Blog — Page 67 of 278

We cover a lot at Scene Point Blank. It's part of the job, but first and foremost we're music fans. While we talk a lot of new releases in the news/reviews/interviews, music is timeless and we need a way to share it.

Plus, I just love a good mixtape and want to share stuff.

While Aaron typically covers Search/Play/Repeat and does a great job with specific themes, I wanted to use this option to share some stuff I've covered or heard through my work with SPB.

It focuses heavily on my own gruff pop-punk leanings, but not entirely as I mix in hardcore and singer-songwriter and more.

Here are ten songs to enjoy. And to selfishly beat the promotion drum, you should read what SPB has to say about these artists too. 

Thanks for reading.

Thus Let Us Drink Beer – 7th Day Brewing and Shedshaker

The story of 7th Day Brewing is one that could not be more DIY in nature as it all goes back to founder Mike Beresford Jones trying his hand in homebrewing in a bid to create the kind of brews he could not find anywhere, the fruits of which resonated quite well with his peers. 

After a period of experimentation, six years ago they collectively opened a brewery with taproom under the banner of 7th Day Brewing, with the nucleus of its DNA being a dedication to create a third place informed by a love for quality beer, surfing and a communal approach manifested in their credo “Drink Good Do Good”.

While 7th Day Brewing’s core offerings, i.e. their Pilsner, proved to be popular, they refined their approach to broaden their portfolio with a range of styles and flavours with the common denominator being sessionablity and approachability. 

My first exposure to 7th Day’s range was via their big flavoured, juicy mango-infused Hazy IPA. 

Based on the triumvirate comprised of a simcoe, mosaic and citra hops, mango is added in early on in the process and as a result, overly sweet overtones are fermented out, with a subdued and more refined sweetness remaining to set the stage for the hoppy nuances to shine. With a moderate ABV, this is as good as sessionable Hazy IPAs come.

7th Day’s regular IPA is an interesting one as its red hue had me think that it must be much more malty than it proved to be, as the fruity character of the hops dominates, flanked by fruitiness centred around the orange and passionfruity end of the spectrum. 

Clocking in at 6.4% ABV, it packs a bit of a punch as well and proves to be a solid companion to a dram of Laphroaig Quarter Cask.

While I am usually not the biggest Pale Ale aficionado, 7th Day Brewing’s Smoked Manuka variant takes things to the next level as the smoke rests deliciously on the malty and complex backbone of the core American Pale Ale, which is set in scene via citrus and well-calibrated acidic orange flavours.

Given what I have had the chance to taste so far, I cannot wait for 7th Day to channel their alchemy in the creation of a DIPA – if they are then going to create a smoked variant, I will be in trouble.

What I love about the brewing scene on terra australis is that every time one feels remotely  in the proximity of having scoped out the landscape and identified favourites for each style, one discovers a new brewery that blows things out of the water. 

Case in point:  Shedshaker Brewing, founded six years ago and evolved from Castlemaine Brewing after a bit of a name dispute, it helped to re-establish the town of Castlemaine on the firmament of brewing towns. 
With one of the founders being the drummer of Australian rock stalwarts Hunter & Collectors, I was intrigued to see how they would channel their alchemy in the creation of crafted liquid emissions.

With a solid and varied core range comprised of traditional styles, my first go-to was Shedshaker’s Knucklehead Rye IPA

The thinly veiled reference to the Three Stooges is essentially a tour de force when it comes to marrying malt and hop notes, which sees the best of Australian and American varieties joining forces. 

I like the fact that the malty backbone serves as a solid foundation on which the bold piney nuances can shine, accentuated by tropical and fruity flavours, culminating in a crescendo of blood orangey highlights, counterpointed and rounded out by the delicately spicy pepper the rye contributes to the mix and a nicely calibrated bitterness. With an ABV of 6.2%, an immensely sessionable IPA.

Next is an interesting one as it is not only an homage to the brews of the old world, i.e.  the heavier end of the spectrum of what makes the traditional Irish Red the malty, toasty roasted toffee and caramelly ride it is, with the piney, citrussy and fruity character derived from the marriage of the melange of Mosaic, Chinook and Jarrylo hops, with the latter one and its spicy qualities not having knowns to me previously – say hello to Shedshaker’s aromatic Celtic Red Ale.

It says a lot about a brewery if they accomplish styles that are usually not exactly my go to. 

In this case it is the combination of espresso and lager, which individually I love but have yet to come across a brewed combination I’d go back to.

However, Shedshaker’s Espresso Lager comes close as their melange of ethically sourced Tiger Mountain Arabica coffee and a tried and tested Teutonic Schwarzbier approach works well, not merely because of the expected chocolatey and malty notes but because of the accentuating spicy top off courtesy of American hops. 

The fact that – as the name would suggest – it has a clear appearance somehow also contributes to its appeal and adds a refreshing quality that makes it desirable even during the warmer months of the year.

The Formative Years - Rich Kids on LSD

When I first got a hold of Burkhard Jaerisch’s Flex US Hardcore Discography long before the advent of the internet, I not only devoured it but set out to get my paws on all records that were deemed worthy of a 10 / 10 rating. 

While I did not necessarily agree with Burkhard’s assessments all the time, it served as a compass to get exposed to great records independent from stylistic confines with the genre of what was considered hardcore punk.

One of the records that deserved the 10 / 10 was Rich Kids on LSD’s “Rock’n Roll Nightmare”, which I got a hold of in 1991 and which has not left an iota of significance as it remains an insanely great full length.

RKL was founded in 1982 and emerged out of the Nardcore / Mystic Records conglomerate with their initial musical focus on rudimentary early West Coast hardcore, as their first 7” “It’s a beautiful feeling” attests to.

It was followed by their first full length “Keep laughing” in 1985. 

While essentially still playing raw skate core, the full length already shows the potential and how quickly the band evolved musically.  
However, the following album “Lifestyles of the Rich Kids on LSD - A Rock N Roll Nightmare” released on Alchemy Records in 1987 was a veritable game changer. 

Rock and metal influences were weaved into rhythm and blues based licks, all of which was played mind-blowingly fast and tight in a manner unheard of from punk rock bands. 

When I first listened to it, I felt like lightning was caught in a bottle and I could not believe the musicianship, attitude and how perfect their delivery and overall presentation was.

Needless to say, Europe went gung ho for RKL and their first tour of the old world was documented with the live album put out by Berlin’s Destiny Records – the very same label that then re-released the Mystic Records era releases.

What has always contributed to Rich Kids on LSD as a band was not only their sonic output, but the craziness of their antics, which was fuelled by constant drug abuse and partying, eventually leading to the first breakup in 1989.

Years later and after having watched a myriad of VHS tapes of their incredible live performances – it must have been in 1994 – I finally got to see RKL live, which was a disappointment par excellence.

Unbeknownst to me, the “Reactivate” album from 1993 on Epitaph Records were originally recordings from the band Slang, which was founded after the breakup and perpetrated by the ex-members. 

While not being a bad records per se, if you like funk and straight-lined rock that is, it was a drastic departure from the DNA of what made RKL great and the tour was a disasters up until the point when original singer Jason Sears was flown in to continue the remaining dates to focus on their pre-Reactivate oeuvre.

Unfortunately, I only got to see them at the beginning of the tour. Following that experience and given my teenage stoic outlook on things and juvenile righteousness, I stopped listening to RKL stante pede, even though word around the campfire has that they returned victoriously many times since before unfortunately the lifestyles of the band members caught up with them and took the ultimate toll.

With the niche RKL carved out for themselves, their talent and their compositions, the influence of Rich Kids on LSD on progressive punk rock at large and specifically melodic hardcore cannot be overstated as they created the blueprint that a myriad of bands on Fat Wreck Chords and Epitaph based their first attempts on.

Enjoy the landmark album that is “Rock’n Roll Nightmare”:

Thus Let Us Drink Beer – Reckless Brewing and Moo Brew’s Gin Boilermaker

Having honed and refined channelling her alchemy in the creation of craft beers, the quality of which has left an indelible mark on the firmament of Australian craft brews, Reckless Brewing’s co-founder Grace has and continue to contribute to shaping the DNA of one of the country’s most prominent and prolific breweries, i.e. Akasha, an accolade decorated brewery whose fantastic beers we have extensively featured before as part of this series.

Reckless Brewing is essentially Grace’s side hustle, for which she teamed up with her husband and another long-term friend to brew her own idiosyncratic signature range. 

Given my preference for Akasha’s IPA, I could not wait to try Reckless’ unpasteurised, unfiltered and preservatives free emissions:

Clocking in at 6.5% ABV, Reckless’ Summer IPA rests on a deliciously hoppy foundation comprised of a melange of Mosaic and Galaxy hops and lives up to its name in that it rests on the crisp, citrussy and refreshing end of the flavour spectrum, with the Mosaic hops adding just the right amount of floral and piney nuances.  
A passion fruity brew that will definitely enter the rotation once warmer days come around as due to its sessionability, it is one that you want to come back to again and again.

Reckless’ Red IPA, as the name does suggest, completes the cycle as it the winter equivalent to the aforementioned Summer IPA. 
With the same ABV and Galaxy hops being replaced with Citra hops, which adds a fruit bowl of flavours and aromas ranging from mangoes and passion fruit via pineapple to peachy highlights set against a massive backbone.

Given the quality of what I have had the chance to sample, I can only hope that the release of Reckless Brewing’s own DIPA is only a matter of time.

Let’s head South, to Hobart, Tasmania.

The fact that I harbour a deep appreciation for MONA, the Museum of Old and New Art, its festivals and pretty much all of what it has spawned, is not exactly the most well-guarded secret, as our manifold coverage of the entities it holds under its umbrella is testament to.

Moo Brew is, as the name would suggest, the brewing branch of MONA and has since its inception sixteen years ago yet to release an expression that not only masters the respective brewing style, but infused it with its idiosyncratic twist and “je ne sais quoi”. 
Things get specifically interesting when Moo Brew ventures out to complement its core range with often unique limited releases, of which the one I would like to shed light on today is one I have neither tasted nor tried before.

Last year I missed Moo Brew’s collaboration when they took the concept of a boilermaker and created their very own ready-to-drink one by joining forces with local distillery Lark to blend their fantastic IPA with a single malt. Sound like it would be right up my alley? You bet and I still have not given up on tracking down a can.

What I have in front of me today is the gin equivalent, i.e. the combination of pilsener and Lark Distillery’s Forty Spotted gin. 

Sounds weird and intriguing? It is and while it sounds like a mere novelty concoction, it is interesting to see that it works.

Upon approach, the botanicals of the gin tickle the nostrils and unfold their floral, grapefruit and juniper nuances set against a solid backbone of malty, biscuity flavours, rounded out by a delicate bitterness.

Clocking in at 5.5% ABV, this “pink pilsener” is extremely sessionable and makes me regret even more that I missed out on the whisky equivalent.

Back in Sydney it is business as usual, at least when it comes to Wayward Brewing pumping out highly delicious quality beers. 
Case in point this time: Wayward Son Lupulin IPA, their hoppy homage to the band Kansas.

Wayward Son is Wayward Brewing head brewer’s way of celebrating the birth of his offspring with a delicious series of limited releases, which in this case results in one of the best IPAs I have had this year.

This year’s batch takes things to the next level as far as all-out haziness and sweet juiciness is concerned. I usually enjoy my IPAs along with a peaty dram from Islay and while in this case the Octomore 7.2 fills up the room with deliciously smoky notes, the Wayward Son rivals it with its stonefruity and tropical aromas and highlights on the citrussy and mandarin end of the spectrum with just the right amount of bitter hoppiness backing it all up.

In the hop department, the Citra variant takes centre stage with its yellow gland, i.e. the Lupulin, and its pollen rule supreme. In essence, Lupulin is the very concentrate of hop flavours, which is created via a cryogenic separation process and results in double the amount of aromatic oils and other goodness.

The result is an intense brew that thanks to the use of Lupulin is not a tad astringent – a veritable juice bomb that would never have you guess an alcohol content of 7.3%.

Wayward goodness par excellence.

Beethoven: A life

University of California Press

There is no shortage of books dedicated to the life of a composer whose legacy has never ceased to reverberate and impact music at large. Released to commemorate the two hundred fiftieth anniversary of his birth, what sets this biography apart in terms of authority is partly due to the unprecedented access Beethoven-Haus Bonn has granted for this tome. The other contributing factor is due to the author Jan Caeyers is both a musician as well as a scholar, who dedicated his professional life to the study of Beethoven.

The result is a complex and nuanced examination of not only Beethoven’s oeuvre, but his private life, trials and tribulations, which via meticulous analysis offers new insights into how it all contributed and how he transitioned to become the artistic icon we have come to appreciate.

Eloquent, accessible even for the uninitiated and engaging in nature, Caeyers expertly highlights not only how Beethoven was changed and influenced by his circumstances and both the political and philosophical status quo, but how he eventually impacted the trajectory of history and redefined music.

By incorporating different and at times opposing viewpoints, Caeyers’ succinct elaborations are a rewarding and eminently readable addition to the Ludwig van Beethoven biographical canon, as they present an intriguing and never glorifying perspective of what talent can achieve if backed by determination, hard work and a deluge of passion can achieve in music.

Beyond Reason: Wagner contra Nietzsche  

University of California Press

It is a known fact that Friedrich Nietzsche adored Richard Wagner and his oeuvre.

Karol Berger examines the relationship by structuring his tome in four major parts. Starting with a prologue focussing on Wagner’s principal worldviews, the author takes an objective approach by critically evaluating the merits of Wagner’s emissions at face value level, to then carve out his well-researched interpretations and arrives at interesting conclusions, such as e.g. the claim that Nietzsche’s Wagnerian takeaways are partly based on misunderstandings, especially when it comes to the ideology that the music dramas have been infused with. 

Things get interesting when Karol Berger digs into the dramaturgy of Wagner’s compositions and positions them within the canon of a range of school of thoughts, as he arrives at the conclusion that the relationship between Nietzsche and Wagner and how it is commonly perceived is fundamentally flawed.

No matter if you harbour an appreciation for either of the two protagonists, Beyond Reason is worth an investment for Karol Berger’s knife-sharp insight and brilliant and well-researched arguments.

A fascinating read.