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June: Black Lives Matter

Thanks for checking in on this month's Search/Play/Repeat where I listen to albums I've never heard before and then make a playlist of some of my favorite tracks from those albums. Sometimes I'm just playing catch up on an artist's discography, and sometimes I discover something completely new. The end result I hope being that both you and I find something new. Last month I decided to forgo sharing a playlist due to the lack of Black representation in the playlist. This month's playlist is made up entirely of Black artists of all genres, old and new. Let's get to it!

Kicking off the playlist is the iconic, Jimi Hendrix. I've ultimately refrained from listening to much of Hendrix throughout my life mostly because... well... I've been hearing him my whole life. You hear the same four or five songs enough times and you start to feel like you've heard it all. Not that "Purple Haze" and "Hey Joe" aren't classics, it's just another case of overexposure leading to disinterest. Much like Bohemian Rhapsody's press-junket souring my love for Queen. I decided it was finally time to give the man his due and dig further into his discography since Are You Experienced is the only album of his I've heard. As it turns out, Axis: Bold as Love is a magnificent record! I found the stronger R&B and Jazz-Fusion direction more gratifying than AYE's Psych-Rock. Another "classic" I finally checked out a big one within the Punk community -- Bad Brains. Bad Brains' self-titled album has been an easy one to avoid all these years. I hadn't really heard much aside from "Pay to Cum" and "Banned in D.C."  Reports of HR's hate and homophobia has been so prevalent and was a huge turn-off. The band's influence on the Afro-Punk movement is undeniable, but damn if that album doesn't feel tarnished.

Fortunately, they weren't the only all-Black Punk band from the 70s and 80s. Before Bad Brains, there was Pure Hell. Up until recently, I had never heard of the self-proclaimed "first Black Punk band in the world." Pure Hell is another band, like Death, that was lost among Punk's historical roots. Let's be real, that's not an accident. They only released a single before calling it quits in 1978, despite having a full album recorded. It eventually came out... in 2005. I decided to jump to the other side of the early punk-spectrum with Ska group, The Selecter. For the longest time, I used to think The Selecter and The Specials were the same band. Like, I thought it was one of those situations where The Specials lost members so they just changed their name. It didn't help that their history was so intertwined. Another Ska band I finally checked out was Fishbone. The only time I ever saw Less Than Jake, they were supported by Fishbone and it was one of the most fun times I've had at a show. It's taken me way too long to finally check them out. From my understanding, they genre-jump a bit, so I'm curious to check out more.

My favorite discovery this month is The 1865 (which, ironically, I discovered on Juneteenth). A fairly new band with music that borders between Punk and Post-Punk and lyrics sung from the perspective of a post-Emancipation America in 1865. It's a history lesson and amazing music rolled into one. I highly suggest checking out their album, Don't Tread on We. Probably the best punk album I missed from 2019. Another newcomer to the scene I checked out is Meet Me @ the Altar. Fast-paced Pop-Punk like a cross between older-Paramore and Heartsounds. I was happy to see them get added to the Riot Fest bill for next year (assuming it still happens. ::GULP::)!

It wasn't all Punk all month. Run the Jewels released an "album of the year" contender. I swear it's just coincidence that the song I put on the playlist samples Gang of Four. I'm a huge fan of K-OS' Atlantis, but I never got far into his discography.  I dug into his back catalog to check out Joyful Rebellion as well as the new EP he just released in May. I threw a little Soul into the mix with Charles Bradley and Sharon Jones. Both were modern day classic Soul revivalists that passed away in 2017 and 2016 respectively.

That's going to close out June's playlist. Thanks for listening. I hope you found something new to your liking and I encourage you to search, play, and repeat. In the meantime, continue to fight for and lift Black voices. It makes a difference. Minneapolis is dismantling its police force. Racist monuments are toppling. However, many murderous officers still haven't been held accountable. Keep up the pressure.

Hot Stuff - Marysol

The realm of hot sauces is plastered with novelty brands that sacrifice flavour for the sake of hear. While the destruction of tastebuds might be an end in itself for some and can be fun to explore at times, if there is no flavour experience, the appeal wears off quickly. Then there are ones that deliver the heat yet in a manner that makes the condiment an attraction and integral part of any meal it contributes to.

Both South Korea and Mexico have a long-standing history of spiciness in their respective cuisines and the fact that Marysol’s founders head from those countries, piqued my interest in exploring what they have concocted after joining forces.

Devoid of preservatives, nasty additives, emulsifiers and based on a foundation of chillies from New South Wales and Queensland, vinegar from West of Byron and sea salt from the Great Australian Bite, Marysol currently channels its alchemy in three variations.

Marysol’s key Hot Sauce is their medium heat red habanero expression: Deeply red in colour, it has a wonderfully chunky texture enhanced by the still visible chili pieces and meanders between the coordinates of vinegar, cumin and chili robustly yet in a well-calibrated manner. With the heat hitting quickly and not building up, it is an ideal accompaniment to savoury dishes, e.g. eggs, burgers and smoked salmon.

My favourite of the day-to-day Marysol line-up is their Verde variant, which is a blend of Australian hot green chillies, white wine vinegar and spices. Compared to the red habanero one, this one is more on the citrussy and zesty end of the spectrum and adds a bit of bite, which I love my seafood to be enhanced with.

Now, no hot sauce brand would be complete without an extreme expression and in Marysol’s case, the extract of various Australia extreme chillies is channelled into The Phantom, to deliver an extra kick.

Extreme heat hot sauces can be tricky as that not only tend to sting upon entry but then dangerously build up, which is exactly the case here as the hotness reverberates on the way down the throat to the stomach.

Again, despite things being heated, Marysol manages to pepper in nuances, which in this case are reminiscent of Mango tropical fruits, black peppercorns and an excellent lingering smoky long aftertaste.

Aesthetically, Marysol’s triumvirate is housed in one of the better looking and pleasingly shaped glasses, which are adorned with artfully created labels paying homage to the founders’ Asian and North American heritage and make the experience a feast not only for the palate but also for the eye.

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images from company website

Water of Life - Smokehead Islay Single Malt Scotch Whisky

For anyone following our Water of Life series, the fact that I harbour a weak spot for anything that is distilled on the Hebridean island Islay should not come as a surprise as I love the iodine coastal flavours, amplified by the idiosyncratic local peat that ignites the bonfires the flames of which caress the top of your mouth.

Enjoying Islay whiskies is more often than not perceived to be a stage that the unexperienced palate has to work up to, via detours through the glens of the Speyside, Highlands and other territory that proffers more accessible drops.

Be it as it may and no matter where your starting point or malt preference is, the journey through the world of whisky is ever evolving and Smokehead is an example par excellence for new products constantly being added to the fold.

There are eight distilleries on Islay and chances are that once you fall prey to the beautifully pungent assault that their flavourful emissions exert on you, you will be at least vaguely familiar with their individual characteristics.

Every time a new drop from Islay emerges, especially one whose origin is not disclosed, one cannot help but be intrigued as to its origin.

Smokehead is being bottled by Ian Macleod distillers, who are responsible for an array of great whiskies, who own the unpeated Glengoyne distillery and the Speyside sleeper in Tamdhu.

I will focus on Smokehead’s three core variations, the first core one of which should be one that can be tracked down relatively easy from your local liquor dealer ship.

Bottled at 43%, the glowing tan coloured hits the nostrils with wafts of wet woody smoke, that is accentuated by caramelly, seaweedy toffee notes. Given the telling name, there are no big surprises here.

What materializes on the palate is far from complex, however, there is an interesting build-up: Resting on a solid foundation of peat, coffee notes and burnt ham flavours are punctuated by citrussy and spicy peppery highlights.

Adding a few droplets of water, brings chocolatey flavours out, which seamlessly transition into a mellow finish.

Given the affordable pricing and contemporary black and gold packaging adorned with the trademark smoking skull, this entry level Smokehead seems to be aimed at a younger audience, capitalizing on renewed interest in whisky. It offers a very approachable, perfectly drinkable drop that offers a simple enjoyment reminiscent one of a less defined and edgy very young Ardbeg – an entry point for the uninitiated, before a step is taken towards the more complex and domineering whiskies Islay has to offer.

Things get interesting with Smokehead’s Sherry Bomb expression as the nose is not only greeted by the salty campfire on the beach, one would expect, but also by vanilla-ry, orangey, darky fruity and minerally notes, that rest of a field of tobacco. Not surprisingly, giving it a bit of air and room to breathe, there smells reminiscent of a rich Bordeaux. Clean, fresh and mouth wateringly delicious.

What the aroma promised, materializes on the palate: The most subtle sweetness heralds a welcome onslaught of peaty, oaky smoke that is framed again by vanilla and orangey notes with lots of dry sherry.

An elongated smoky, finish bounces between fruity flavours via barbecued meaty flavours to sweet chocolate, with the Sherry bits sometimes reminding me of cherry lollies – which works great as the resulting total is a melange that is much greater than the sum of individual ingredients suggests.

Bottled at 48% ABV and still at the young end of the spectrum, the Sherry Bomb Smokehead is a fully flavoured and well-calibrated step up and a fun one with a modern take on the tested and tried take on Sherry that will definitely enter my rotation.

Ready to take things up a notch of three?

Here you go: Smokehead High Voltage

Now we are talking. 

As we all know and as it has been reinforced by Acca Dacca and Electric Six, per definitionem “high voltage” means an electronic potential large enough to inflict harm on living organisms, and in this case, it of course refers to the higher alcohol content.

However, high ABV is not the only trick in the bag of this expression and the aroma of gun smoke, burnt earth, vanilla, cashew nuts and spicy pepper hints at the complexity that will unfold on the palate.

Once it hits the roof of the mouth and the first wave of peaty sensations subsides, nice nuances of barley, brown sugar, iodine, brine, toffee and sweet bonfire-y peat.

The elongated well-calibrated finish meanders deliciously between sea saltiness, paprika and tobacco and as the smoke lingers, it makes one lust for another dram.

While Smokehead standard version is a good value-for-money everyday sipper, the High Voltage is definitely the gem of the Smokehead line-up and plays in another league.

Word around the campfire has that there is a limited “extra black” 18-Year-Old Smokehead variant, which after the HV experience has made it on my list to track down.

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images from company website

Monocle – Book of Japan

Thames and Hudson

Tyler Brûlé and his brainchild Monocle have had an intensive relationship with Japan ever since the inception of the magazine – a relationship which could be claimed to have been borderline formative as the magazine was informed by the core crew spending time late into the night behind the stacks at Tsutaya, absorbing how Japanese magazines not only seem to have an acute understanding of their readers at their core but form real relationships with them and think about what they are giving back for the cost of the magazine.

Needless to say, that Japan has been an often-visited subject of the international magazine ever since its very first issue, when an image of Japan’s Maritime Self-Defense Force even took over the cover.

Given its inextricably linked deep connection to Japan, its admiration for the culture and having an established office on the ground in Tokyo, Monocle has had one of its foci firmly set on both Japanese craft culture as well the innate dignity of service and gentility that gradually seems to be getting recognition.

A tome on the endlessly fascinating and culturally rich country of Japan as part of Monocle’s portfolio was only going to be a matter of time and what has materialized now is an ode to a nation that the magazine has built up a unique understanding and passion for.

With the idiosyncratic thorough approach and Monocle unique voice, the reader is guided through a visually appealing curated array of examples from the worlds of Japanese fashion, food, design and architecture.

Striking a sophisticated balance between plenty of eye candy and informative essays, no matter how familiar one with this mysterious country might be, this book serves as a lens which allows to discover it anew.

If you are familiar and appreciate Monocle’s previous book release, this collaboration with Thames & Hudson will be an immensely satisfying and visually appealing addition to your collection - the uninitiated are in for a treat as The Book of Japan serves as an ideal introduction to the Monocle cosmos.

Motown: The Sound of Young America

Thames & Hudson

For the uninitiated – 2020 marks the sixtieth anniversary of Motown Records and everything surrounding it not only dominated the first half of the sixties, but left an imprint on popular culture, the reverberations of which can be felt to the present day.

I have yet to come across anyone remotely into pop culture that does not harbour a weak spot for the sixties pomp that was channelled and released to the public under the banner of Motown Records.

Needless to say that with Motown’s head of sales, i.e. Barney Ales, being one of the authors of this opulently illustrated tome, the stories you get come from straight from the horse’s mouth from a protagonist that was in the room when it happened and especially for Motown aficionados it should be quite a revelation as the record is set straight – a tenet that seems to have been one of the major motivations behind the book.

Having quite a few books on the topic on my shelves, with this one I found it quite refreshing that there is no need to laundered in order to create an engaging and riveting reading experience – the factoids themselves surrounding recording processes and releases are fascinating and document a unique time that put Detroit on the map and in the ears of anyone owning a transistor radio.

Apart from the documentation and stories, the photos alone are worth the purchase: Over one thousand colourful illustrations and footage detailing acts in various circumstances (including ample shots from behind-the-scenes), cover artwork, ads, live performances, et cetera, make Motown – The Sound of Young America a visually appealing book that in terms of sheer beauty and eye candy is hard to march.  The fact that the layout is crisp and printed on quality paper only adds to the experience.

The ultimate resource and a superb ode to Motown – not only the most successful independent label to ever exist but one that defined an extraordinarily creative era that is unrivalled in terms of vibrance, iconography, innovation and blindness to race.