Taliah spoke of her hope to help her audience reflect on the impacts and evermore selfish habits that are the product a capitalist system, as well as offering an understanding of

how the transgender label affects an individual’s everyday life and how feelings of antipathy and nonconformity have been exacerbated by capitalism. A writer to watch



Words and photos: Daisy Graham-Brown

“ It’s all real

blood!” exclaims Grace – to

which Stella, Jenny, Laura and Erin look up from what they’re doing and laugh – “the photo of the plaster is actually my blood,” she admits with a grin. On the opening night of their exhibition Colour Psychology at Whitespace Gallery, LOAF was lucky enough to catch up with the five students that make up Infrared Photography Collective – and pester them with some questions as they made the final, crucial touches to their displays. With a spirit level in one hand and a glass of prosecco in the other, Laura explains that the exhibition “explores how colour affects our emotions”


Infrared and that they “chose the colour red specifically to unite all the work.” Erin chimes in to add that “there are so many interesting connotations behind the colour red; you can definitely see this in how different all our work is,” and a quick glance around the room certainly confirms this.

“I’m quite lucky my

flatmate gets frequent nosebleeds!”

It’s hard for the eye not to be immediately drawn to Grace’s trio of stark, striking macro-shots of bloodied plasters and tissues, all photographed on a clinical white background with harsh, artificial fill-lighting. The images

are sterile and discomforting – but that’s the whole point. “I’ve had a phobia of blood since I was ten years old,” she shares, “which is why I was especially interested in exploring it.” She jokes about the number of people who have been curious as to where the blood came from, and she explains that “the plaster was from when I cut myself shaving my legs, and the tissues, well... I guess I’m quite lucky my flatmate gets frequent nose-bleeds!” In a bizarre sort of way, through studying both her own fear and her own blood, Grace has created an unusual self-portrait that reflects on what Colour Psychology means to her.

Collective The back wall of the gallery is taken up with Erin’s display, ‘NOTHING CHANGES’, a piece consisting of seven demonstration signs, each showing a collage of protest slogans from the 50s to the present day, with the title spray-painted in block-red across them. “My initial focus was looking at red as a colour of anger,” she explains, “but then I begin thinking about the theoretical and archival side of anger and found particular interest in protest.” It’s a dynamic piece both visually and conceptually, with the colours merging slowly from black and white 50’s wage protests on the far left, through to protests around civil rights, abortion, nuclear weapons, and finally into full-colour ‘love is love’

slogans on the right. The other pieces vary dramatically in subject. Stella captures the cultural connotations of the colour, presenting dark, ethereal still-life studies of Chinese objects for good luck, “all of which I found in my home”. Jenny’s photographs of clichéd love objects sit in contrast to Laura’s focus on how the colour red “sways human behaviour”. Despite their variation, the Infrared Collective’s first exhibition works as a cohesive exploration of how the complexities of psychology are ever-present, even in a simple colour. Bloody intriguing stuff



Gigs & Clubs

10th April @ Sneaky Pete’s LaKyoto Described as ‘bold, brazen and utterly mesmerising’, the Edinburgh electronic-pop band are hot off the back of the release of their latest single Invincible. Expect a sell out.

19th April @ The Bongo Club Electrikal’s 9th Birthday Longstanding Edinburgh DnB favourite returns with nine candles on its bassy cake. Gun fingers not provided.


12th April @ Sketchy Beats 17th April @ Henry’s Cellar Bar Magpie Blue, The Vanderblues, Porridge Radio + Moonsoup Berta Kennedy, Aiden Cross -+ Gift Horse Livestream A first for the Edinburgh scene, this medley of student acts is also being high quality livestreamed across all the usual internet hangouts.

Still briming with bedroom angst, Porridge Radio continue to inelegantly knot together vicious, furious emotional outpour with beautifully melodic pop song. Not to miss.

24th April @ Sneaky Pete’s Slester -- The Sun’s Still Missing Single Launch

29th April @ Sneaky Pete’s Swingers Launch, hosted by Jordan Deelight

With a dark style and a quick tongue, Edinburgh rapper Slester’s presents his latest single, supported by Edinburgh MCs Elloquent and Astroknot.

Veteran Edinburgh DJ Jordan Deelight presents an eclectic mix of all things ‘HI NRG’ since the 70s.

20th April @ TBA CreamFloats session

23rd May @ National Museum ECA Fashion Show

CreamFloats is a platform dedicated to helping artists gain exposure, accessibility and visibility. The sessions offers an intimate experience of local artists in new ways.

All seats are front row at the annual ECA fashion show. Get yourself down to witness the sartorial sensations you’ve been longing to see since second semester (or first).

Theatre & Film

9th-13th April @ Roxy Assembly Hand to God Hand to God AKA “Sesame Street meets The Exorcist” is a hilarious, lightning-paced, very adult comedy that explores the startling fragile nature of faith, morality, and familial ties that bind. Performed by the Edinburgh Graduate Theatre Group.

11th April - 19th May @ FilmHouse IberoDocs Festival The film festival aims to explore two areas of our world where political changes are affecting the rights of several communities, which are still fighting to see their identities acknowledged: Brazil and Andalucia.

What’s on in Edinburgh


Scribbles: Jot it down, pass it on


Profile for LOAF

LOAF - #1 April  

Welcome to LOAF! Each month we try to scrape together enough cash to print a free magazine that brings you an insight into student music, ar...

LOAF - #1 April  

Welcome to LOAF! Each month we try to scrape together enough cash to print a free magazine that brings you an insight into student music, ar...