Blog — Page 96 of 278

The Formative Years

Compilations that left a mark pt. 1

What makes a good compilation album for you?

The main factors during my formative years was “bang for your buck”, listening pleasure and ideally a musical education and exposure to bands and sounds that would send me down new rabbit holes.

A defining compilation that I have referred to quite a few times is the P.E.A.C.E. compilation as it ticks both boxes: Being a double LP, this  benefit compilation, which was originally released by MDC’s R Radical Records, there is quite a bit of territory covered by the array of bands, many of which went on to leave their indelible mark and coined punk and hardcore to create the foundation for what is became widely known for. If not the fact alone that this compilation introduced me to G.I.S.M. for the first time, the calibre of the other bands, e.g. Cause For Alarm, The Dicks, Crass, Conflict (UK), D.O.A., D.R.I., Mob 47, Septic Death, Dead Kennedys, Subhumans (UK), Reagan Youth, Butthole Surfers and, of course, MDC should have you throw up your hands in despair if the original or the reissue  with bonus tracks released by New Red Archive records is not part of your collection.

A lesser known but nonetheless potent compilation of the early eighties was the We Got Power: Party Or Go Home LP, which was in essence a collaboration between the We Got Power fanzine and Mystic Records. Given that forty-one bands seal the deal within the confines of a mere forty minutes, should give an indication of what is the name of the game here, i.e. fast and frenetic hardcore by bands that should again become classics. Doug Moody’s Mystic Records was the pre-eminent force in the Southern California punk rock music scene and not only a launchpad for the bands that should infuse the local sound with the nuances of their idiosyncratic sounds but also a record collector’s nightmare with its limited edition records.

Welcome to Venice is a telling name as this masterpiece introduced me to local Venice Beach crossover thrash bands, of which I had only known Suicidal Tendencies before, whose frontman Mike Muir released it on his Suicidal Records label. A compilation that became the blueprint for many bands, both in terms of musical style and aesthetics, and one that within the punk and hardcore category does not have many competitors when it comes to boldly establishing a local scene on the wider map of underground music, that is if it were not for Dischord Records’ Flex Your Head, which was released around the same time.

What Welcome to Venice did for California, Flex Your Head did for hardcore punk bands from the Washington, D.C. area. Ostensibly taken from Minor Threat’s tribute to Wire, this one is essentially a vehicle for almost all of the bands releasing their first songs on vinyl, some having already broken up by the time it was released, e.g. The Teen Idles, The Untouchables, State of Alert and Minor Threat, with quite a few of the protagonists’ respective new bands also being included with their new endeavours.

One of the compilations that I spent quite a bit of dough for to own all pressings with a total of five different front covers, including the CD editions, which allowed to use all different cover variations interchangeably.

Apart from being a testament to the importance of the never not inspiring and boundary D.C. scene and the extended Dischord family of bands, this is one of the fundamental cornerstones of American hardcore.

Water of Life – Cape Byron Distillery

Cape Byron Distillery had been on my radar for the longest time but once I realized that experienced distiller and Byron Bay native Eddie Brook had joined forces with the legend that is commonly also referred to as ‘The Cask Whisperer’, i.e. Jim McEwan, a man that has perfectioned his craft over five decades as such fantastic distilleries like Bowmore and my beloved Bruichladdich, it became  apparent that there was something special to be found.

Dedicated to honouring traditional distillation methods and incorporating Bruichladdich Distillery’s credo that “terroir matters”, Cape Byron Distillery uses the best of what the greater Byron Bay Region has got to offer to create their idiosyncratic spirits: Specifically their gin expressions are examples par excellence for infusing their emissions with at times unique local botanicals sourced from the rainforest they are surrounded by, that are nowhere else to be found, e.g. native Raspberries,  varieties of Riberry as well as the Jerseyana variety of Davisonia and their local variant of Ginger, Cinnamon & Aniseed Myrtle.

The first expression from Cape Byron Distillery I have had the pleasure of sampling is their zesty limited release going under the name of Shirl the Pearl, an uplifting new kumquat-infused gin and a liquid homage to the grandmother of distillery co-founder Eddie Brook.

Honouring Shirley Brook’s original recipe, Eddie channels his ancestor’s alchemy in the creation of a gin that lives up to its name with the orangey, zesty nuances, which are counterpointed by the trademark bitterness and acidity derived from Australian kumquats.  Shirl the Pearl not only makes a great component for a Gin & Tonic but also a perfectly sippable aperitif and the fact that the golden hued drop is adorned with a stylish label, makes it an aesthetically pleasing addition to any liquor shelf.

Given the quality, care and craftmanship that goes into the creation of their gins, I cannot wait for Cape Byron Distillery’s first whisky expression, which is currently being created – given Jim McEwan’s involvement and the unique terroir and climate of the Byron Bay’s subtropical rainforest, this is bound to result in a unique flavour profile.

---

image from company website

High Adventures in the Great Outdoors – Vinylize

Fashion and music have never not gone hand in hand and with the merch game being stepped up like never before, the new millennium has seen musical acts sparking entire fashion movements, apparel lines and had purists and polemics throw up their hands conceding that music has been diluted to a mere fashion show.

The concept of “wearing” music by donning the classic garment of your favourite band is as old as rock’n roll and offerings now seem to include every possible merch item that can be printed on.

However, there are also more sophisticated and subtle ways of showing one’s appreciation for a band and / or music at large.

Enter Vinylize.

Originally derived from Tipton Eyeworks, an endeavour where Hungarian-American Zachary Tipton started to create his own eyeglasses and channelled his alchemy in the creation of rimless glasses, he eventually looked for the right materials to give the frames more volume.

The material was found in form of vinyl records and after crafting prototypes from a Creedence Clearwater Revival album,  Zack ventured on to hone his craft making vinylized eyewear, fine-tuned his approach and concept to then take operations to the next level.

Having starting with a grass roots operation, Vinylize has now grown to a veritable undertaking with every Vinylize frame being handmade in Budapest by a dedicated team of close to twenty people. With painstaking attention to detail and quality source materials, each frame takes six weeks before after a final hand polish, it is unleashed.

Given the quality of the frames, it was only a matter of time until Vinylize was able to not only recycle used vinyl records but enter well-curated partnerships with both brands and bands to create purpose-made eyewear.

One of those relationships evolved after AC / DC having experienced Vinylize’s frames in the third dimension, which matured to an on-going collaboration that now has the band licensing Vinylize’s collections to distribute them worldwide.

With custom-made models in a range of classic and innovative new styles, one can pick the source vinyl from AC/DC’s classic albums to then have one’s prescription grade frames or alternatively sunglasses made from scratch.

I opted for a classic Wayfarer model made from AC/DC’s Back in Black vinyl album and the result is one piece of art and an example par excellence for craftmanship, but tastefully and non-declamatory shows one’s appreciation in a stylish manner.

The way it works is that Vinylize sources the vinyl from distributors in the UK, which is then fused to cellulose acetates, the cotton fibres of which are used to create the interior for the frames. Needless to say, because of the complexity of vinyl, each frame is unique and has idiosyncratic features owed to factors like track length, groove depth and dynamic spectrum.

How cool is that?

Apart from collaborations with bands and labels to enable fans to literally wear music, Vinylize also commenced working with other brands and given the brand’s ethical and sustainable approach, a focus was put on recycling which saw e.g. Nespresso coffee capsules turned into face furniture.

Given the handmade nature of Vinylize’s frames along with the time and efforts that go into the creation, each set is a unique limited edition per se and comes not only with a two-year warranty but also a hand-written certificate of authenticity.

Having experienced the Vinylize’s craftmanship and creativity, my next visit to Europe warrants a visit to their showroom in Budapest, which doubles not only as a hotbed of artistic collaborations and a fully-stocked and stylishly decked out bar, but also a place where you can have a contactless vision exam being conducted in alignment with Vinylize’s ethos to provide unique high end customer service combined with best practice vision care.

---

images from company website

Thus Let Us Drink Beer – Green Beacon

I vividly remember the first time I came across the hoppy emissions of Green Beacon: It was at Sydney’s Wild Rover for one of the monthly Whisky Collective get together tastings, which have never not been a delight. While I was waiting for admission as the upstairs bit was being prepared for the tasting, I was lusting for an IPA and, intrigued by the nautical theme and the fact that the Wild Rover crew scrutinizes and carefully selects what enters their rotation of offerings, came across Green Beacon’s Windjammer.

Upon pouring, the aromas corresponded to what the earthy yellow, hazy appearance promised, i.e. a rich, pine heavy melange accentuated by citrussy and slightly honeyed highlights. Taste-wise, I could have not found a better companion for the upcoming Ardbeg focussed tasting as orangey, fruity bubble-gum and malty notes were counterpointed by a piney, resiny backbone that firmly rested on a well-calibrated bitterness, which delicately hit the back of the palate. Sweet.

This led me on a path to investigate what else Green Beacon had in store, only to discover more expressions where flavour, balance and consistency reign supreme.

Take for example Green Beacon’s American Amber Ale, which is the equivalent of a new world amber with old world roots: Clocking in at 5.2% ABV, caramelly, toasty and biscuity malts are married with trademark American hop bitterness, counterbalanced by orange zest notes in the back.

Another bold expression that showcases how Green Beacon crafts its brews and that no matter what flavour you are opting for from their core range, chances are that you will find a new regular go to.

Now, one of the qualities Green Beacon is consistently championing is innovation, so I was looking forward to sampling their FATHOM Trieste Marianas expression, i.e. a Farmhouse Ale that has been aged in French Oak ex Chardonnay Barrels for seven months.

In essence, I find it to be reminiscent of a Brut IPA in that citrussy and champagney notes dominate, yet not without a nice little twist, i.e. delicate funky notes that culminate in a tarty, oaky finish. Refreshing and a borderline ideal companion for the dram of peated Amrut I had it with.

Given how much I have enjoyed the different expressions I have had the pleasure of sampling, I cannot wait to get a hold of Green Beacon’s annual seasonal Uppercut Imperial IIPA as what I have heard fabled about it in terms of both a hop focus and boldness when it comes to citrussy, tropical flavours, it seems to warrant a dedicated instalment of this series as its name seems to be a telling one when it comes to hitting hard with punchy flavours.

High Adventures in the Great Outdoors

Timepieces and Underground Cultures

Despite many youth cultures and specifically those rooted in underground scenes having their idiosyncratic “uniform”, there are very few branded accessories that have become an integral part of one’s get up.

Where within the confines of punk one spent hours damaging clothes to ensure it looked as far away from mainstream conventions, the emerging straight edge scene in the late 1980s pivoted to a clean cut youth crew look, think Champion hoodies, varsity jackets, sneakers and shorts (check Youth of Today / Chain of Strength record inlays for picture book depictions of the athletic jock style), which complemented their abstinence from drugs and other vices. With the X having become the trademark of the moment – originally to signify underaged in a bid to cut them off from imbibing at bars – it became ubiquitous specifically marked on the back on the straight edgers’ by utilizing a sharpie.

Switch to the picturesque environment of Switzerland, the mother country of watchmaking, where a new brand defied the norms and conventions with edgy new styles, revolutionising a scene that was dominated by quartz watches. With the name being a telling one and a play on its nature, “Swatch”, derived from “second watch”, was there to mix things up both in terms of affordability as well as diversity.

What followed was a wide array of Swatch collections with loud- and boldness quickly becoming defining characteristics. In 1987 the X-Rated Swatch was released, which compared to other watched had a muted, bare bones, unassuming design with the most prominent feature being a large X.

Needless to say, the watch became immensely popular with the straight movement eventually an essential to demonstrate a sense of belonging and a further departure from the debauched way punks dressed, with timepieces not exactly being an essential in the world of a distinguished hardcore punk.

Once Swatch discontinued its X-Rated range and long before Hypebeast culture, an original one became the holy grail amongst those nailed to the X and found its way into record trading and want lists, scoring inflating prices on the secondary market.

After years of knockoffs flooding the market, Swatch finally reissued the X-Rated in Spring of 2018 and it became an instant hit again as new faithfuls were given the opportunity to partake in one the traditions of their movements and feel a tad more connected to the core.

Swatch has continuously evolved in all kinds of artistic directions since, with quite a few throwbacks and nots to both classic and retro styles.

A current standout is their BIG BOLD collection, comprised of  six different watch models heavily infused with an irreverent, urban streetwear flavour and the name of the collection being a telling one as the respective watches are statement pieces with slightly curved watchcases spanning forty-seven millimetres in diameter to give the superluminova shaped arrow hand ample space to rotate.

Never not paying attention to detail, contrasting 3D prints correspond on both the dial as well as the strap with the subtly toned background accentuating the contemporary designs, which make the BIG BOLD collection another strong one in Swatch’s endeavour to wave the flag for analogue watches in a digital world.

---

image from company website