Blog — Page 97 of 277

High Adventures in the Great Outdoors

Surf Culture, Barney Cools and the return of fabrics

Surf culture and the music it is associated with is an interesting genre. Coined by “wet” Fender amplified reverb- and vibrato heavy electric guitars and having first incarnated as an instrumental style of music to replicate the sound of crashing waves, it eventually evolved into a veritable genre, which found mainstream exposure and eventually recognition through spearheads like the smooth polyphonic harmonising and in terms of production envelope pushing Beach Boys and Dick Dale’s hot rod variant to an extent where it became borderline synonymous with the ambience of California.

Surf punk has always been a genre I found immensely enjoyable as a light spirited counterpoint to the message driven hardcore punk I was socialised with. Infused by the original surfing sound, specifically bands like Agent Orange added a much-needed string to the bow of underground music and contributed majorly to what became the alternative Orange County music scene.

Given the prevalence of surf culture in Australia, it did not take long for Sydney bands like the Atlantics, Joy Boys or Denverman to up the ante and infuse and enrich the genre with their idiosyncratic Australian flavour and providing the foundation for newer and current bands to capture their interpretation of the essence of a summer’s day spent on the beach, e.g. the bittersweet melodies of the duo Hockey Dad,  the strung out pop sensibility of Beaches and the iconic The Sunnyboys, who introduced a harder sedge and introduced a sense of welcome danger with their distinct twang. Needless to say that the surf-infused tracks of Radio Birdman became the epitome of the rougher edges of beach culture.

With surf culture being an integral part of Australia’s identity, I could not help but being affected as well, as I find the sea to be an element that when immersed in it makes me feel whole.

How does one translate one’s love for surf music, open mindedness, a sense of locale and a rebellious spirit into a tangible vehicle that inspires and goes beyond tangible, worldly manifestations?

Enter Barney Cools, i.e. a group of music loving Australians that were looking for a way to explore how they could convey their style to a worldwide audience – a style that is heavily influenced by surf culture and in terms of casual chic  for a lack of a better term they have labelled “poolside”.

I first came across the brand Barney Cools through the mixtape series they launched in support of Australia's music industry affected by the implications of the ongoing COVID-19 malaise.

With their core values firmly rooted in inclusion and pro-actively partnering with local and international charities to tackle oppression of any sorts, they have created an idiosyncratic and sophisticated lifestyle brand, the subtleties and qualities of which I have grown to appreciate for all seasons, as they have also started to branch out into the creation of contemporary gear for the colder months of the year.

Now, it says a lot about a brand if it gets me into wearing fleece, which is of course a synthetic fabric that has a range of awesome properties, however, before experiencing Barney Cools’ comfort capsule, I was struggling to find a stylish option.

A favourite is their cosy hooded sweater and shorts collection, which is constructed from what has become their signature super soft 330g brushed fleece fabrication and is an example par excellence for the fact that function has not come to the expense of style.

My appreciation of their styles and attention to detail lead me to what not too long ago would have been unthinkable as I thought it was reserved for baby boomers, climbers and middle-aged dads: Their Polar fleece Jacket has become a fixture of my wardrobe, as it is not only impenetrably warm, moisture repelling and impossibly comfortable but with its three panelled design and offbeat details  is a bit of a looker as well.

Having grown up in it as a kid, another fabric I did not think fathomable to enter my wardrobe was corduroy as I deemed it to belong to years that style forgot.

Enter Barney Cools again as their corduroy selection proved that the fabric is literally “corde du roi”, i.e. cloth of the king, and not merely reserved for roadies of 70ies style stoner rock bands or dandies. Again, an unexpected return to my wardrobe and loved by me more than ever.

Now, another fabric that I mainly appreciate for the cool and soft feeling when used for bedspread is linen. The fact that linen is highly breathable, resilient and due to its high moisture absorbency rate, the ideal fabric for hot and humid climates.

While some might claim that unstructured suits are unsettling with those risking linen being the greatest offenders, Barney Cools’ linen collection keeps growing on me as their gear really starts coming into its own after repetitive wear and gets better with age. I have grown to like the relaxed crumpledness it provides. Staying breezy, yet business casual while beating the heat and still looking smart.

In a world of prefabricated brand identities, it is refreshing to come across one that effortlessly captures the essence of a culture in a credible and laid-back manner.

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image provided

Water of Life – Visions in Style

What makes a great whisky tasting?

I have been lucky to attend a wide range of whisky tastings on this earthround. Some were held at the source, i.e. distilleries, others in bars and recently quite a few virtually. There are many factors that contribute to a great tasting event – factors that make the whole experience far more than the mere sum part of its individual components and ones that go far beyond having great whiskies on offer.

Enter Vision in Style.

Breaking the mould of both the traditional tasting procedure both in terms of having an assembly of brand ambassadors try to cater to thirsty punters drunkenly waving their Glencairns at them as well as the standard teacher-pupil set-up with attendants being lectured to, Visions in Style’s approach is informed by its mastermind Michael Cartwright’s creative flair, can-do attitude and innate ability to resolve situations in an innovative manner.

Visions in Style’s Hidden Whisk(e)y Degustation was an example par excellence how a well-planned event can get the audience involved, which is no mean feat in times where the implications of the current malaise make any public outing a logistical nightmare and event management has changed dramatically.

Initially planned to incarnate in the unique environment that is the tunnel venue “Coal Loader”, groups were meant to be guided through themed underground rooms, where whiskies were to be poured in a curated manner. As all events at the initial locale were cancelled for 2020, an alternative venue had to be sourced at short notice, changes had to be dealt with and Vision in Style’s ability to adapt and think outside the box had them look at the problem as a positive challenge as they reimagined the event at the formidable Doncaster Room at Randwick’s Racecourse.

With a passion for whisk(e)y, a keen eye for detail and a talent for delving into things, the event ran expertly choreographed and literally like clockwork as time management was key to get through the fifteen themed, interactive tasting stations.

A highlight of the event, which was comprised of twelve Australian distillers and complemented by a large array of world-renowned distilleries and accompanied by knowledgeable ambassadors, included Pete Stevens holding court, who with his trademark charisma eased us into the proceedings by proffering an excellent new Overeem expression, which with the sizable dram he poured was easy to enjoy, following his credo that “the first sip is not your first sip”.

Another personal highlight was finally meeting the man behind Craft Works Distillery in the flesh and the chance to sample his much fabled about emissions. Founder and renaissance man Craig does not go by the nickname “Crafty” for nothing as the man oozes with passion and enthusiasm for craft artisan spirits, and what I was able to sample warrants a dedicated feature as part of this series.

Sustained by a substantial, curated degustation menu, which was served throughout the event, our tasting journey culminated with Archie Rose Distillery’s station, where I finally got to sample their recently released (and immediately sold out) Single Malt Whisky.

Guided by the never not charming Daniel-Hutchins Read, the drop definitely lived up to the hype as the melange of the six-malt mash bill aged in apera casks and refined in AR’s own air-dried ex-rye casks, materialized on the roof of the mouth as one of the more charismatic expressions of the evening in terms of flavour as the claviature of both savoury and raisiny, dark chocolatey nuances revealed a near perfectly calibrated profile.

Summa summarum, Vision in Style’s whisk(e)y tasting proved to be an enjoyable experience in every sense of the word for both the illuminated whisk(e)y as well as the uninitiated and I cannot wait to see what they have planned for their future events.

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photos by @k.a.vv

Water of Life - GlenAllachie Virgin Oak Series

GlenAllachie is an interesting distillery – interesting in that it had been on the radar for the longest time, but for very superficial reasons, i.e. the branding and theme of the design never tempted me to check it out. Low and behold, upon actually sampling the core range, things changed dramatically, and the 15-year-old expression became a favourite.

Copper in colour, what tickled the nostrils is an array of fruity aromas, heavy on the richer end of the spectrum of the berry front, with a backbone of a caramelly tobacco, a malty earthiness and rounded out by sweet chocolatey highlights, which seemingly transition to what materializes on the top of the mouth, where the Sherry cask finish unfolds its true beauty in terms of sweet berry flavours, raisins, walnuts and a medium length, reverberating finish that is counterpointed and grounded by malty coffee, cherry tinged dry highlights.

Summa summarum, GlenAllachie’s 15-Year-Old infuses the DNA of the distillery’s core range with the attributes that the maturation in Pedro Ximénez and Oloroso sherry casks imparts - highly recommend to anyone who loves rich, flavourful Speyside whiskies.

Giving the nature of GlenAllachie’s core range, I was getting mildly excited when their Virgin Oak Series. Limited in nature, the range of comprised of expressions that have been matured in carefully curated and region specific selected casks from  France and Spain, which of course varies as far as flavour notes are concerned, with the fact that all of them have first been matured in American Oak ex-Bourbon barrels being the only common denominator.

The underlying idea behind the approach to the new series was to how far the influence of Virgin Oak from different terroir / climate, varying drying periods and different toasting and charring levels can be taken.

The French Virgin Oak was my first exposure to the series, which I found to be firmly rooted in honey territory - both in terms of flavours and aroma. On the nose, it is complimented by toffee and orangey nutmeg, backed by a finish that ground the experience with tannins and butterscotch.

The Spanish Virgin Oak starts off similarly in terms of a honeyed vantage point, but then ventures further into interestingly spicy dimensions that continue to reverberate throughout.

My favourite of the triumvirate is the Chinquapin Virgin Oak Finish, which again takes off from a honeyed plateau to then sore into orangey butterscotch territory and liquorice as far as aromas are concerned. On the palate, syrupy flavours dominate, complemented by spicy cinnamon and floral notes, before the elongated finish marries all flavour nuances to a fulminant finish.

Specifically, with the Virgin Oak series, GlenAllachie’s master distiller, Billy Walker, showcased what is possible with different derivates of casks and imbued the individual expressions with unique characteristics with resulting flavour intensities ranging from high to low and everything in between.

Hopefully, GlenAllachie will continue on this path and continue to branch out into creating unique flavour profiles.

"Do You Have a Band?": Poetry and Punk Rock in New York City

Columbia University Press

In terms of cross-pollinationand active exchange, the underground scene of New York City in the ninety seventies and eighties was unrivalled with protagonists on both the musical and poetical fronts not only influencing each other and their emissions serving as sources of inspiration, but also in terms of tearing down the barriers that were perceived to exist between the sung and the written word.

The book explores a time that set the scene for what was to spawn underground bands who delved into the world of the rhythmic qualities of language to inspire not only writers but also the way lyrics were delivered and eventually performed – both by musicians and poets themselves.

Accompanied by archival material and framed by interviews with contemporary witnesses, the book illustrates how poetry influenced by the Kerouac and the Beatnik movement, French symbolism, Dada and what eventually emanated as the NYC school of poetry gave birth to a new branch of rock’n roll with torchbearers like Patti Smith, Lou Reed, Richard Hell, Eileen Myles, William Burroughs, Allen Ginsberg and Ted Berrigan at the helm.

Apart from the usual suspects, a myriad of other and lesser known obscure experimentalist poets are elaborated on and given additional dimensions as contexts, their background and underlying connections are illuminated, the insightful analysis of which explains how the fertile ground has come to fruition for NYC to spawn an idiosyncratic arts scene.

"Do You Have a Band?": Poetry and Punk Rock in New York City is an in-depth, compelling and revelatory milieu study that should not only be of interest to music aficionados but to anyone remotely into the genesis of poetry of the ninety seventies or scenes whose DNA has DIY aesthetics at their very core.

Water of Life – Jameson Deconstructed

Chances are that no matter if where you roam and you enter a bar, the Irish whisky available will be Jameson, which not only helped to make evenings during e.g. my travels in the more remote regions of Northern China immeasurably better, but also serves as a reliable constant. In other words, Jameson – and specifically its core expression - is known the world over, widely accessible and while unfortunately a lot of it is still shot, it lends itself exceptionally well to sipping.

Once one delves a bit further into the Jameson cosmos and the way Head Distiller Brian Nation, Master of Wood Management Ger Buckley and Master Blender Billy Leighton channel their alchemy, things get even more refined and delicate, especially with its Whiskey Makers Series, the expressions of which are named after each of their respective key tools.

Aged between twelve and sixteen years and having matured in first and second fill American, virgin oak and sherry casks, the Cooper's Craze expression is not surprisingly oak driven with an aroma comprised of honeyed vanilla, tropical fruits and toffee.

What materializes on the palate is a creamy, velvety extension of what the nose promised, resting on a backbone of cinnamon, raisiny gingerbread, nutmeg and culminating in a spicy, warm finish – an expression that expertly showcases the personality that casks infuse.

The Blender's Dog is, as the name suggest, a masterclass in blending: Not only in terms of different distillates but also cask styles and ages. The result is a well-orchestrated calibration of each component, culminating in a bouquet of floral and perfumed notes, tropical fruits and butterscotch. Flavour-wise, chocolate and toffee notes dominate, which are accentuated by spicy highlights, hints of smoke, liquorice and an elongated, rounded finish, bookended by nutmeggy, woody spices.

The logical next step for an appreciator of Jameson, was to examine the DNA that makes the core expression idiosyncratic and to explore the Deconstructed series, which is exclusively available at travel retail outlets.

The underlying idea of the Deconstructed series is to highlight individual defining aspects of the standard expression and my first exposure to it, was the Round variant.

Focussed on the impact of the barrel wood, the deep golden dram tickled my nostrils with a melange of leathery vanilla, toffee and cereal, which seamlessly transitions to a creamy, raisiny and nutty maltiness on the palate, before it is pierced by delicate peppery spices.  An interesting twist that I had not noticed in such form with the standard expression. With the spiciness dialled up, I found the elongated finish specifically enticing as it wonderfully exhibits the contribution of the oaky wood casks.

I cannot wait to try the Lively and Bold expressions, to see how the remaining two variants of the Deconstructed series differ.

With the number of distilleries in Ireland having nearly quadrupled over the last years, it brought quite a bit of innovation to the game. Jameson’s Caskmates Stout Finish is part of an experimental series where barrels are used that were used for the brewing of beer. With the cask exchange collaboration with Young Henrys having knocked it out of the park and not being the biggest aficionado of dark, top fermented beer, I was curious as to how Jameson’s Stout Cask treatment would go.

Caramel in colour, aromas of coffee, honeyed malt, citrussy hop notes and spices result in a complex and multi-faceted, punchy bouquet, which hints at what can be expected to materialize on the top of the mouth.  Flavours are further amplified and enriched with notes of nutty cinnamon, citrus fruits, dark chocolate and syrupy coffee. It is quite astonishing what the Stout cask finish elicits, with the finish not only extending the aforementioned flavours but adding a grounding earthiness.

In quite a few aspects, the new limited Jameson Cold Brew bottling resembles the Stout Caskmates expression, as rustic coffee notes are front and centre along with lemon and vanilla both on the nose and the palate. What I missed with this expression is that the whiskey itself does not play a prominent role, which also explains the short and abrupt dark chocolatey and syrupy finish. An expression that could possibly serve as an entry point for an Expresso Martini fan to transition to whiskey.