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G.I.S.M.

Extream Guerrilla Live Streaming

December 8, 2020

I vividly recall how difficult it was in the 1990s to get a hold of a copy G.I.S.M.’s Subj & Egos, Chopped video tape, let along Beast Art’s Performance and Bootleg videos from the 1980s. When +R, Regicide Reverberation was released in 2002, a trip was made to the local bank to obtain JP¥, which were sent by snail mail to Record Shop Base in Tokyo and it took weeks until the army ration packaged VHS tapes materialized and could be enjoyed.

Who would have thunk back then that in 2020, with the help of the Dommune live streaming studio, one could experience G.I.S.M. playing live via the push of a button?

Celebrating the re-release of G.I.S.M.’s classic debut from 1984, i.e. DeTestation, by Relapse Records, Sakevi Yokoyama assembled new musicians around him to play some of the most significant tracks of an album whose idiosyncratic melange of hardcore punk, thrash and hair metal, pushed the boundaries of what was thought possible within the confines of extreme music.

While it will remain forever impossible to replicate how Randy Uchida meticulously channelled his alchemy, especially as a far as the trills and taps of his solos are concerned, the backing band played a solid set, crowned by Sakevi’s on-point unique vocal delivery, which instantaneously connects both on a subconscious and abstract as well as on a literal level., as far as the piercing punchiness of his effortlessly delivered growls and trademark shrieks are concerned.

The fact that the Dommune studios usually broadcast streams centered around house and techno ensured that light effects added an interesting additional layer along with a perfectly orchestrated crisp sound, which was visually accentuated by what a crew of roving camera men captured as they meandered the band.   

Once the implications the pandemic have been curbed, one can only hope that G.I.S.M. will continue to play live shows - the teaser that was displayed at the end of the “Extream” performance makes one hopeful, as it alluded to a five-hour performance to be streamed in 2021.

Water of Life - Christmas Gin Palooza

Sydney, ICC

Australian Gin Association

Especially on terra australis, gin is back bigger than ever due to its idiosyncratic thriving craft and spirits movement, its versatility, and its increasing affordability. Having first emerged in the old world in the seventeenth century and refined by the Dutch, availability in England resulted in a steep price increase in a bid to curb alcohol related hooliganism.

Fast forward to the twenty-first century and given its versatility, it has firmly established itself as a mainstay of the most distinguished cocktail lists, with a myriad of craft distilleries offerings their own distinct variations by adding botanicals to the quintessential ingredient, i.e. the juniper berry, taking up prime retail space with aficionados being spoilt for choice.

With an abundance of flavours and affordable prices, the annual Gin Palooza is a happening that never gets dull as new, ambitious distillers appear on the scene. Curated by the Australian Gin Distillers Association last year, it is an event that usually sells out far ahead of time.

Showcasing more than two-hundred gins by over thirty gin distillers from all over Australia ranging from boutique outfits to major brands, there is a lot to discover and always a fun event.

Despite whisky being my usually go to, it is never not interesting to discover sippable variants, especially when it comes to smoky or barrel aged expressions.

Favourites of the COVID-19 safe incarnation of the Gin Palooza extravaganza, which was conducted in the spacious surrounds of Sydney’s International Convention Centre spread across two levels, included the emissions of the fantastic Prohibition Liquor Co., Newry Distillery, Distillery Botanic and Manly Spirits.

While Gin Palooza is a fun and what might appear to be a boozy event, it proves to be difficult to not have an educational experience as each booth has you engage with the distillers and / or brand ambassadors directly, who are eager to share their approach and the unique characteristics of the libations they proffer.

The event also offered themed masterclasses, which sees e.g. luminaries from the bartending and wider gin scene incarnate to showcase their craft, with e.g. Eddie from Cape Byron Distillery, which we recently feature.

A wonderful event that a lot of other tasting events can learn a lot from.

Water of Life – Vintage Malt Whisky Company

It is an age old practice for distilleries to sell barrels of their emissions to blenders and independent bottlers in a bid to create an additional revenue stream, with some distilleries eventually solely existing for that very purpose and others passing on casks, the particular flavour of which would not align with the characteristics of the brand.

Independent bottlers may or may not disclose the origin of the whiskies they use and while they are some dabbling in the creation of questionable bottom shelf quality, there are some fantastic independent bottlers with a varied portfolio and a quality approach. The latter of which get me excited when they go for more niche products and bottle their drops at full-flavoured cask strength, which often offers the opportunity to sample rarer variations in an affordable manner.

Vintage Malt Whisky Company was founded at the beginning of the nineteen nineties with the objective to source selected drops to distribute them via independent wine and spirit importers throughout the world – an approach that proved to be successful and lead VMWC to establish itself on the forefront of Scotland’s leading independent bottlers.

VMWC piqued my interest as they have a few Islay expressions with quite declamatory names. Case in point: The award winning Smoke Stack, which is – as the telling name suggests – a richly peated blend of drops from both Islay and the Highlands, with smokiness being the common denominator.

What tickles the nostrils is a nice melange of sweet Ardbeg-esque peat, which then takes a left turn into iodine territory with citrussy highlights.

On the palate, I quite like that in terms of peatiness, the spectrum from sweet to oily is displayed with a smoky backbone that is pierced by floral notes and honeyed ginger. The elongated finish simmers the drop down to its essence, i.e. oils and smoke.

Despite the heavy hitting name, I found the Smoke Stack to be a nice introduction for the uninitiated to forage into the beauty that Islay has to offer.

Islay Storm is another peaty expression, the nose of which is firmly on the phenolic end of the spectrum, counterpointed by a maritime saltiness. On the top of mouth, a lovely balance between sweet peat, vanilla, spicy nuances and iodine is achieved, which seamless transitions into a fantastic finish, with waves of smoke reverberating and leaving one lusting for more.

Vintage Malt Whisky Company’s flagship brand is Finlaggan Islay Single Malt, bottlings of which have incarnated in many different expressions.

The Finlaggan Old Reserve is more complex compared to the aforementioned two expressions as the bouquet is more subtle when it comes to medicinal notes weaving through honeyed nutty highlights. The aromas hint at the complex melange that manifests on the palate, which peat smoke serving as the foundation on which malty cereal flavours dance with gingery spices before seamlessly transitioning into a bittersweet finish, which bookends the experience with a toasty oakiness, menthol and minerals. Delicious, affordable and a great daily sipper, which I can see to be a gateway scotch for peat lovers to be.

The Finlaggan Port Finish is an example for the variations the Vintage Malt Whisky Company produces, with this expression resulting in adding a  wine-like sweetness which blends in with the smoky, coastal peat that forms the DNA of Finlaggan and on the nose, adds nice nuances of red berries to the mix.

Flavour-wise, the Port Cask dominates the palate and borderline overwhelms the peatiness, which adds another interesting dimension. The finish is satisfyingly smoky and seals a complex experience rounded out with raisiny highlights and slight notes of dark chocolate.

Cannot wait to try Vintage Malt Whisky Company’s other expressions.

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image from company website

The Picture of Dorian Gray

Sydney Theatre Company

December 5, 2020

Being an Oscar Wilde aficionado, I have hardly ever missed a chance to see one of his less-performed plays both in the new as well as the old world, with the respective incarnations being more or less conventional in terms of how the gothic melodrama was adapted to the stage.

Given his background in media design and director of films, learning about Sydney Theatre Company’s Artistic Director reimagining The Picture of Dorian Gray intrigued me as his previous creations – no matter if it was Shakespeare or him directing The Rape of Lucretia, which we covered as part of one of the Dark Mofo festivals, always added an x-factor to his innovative stage adaptations of classic pieces.

In essence, Sydney Theatre Company’s The Picture of Dorian Gray is a mind-blowing tour de force entirely carried by solitary performer and dramaturg Eryn Jean Norvill, who manages to play all twenty-six characters herself. Taking up a role is challenging. Embracing so many roles can not only increase the risk of messing up the whole play, but also run danger of entering the realm of slapstick.

Not so with Norvill, who delivers throughout the play, immersing herself fully in each character, working with both subtle tonal variations and physical gestures, which are set in scene with the use of cleverly intertwined live and pre-recorded video, captured by a roving camera crew and broadcast via an array of moving and static screens.

The timing, intricate attention to detail and perfectly choreographed interplays are stunning and delivered in a seemingly effortless yet authentic manner, through which Norvill authentically brings to life and engages with all characters as if they were present in the third dimension. Needless to say, over the two-hour performance there is no dull moment and it does not feel as if the focus is solely resting on the shoulders of one actor.

Kip Williams’ The Picture of Dorian Gray accomplished many things: It not only honours Wilde’s wit, but adds another dimension of enjoyment that is as witty as Wilde by e.g. letting the characters argue in a meta-manner about who should deliver the lines or letting Norvill e.g. drop subtle references to her previous roles.

Summa summarum, STC’s contemporary, inventive, complex and smart The Picture of Dorian Gray is a unlike any interpretation I have previously seen manifest on stage and allows Norvill to shine in all her expansive nuances that she channels her alchemy in.

A herculean feat and one of the greatest performances I have had the privilege to see incarnate on terra australis.

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image from production website

November: Lexica

November was a stressful month. Covid cases continue to rise as families gathered for a bullshit holiday. They'll only grow as people fight each other for the last Grogu plush at Target and gather again for Christmas. Sigh. On the plus side, the U.S. will see new leadership in January. It doesn't mean all of our problems go away. Certainly not with the numbers willing to vote for more of the hateful and bigoted rhetoric that's been spewing from this administration for 4 years. It's shameful. This month, I decided to focus more on bands outside the USA. I didn't plan on listening to so many Japanese bands. Just kind of turned out that way, haha.

Before anything else, I was excited to check out Elvis Costello's new album, Hey Clockface. It's a solid album that's primarily his slower Jazzy-Lounge sound but he sneaks in a bit more Pop and New Wave in there. The only bad thing about the album is the cover. I decided to then check out Gang of Four's second album after falling in love with Entertainment earlier this year. I was as taken with Solid Gold as I hoped I'd be, but I've seen some people say it's more of a grower.

Towards the end of last month, Relapse announced a reissue of GISM's debut album, Detestation. I'd never really had the opportunity to check out GISM, so it was time to dig in. The vocals were a little off-putting at first. I could listen to those riffs all day though. Another band that announced some new reissues of their earliest albums is Boris. I haven't listened to those yet, but I did check out Akuma No Uta. Like most, I came in with Pink and picked up a few of the albums that followed. I never really went further back into their catalog. This band has so much output, and this was one of the more recognizable. Babymetal had a new album last year that I never gave chance, so I figured if I was listening to Japanese bands, I might as well put it on. I'd only heard their first album once when I saw a few of my fans obsessing over them a few years ago. Not sure why I didn't give it more listens. METAL GALAXY is great, so I'm sure I'll give their second album a spin and be returning to that first album.

Earlier this year, I listened to Rammstein's Sehnsucht, but didn't include a track on that month's playlist. This month, I decided to give another Rammstein album a listen, so I put on their newest album, and I liked it a lot more. People say Mutter is the best, so I'll be checking that one out in the future. My favorite new discovery from the month is a band from Mali known as Songhoy Blues. They are a "desert blues" band blending the music of Mali and Rock that formed after having to flee their city due to civil war and the banning of music. They put out a new album this year entitled Optimisme. You can find lyric and music videos with translations to some of their songs on their Youtube channel.

That'll do for November's playlist. It's been a bit of a struggler trying to get this one done. Sorry for the delay. December's playlist will be all my favorite songs from the previous playlists and maybe a few new things here and there. Thanks for listening and reading this installment of Search/Play/Repeat and wear a mask!