Blog — Page 179 of 275

The infrequently-updated site blog, featuring a range of content including show reviews, musical musings and off-color ramblings on other varied topics.

Water of Life: The Whisky Club

Posted by T • September 6, 2018

Water of Life

The Whisky Club

There is no shortage when it comes to curated whisky services catering to the consumer’s every whim. Services that proffer samples, ones that send you bottles of different expressions in a bid to educate your palate and enable a deeper appreciation of the water of life, et cetera et cetera.

Then there is The Whisky Club.

The premise and underpinning idea behind the foundation of the club is that there is a myriad of superior whiskies in the dens of Scottish and Irish distilleries that one never gets exposed to, let alone have a chance to sample dram on terra australis. In a day and age where whisky in all its variations has undergone a renaissance of epic proportions and the public demand outweighing the available stock in the mother countries, other countries have established themselves firmly on the firmament of great whisky producers, e.g. Taiwan, India, France, Sweden or Tasmania.

The Whisky Club works with the premise to offer its members the chance to purchase exclusive imports on a monthly basis, with each release being embedded in a wealth of information that educates the club member on its origin and genesis.

If you are remotely into whisky and based in Australia, eventually you will come across The Whisky Club as it is a highly esteemed institution that finds approval from industry and connoisseurs alike. It is not further surprising that the club has a significant membership size, which in turn equips the club with significant buying power. Using the aforementioned buying power and its industry contacts, The Whisky Club is on a constant mission to source quality whiskies that its members will love and deliver them to them by importing the whiskies directly and exclusively for the club.

Headed by whisky luminary Bertie Cason, known from his roles in industry peak bodies and who among other accolades is the gentleman that hand selected Sullivans Cove World Whiskies Awards winning expression and propelled the brand to one of the highest coveted whisky houses on this earthround, which changed the Australian industry forever, personally selects the club’s offerings.

Needless to mention that the club has achieved a status and appreciation that has big whisky brands approaching them to exclusively launch new releases in Australia to establish an appreciation through the club’s reach and base of whisky aficionados before it trickles down the mainstream markets.

While some clubs can be quite elitist and snobby, The Whisky Club embraces not only hard-core enthusiasts but everyone with a bit more refined interest in whisky and caters to their needs, with the individual bottlings being kept at an affordable range of AU$110-125 being only one of the features apart from offering members the chance to opt out and only buy what they would like to buy. A sign of quality as time has shown that once a member experiences the quality of the exclusive expressions delivered to the confines of their home, they grow used to it and appreciate exploring flavours and nuances they normally would have not tried. Offering its members access and discounts at Australia’s most prominent whisky haunts and thereby creating a national Clubhouse network or organising field trips are additional perks of joining the club for a whisky journey of epic proportions.

Case in point – your humble narrator, who experienced what currently over 5000 members have access to:

I personally harbor a weak spot for peated and Japanese whiskies and while I am always eager to sample new variations on international travel, I’d have struggled to name but a few French distilleries that rock my palate. That was until The Whisky Club exposed me to Armorik’s Whisky de Bretagne Small Batch Single Malt, the July 2018 Whisky of the Month:

July 2018 marked the fourth anniversary of the club and the way Armorik’s emission was presented was a spectacular “liquid birthday cake” and boy, what a drop it is!

Living up to the flavour nuances it was being touted to achieve, i.e. crème brûlée and vanilla gâteux  with hints of poached peaches, warming spice and toffee is quite, is no mean feat and expectations were exceedingly high before I even opened the bottle.

While the first sip of Armorik’s rich, golden yellow, fruity first one-hundred percent American oak matured single malt distillate was a thing of beauty, the way it evolves and grows slowly unfolding worlds of complex yet accessible flavour nuances is one indulgent exercise in decadence. The fact that I insisted my better half, who is a gin enthusiast, to at least sample it and see her demand a second helping speaks books about the quality of the drop. Calling the drop “moreish” is an understatement par excellence – a whisky of elegance that goes dangerously well with chocolate.

As mentioned above, the Armorik Distillery’s (originally known as Distillerie Warenghem) small batch expression came with a wealth of information, shedding light on their artisanal ‘pâtisserie of whisky making’ in the Bretagne, France’s officially recognised whisky region, which features a similar climate to Scotland’s west coast. It was interesting to learn how the distillery sources its H2O from a hundred meter deep well called Rest Avel with the local granite bedrock making the water slightly acidic and helps develop fruity aromas during fermentation along with the use of barley from the Champagne region. Needless to say that Armorik takes full advantage of the local supply of casks that had previously been used for French wines and spirits, which are usually used for limited edition single casks.

Let’s change a gear and have a look at The Whisky club’s August 2018 Whisky of the Month, shall we?

United Kingdom’s small craft operation St George’s Distillery, which was established in 2006 under the benign guidance and curation of brewer by trade David Fitt presents The English Single Malt Small Batch Release exclusively created for The Whisky Club.

Looking at The Whisky Club’s releases, it tells the story of connoisseurs usually sticking to Scotches and the occasional Australian, Japanese or rare other detours, so there must be reason for going for an English release. And reasons there are galore:

Now, while the Armorik was French patisserie in a bottle, this little number is the English counterpart and an extension of the previous month’s offering: Layers of fruity nuances pervaded by hints of vanilla, nuts and milk chocolate.

St George’s scrummy craft whisky The English, which matured in selected ex-Jim Beam casks is pleasant after the first sip yet grows exponentially with its sweet elegance, clean and crisp citrus textures that culminate in a melange of tropical fruits. Soft on the palate it leaves with that perfect hit of oak on top a bed of milk chocolate.

Sounds like poetry in motion?

Well, it is and it makes one giddy with anticipation of The Whisky Club’s next move: The Glenturret Single Malt Scotch Whisky, which as it is being fabled about around the campfire to be a well-balanced expression that encompasses a melange of BBQ, chocolate, salt and spice notes substantiated with an underlying smoke- and sweetness.

Water of Life – The Right Vessel

Okay, seriously, sisters and brethren – I take that we are enjoying and experiencing whisky and not shooting it?

Good.

Sipping whisky is a savouring pastime and it demands an appropriate vessel. A vessel that allows you to experience all nuances of its appearance, smell and subtle nuances. After all, the right glass can enhance your indulgence with its thickness, shape, size, grip, weight and, possibly most importantly, the nosing capability.

Now, you might like the heft of crystal tumbler housing your whisky on the rocks.

Sure, looks good but that method does not necessarily channel the whisky’s aroma in the best manner possible.

I never got into snifters, so I cannot really tell what merits they may have but I find them not to be the easiest to drink out of.

The tulip shaped Glencairn, which has been specifically developed for enjoying whisky has become my go-to over the years as I find it to combine the best qualities of all different whisky glasses. Given the good job it does and the fact that it is easy on the eye, I do not find it further wondrous that it was the first one that has become officially endorsed by peak bodies like e.g. the Scotch Whiskey Association.

Recently I was introduced to a Norlan, a brand that focuses on modernizing the whisky drinking pleasure through design and a scientific approach.

They have designed a hand-blown lightweight whisky chalice made of a type of glass with silica and boron trioxide as the main glass-forming constituents.

Gimmick of the goblet is the transparency the two different molds provide, which have been fused and sealed together. The result is an aesthetically pleasing hollow body glass with the outside shape being the diametric opposite of the inside shape.

Neat.

The inside of the mug does wonders for aeration adding character and depth to the expression of the whisky you are nipping from.

Apart from having an interesting shape, the whisky drinking experience is enhanced by its concaveness which naturally meets the lower lip of your pie hole.

A glass I’d recommend to both casual aficionados as well as connoisseurs as it combines an attractive aesthetic with the functional qualities known from glasses like the Glencairn.

Read more Water of Life entries here.

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Photos by @k.a.vv

T • September 6, 2018

Encountering the Spiritual in Contemporary Art

Posted by T • September 4, 2018

Encountering the Spiritual in Contemporary Art

Nelson Atkins

 

Spirituality, huh? There is a case to be made for it being essential for existence not unlike a fire is for a candle.

Some would claim the same for art and even go a step further claiming that art is not merely what is seen but what it makes other see, which make it come full circle and links it to spirituality.

Encountering the Spiritual in Contemporary Art is a tome focused – as the telling title suggests – on the linkages between spiritual elements in art of the last three decades. What I found interesting is that it extends its scope far beyond the confines of merely Western art and reaches into Indigenous and other cultures, which depending on the specific culture are at times centred around spiritual motives.

In essence, the book is a celebration of diversity and plurality with not merely depicting artworks but substantiating them with well-researched elaborations, which tackle sujets from different angles to provide a holistic outlook that is calibrated at a level which should hold the interest of both academic as well as general audiences.

It goes deeper that mere face value level examinations of mainstream art and refrains from preaching to the converted: There is no need to be a spiritual person to be intrigued by the subject matter and, as a matter of fact, the book specifically appeals not only to believers but also agnostics and sceptics alike by addressing fundamental questions that concern all of us, which serves as a common foundation and denomination for the essays.

If you are into art for more than mere aesthetics and “art pour l’art” this one is something that you should not go without in your library.

T • September 4, 2018

Blasted @ Malthouse Theatre

Posted by T • September 3, 2018

Blasted

Malthouse Theatre

Melbourne, Australia

August 31, 2018

Artist provocateur Sarah Kane’s polarising play has been described as being one of the more shocking and provocative ones.

Dysfunctional, alcohol addled tabloid journalist meets trouble young woman in Leeds, England. The act of seduction goes awry, gets out of hand and we are catapulted into a war torn environment where the arrival of soldier escalates brutal events, which captures the three individuals in the confines of their hotel room bringing their inner and outer demons to live.

In essence, a musing on the lower regions of torture, human suffering, pain, points of no return and atonement.

With the production feeling borderline claustrophobic and devoid of showy elements the cast, comprised of Fayssal Bazzi, Eloise Mignon and David Woods and directed by Anne-Louise Sarks, infuse life into a play by keeping the focus on the ensemble that has been critizised for being overly reliant on shock value depictions of sex and violence by stripping it back to its bare bones.

In no uncertain terms, Blasted is essentially a war story boxed in a hotel room highlighting the interrelations between unrelenting domestic physical and psychological violence and the madness of war.

The audience becomes the voyeur, being confronted with graphic depictions of rape, violence and cannibalism on end - depictions of what populates the front pages of our newspapers every day. Fiction and dystopia that have long become reality.

Twenty-three years after it was first conceived and debated in heated manner, literally all facets of what Sarah Kane might have endeavoured to portray as prophetic in the mid-1990s are now commonplace in our mainstream culture, no matter how grotesque the violence appears to be.

The sujets of Blasted are much closer to home – literally and metaphorically – than most would want to admit.

While the Malthouse Theatre incarnation of Blasted has elements that would fit the Greek Tradition of catharsis, there is an additional contemporary dimension added, one that is all the more depressing because it resembles reality.

The impact of Blasted, a play that has over twenty-three years morphed from fiction to reality, did not leave behind an audience that was shocked anymore but one provoked to think.

T • September 3, 2018

Gene Simmons @ Festival Hall

Posted by T • August 31, 2018

Gene Simmons

Festival Hall

Melbourne, Australia

August 30, 2018

Gene Simmons.

Ace Frehley.

Spearheads of KISS.

Outworn labels like “legendary” are not inappropriate in this context as it would prove to be difficult to find anyone who grew up in the 1970s/80s that has not at least been partly impacted by KISS and what its individual constituents introduced to the world of music and popular culture at large.

2018 sees the bigger-than-life persona Gene Simmons reconciling with his former bandmate Ace Frehley taking stages down under to not only celebrate their crowd-pleasers but also gems of their more obscure solo back catalogue, and gems there is no shortage of. A Gene Simmons shows is first and foremost a grandiose exercise in refined, old school entertainment. The man holds court and his engaging banter and crowd interaction do no mask but adorn his accomplish musicianship. It is quite an experience to see how effortlessly Gene rocks through his ever changing set lists including songs he performed the first time around in a live setting, which are well calibrated with ebbs and flows to keep the audience on its toes.

KISS is all about effects and the stage show and tonight was focused on the music, which showcased both Ace Frehley’s, who opened the show, and Gene Simmons song-writing and performance skills. Backed by a band that works like a well-oiled machine and has a pedigree in bands like Slash, Alice Cooper, Vince Neil, et cetera, the show ticked boxes on many levels and it would be hard to argue that it is a mere nostalgia act as timeless hits met contemporary sound.

Ever the consummate silver-tongued businessman, the tour coincided with Gene’s “The Vault” release, another elaborate addition to the growing empire of Gene Simmons’ and Kiss related mementos, including one-hundred and fifty songs, action figure, commemorative coin, personal gift, liner notes – the works – which he hand-delivered to his fans, who also received a double pass to one of his shows and of which there were quite a few present tonight.

An evening that was loose, borderline casual, had Gene and his worthy constituents enjoying themselves, dominating the room yet being accessible, inviting fans on stage various times throughout the set to celebrate their hits with them.

It was interesting that despite the lack of pyrotechnics, costumes, fire, blood or make-up, essential ingredients for the winning KISS formula, the KISS Army left satisfied and did not miss it one iota, which is testament to the showmanship and charisma of one of the few remaining greats of the pantheon of rock and roll.

Stripped of all theatrics and bombast, Gene Simmons showed himself in a playful and humorous light, which added another dimension to his persona and the musical substance of his oeuvre.

T • August 31, 2018

Expo Liaison Festival Experience @ Luna Park

Posted by T • August 30, 2018

Expo Liaison Festival Experience

Luna Park

Sydney, Australia

August 25, 2018

For the unitiated: Client Liaison is a two-man performance operation and a dedicated homage to Australian tackiness and the hedonism of the corporate world of the late 1980ies running the gamut from fashion, demeanour, corporate greed, vanity and the trademark groove filled, high-energy synth pop.

Monte Morgan and Harvey Miller AO, the two gentlemen and schmoozing CEOs behind the duo have now taken their endeavours to the next level and launched a themed, curated festival, i.e. an extravaganza dedicated to excess and one that goes a bit further than your run-off-the-mill music fest – a festival that in essence was modelled after the World Expo 88, which was held in Brisbane in 1988 with the significant theme “leisure in the age of technology”.

The multimedia/ and -sensory experience provided over seven hours of Client Liaison-curated retrospect, vintage entertainment framed by main stage performances of fellow electro poppers Alice Ivy, Rainbow Chan, KLP & Luke Million, Ken Davis, Kon, the funky and energetic eight-piece band NO ZU and Total Giovanni and their own act headlining, not only in the duo celebrating their chart hits but accompanied by no less the Australian music legend John Farnham, i.e. “Whispering Jack”, who was  joining them on stage for a medley of his eighties chart toppers.

Upon arrival we followed the ever funky Luke Million down his rabbit hole of disco set against an epic audio-visual display accompanied by footage of the '80s-inspired sci-fi show and exploding with synthesiser chords. Alice Ivy followed suit energetic as ever utilising an array of instruments and creating a vibe that was eagerly soaked up by the audience.

The festival spread across Luna Park’s Big Top, which was comprised of a fashion precinct - of course aligned with Client Liaison’s trademark “international in flavour and cosmopolitan in style”, which featured Client Liaison’s Deluxe Leisure Fashion line, photo opps in 80ies holiday settings or alternatively with their off-white Mercedes Benz limousine on the red carpet and free services like an on-site seamstress that offered to sew patches on your garments on site.

Upstairs a second, smaller stage was set up for DJ and band in a more relaxed ambience.

Attention to details like the “liquid asset” bar menu and the dessert bar, which even had a croquembouche on display, ice sculpture carving and a woodchop competition as an ode to celebrate Australia's oldest “sport”, make Expo Liaison an extravaganza that works on many levels, each facet of which is subtly infused with Client Liaison’s flavour.

The cherry on top of the rainbow coloured Expo Liaison layer cake was the pyrotechnic heavy incarnation of Client Liaison. Never holding back when it comes to extravagant costume changes, back up dancers and ornaments straight from 1980ies Saturday afternoon pop TV shows, the show was an engaging exercise in fine entertainment that was masterfully calibrated with ebbs and flows and hard to resist.

A truly unique, immersive festival and a whole lot of fun.

---

Photos by @k.a.vv

Gallery: Expo Liaison Festival Experience @ Luna Park (8 photos)

T • August 30, 2018

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