Blog — Page 22 of 281

The Formative Years – Troubleman Unlimited Records

If my memory serves me well, it must have been in 1994 when I went to a local branch of a bank to get physical US $s, put them in an envelope along with a hand written letter and mail ordered the Superpowers compilation tape, Rye and the Coalition, Unwound as well as the Rorschach / 1.6 Band 7”s directly from Mike Simonetti's Troubleman Unlimited record label.

When the fare arrived, I was hooked by the energy and ingenuity of the bands he put out and continued blindly ordering whatever was released adorned with a logo derived from Miles Davis artwork, under the banner of a label that was named a 1970s blaxploitation flic.

Having emerged from the context of the ABC No Rio scene with DIY zine and tape releases, what I specifically liked about Troubleman Unlimited Records is that it evolved in terms of breadth not unlike my personal preferences did, which allowed me to be exposed to what felt fresh-sounding musical styles at a time when it felt like whatever was emanating from the traditional hardcore punk context was redundant and stagnating.

After losing track for close to a decade, I was delighted to discover that Simonetti founded the Italians Do It Better label based on his love for electronic pop and European disco, which put out acts like Chromatics and Glass Candy.

Thus Let Us Drink Beer – Sanctus & Seasonal Brewing

What’s in a name?

With Sanctus Brewing and their crew’s claim that their brews are crafted in “God’s country”, i.e. Clarence Valley, it echoes the anaphora, paying homage and hosanna to the God and transcendent quality of beer. 

Apart from Sanctus Brewing’s solid core line-up, I specifically like their seasonal and experimental expressions, with their birthday brew and ode to the Red Hot Chili Peppers, i.e., the Californication West Coast IPA, being a particular favourite and not an exception: 

Avalanches of hops merge with resinous, piney-citrus zesty grapefruit notes and dance with butter cookie flavours against the backdrop of a solid malt backbone, with an assertive bitterness being accentuated by a spicy piquancy. 

A well-balanced and very drinkable IPA that proves to be a wonderful companion to a dram of Ardbeg 10.

Sanctus’ Altitude Hazy IPA is not merely a visual feast for the eyes with its cloudy and foggy appearance but is dominated by a fullness of flavour and hop character that is decidedly  fruity and ripe citrussy in nature. 

Low in bitterness, hints of pineapple, tangerine and orange meet enough of a malt body to balance the fruitiness of the New Zealand hops, with the overall drinkability remaining crisp. The resinous, fruity kick make this little number a moreish one.

One of the more exotic emissions from Sanctus Brewing is its Ginger Beer Extra Hard: 

With a solid ABV of 8%, this ultra-fizzy hybrid between beer and soda also packs a potent punch in the flavour department, which is enhanced by a warm cinnamon and nutmeggy spiciness blending in with a zesty bite. A borderline perfect beverage to quench thirst during the warmer days of the year.

Western Australia’s craft beer scene is emerging as a veritable equivalent to the what the East Coast has to offer on terra australis and if you are following this series, you’d be cognisant of the fact that we have yet to come across a brewery from one of the most remote regions on this earthround that has not convinced us with its liquid emissions.

Exploring Perth’s craft beer scene is a gratifying exercise as it rewards one with gems like Seasonal Brewing Co. 

Having evolved from Nick Southwell’s and his better half’s Emily ten Raa homebrewing efforts, the pair eventually teamed up with the owner of the  gin-focused Northbridge bar Frisk and pizza bar Alfred’s to establish their own digs.
What I like about Seasonal Brewing’s approach to channelling their alchemy is that it is holistic, i.e. it is not merely centred around the creation of quality craft brews but an extension down to the careful curation of the artwork of its beer labels and innovative merch range, which pays homage to the natural environment and cultural heritage of the local area. 

With the name being a telling one, Seasonal Brewing’s focus is firmly set on rotating its offerings to align with the ebbs and flows of the year, with especially its experimental range pushing the boundaries with expressions complementing the solid core offerings.

An immensely enjoyable example par excellence for Seasonal’s progressive efforts is their recent spin on the pale, top-fermenting wheat beer that is the Gose variety.

Cloudy yellow colour in appearance, the Passionfruit & Guava Gose is reminiscent of Berliner Weisse and provides a refreshing crispness and Guava twang with natural saline taste courtesy of the addition of sea salt. Clocking in at 4.3% ABV, this little number is a moreish, immensely sessionable smasher for hot days.

Situated on the more traditional side of things is Seasonal’s Juicy Pale Ale: 

Based on the triumvirate of Azacca, Amarillo and Idaho 7 hops, the aroma is informed by  bright and refreshing juicy mango, tropical fruity, and citrussy nuances, which on the top of the mouth materializes in form of zesty tangerine flavours reminiscent of marmalade dancing against a backdrop of a light bitterness.

My current favourite of the Seasonal Brewing range, however, is their crisp and lean Cold IPA. 

Fermented at lower temperatures, a melange of Nelson Sauvin, Mosaic and Idaho 7 hops infuses the ale with hop-forward ale characteristics common in a West Coast IPA, yet with an added dimension of vibrancy and crispness, which is married with complex stonefruity highlights. 

With an ABV of 6.3%, Seasonal’s Cold IPA not only packs a bit of a punch but leaves one lusting for more with an idiosyncratic, reverberating herbal piquancy.

Given the quality of what I have been able to sample from Seasonal Brewing’s so far, I look forward to their future Double IPA and collaborative releases.

The Formative Years – Voivod

In the late 1980s as a prepubescent metal was the law and after meandering through the limited offerings of the local record stores, befriending older scenester and actively tape trading, I was introduced to bands that derived from the speed metal formula I had become infatuated with.

One of those bands was Voivod, who not unlike their countrymen Annihilator enjoyed a bit of an exotic status in my tape collection as they hailed from Canada. 
While their Dimension Hätross album excited me with its raw thrashy approach, it was Killing Technology that blew my mind with its unusual tempos and machine-like cadence.

Killing Technology has stood the test of time with its unheard musically varied surge of aggression and the sonic equivalent of a haunting, dystopian future that suddenly seemed all too real.

With their breath-taking, progressive thrash comprised of obscure, outstanding riff sequencing, dominant bass, machine-like complex drumming and an underlying industrial feel, Voivod sounded otherworldly and were light years ahead of their time only to evolve to the next level at an alarming rate once the epigones came close to catching up with them.

With its razor-sharp, nuanced and highly unorthodox delivery, Killing Technology managed to conjure apocalyptic images backed by what seemed to be an avid appreciation for the power, grit, filth and frenetic propulsion of bands like Discharge, Venom and Mötorhead.

Killing Technology constituted a quantum leap for thrash metal by infusing it with the complexity of progressive metal elements.

Water of Life – Waubs Harbour Distillery

If you are remotely following this series, it should not have gone unnoticed that a deliberate effort has been made to cover Australian distilleries, with one of our foci firmly set on Tasmania. 

Given that we yet have to encounter a distillery on Van Diemen’s land that does not know how to convince with its quality and dedication to provenance, it should go without saying that I find it difficult to contain my excitement every time a new entity pops up on my radar.

Enter Waubs Harbour Distillery.

Centred around the vision of the brothers Tim and Rob Polmear, the latter of which having honed his craft as the head of production and distilling at the Lark and Overeem Distilleries, Waubs Harbour Distillery incarnated as an endeavour to merge the borders of Tasmania’s coastal context, a connection to the land’s aboriginal heritage and the employment of the best techniques possible.

Located within the confines of a converted oyster hatchery and with the etymology of the distillery’s name derived from a  Tasmanian Aboriginal woman, i.e. Wauba Debar, the way Waubs Harbour channels its alchemy in the creation of whiskey is borderline scientific in nature, centred around a forensic knowledge of why the particular elements within the spirit act in certain ways: With an in-house lab allowing experimentation with fermentation and yeast cultures, the complexity of distinct flavour profiles is calibrated to create Waub Harbour’s unique DNA, which is further enhanced by the salty, maritime terroir, the usage of pristine Tasmanian water and the naturally oily and richly flavoured barley from around the state. 

What sealed the deal for me that apart from the aforementioned, Waubs Harbour experiments with local organic peat comprised of decayed coastal reeds, the local melaleuca tree and salt bush, thereby creating an authentic equivalent to what I love about Islay whiskies in terms of provenance and terroir.

Waubs Harbour Distillery’s limited Double Tawny Port expression is an example par excellence for a complex tour de force in terms of well-rounded flavours: 

Briny, maritime aromas tickle the nostrils along with raisiny, brown sugary and vanilla toffee notes, the latter of which materializes via a buttery mouthfeel on the top of the mouth, flanked by sweet, eggy and crisp apple nuances. The mid-length finish culminates with a crescendo of plump, sweet, and juicy sultana tinged highlights.
Clocking in at a tame 43% ABV, a sessionable a sweet rounded port style whisky.

The Apera Bourbon Cask expression differs from the aforementioned in that it the ex-Sherry Casks add stewed fruit characteristics, which dance against a backdrop of spicy oak flavours derived from the maturation in ex-Bourbon cask. The common denominator is Waubs Harbour’s idiosyncratic maritime aromas, which are further enhanced by a well-calibrated composite of its cinnamon, esters, aldehydes and vanilla.

The palate is dominated by pronounced spiciness, sour flavours, a slight bitterness along with very little sweetness, with the finish reverberating with buttery dried fruits.

A favourite of Waubs Harbour’s current portfolio is the Apera Cask Strength exprression, which despite packing a punch with 63% ABV still artfully conveys subtleties, starting with a nose reminiscent of oak, caramel and salted vanilla and a flavour profile that ranges from a honey-like sweetness with a subtle hint of berries via a citrussy crispness to a pronounced spicy oakiness.

The finish is dangerously moreish as it provides the stage for poached pears singing with cashews and pistachios on a fundament of earthy oak.

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image from company website

The Offspring
Hordern Pavilion
Sydney, Australia
11 December 2022

It must have been in 1990 when I was first exposed to The Offspring via their debut album that was released by Frank Harrison on his label Nemesis Records label. 

The result saw the band incarnate with exactly the brash, gritty and raw edge that made me fall in love with 1980s-era punk rock from Cali’s Orange County area and while most songs followed the structure bands like the Adolescents and D.I. defined, from the get-go the charismatic vocal delivery and the band’s knack for infusing their memorable ditties with melodic harmonies stood out.

Four years later in the year that “punk broke” and ten years into the band’s existence,  The Offspring released their third album, which was to become one of the best-selling independent album ever. 

While trying my utmost to resist the appeal of punk rock bands that leapfrogged into mainstream acceptance, I could not resist the extremely infectious allure of Smash. 

As I grew beyond my years as a juvenile delinquent and abandoned the notion of “guilty pleasures”, I thoroughly enjoyed the albums that followed and their innately playful nature as the band continued to evolve and flirt with novelty without ever diluting its DNA.

Needless to say, I was looking forward to The Offspring incarnating again on terra australis, especially since courtesy of global pandemic, the tour had to be pushed back several times.

What eventuated after Sum 41 opened the proceedings could not have been more of a pitch perfect homage to The Offspring’s legacy. 

The sold-out crowd was treated to a well-curated set comprised of timeless bangers from their Smash album along with more recent emissions as well as some of their widely popular cheesier radio tunes, interweaved with banter, crowd interaction galore and all the trimmings and theatrics to keep a large-scale audience engaged at all times, including but not limited to a crowd cam, a blimp zig-zagging above the crowd dropping guitar picks, bouncing beach balls being unleashed onto the pit, pyro and the obligatory confetti rain.

Closing out their set with the anthem that is "Self-Esteem," a fun and life-affirming evening that brought together three generations concluded on a nostalgic high.