Blog — Page 31 of 277

Thus Let Us Drink Beer- Young Henrys 10 Year Anniversary

Young Henrys must have been one of the first breweries that we covered as part of this series and we have consistently covered its ascent from a quality brewery to an entity that became much more than the mere sum of its parts would suggest: In 2022, Young Henrys serves not merely as a magnet for beer aficionados but also as a haven for musicians, artists and an idiosyncratic melange of free spirits, who are attracted by the brand by its endeavours to pro-actively nurture collaborations with bands, magazines and whoever else feels right to partner up with. 

To celebrate Young Henrys’ ten year anniversary and a decade of the shenanigans that came along with it and added to its appeal, they brewed a special, limited edition birthday Barrel Aged Red Ale.

Adorned with art courtesy of Sindy Sinn, the 500ml tin houses a ruby coloured Red Ale that clocks in at 8% ABV. Deriving its complex melange of hoppy bitterness, saccharine, caramel and dark chocolate nuances from having been aged in port and rum casks, brown sugar is married with charred oaky highlights, which shine against a backdrop of fruity aromas, fresh floral notes and hints of roasted coffee, biscuits and caramel. 

Having first collaborated on a Lager collaboration five years ago, 2022 sees Brisbane based rock band Dune Rats team up with Young Henrys again to create Dunies Lager, which is exclusively available online and at Dune Rats tour venues. 

With a cartoonish, Simpsons-esque design, the low alcohol poundable lager’s hoppiness is derived from the Mosaic, Citra, El Dorado and Azaca quartet, the sum of which imbues this slightly hazy, yellow coloured, inoffensive drop with grapefruity citrus flavours, rounded out by an immensely enjoyable dank hop nose.

The result is a fun beer that is borderline ideal to be smashed all day alongside a BBQ on a sizzling hot day.

The Formative Years - Talking Heads 

Talking Heads has always been one of the more interesting bands. With their avant-gardist approach that was rooted in punk sentiments yet musically never confined to any musical genres and skilfully incorporating funk, minimalism, polyrhythms and world music into their idiosyncratic mix, they were one of the most unconventional bands of their time . 

While some might argue that they heralded what was to become known as New Wave, others might be right in claiming that they were post-punk before punk even eventuated. 

Their anxiety infused pop appeal was utterly contemporary yet felt otherworldly and unpredictable. Constantly pushing the boundaries, taking risks, experimenting and reinventing themselves, they unconsciously created a lane for themselves in a way not dissimilar how hip hop artists sampled music by merging and connecting bits and pieces to sculpt their songs which at times feel like sonic tapestry.

In the context of the 1970s/80s, Talking Heads’ albums feel visionary with their stilted and deliberately camp pop sensibilities yet are performed and inspired by an agitation, intensity and immediacy that never not felt spasmic and at its core informed by the raw energy of punk rock. There was a self-awareness that many bands lacked without ever running danger of appearing smug.

Stop Making Sense is a concert film that sheds light on the wonderfully weird, theatrical and appealingly absurd world of one of the most intriguing bands to ever emerge from the mid-1970s CBGB’S scene.

Eternityland
Sydney, Australia
06 August 2022

Given how impressed we were with how director Danielle Harvey channelled her alchemy in creating an immersive morbid experience centred around the legacy and literary emissions of gothic author Edgar Allan Poe, we were intrigued as to what was to ensue with the incarnation of Eternityland, a theatrical experience that promised to take us on a hero's quest through a dizzying kaleidoscope of interactive rooms.

Based in one of the more sterile corners of Sydney’s Central Business District, a pop up bar that goes by the telling name of Department of Legend and Myth serves as a portal through which a threshold is crossed to the mysterious inner sanctum of Eternityland.

Once the threshold is crossed, the way the narrative of your journey unfolds is determined by your own curiousity and willingness to interact with the strangely clad characters that roam a vast maze of twenty spaces, vaults and chambers, which are spread across two storeys and serve as a multi-faceted stage for what is essentially an LSD trip come alive.

Involving the audience in their anarchical performances ranging from acrobatic circus acts via cabaret to music and storytelling, the characters serve both as protagonists as well as guides which lead you through labyrinthine halls, loungerooms, and involve us in their seductions, without indicating a distinct path that has to be followed or imposing how the experiences should be interpreted.

The sum of the aforementioned results in a gigantic camp playground for adults with surprises to be detected in each nook and cranny, culminating in a grand finale in an auditorium where a dance party is kicked off. 

Eternityland is an immersive, surreal and ambitious theatre experience par excellence at the crux of art and the absurd, which is particularly rewarding for those willing to surrender themselves to whatever multisensory experiences are presented in this fantastical, ephemeral world that deliberately blurs the lines between actors, spectators and participants.

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image from Eternityland website

When it was first announced that there would be a 25th Anniversary concert at Red Rocks, the only thing folks knew what to expect was a performance from Ween and Primus. Trey Parker and Matt Stone we’re on the bill, but what that exactly meant was anybody’s guess. Coming into the auditorium let out some subtle hints. The stage appeared to be designed to have one band play on one side, while the other side was all ready to go to allow for a quick changeover. At center stage was a grand piano and mics. Turns out, Trey and Matt were there as performers and not just as masters of ceremony, though they certainly were most gracious and entertaining as the hosts for the evening.

The anticipation was palpable. Yes, this was the 2nd sold-out night of show, but it was the first night announced, so surprises were expected.

Ween took the stage first and Gene, Dean and the rest of the boys were in top form on stage right. 
 

Next up, It was Primus’ turn.

South Park creators Trey Parker and Matt Stone took to the stage next, making a couple things abundantly clear. First, they love Colorado. Second, they love what they do, and seemed truly honored to be able to do it on the Red Rocks’ stage. Leading the crowd in singalongs from South Park’s vast musical catalog, they are clearly proud of what they’ve accomplished and regaled the crowd with origin stories galore interspersed with plenty of self-depreciation. 
 

…and on it went throughout the evening - each performer taking turns, while the others would sit in lawn chairs and observe the festivities, when they weren’t joining in and creating the supergroup dubbed Primusween (pronounced Pri-MŪS-ween).

 Now on night one, as Primus has been touring their Rush homage A Tribute To Kings, it was decided that they would cover the Rush classic Closer To The Heart, with Matt Stone playing drums along with Herb Alexander. For tonight, what Matt didn’t know, is that Trey had decided to surprise him by having none other than Geddy Lee and Alex Lifeson perform the song with the band.

As you can imagine, it was an emotional moment for all involved, as this was the first time Alex and Geddy had performed on stage together since 2015, before the untimely passing of drummer Neil Peart. The enormity of the moment was lost on no one.

It really was a show for the ages. One really got a sense that this was a once in a lifetime night. The emotions were on full display from Parker, Stone and in many in attendance including this particular writer. A great night of memories not soon to be forgotten.

Before the pandemic hit, I had planned on seeing The Beths in Hollywood at The Zebulon. Everything shut down, the tour was canceled, and I was left sitting at home disappointed. Two and a half years later and the time has finally come! I arrived at The Belly Up in Solana Beach, CA just before 8. A comforting and welcoming venue with a tavern aesthetic that sits just off the coast. Support act, Rosie Tucker, was expected to take the stage at 8. but it wasn't until 8:20 or so that I noticed 3 people crowded around the soundboard.

After a few more minutes, it became apparent that the night was being plagued by technical difficulties. By 9 o'clock, people around me were beginning to wonder if the issues would be resolved. Around 9:20 or so, twenty minutes after The Beths were scheduled to perform, the crew working on the issues got things up and running.

Rosie Tucker did a quick soundcheck, and then she and her band blistered through a shortened set to make up for lost time and try to get back on a schedule.

The Beths walked out to cheers just a little past 10 as they jumped into "I'm Not Getting Excited" from their 2020 release, Jump Rope Gazers. However, there was kind of a sense of bitterness in the room during the first few songs. After The Beths took a moment to explain the sound system issues, the air felt like it cleared and the mood shifted for the better. Fans seemed to start dancing and singing along more which in turn seemed to make the band enjoy themselves more.

They continued to play through classics from their first LP like "You Wouldnt Like Me" and "Great No One" as well as playing new songs like the title track from their upcoming album, Expert in a Dying Field, and the not-yet-released, "Knees Deep."

I was a little concerned about their set being cut short due to the late start time, but the band filled the set with each album's fair share of songs, even throwing in, "Just Shy a Sure" -- a deep cut from Jump Rope Gazers as well as still taking the time to share some banter like how lucky they are to be soaking in the Summer sun while everyone in their homeland of New Zealand is dealing with Winter weather.

As they inched closer to the end, Liz Stokes announced they wouldn't be following the age-old tradition of leaving the stage for an encore and instead would just play through their set. By the time the band hit the riveting 2020 single, "Dying to Believe," the audience was all in. Whatever restlessness that may have been present at the start of the set was gone and the fans were participating in the call-and-responses and bouncing around the dance floor in full force. After a short cool down with "You Are a Beam of Light," The Beths closed the night with fan favorite, "Little Death."

After a rough start to the night, The Beths finished the night with arms raised in triumph and the crowd left happy. Thanks to the help of the sound crew, even The Beths' own, Jonathan Pearce joining in to help solve the problem, a patient Tuesday night crowd, and The Beths' energy and drive, the night ended with smiles and satisfaction.

The Beths' North American tour is only getting started. Be sure to check out their new album, Expert in a Dying Field -- due out September 16th on Carpark.