Blog — Page 159 of 279

If you have paid a bit of attention to this series, you would be aware that peat and smoke is something that resonates immensely well with my DNA, hence covering and tackling the big eight of Islay’s Distilleries is big on the agenda.

Full disclosure: I have not had a single drop of Bowmore before and was looking forward to uncorking this beautiful 12-year-old sourced from Loch Indaal’s Bowmore Distillery.

First impression is that I have missed out on this complex drop that has benefitted greatly from exposure to ex-Bourbon and ex-Sherry casks, as it unfolds its breadth and circles around a centre of vanilla and orangey undertones, engulfed in bath of smoke and oily peat.

Despite the trademark Islay peaty punch, a subdued one at that, it allows for an array of subtle notes that include spices, cocoa, chocolate and a finish that is heavy on toffee.

Whereas other Islay Distilleries are mainly heavy on the smoke and peat, Bowmore is more sophisticated and enters through the backdoor as it has omnipresent sugary hints.

The surprising left turns it takes result in a well-calibrated flavour profile that with its silkiness and tactile mouthfeel will prove to be particularly appealing to the clientele that usually finds other Islay whiskies too harsh.

Do not get me wrong – this golden amber drop is a smoky one, but the smokiness gives way to floral notes and lets lemons and bergamot shine through in unison, which gives it special status among the emissions from Islay where phenolic components usually reign supreme.

This babyh here has sweetness sprinkled throughout coastal salty roughness and offers a consistent palate experience.

Accessible and affordable, Bowmore’s 12-year-old should not be missing from your liquor cabinet.

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Photo by T

Let’s enter the den of iniquity, shall we?

Based in Adelaide in the South of Australia, Iniquity is not merely one of the many distilleries that have recently mushroomed across terra australis – they started operations over a decade ago under a different guise and have consistently honed their craft before they re-emerged as part of Tin Shed Distillery and have ever since graced the whiskey scenery with their delicious high quality emissions that keep raising the bar.

Iniquity has become known for some excellent small batches that prove to be very hard to get a hold of as aficionados usually snap them up within hours of them being offered.

It took me a while to get a hold of Iniquity’s expressions, but it was well worth waiting despite expectations having risen along the way.

My first exposure was their most recent batch, i.e. Iniquity Batch 14 Single Malt Whisky.

Bottled at 46% ABV with no age statement and aged in American Oak, lots of wood hit the nostrils, embedded in a melange of toffee and sweet honey. The latter transitions onto the palate as the fruity nuances become more pronounced and culminate in a finish that is reminiscent of a rich dessert.

An interesting expression that builds up its complexity, which keeps things interesting – every time you think you got it, it takes a slight delicious left turn.

Next up was the Iniquity Single Malt Whisky Gold Batch No. 004.

Now, this babyh is award decorated and I quickly learned the reasons for it: Aged in American oak single port casks, this cask strength won me over with the overarching port and sherry flavours that are accentuated by honey, peanuts and sour notes.

Sounds intriguing? Well, it is.

There are nuts and wood flavours that tickle the palate and the finish is nothing but an elegant exercise in fruits and nuts.

Good ole Jim Murray was not too far off when he described the experience of Batch 04 as simply gorgeous.

A dangerously more-ish drop that made me an instant believer in Iniquity.

Next up was #12: Iniquity’s Batch # 12 was released in 2018, aged in port and sherry casks and is – compared to the aforementioned - less woody in character.

There are notes of burnt jam, and in many aspects, I find it reminiscent of Limeburners’ Port Cask expression yet with a bit more zest as the sweeter parts are more dominant without being overpowering.

A well-calibrated dram with loads of natural sweetness up front, without ever entering saccharine sweetness territory. The mouthfeel is quite grippy with its texture, which makes for a borderline tactile experience.

With its elongated, powerful finish and stewed fruit nuances, it leaves one lusting for more.

Needless to say, I cannot wait to explore Iniquity’s other and upcoming batches -  a journey in spirit indeed.

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Image provided

Frank Bowling: Mappa Mundi

Prestel Publishing

For the uninitiated, the book title is a telling one as it zeros in on Frank Bowling’s large-scale map paintings, which are more often than not of borderline monumental scale. Location and history have always been major sources of inspiration for Bowling, who channeled these via muted yet fiery nuances combined with oceanic tinges to transport the beholder into spheres where landscapes and space are redefined.

What I like most about Bowling’s oeuvre is that it evokes an almost physical power when he outlines the shapes of continents, as they seem to float on lava against backdrops of warm and radiant expanses and chromatic spaces.

Digging deeper, Bowling’s cinematic paintings deal with identify, ethnicity, the sense of belonging, Heimat(losigkeit) and ever changing territorial claims.

In a day and age where migration is more relevant a topic than ever, Bowling meaning infused abstract works create awareness for geopolitical transformations that are never not in flux.

Mappa Mundi is homage to a six-decade spanning career of a unique artist that questioned formalism, moved away from mere representation early on in his career and has developed a style of his own with explorations of colours, tactility and transparency that remain unrivalled.

The fact that Bowling’s art is framed by essays and curatorial notes as well as writings of the artists, helps to explore not only the artist but also map out his journey and his personal world.

Download Festival 2019

Parramatta Park

Sydney, Australia

March 9, 2019

There are some interesting parallels between the close to two-hundred-year-old festival site of Download Festival and the line-up this year as both hold significant cultural and historical significance. The location proved ideal as a backdrop for a festival that has become a worldwide quality benchmarked extravaganza when it comes to heavy and independent music.

It speaks volumes about the quality of a festival if the cancellation of the main headliner, i.e. Ozzy Osbourne due to health concerns, is handled in a manner that does not result in a myriad of complaint and the people at the helm of Download’s operations did a great job keeping everything transparent, offering refunds and compensation in terms of adding local stalwarts Airbourne and offering free merch for ticket holders.

The different stages were strategically well-placed, and I have yet to experience another festival on terra australis where acts seamlessly end and start their performances without any delays or major hiccups.

One of the of high calibre headliners this year was a band that is being heralded by many as the one of the originators of what became the Grunge Rock phenomenon. Having lost their frontman in the early noughties, tonight’s performance was testament to Alice in Chains having reclaimed their throne and not only their classic early tunes but especially their offerings from last year’s album ‘Rainier Fog’ were frenetically celebrated by the audience.

Despite a roster spiked with premium outfits of the realm of heavy music, it became apparent that the stop of Slayer as part of their last ever world tour was the highlight and drawcard for most attendants.

Needless to say that after an extended theatrical intro, Slayer entered the stage accompanied by an ecstatic crowd reaction that did not subside an iota throughout them meandering through their highlight laden set.

It has been more than twenty years since I last experienced Slayer in a live environment and while I lost interest in between, tonight’s performance was cementing their status in the pantheon of heavy music, with both Tom Araya and Kerry King on-point performing a career spanning tour de force in great shape with highlights aplenty and culminating and letting the “Angel of Death” descend and letting their riffage hammering down on the more than receptive faithfuls in front of them.

Apart from the heavy hitters, newer bands like Code Orange were given a forum earlier on and their at times caustic melange that tore through the audience not unlike a wrecking ball. From there the scene was set for Converge, who have in the last two and a half decades become the elder statemen of a cut of outfits that started as hardcore, incorporated mathcore influences and eventually created their idiosyncratic lane of brooding onslaught based on Kurt Ballou’s nimble riffing and Bannon’s vocal delivery that is more of an instrument and percussive sonic force to complement the music than what most other bands have materialized as vocal duties.

Ghost, set against their own cathedral stage set, rounded out the night in a monumental manner. It was amazing to see how the band has grown since I have last seen them and how effortlessly they hold huge crowds in their thrall with big gestures and a sumptuous set. With the spectacle that is Ghost in 2019, they are well on their way to become a major legacy band that will find themselves in headline spot in the not too distance future.

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photos by @k.a.vv

The Beasts

Metro Theatre

Sydney, Australia

March 8, 2019

It is not exactly the best kept secret that The Beasts of Bourbon are one of my favourite Australian bands. Given last year’s departure of their bassist Brian Hooper and Spencer P. Jones, two integral constituents of this fantastic band, one could not be blamed to think that after a last emotional concert with the original line-up, that this chapter was done and dusted.

However, as their new album title suggests, they are still here.

Reinforced by Kim Salmon, they have recorded an offering that is a veritable and raw tour de force with no frills, embodying the gritty DNA of the Beasts and the fact that the recordings seem to have been nailed down on the spot based on sketchy idea only contributes to its allure.

In a live environment, The Beasts are something else.

Tex Perkins has yet to deliver a disappointment in any of his many incarnations and tonight among Kim and Boris Sujdovic from the immensely influential The Scientist, Charlie Owen with his unique strumming style and Tony Pola of The Surrealists’ fame, The Beasts did what they have always done best: 

They effortlessly slay as their channel their alchemy via a never not eclectic melange of sleazy swamp blues pub rock, punk carried by their idiosyncratic menacing swagger, which in 2019 and given what the band has been through last year was infused with a good portion of both defiance and a sense of renewal.

With Kim Salmon from being back in the fold and his bludgeoning riffs, there was again the explosive dynamic that has always made The Beasts the cruelly sardonic, dangerous, self-effacing and compelling unicum and one of the best untamed rock’n roll bands on this earthround with tonight adding a deeper going new layer as they seemed be genuinely enjoying performing together and more centred in the moment.

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Photo provided