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Thus Let Us Drink Beer – T-Bone Rye IIPA

T-Bone Brewing was first introduced to me by Peter Bignell when he told me about his son’s brewery while sampling his fantastic Belgrove Whiskey and we were chewing on a pig’s ear in Hobart.

A long story...

Tom Bignell is the man behind T-Bone and having had borderline ideal circumstances with his father having paved the way with him channelling his alchemy in distilling and after trying his hand with homebrewing, he followed his vocation and eventually took the plunge and turned his passion for brews into a profession together with his better half Carla.

Given the whisky royalty family background, I have never had low expectations when it comes to T-Bone’s emissions, their portfolio surmises things on every level no matter if it is their core range of Easy Ale, Pale Ale or Golden Ale.

Being a friend of hoppy brews, the Fruit Bowl IPA caught my attention and despite the IPA market being flooded with expression claiming to have fruity flavours, the name in this instance could not be more accurate. The melange of Chinook, Cascade, Centennial, Simcoe and Amarillo hops create a smorgasbord of exciting flavours and every time I feel like I can nail it down, nuances take a left turn and morph into a different director. There is citrus, stone fruity highlights and just the most subtle bitterness that frames it all beautifully.

Needless to say that I was quite excited to learn that the release of a Rye IIPA was on the horizon. While the name is again a telling one, one might think that this expression is much more one-dimensional. Of course there is a heavy focus on rye malt, which anchors the beer, however, the hop overload courtesy of double dry-hopped with Centennial, Citra and Simcoe hops, makes it a rich and complex IIPA that is reminiscent of English Ales with a spicy rye twist and a hint of toffee.

Paired with a dram of Laphroaig Triple Wood, it proved to be a hell of a satisfying companion that due to how easy it is to drink and its imperial levels of alcohol is dangerously moreish.

The Formative Years – ZAP Magazine

During my early teenage years as a juvenile delinquent in a pre-internet age, any punk and hardcore related information I could come by – be it through observation or exposure - was soaked up in a sponge like manner and what seemed to resemble as something that made sense, became ingrained as empirical truths.

There were many great DIY-style copy & paste style fanzines around, however, most of them were essentially an echo chamber of whatever was prevalent within the confines of the run-of-the-mill stereotypes of “punk”, or alternatively, they only tangentially touched punk, lacked the ethos and had their foci on other forms of music that lacked excitement for me at that age.

Enter ZAP Magazine.

While I was familiar with the editor’s first fanzine Vox Vulgi, his prior involvement in Trust Magazine, his band Challenger Crew and after procuring my first issue, it was not difficult to tell that with ZAP Magazine, the aim was to take things to a whole new level in every aspect - from a more professional magazine-style presentation to content and attitude.

Due to establishing itself as a monthly periodical, it quickly not only became the source for punk and hardcore related news, but constantly evolved and started to include the exploration of new ideas, presented exciting music and political constructs that both inspired and provoked. It served as a hotbed for networking, a community and contacts were forged, some of which last to this day.

While the content of early issues almost exclusively rested on the preferences of founder Moses Arndt, a varied, passionate core of writers was given more and more autonomy, which enriched and enhanced the content in terms of variety.  

Martin Büsser was one of the contributors whose elaborations first agitated and then intrigued me, as his borderline academic emissions helped broaden my musical horizons and exposed me to interestingly different view and angles. Being an intellectual heavyweight, Martin deliberately set out to counteract the narrow-mindedness and intolerance of hardcore purists. He was the one that inspired me to e.g. delve into the Frankfurter School of social theory and critical philosophy as well as to spend the little allowance I had on music by not exactly easy-to-access artists like John Zorn. The beauty with ZAP was that the aforementioned did feel as part of the package and not at all as if it was in contradiction to its core DNA – it was a prism and lens to introduce me to concepts, music and ideas that opened new worlds for me.

Viel Feind, viel Ehr – ZAP encountered a load of antagonism from other scenesters, which partly came with the territory of what they were trying to achieve and at other times was deliberately sparked and provoked.

Truth is, no matter if friend of foe, in its heydays, everyone read ZAP Magazine as it became a mouthpiece with a reach and significance that could not be ignored. A testament to the importance of ZAP is the fact the most vocal critics eventually started writing for it.

On a surface level, one could also claim that its founder Moses Arndt and ZAP singlehandedly introduced what became known as trademark New York Hardcore to Germany, orchestrated its success and made or broke bands in a manner, that reverberates to the present day. During my first visit to NYC and CBGBs in the 1990s, the mere mention of “ZAP” was an easy icebreaker as it was a known fixture and reference point.

ZAP’s influence on not only on the punk and hardcore scene at large cannot be overestimated. With an antifascist core at everything that was undertaken (and amplified during the resurgence of right-wing radicalism after the German reunion) and a growing influence, it started to pierce mainstream media with carefully orchestrated actions. With the founding of a political party, a trademark “Partisanentum”, the infusion of a flagging scene with a deliberate return to “Rotzloeffeltum” and the raw essence of punk in the second half of the 1990s along with both record and book releases, ZAP helped to create a springboard which helped a new generation of punks to catapult their efforts into the new millennium, before it ceased to exist in its known format at the end of the 1990s.

For the next two decades founder and ZAP mastermind Moses Arndt channelled his alchemy is entrepreneurial endeavours and saw him emerge as a medical practitioner with a doctorate under his belt, before 2019 saw the return of ZAP in typically anachronistic form, i.e. only in a printed manner that can only be mail ordered straight from the source or selected mail-orders.

I have yet to lay eyes on the reanimated incarnation, but the mere knowledge that it ZAP is back, feels great.

Water of Life - Glenlivet

When it comes to my peers and whiskies, many like their “Glens” and adjectives like “sm00000th” are often used in combination with sliding hand gestures which seem to indicate that the drinking experience does not provide complications. I got my favourites in that section as well, however, when visiting a well-stocked hoochery, it is not necessarily the first or second port of call.

Then again “Glens” are a great dependable go-to when traveling to neither regions where bar selections look a bit bare in the whisky department.

Glenlivet is a Speyside distillery that has been on my radar for the longest time and starting with their 15-Year-Old was a great entry point as it is placed on both the affordable and more easily available spectrum of things.

Having aged in French Oak reserve, the nose is grapefruity, honeyed sweet and is shadowed by an interesting melange of darker shades comprised of chewy resinous wood and marzipan with a well-balanced acidity.

On the top of the mouth, things get interesting in the most velvety manner, with a sweet balance of warming winter time spices, i.e. cinnamon, cloves make an appearance on a solid foundation of chocolate and caramel, which is punctured by delicate bitter cherry and nutty highlights. The medium well-balanced finish accentuates floral notes mixed with white pepper, which make it reverberate nicely.

Great value for money and a very enjoyable mellow Speyside dram, which could be lifted by having a bit more of an ABV kick.

Now, enter the non-chill filtered cask strength Nàdurra range of the Glenlivet. Given its characteristics it is not wondrous that the Gaelic name is a telling one as it means “natural”.

Oh, what a glorious drop, whose subtle peatyness is derived from the final stretch of its barrel maturation being completed and rounded off with a stint in oak that previously housed peaty heavy hitters.

In essence, you get everything that makes a great Glenlivet here, yet with additional layers that add depth and dimension in terms of richness.

Bottled at cask strength, this non-age statement drop is a Glenlivet on 11, however, what tickled the nostrils is not overwhelmingly spirity. It has a bouquet that makes my hair stand up on the back of my neck as it is at times slightly reminiscent of a Laphroaig Select in terms of iodineness and martime peatyness mixed with tangy, nutted barley and coconut nuances. Enter saliva as it evokes a Pavlovian reaction.

Creamy on the palate, there are notes that could be found with the 15-Year-Old but again there is much more character in terms of robust flavours like raw peat, pears, cocoa, toasted almost and acidic pineapple emerging.

The elongated creamy finish is a tour de force meandering between chocolatey territory, citrus, peat with just the most subtle of lingering smoke.

The Nàdurra is by no means comparable to an Islay whisky, however, it never set out to be and is instead a stunning, complex feast of flavours that reigns supreme in its own league and is a real pleasure to drink.

Music and sports - Puma

The notion that music and sports make a formidable duo is something that is hard to argue with. The relationship stretches across different domains, be it crowds chanting along to fire up their teams or themed music performances that have become integral components of large-scale sporting events, with North America’s Superbowl halftime show being amongst the more prominent ones. Needless to say that such events have a tangible impact on consumer behaviours in the aftermath.

The interaction between musical artists and sports goes as far as some artists having changed their lyrics to incorporate references to sport related programs and events to accommodate the circumstances that their music was going to be used in, e.g. Hank Williams Jr.’s contribution to the football programs or even rebellious icons of Joan Jett’s calibre making modifications to their lyrical content for the same purpose.

Needless to say that some genres of music lend themselves better to fit in with sports, hence the prevalence of country, hip hop and rock versus e.g. classical music. The common denominators seem to be obvious as both music and sports are essentially about entertainment and the ensuing crowd interaction during a music show is not dissimilar to how crowds are hyped up during competitive sports events using an appropriate soundtrack.

On a more personal level, being a runner music is pivotal to me as it has the potential to elicit a small but significant effect on performance and proves to be a borderline ideal accompaniment for training. It helps me to focus and overcome sensations of fatigue, amplifies vigour and boosts my mood through disassociation and personal associations to what I am listening to. In essence, it does not only make exercise more fun but can be used as a powerful stimulant to either calm one down or psych one up.

An interesting positive side effect I find with cardio exercises is that when I can synchronize with the beat, it results in greater endurance and can add an element of fun to what at times can feel mundanely repetitive.

Apart from the enhancing effect music can have on sports, there is of course the relationship and association between artists and brands.

An example par excellence is the case of Run DMC, which not only made three stripes borderline congruent with hip hop but also found the brand inspired lyrical content which manifested in the group’s oeuvre and Adidas releasing specific editions as a nod to the group.

A brand that has accompanied me since my earliest youth is Puma.

Puma’s equivalent to the Run DMC collaboration is their nod to the 30th anniversary of Public Enemy release of their Fear of a Black Planet album, which inspired a recent Def Jam themed collaboration and capsule release that is informed by not only the style of the album but also Def Jam’s colourways.

The details of the release catapulted me back into Puma land as I found the Def Jam capsule release to not merely be a throwback move; but the nuances, details and branding to be excellent, paying homage to both Public Enemy and their label in a stylish, honorary and not declamatory way that manages to carry a social-justice charged message which could not possibly be more relevant today.

My first contact with Puma was in the 1980s. As I was an avid fan of Bayern Munich, Adidas was the obvious go-to, however, the association of Bayern’s trainer Udo Lattek and Puma’s endorsement of him made me curious about the brand.

One of my first sneakers I ever owned was the all-white Udo Lattek Velcro sneaker, which in my mind went perfectly well with Miami Vice merchandise I was collecting around the same time, and at least in my imagination the Udo Lattek model was something that Sonny Crocket would naturally wear. Cue Jan Hammer soundtrack.

Udo Lattek’s signature shoes, which through the course of time found different incarnations under a variety of names, were enthusiastically received by sneaker aficionados and became classics in their own right.

Fast-forward to 2020 and a close examination of Puma’s current incarnations shows that the DNA has been retained yet quite a few stylish and functional facets have been added that have made them a personal preferred go-to for sports related gear.

For my daily runs, I have tested and tried a wide array of self-proclaimed leaders in the field of creating the ideal running shoe, which is a moving target.

Now, when it comes to running shoes functionality and comfort reign supreme for me and beat style any given day. Given the aforementioned and being very much into early Jordan era high tops, Puma’s detailed Ralph Sampson variant is a dreamboat in terms of light comfort.

Puma’s low boot Enzo 2 is an example for a running show that surprised me in many aspects as its sole has the grip that keeps you grounded even on slippery ground and the design does not hurt the eye either. The branding is subtle and specifically for running an animal like a puma that adorns your gear only adds to the experience.

Given the state our world is in, sustainable business practices are needed more than ever and it was good to see Puma at the forefront with its FIRST MILE’s initiative. The initiative ticks quite a few boxes in the realm of sustainability as its foci are firmly set on supporting micro-economies in low-economy countries and essentially, turning plastic waste into products. The collection focusses on running gear and especially from a stylish standpoint, has an eye pleasing subtle edge to it.

The Hundreds is a California-based conglomerate that channels its attitude and personal perspective into subculture couture, and collaborations with other brands have been manifold over the years. I was quite excited when I heard about The Hundreds’ collaboration with Puma and what route would be taken.

The outcome is heavily focussed on vintage gear reminiscent of the 1990s with elaborate throwback branding. Both the half-zip neckline camouflage running jacket as well as the more colourful trackpants, offer a myriad of adjustable fit features, space for storage and elasticity.

What is striking is that the collaboration manages to walk the thin line of incorporating both the DNA of The Hundreds and Puma to create something refreshingly new while still honouring the respective brands’ legacies with the outcome being products that can also be worn casually without looking like a hoodlum.

An example par excellence for the successful collaboration between the two brands are the PUMA x THE HUNDREDS Palace Guard Sneakers with the brief having been to create an homage to the iconic style that was prevalent in the 1990s.

Yup, you spotted correctly – there’s preppy and jock-esque elements to the leather upper bits, however, the design is expertly crafted to not just hover in that territory but with its monochromatic edge reminiscent of running shoes gives it a profile that elevates the shoe and gives it a “je ne sais quoi” factor that makes it look much better in the third dimension than photographic depictions would have you think.

Interesting to see how effortlessly Puma delves into such collaborations to create gear with trademarked attributes being married with innovative endeavours.

There are a range of other recent Puma collaborations which might appeal to some more than others, e.g. racing related gear with BMW, Red Bull Racing, Porsche and Mercedes and while it comes with the territory of the respective sport, it is again the finer, subtle details that Puma seems to have a knack for as they are infused and omnipresent in each piece of apparel.

Compared to the many other sports apparel companies, I find Puma to be at the more affordable end, especially when it comes to sport shoes and sneakers as I find them to be more durable and to have an edge specifically when it comes to casual looks – an edge that comes about organically and not as forced as it is the case with many other brands.

Water of Life – W + A

The world of whisky is a varied one with a myriad of offerings that cater to tastes and preferences of all kinds. Once you determine your favourite drops and delve a bit into the rabbit holes flooded by the water of life, finding out the constituents of your favourites and why you find them appealing, gates to new microcosms open and things get both even more interesting but can also get overwhelming.

Given the lucrative nature of the spirits industry, there is no shortage of outlets that at least on the surface cater to your every whim, which is nice, however, the ones that are fuelled by a sincere dedication and burning passion to not only offer what you already know but are intrinsically motivated to take you on a journey of discovery are few and rare between.

Whisky and Alement is one of those.

From a distance, it might look like an ordinary whisky bar, however, the connoisseur will find out fairly quickly that there is much more to it than meets the eye. Having become a fixture not merely on the firmament of the Melbourne bar scene, but one of the prime locations nationally and a destination for international whisky aficionados alike, the core of W + A’s operations is based on a menu of over one thousands whiskies that not only cover all nuances of mainstream offerings but specifically put a focus on independent bottlings, which much to my delight are paired with a curated list of craft beers and cocktails.

What might sound like an elitist affair, could not be further from the truth as the attention to detail and care for their customers will see you in good hands, no matter if you are a novice looking for a bit of guidance or a luminary looking to indulge in a dram of a drop that has long disappeared from the shelves of other bars.

Affected by the malaise of COVID-19, the second wave of which is currently still ravaging Victoria and forced the state into a stage four lockdown, W + A’s efforts to transition operations to their online shop and virtual tastings has proved to be very successful to keep things going and enabled remote whisky aficionados to gain access to drops that would normally only be available via a visit to the physical bar.

Needless to see that especially the more refined distilleries form a conga line to not only team up with W + A for tastings but also for launches of their new and rare expressions.

An example par excellence is the virtual Yoichi Launch extravaganza, designed to celebrate the Australia launch of the new limited-edition release from the Nikka Distillery, i.e. the Nikka Yoichi Apple Brandy Wood Finish.

The nature of the virtual tasting allows for brand ambassadors and distillers to guide the tastings, which in this case is a celebration of the fruits of a love affair between the founders Masataka Taketsuru and Jessie Roberta Cowen, whose nuptial alliance left an imprint on the whisky industry at large, specifically Cowen’s preference for apples to which the Nikka Yoichi Apple Brandy Wood Finish is a tribute. Following its initial maturation, this limited-edition single malt undergoes a further six-month long finish in casks that formerly held apple brandy for over twenty-five years.

Apart from virtual tastings like the aforementioned, W + A has been working directly with distilleries and independent bottlers to release its own exclusive expressions, which are not available in 30ml juice bags for mail-order, priced so it does not break the bank and allows you to sample fantastic drops at home.

I cannot wait for travel restrictions to be eased to visit and experience W + A myself in the third dimension.