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Thus Let Us Drink Beer – Edge Brewing Project

There seems to be a newer ending influx of newly established breweries dabbling in the creation of craft beers with never not “interesting”, but not always delectable results that hit the spot.

Needless to say that I am getting all the more excited if I randomly come across one that thrills me with its emissions.

It was a late Saturday afternoon when I felt that after a 12km run and a subsequent gym session, I had earned myself a boilermaker. As I was looking for a suitable counterpoint to a peaty whiskey, I consulted my local speciality beer shop about new arrivals and one of the brews that caught my eye was Edge Brewing Project’s collaboration with the Hawaiian Kona brewery. The fruity melange of Australian malt and mangos mixed with hops from the new world proved to be a great choice and triggered me to dig deeper into Edge Brewing Project’s catalogue.

With a focus on locally sourced ingredients, Adam Betts started to instigate collaborations like the aforementioned based on his wide network from his time at a beer importer and distributor – an endeavour that eventually culminated in the founding of Edge Brewing Project.

It did not too long for the world to notice the quality of his emissions, which resulted in accolades galore and high-calibre collaborations like e.g. with Noma, the restaurant voted best in the world multiple times, which gave birth to a specific Restaurant series.

Edge Brewing Project focuses mainly on small batch lagers, imperial stouts and sours, with the occasional IPA thrown in for good measure.

Keeping his operations lean by renting equipment from existing breweries, Adam and his team experiment and only upscale their batches once they have met their standards.

?Apart from the sours, which are an acquired taste at times, my favourites of the Edge Brewing Project is the ?collaboration with Starward Distiller: Using their oak whisky barrels, with this Whisky Barrel-Aged Imperial Stout, Edge Brewing Project carefully calibrated a mix of coffee and milkshake aromas to arrive at a creamy deliciousness that is informed by nuances derived from what the barrels have to contribute, i.e. tannins and oaky highlights.

Another one is what people outside the terrain of terra australis might know from Nick Cave’s musical homage to the man: Stagger Lee, an Imperial Stout.

This one takes things to the next level and is one to spend some time with as its roasted character that extends into a lengthy and pleasantly bitter finish is something to be savoured.

All of Edge Brewing Projects releases are limited in nature to its operations and if you are remotely into quality beers and experiencing new flavour nuances that have been created with skill and not just for the sake of creating novelty brews, I’d recommend to sign up to their mailing list so you do not miss out.

Water of Life – Sullivans Cove

Sullivans Cove is quite something.

Not that the Australian and specifically Tasmanian whisky scenes lack allure – au contraire – fantastic distilleries are not only mushrooming but the established ones keep releasing expressions that make me wish that they would not be as sought after as they are. However, then there is Sullivans Cove, a distillery that as one of the first Australian ones elicited awe when merely mentioned to whisk(e)y fanatics around the globe.

The distillery and its limited expressions have experienced a meteoritic rise that has yet to reach its peak and new expressions tend to be sold out within minutes. The reasons for this will unfold once you indulge in one of their drams – an experience which yet has to not result in me smacking my lips and indulging in the respective lingering finishes.

Needless to say that I was more than mildly excited when I became aware that Sullivans was going to release a curated selection of limited Single Cask Brandies, i.e. Sullivans Cove XO, which is the result of a collaboration between the distillery and Tasmanian wineries from the Huon Valley, which is known for its salmon industry. Needless to say that it would not be Sullivans Cove if they did not age the respective drops in the French or American Oak barrels that have somewhat become a trademark for the distillery.

Sullivans Cove XO was the first one we sampled, and it became instantly apparent that Sullivans Cove’s still seems to lend itself well to the production of brandy: Claiming that the flavour profile is bold and intense would be an understatement par excellence with a lingering taste of the woody spice from Australian port-style fortified wine barrels it was matured in.

The Double Cask Brandy takes things up a notch for me as an array of tasks of have specifically selected in a bid to create and calibrate specific and individually different flavour profiles. After having matured in between ten to fourteen years and housed in ex-wine casks that cover territory from Sauvignon Blanc to Pinot Noir, the result is a complex flavour profile that you want to take time for to experience it in full. I find it hard to stop swirling it and let it go down the hatch, which resulted in frustrated company as conversations had to be put on hold.

The nostrils are teased with fruits of the tropical variety and dominant whiffs of almonds. What then materializes on the palate would take a while to accurately describe and do justice to. There’s a wonderfully vanilla sweetness, fruit and berry notes and just the right amount of tannins, that strike a balance between sweet and savoury with a sheer endlessly lingering finish that I have yet to experience in another brandy.

Let’s close this celebration of Sullivan Cove off with one of their most recent whisky expressions, shan’t we?

To celebrate their twenty-fifth anniversary, Sullivans released a limited-edition Double Cask, i.e. “DC100” with the defining feature that it has been matured in some of the distilleries oldest French oak and ex-bourbon casks. I could not way to indulge in this one and was not disappointed.

The aroma is already a delight in itself as it offers a well-calibrated melange of fruits, vanilla, musky leather and citrussy notes.

On the palate the volume is turned up on rich sweet, honey-esque flavours that are pervaded by minty chocolate nuances and a wonderfully smooth velvety texture. Sounds like a treat in liquid form? Well, it is.

Tropical flavours dominate the finish that rests on a foundation malty and nutty notes, which provides a nice counterpoint.

Not sure if by the time you read this, any of the expressions will be left to purchase, but if you are remotely interested in spirit, you want to sign up for SC’s mailing list to have first dibs on their emissions.

See also: Water of Life - Sullivans Cove

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images from company website

Water of Life – Michter’s

Ah, bourbon – the whisky of the South!

Full disclosure: On the road, I find it indefinitely harder to locate a good bourbon within the confines of say a hotel bar with more pedestrian offerings than it is to find a bearable Scotch. However, persistence and guidance of some luminaries showed me the light and have exposed me to some treasures that have become regular go-tos.

Case in point: while Michter’s Whisky ( https://michters.com ), one of the distilleries whose reputation is based on the longstanding history that comes with the distillery along with the folklore and legends that surround it, including some fairly prominent members of other bourbon dynasties having at least temporarily been part of the operations, which to this day focus on quality control and small batches.

Linguistically, the name is a hybrid and comprises the first names of Louis Forman’s offspring, i.e. Peter and Michael – but enough of the info, let’s delve into what drops they have to offer:

Michter’s US*1 Bourbon Whiskey is one that accomplishes something I do not very often encounter with other bourbons: The aroma intrigues me with its melange of spicy, grainy and syrupy notes that are embedded within a frame of oaky vanilla. There is consistency to this expression as what tickles the nostrils continues the palate and unfolding the respective flavours, which continue through to the finish, which again perpetrates the flavour nuances.

On to Michter’s US*1 Single Barrel Straight Rye. Rye is something that I won’t say no to when convening with friends in Canada, however, it is not one of my regular go-tos. Clocking in at 42.4% ABV, this is a smoooth one: In essence, it feels like a lighter footed, more sophisticated version of the Bourbon as it is not in-your-face when it comes to the rye nuances and has a diverse range of spices, cinnamon and caramel notes, which blend in with what I by now consider to be a Michter’s trademark vanilla tone.

On the roof of the mouth the rye is more dominant, but it does not overwhelm as it is beautifully flanked by chocolate-y flavours that remind me of a particular Armorik dram that is essentially crème brulee in liquid form. Nice mouthfeel that coats and warms your receptors.

The finish bookends the flavour journey with more vanilla and chocolate notes that culminate with an elongated rye ending.

A beautifully light yet full bodied and subtle expression that should be in the top ten of rye so aficionados.

So far for more the more regularly accessible offerings.

With the Michter’s 10-Year-Old Single Barrel and the corn, malted barley and rye mash bill, we are entering next level territory, which what materializes on the nose already promises, i.e. a wide and complex melange of fruits, vanilla, spices and chocolate. We are talking full-bodiedness and a wide variety of subtle nuances feeding into a flavour profile which is informed by the charred oak cask, ranging from tobacco via malt to spicy notes that are pervaded by a crispness reminiscent of apple juice. The finish reverberates with its spice and grain notes and leaves one lusting for another dram.

Sounds contradictive? Trust me, it will make perfect sense once you taste it. This is one with depth for special occasions with a flavour profile and mouthfeel that is exceptional.

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image from company website

Open Frame Festival 2019

Carriageworks

Sydney, Australia

June 28-29, 2019

Open Frame is an annual festival of transgressive sound that is curated by the entity behind the moniker Room 40, an homage to the cryptanalysis section of the British Admiralty during the First World War.

Not entirely sure if Room 40 consulted the Signalbuch der Kaiserlichen Marine to determine the line-up of the 2019 incarnation of the festival, but to decrypt from the encoded messages emitted via the line-up and to realize that it was spiked with high-calibre performers does not prove too difficult.

The first night saw Stephen O Malley headline, preceded by Japanese avantgarde duo Eiko Ishibashi + Joe Talia; the debut of dark ambient act Loscil, local act Vanessa Tomlinson and Ears Have Ears DJs; who also appeared in between act during the second night, which culminated in Merzbow’s extravaganza after NYC based Rafael Anton Irisarri delivered an ambient set of epic proportions. Fia Fiell indulged in the creation of electronic, gossamery weaving of sounds as well as Sandra Selig, with what I would consider that most widely accessible set of the second night.

The significance of Stephen O'Malley for underground music at large is undisputed and started well before he gained bigger audiences with Thorr's Hammer, Burning Witch and the phenomenon known as Sunn O))). His performance saw both the spatial and sonic investigation of the cavernous industrial realm that the festival within Carriageworks offered. Given centre stage to his amps, his monotonous drone doom set meandered, build, ebbed and flowed in a stream of consciousness style that even though it was reminiscent of Sunn O))) at times, was way more arrhythmic, pulsating, simple in nature and thereby more confrontational than his previous work.

It was the first time I have had the pleasure of experiencing a live show of Masami Akita aka Merzbow, the godfather of harsh noise that has more than forty prolific years under his belt. While I am fairly familiar with his oeuvre, in the third dimension it is a monstrously physical experience in the best way possible, reminiscent of what a Sunn O))) show feels like.

The beauty I find in Merzbow is that it despite the superficial harshness of his emissions, I find it extremely meditative, structured and moving in seismic proportions. A powerful and intense performance of white noise that left me feeling euphoric and shaken to my core at the same time. While some might find it to be random, chaotic and nonsensical, his performance felt razor sharply structured with rhythms and patterns and at the same time pulverizing everything in its way yet also strangely consoling.

The annual Open Frame Festival and its unique curation has yet to underwhelm and the 2019 incarnation pushed the envelop to the next level.

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Photos by T

Camp: Notes on Fashion

The Met

Love wearing a furious look and strutting around like the good ole drama queen (or king) you are?

Ah, the world of fashion and the profound influence everything camp and queer has had throughout the ages – not merely on garments themselves but also in a more general sense when it comes to the aesthetic of the zeitgeist as well as accompanying political implications.

This brightly and beautifully pink tome was created to accompany the Camp: Notes on Fashion exhibition at the MET in NYC and starts with the cradle and origin of what could be described as a movement, i.e. three centuries ago harking back to French playwright Molière’s play The Impostures of Scapin.

 The book follows its development from the outliers of society where it existed in secrecy to the artistic mainstream and the development of a veritable culture through resulting osmoses, where it yields its power in a dominant manner. The beauty of the book is that it effortlessly makes a case that no matter what your style is, chances are it has been informed by campness in one way or another – be it through Louis XIV. When he held court, Jean-Paul Gaultier, Vivienne Westwood or Lady Gaga and ABBA’s outfits.

In a subtle manner, Camp: Notes on Fashion, it explores, analyses and questions the notion of masculinity and how it goes with and at times against haute couture.

Needless to say that what is depicted is wildly curious at times, e.g. Oscar-Wilde-inspired wool ensemble along with some of Gaultier’s emissions down to what Andy Warhol fabricated within the confines of his factory.

It is good to see that there is no fixed definition of “campness” the book oscillates around, and it is treated as one fact of the ornamental, highly stylized and artificial phenomena of the fashion world.

The takeaway is elation, as in the liberating effect this extravagant and by now omnipresent once niche aesthetic has become and the empowering effects it provides in the most unapologetic manner, i.e. the importance to be free and stay clear of judgment.