Water of Life

Metallica’s Blackened and Waitui from New Zealand

“…fire to begin whipping dance of the dead – Blackened is the end….” - Well, certainly not the end of celebrity and band inspired spirit creations as they are mushrooming at a pace that it proves hard to keep track of. 
However, the question more often than not is if those often gimmicky liquids are actually of  drinkable quality or if they mainly serve as another novelty merch item for dedicated fans to display on their mantlepiece.

What separates BLACKENED from other celebrity endorsed spirits is that fact that its creation is based on a true collaboration between Metallica and two veritable masters of craft in the realm of distilling and blending, i.e. the late Dave Pickerell and Rob Dietrich, both of which have created quite a legacy with how they have become known to channel their alchemy when it comes to craft distilling, e.g. by being the creative heads behind Maker’s Mark and Whistle Pig’s liquid emissions.

Apart from the underlying concept of creating a blended spirit equivalent to Metallica, this collaboration takes things a step further by literally giving it an idiosyncratic note: During the final stages of aging, the whiskey barrels were sonically assaulted by a Metallica playlist via a specifically created “Black Noise” sound system in a bid to literally shake things up and thereby imbue vibes to the process that would enhance interaction of the bourbon and rye blend with the charred former Brandy barrels with the result being the extraction of  deeper flavours.

The efficacy and physics of the aforementioned process might be disputed by scientists, however, the result is an immensely enjoyable and unpretentious drop:

Bottled at an ABV of 45% , the stylishly and aesthetically well- crafted and nicely understated decorative vessel it is housed in pays homage to the Black Noise process via its label and each batch comes with an accompanying curated playlist of Metallica songs to enjoy it with.

Honey amber in appearance and with a distinctly creamy and slightly oily mouthfeel, BLACKENED tickles the nostrils upon approach with a melange of burnt caramel, plums and honeyed oak, rounded out by spicy highlights. 

On the top of the mouth citrussy honey nuances take on centre stage courtesy of the inherent sweet profile of the dominant bourbon component, flanked by spicy cinnamon, apricots, baking spicy and clove notes derived from the rye, to then culminate in a deliciously elongated finish, reminiscent of cognac and dominated by burnt butter, an intriguing saline aspect, caramelized sugar and molasses.

A well-balanced very decent sipper with a complex flavour profile that holds its own and does not need to rely on the celebrity endorsement. 

In Oceania, BLACKENED is available from the fine people of Groglords, which offer a wide array of well-selected band endorsed quality spirits, along with specifically designed limited edition merch, e.g. an Australian exclusive Metallica x BLACKENED shirt designed by Sindy Sinn.

Waitui Whiskey 

As part of this series I have covered the Australian whiskey landscape far and wide and while there is no vestige of the mushrooming of new boundary pushing distilleries ebbing at any time soon, I am always excited when I get to sample something new from across the Tasman, i.e. New Zealand, which at least for me is largely uncharted territory in the spirits realm.

We have covered and praised the excellent handcrafted emissions from the family owned Kiwi Spirits Distillery before, so needless to say that when a package from the Golden Bay of New Zealand’s South Island arrived, containing their latest 8-year old Waitui Whiskey expression, I was giddy with a excitement as the family’s credo is firmly focussed on creating quality over quantity.

What I loved about previous incarnations of Waitui is that all ingredients are locally sourced, i.e. garden to glass, and produced in small batches without any additives, spending eight years in two-hundred litre barrels that previously were used by local monks to create a Pavlovian response evoking, lip-smacking delicious honey mead. The fact that previous Waitui incarnations only got better over time, once they interacted with air, only adds to the appeal.

Now, channelling one’s alchemy in the realm of honey malt whiskeys can be tricky, as the honey aspects can easily run danger of overshadowing finer nuances, so it is good to see that with Waitui, things are on the more subtle side of things:

What tickles the nostrils upon approach is a pronounced fruitiness reminiscent of fruitcake, backed by a melange of honeyed oak and cinnamon, which seamlessly transitions to the palate where via a delicate oily mouthfeel, dark chocolatey nuances are married with the distinct New Zealand malted barley notes, i.e. nutty and faintly smoky notes with cocoa characteristics, and an interesting peppery heat.

The elongated finish reverberates for days and leaves on lusting for another dram.

A beautiful, unique creation that given its quality, makes me wonder what facets could be added if it was bottled at cask strength instead of the tame 40% it is currently being made available with. 

---

images from company websites

The Necks

Opera House

Sydney, Australia

February 9, 2022

This has been in the making for the longest time, as I have been an avid The Necks aficionado ever since I was first introduced them in the 1990s.  Unfortunately, so far I have never had a chance to see them channel their alchemy in the third dimension, which – spoiler alert - turned out to be exactly the unique and mesmerising experience I had hoped for.

For the uninitiated, The Necks is a trio of accomplished musicians that has released over twenty long players, with each constituent adding an idiosyncratic facet, resulting in a effortlessly improvised whole that is so much more than what the mere sum of its individual parts would suggest  – both in the sonic realm but also in terms of how they approach music making, i.e. moody, unorthodox and innovative takes on how they use their instruments, not merely for novelty sake but evoking unrivalled atmospheric sound landscapes, melodic yet with deliberately amplified atonality, the seamless interplay and dazzling array of which should not but does make perfect sense.

Sweet melodies create a melange with waves of noise as they ebb and flow in spontaneous implosions emitted from percussive weaponry, thereby creating an evening that feels transcendental, psychedelic and far beyond of what one might think freely improvised classical ambient-jazz music can conjure.

What I love about The Necks that despite what could be perceived as a strained high-brow approach, it never feels elitist over overintellectualized as there is a tangible, radical  immediacy, a vibe not unlike of what I appreciate about the emissions of Teutonic krautrock outfits, that uses the acoustics and context of the environment they operate in as an integral component that makes each performance one-of-a-kind. This is further amplified by the band interacting, which sometimes resembles a Mexican standoff daring each other to make the transition on to the next bit, only to then follow suit to up the ante.

I have yet to come across purely instrumental music that creates such upheaval as far as my internal weather is concerned in the best possible way, ranging from anger, sadness and an appreciation of all that is beautiful on this earthround.

---

photo provided by Sydney Opera House

Mark Rothko

1968: Clearing Away

Pace Publishing

Since its inception in 1960, Pace Gallery has established itself as a veritable heavyweight on the firmament of contemporary and modern art galleries with nine locations worldwide, which unfortunately I have not had to chance to experience yet in the third dimension.

Learning about Pace Gallery focussing its London gallery’s inaugural program on Mark Rothko’s paintings of the late 1960s intrigued me, especially since it marked the first time a whole exhibition was dedicated to what some perceive to be Rothko’s most accomplished yet rarely seen paper-based output.

The accompanying opulently illustrated catalogue is not only framed by essays penned by esteemed curators like Eleanor Nairne, but is endorsed by Christopher Rothko, who introduces and contextualises Mark Rothko 1968: Clearing Away.

Compiling Rothko’s emissions from the late 1960s, the catalogue zeroes in on paintings that were produced during times of turmoil as Rothko suffered from ill health and problems in the realm of his personal life, which resulted in him scaling back from monument sized canvases to more intimate formats and saw the ignition of Rothko’s enthusiasm for luminous colours accentuated by acrylic effects.

While I have always enjoyed Rothko’s oeuvre and the meditations on it, claiming that Rothko’s subtle manipulations of pigments paired with his meticulous attention to detail and the way he negotiates space to create an interesting tension between geometrical forms is sublime, would be an understatement par excellence. 

Inspired by the Nietzschean notion that the artist should strive to eliminate all obstacles between both the paint and his work as well as between the behold and underlying ideas, 1968: Clearing Away is an example par excellence for Rothko spontaneously interpreting infinity and boundlessness.

Given the way Pace Gallery expertly sheds light on a master of the New York School and managing to portray part of his oeuvre in a new light through which Rothko’s experimental engagement with process is highlighted, makes me want to delve deeper into Pace’s five hundred title deep legacy in bookmaking.

While I loved skateboarding as a prepubescent, these days I appreciate the calm skiing and snowboarding provides along with the opportunity to become on with the calm of nature in “blankets of white as they brighten the night” as Marvin Gaye ever so eloquently croons.

I would never claim that I am particularly good at skiing and snowboarding, but I enjoy it immensely while listening to Johann Sebastian Bach, no matter if I got a chance to indulge in it in Canada, German or Japanese Alps or the Snowy Mountains in Australia.

Since having the chance to visit snowy territory is not a regular occurrence when it comes to my extracurricular activities, an annoying recurring theme when I find myself in arctic and other harshly cold environments is the fact that I for the longest time, without fail, regretted to have invested in suitable outerwear gear, resulting in renting often overpriced gear locally and making a mental note to eventually forgetting all about it.

When it comes to great winter gear, a waterproof, breathable fabric with taped seams, high collar, a hood that ideally fits over a helmet with independent drawstrings, extra-long sleeves or stretchy inner cuffs and covered zips that not only keeps the snow and rain out, but lets your sweat escape via underarm ventilation zips too is essential, especially since I tend to sweat quite a bit when I fear for my life attempting to expose myself to more advanced tracks. 

A designated lift-pass pocket does go a long way as does a snow skirt for keeping powdery snow from wetting your base-layers and  inside pockets for your carry essentials.

Lastly, aesthetically most snow gear does not seem to be geared to be not an eyesore or at least does not lend itself to be worn outside the confines of the slopes, so bonus points for colours one can live with when using it for hiking or running the odd errand without a costume change.

After unsuccessfully trying to chase down the snowboarding collecting that Pushead designed for Nike, I finally found a brand that ticked all boxes when it comes to protection from a sphere of harsh elements.

Founded twelve years ago and informed by the vision to create an Australian branded snow apparel that style-wise was aiming at a hybrid of durable gear that can be relied on while shredding and street-fashion that can be worn anywhere, Yuki Threads was incepted. The fact that from the get go, Yuki Threads was informed by its focus firmly set on supporting local communities as well as sustainability does not hurt either.

Yuki Thread’s ergonomically fitting elastic gear is ethically manufactured and made out of recycled fabric, i.e. organic cotton, and recycled polyester that otherwise would be ending up in landfill, with a percentage of each sale being donated to environmental grassroots organisations.

Apart from the heavier gear for mountain based snow activities, I love Yuki Thread’s hoodies with their heavy weight brushed fleece, internal media pockets and moisture wicking, cushioned merino blend socks as they prove ideal for travelling or other occasion when I need to layer up.

Audio = Ground Zero

The Dilemma with Earbuds

Jabra and Axel Grell’s debut

My transition to wireless earbuds happened organically as my collection of wired EarPods that come free with the purchase of various gadgets eventually gave up the ghost. However, in an ever expanding growing market of options, finding an affordable suitable product can be a daunting task – especially if you are looking for the convenience of Air Pods and a stylish yet discreet design without the price tag.

Important factors include but are not limited to a good fit with customized and moulded tips, impedance, i.e. the measure of opposition a circuit provides to a current, the way electric signals are morphed into acoustic signals the frequency response aligned with the kind of music one prefers and the potency of drivers, which boost trebles, bass and mids. 

Depending on what you use your earbuds for, you would also want to consider sound isolation, noise cancellation and sweat / dust resistance.

For my day-to-day and the daily commute, the Jabra Elite 75t with their small size and Hear Through feature prove to be a great option as they work with a range of devices and support AAC in terms of high-quality Bluetooth codecs, which is greatly compatible with my iPhone.

Extremely lightweight in nature and equipped with touch-sensitive playback controls and  tiny microphones on the sides, the initial pairing process of the Jabra Elite 75t is almost as easy as pairing Air Pods despite the fact that they lack the Apple chip. An added benefit is that they can be paired to up to two smartphones simultaneously.

I really dig the Elite 75t’s performance in the durability department as they weather both rain and sweat with performance not suffering when being exposed to the elements.

Design-wise, the Jabra Elite 75t bids including the black USB-C charging case, which magnetically clicks with the buds, look sleek and thought has gone into their slightly curved section, which aids in making them a comfortable fit. The fact that they come with three sizes of ear tips helps to further customise and adjust fit.

Glitches I have often encountered with ear buds are based in the connectivity department, which has so far not been the case with the Elite 75t with only a the odd occasional stutter  resolving itself every now and then. The complementary Jabra Sound+ app can be used to tweak and finetune EQ settings to align with your preferences and sensitivities, which fits in nicely with the active noise cancelling upgrade and the useful Hear Through functionality, which with the iota of amplification it provides helps to stay alert and aware of what is going on around you.

As far as battery life is concerned, the Elite 75t earbuds give you almost eight hours of constant playback, backed by the charging case offering close to thirty, which is fairly impressive and superior to many other brands.

Now, a major gripe I usually have with earbuds, no matter the brand, is that they pop out while running. Working out at the gym is fine, however, once I go for longer runs, having to readjust my earbuds every other minute irks the shit out of me. So far, I have retreated to using head ties to keep them in place, which result in me channelling the flair of Hong Kong Phooey.

Another issue I face with most ear buds while running is that they do not always perform when a call comes in that needs to be taken.

Jabra’s tiny Elite 7 Active earphones were the first exercise-friendly ones that actually had a more consistent fit. Waterproof, dust resistant and equipped with outer panel button controls, these earpieces are easy to operate even after 10km in sweltering heat.  Depending on the volume level, the battery lasts on good days slightly over eight hours, with the case giving a backup of another twenty-two.
   
A value add is the noise cancelling functionality, which works pretty well with low frequencies and which can be adjusted via the respective app, which can also be used to finetune the Hear-Through function that I use most of the time to remain awareness of my surroundings while running.

As far as sound is concerned, I am impressed by the powerful crispness, richness and the subtleties that can be dialled in via the EQ. Same goes for phone calls, as the microphones do a fantastic job when it comes to rejecting environmental noise.

Now, the ebbs and flows of the pandemic and its implications means that more than ever most of us have the opportunity to work from the confines of one’s abode, for which the right gear proves essential to avoid frustrations during Skype, Microsoft Teams and Zoom calls.

After quite a bit of trial and error, I invested in a the Jabra Speak 750 speakerphone and while it might sound redundant in this day and age, it proved to be a worthwhile move: Once connected to your computer or phone via Bluetooth, this little stylishly looking gadget amplifies in- and output via omnidirectional microphones and noise cancelling capabilities, which enables to maintain a solid and nuanced two-way conversation instead of a walkie talkie one.

Needless to say, it can also be used to play music and in that department, I find it to be performing better than most portable speakers.

Grell Audio – Axel Grell’s debut

With the wireless headphone space becoming more crowded by the minute and established brands endeavouring to up the ante of their offerings, it is always interesting to see new players coming to the table and see what they have to offer.

Now, not that Axel Grell and his accomplishments in the world of audio is actually an unknown entity devoid of a strong heritage with him founder having coined innovations at Sennheiser before setting up his own shop, but I have so far not had the pleasure of experiencing any of his products first-hand, so I was intrigued as to what his very first own release, i.e. the TWS/1 earbuds, could do.

With the earbuds and charging case being aesthetically pleasing in appearance as opposed to the deliberately understated and reduced outer packaging, with quite a bit of metal and using plastic parts only where needed for the largely circular design, with its nice, thought through touches it invokes a premium feel from the get go.

The fact that the streamlined design fits well with minimal interference, is one of the major factors I appreciate about it, as no matter the functionality, if earbuds pop out all the time I do not feel like using them.

In terms of battery life and charging antics, The TWS/1 finds itself in familiar territory by offering a max of six hours per charge, accompanied by a charging case offering four full charges.

With a myriad of quality brands operating in the $250+ zone with their true wireless offerings, it was interesting to see that Grell positions its TWS/1s in the low premium <$200 price segment, without sacrificing sound quality or other premium features that have become standard over the last couple of years. 

In terms of sound quality, the default setting do a pretty good job at conveying punchy sound and with Grell having partnered up with the third party SoundID, an app can be used to finetune settings to align further with your audio preferences via offering soundbites examples that one can pick and choose from to create your own customised profile, things can be calibrated expertly.

TWS/1 comes with both Active Noise Cancellation and Transparency modes but also offers  an innovative new feature that is not standard with other brands, i.e. Noise Annoyance Reduction (NAR) mode to subdue lower-frequency noises which complements the Active Noise cancelling feature, which is a great concept, fantastic addition and one that I hope Grell will endeavour to finetune further going forward as it aids with receiving clearer, borderline lossless phone calls as well.

Another interesting feature is the mono listening mode, i.e. the flexibility to listen to audio on just one earbud to maintain an awareness of space.

Given all of the aforementioned factors, with its debut, German minimalist industrial design and meticulous attention to detail, Grell has instantaneously positioned itself firmly on the forefront of affordable high-quality technological premium offerings that remains accessible for a mainstream audience, yet with its richness, transparency and clarity of its acoustic output should appeal to audiophile aficionados alike.

---

images from company websites