Blog — Page 114 of 278

The Formative Years – Born Against and Vermiform Records

Sometimes it is funny how music and the ideas it portrays strike a chord upon first listen. Musically and looking at individual sonic ingredients, it might be the song writing, energy and catchiness that will sink its hooks into you immediately and resonate the first time you listen to a song.

However, these things tend to become stale with time because there are, in a way, somewhat superficial elements to every song.

What makes you keep listening to a song is when, below the surface and the catchy rhythm, there are a wealth of other idiosyncratic details, side plots, or mysterious feelings or ideas that you cannot quite put your finger on. Within the musically often confined realm of punk and hardcore, interesting lyrics and an angle that you can relate to, a story, or just a sound that has an interesting new character play a major role.

As a teenage delinquent, emotional and social contexts from the surroundings that I listened to songs served as amplifiers of immense proportions as a song became an encapsulation of significant moments, or a time of my life, and lived on through that.

In 1991 I spent my allowance on mail ordering new music on a regular basis.  Provocative names and titles that caught my attention served as a major motivation to make the effort to pay a visit to the bank, exchange Deutschmarks into US currency, write a letter, enclose cash and hope that weeks later slabs of vinyl would materialize in my mailbox.

When the name Born Against popped up, it caught my attention straight away and after consulting my dictionary to find out what the title of their 7” “Eulogy” meant, I had to get it.

I am not sure what I was expecting but after the first spin of Born Against’s first 7”, taking in the artwork and overall aesthetic, things were no longer the same.

I found a band that challenged the status quo of the scene (in this case supposedly an affront to how Equal Vision Records conducted themselves), had an aggressive political message, a DIY approach, a kick-ass aesthetic yet was sonically abrasive and powerful and informed by everything I loved about traditional hardcore punk.

I made a concerted effort to not only track  down their demo, every compilation track as well as revisit the releases by their predecessor Life’s Blood, but also started collecting not only earch of theirs but also the releases on the singers, i.e. Sam McPheeters’ Vermiform label, his Dear Jesus fanzines and later on both his other musical and written emissions, all of which had challenged me in the most wondrous ways.

Witnessing Born Against in a live environment during their European tour with Nations on Fire in 1992 solidified my interest as their demeanour, inner band tensions and refreshingly alien status and non-conformant attitude in a cliché-ridden scene all contributed to their appeal.

A unicorn of a band that remains unrivalled both in terms of sound and vision to this day.

Wik & Co

I own quite a few perfumes for different occasions. There are perfumes that I like for their top notes and others where the base notes win me over, as it is for example the case with some of the fragrant emissions from Tom Ford. Ultimately, the package counts and contributes to how I perceive and value individual fragrances.

The common denominators tend to be that I like fragrances that are not pumped full of synthetic aroma chemicals; the way notes dance together and are not just jagged and in-your-face obvious; a sense of longevity in terms of the perfume being with you all day without being penetrant; linearity versus how the wearing phases project and how it forms a symbiosis with you to work with one’s own idiosyncratic chemistry, compliments your natural smell and does not plateau after the dry down on dull territory after the first sensation has worn off.

While I cannot deny that the marketing, design, packaging and overall presentation aspects do play a role as well, it ultimately does not play a big enough role that I would be put off from a good perfume with an ugly bottle or choose a pretty bottle over a good perfume. Same goes for ingredients beyond safety and appropriateness for the application, i.e. the mere fact that the fragrance was composed mostly or entirely of natural essential oils acquired in some arcane manner from some rare and exotic source, does not necessarily give me a  basis for believing that the result is superior – au contraire, it could even smell worse. I have no basis for believing that rare or expensive necessarily means better nor that inexpensive means bad. After all, would a rose from an artful composition of inexpensive synthetics still smell as sweet? Well, it might, no shame in being fooled here.

Wik and Co. is an Australian boutique perfumery that I only recently came across despite their operation having had already started as a passion project in 2013.

What I appealed to me from a distance was their credo around which their endeavours are centred, i.e. around respecting the craft in all aspects when it comes to the sourcing of ingredients and the processes around the creations of their fragrances, specifically through investing time, giving their ingredients ample time to mature and macerate in a bid to let them unfold their complexities and depths.

Wik & Co’s ventures are based on a triumvirate of perfumers, i.e. Amandine Clerc-Marie , Fabrice Pellegrin and Philippine Courtiere, a trio the individual constituents of which have proved themselves in the world of scents on international terrain over and over again.

What they have created was not schemed out but is quintessentially the outcome of their respective passion projects they have channelled their alchemy in, which defines the DNA of Wik & Co, i.e. honouring traditions, yet bold and pushing the boundaries outside the confines of mainstream flavours of the day.

Mechant Zorro was the first fragrance I tried and its dark imagery that surrounds it, it frames the top notes of a distinctive spicy-floral quality, which blend well with pepper, milk, liquorice, sugar and woody notes, that are highlighted by a green mid that rests of a muscular back of sandalwood, warm vanilla and hints of patchouli.

Hanging Gardens is the female yang to complete the duality with the aforementioned sensual and woody yin, as it is all about open, citrussy and exuberantly fruity scents resulting in a melange that is backed again by a backdrop of cashmere and spicy resinous notes.

With the telling name The Sicilian, I was intrigued if the scent could capture the essence of what emanates from the largest Island of the Mediterranean. What materializes on the nostrils is a well-calibrated dualistic blend of citrussy and fruity top notes, that are pervaded by a foundation that is seemingly antagonistic yet subverts and complements and contributes rather than contradicts with subtle amber-woody base notes.

The Cedrat Blanc variety is more on the lighter side of things as the translation of the name, i.e. “white citrus”, suggests and it pales a bit compared to the overwhelmingly sensual scent that goes by the name of Merveil-Leux: Floral and woody in nature, what ladies get here is an exercise par excellence in seduction with rose and sandalwood being clearly identifiable, serenaded by earthy-rooty violent flowery highlights.

Marvellous indeed.

The homage to Asia, i.e. So Tokyo, reminds me more of the South-Eastern part of the continent with its sensual, floral, neroli-like trail galbanum, amplified by musky and dominating green aromas that are given depth by oriental, resinous notes.

With Wik & Co’s first collection being a strong entry in the world of boutique-y fragrances, it should be interesting to see its reception in the ole world where the brand if currently looking to expand into.

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image from company website

Water of Life - Drop Club Bruichladdich unpeated

Bruichladdich’s smoke and peat heavy Port Charlotte and especially Octomore ranges are amongst my top ten favourite expressions from the isle of Islay.

However, the progressive Hebridean distillery that was established in 1881 is channelling its alchemy in range of exquisite unpeated drops, which Melbourne’s Drop Club helped to shed light on with a virtual tasting that was hosted by the Brand Ambassador of Bruichladdich, Andy Buntine.

One of the many great things that Bruichladdich stands for is the dedication to terroir and provenance, with also manifests in their sourcing of barley, all of which stems from different regions in Scotland.

Bruichladdich’s Classic Laddie, bottled at 50% ABV is what can be considered its signature and possibly its most accessible malt, which the aromas already indicate with the melange of vanilla, berry fruits and peppery spices tingling the nostrils. What I have always liked about the Classic Laddie is that despite the pleasant flavours of vanilla, malt and fruit, there is also a trademark coastal tinge with the subtlest of smoke to remind one that it originated on Islay.

Bruichladdich’s Islay Barley 2011 is a telling name as the release series exclusively features barley sourced from six farm from the island of Islay, with the idea being that nuances will differ on a yearly basis.

Again, clocking in at 50%, the bright golden 2011 expression bring citrus, seaweed and spice grains on the nose, which seamlessly transitions to a well-balanced honeyed, lemony chocolate oily texture that is accentuated by subtle smokiness on the template.

A unique whisky that is all about showcasing terroir and a sense of place.

Now, having been an avid fan of Bruichladdich distillery, there has been one expression that had eluded me so far: The much fabled about Black Art, of which the 7.1 was to be sampled as part of this tasting.

Giving that it is a telling name in terms of being a mysterious drop that was bottled in 1994 by head distiller Adam Hannett, who kept mum about the details about which casks were used – a novum for a distillery that prides itself on being overly transparent, claiming that I was giddy with excitement would be an understatement par excellence.

Bottled at a natural cask strength of 48.4%, the aroma is already fantastic: There is a delicate sweetness reminiscent of stone fruits, which appears to be derived from sherry casks mixed with nutty richness, cacao and liquorice.

What was promised on the nose, fully unveils its complexities on the palate in the most viscous manner and is complemented by oak, orange, wet tobacco leaves, cinnamon, coconut and nutmeg, carried by a sublime spiciness.

The elongated finish leaves me drooling as an idiosyncratic Islay coastal saltiness blends in with coffee and leathery notes.

A drop that embodies everything that is great about Bruichladdich yet adds dimensions that are not present in any of the other expressions and the perfect ending for a fantastic tasting organised by the Drop Club.

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image from Drop Club website (linked)

Hot Stuff - Bunsters

If you have been following this series, it should not come as a surprise that is being utilized on the regular to enhance what I consume on a daily basis, which explains why I am delighted when I come across local entities producing quality emissions.

Bunsters is located in Perth in Western Australia, and having been inspired by extensive travel and the discoveries she made along the way, she decided to start making her very own hot sauces – an endeavour that quickly evolved to what has now firmly established itself as a proper brand.

Bunsters’ core range consists of four variants, which are proffered in 8oz and as far as the shape is concerned, Dom Perignon inspired bottles. The common denominator is that they are based on a solid foundation comprised of Scorpion and Birds Eye chillies, which is enhanced by citrus juices, vegetables, Goji Berries, Apple Cider Vinegar, Coconut sugar and Himalayan pink salt. The fact that it is devoid of nasty additives and vegan friendly only adds to the appeal.

What I like about the Bunsters range is that it is all about nuanced peppery flavours and not just the novelty of generating raw, biting heat: The spice and heat stays in the background and build up, interweaving the deep rich and savoury flavours of acid and vinegar in a subtle manner instead, resulting in idiosyncratic, recognizable flavours.

In many aspects, Bunsters reminds me of a spicier variant of an old favourite, i.e. A-1 sauce, and while some of the advertising alludes to the breathing of fire and extreme heat, I personally find even Bunsters’ hotter emissions to be palatable and not super caliente at all, i.e. it not only delivers on the flavour front but is also a great entry point for the uninitiated on the timid side who like being eased into things.

In terms of visually appealing packaging and gimmicks, Bunsters goes all way out and their Hot Sauce Making Kit makes a borderline ideal gift for any spice aficionados in your squad as it comes not only with the foundation but also the tools so you can create your own brand of hot sauce by only having to add some common ingredients from your cupboard like salt, vinegar and curry powder.

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image from company website

Thus Let Us Drink Beer – La Sirène

Every now and then, just when you thought you’ve got the terrain covered, you come across a brewery that stands out with a philosophy and recommitment to philosophies that honour traditional brewing methods and deliberately refrain from entering novelty territory in the ever expanding cosmos of craft beers.

Enter La Sirène.

Having started in 2010 and with a dedication to Farmhouse brewing, i.e. a focus on sourcing local ingredients, open vat and bottle (re)fermentation as well as the alignment with the seasons, La Sirène established itself firmly on the firmament of the local scene by making brews that ripened in carefully curated oak barrels and redefined what could be achieved in terms of complexity in wild ales.

It all started with the creation of Saison-style beers, a sophisticated style that originally emanated in Southern Belgium, where beer served more as a sustaining snack than a beverage, and was than further refined to create La Sirène’s artisanal DNA, which not just in terms of provenance is not dissimilar to regional wine making with site specific air-borne yeasts and bacteria infusing the liquid emissions with idiosyncratic flavours.

Needless to say, that La Sirène approach to craft and artisanal ethos does not merely culminate in its ales but also extends to the elegant belle époque art on the hand-bottled Champagne bottles and is does not lack a conscience as sustainability plays a major role in all facets of their operations.

Cracking open a chilled bottle of La Sirène’s brews is a bit of an event and something that should be savoured and dedicated time to, especially when you indulge in expressions like the Praline: A decadent Belgian stout comprised of a mélange of cocoa, vanilla. It does not come as a surprise that it became an accolade decorated crowd favourite at beer festivals.

Their core line started with La Sirène Saison, a refreshing, well-carbonated textured hay coloured classic saison style with a savoury, malty and peppery yeasty body, with crispy tart-citrus nuances.

However, my favourite of the range must be the collaboration with Jester King, i.e.  Beer with Jeff.

Clocking in at 7.2 % ABV, the joint venture with Jester King Brewery from the Texas Hill Country is one of two beers that is the best of both worlds – beer brewing excellence and refined artisanal crafting of Farmhouse style wild ales.

I recently paired it as part of a Boilermaker with Bakery Hill’s Sovereign Smoke and the combination was divine as the wonderfully calibrated oaky and citrussy character of Beer with Jeff is accentuated with a subtle tardiness that culminates in marzipan highlights.

Given that the expertise and passion that has gone into the refinement of La Sirène’s liquid emissions is not merely about process but materializes in exquisite ways on the palate, the brewery from Melbourne, Victoria should find itself on the bucket list of brews to try no matter if you are a cognoscenti or not.