Blog — Page 173 of 279

Starward Distillery out of Melbourne:

If you remotely follow this series, our previous coverage of Starward, its excellent outlet and its liquid emissions would and should have left more than a mere blip on your whiskey radar.

Now, never a distillery to rest on their laurels, Starward Distillery have very recently taken a bold step forward with the ambitious Two-Fold release. A symphony that is bathed in double grain whisky, i.e. a melange of Wheat and Malted Barley, that is entirely matured in their signature Australian red wine barrels.

The result is a drop whose complexity encompasses the richness that only the marriage of two grain world could culminate in. Now, the X-factor is Melbourne’s overly reactive, “seasons in the size of days”-climate that is never not a contributing factor when it comes to expressions out of Victoria.

Taste-wise and from the feel I got from the first sip I taste, Two-Fold makes what is commonly referred to as an excellent breakfast whiskey – a foundation of vanilla extends to tropical fruits, apples and culminates in an oaky finished. The range of flavours of the accessible Two-Fold unfolds makes it a remarkably versatile drop, no matter if it is the basis of a cocktail or taken neat and the fact that it was sold out within days is testament that it is one that should be popular with both connoisseurs as well as the occasional whiskey drinker.

Not unlike all other expressions from Starward Distillery, exclusive use was made of Australian Apera wine barrels for maturation and emphasis was put on the whiskey’s interaction with the wood, which resonates through Two-Fold’s lighter character and its wheaty DNA.

An affordable alternative that would find its place easily amongst the likes of classics like Glenmorangie and Glenfiddich.

Given that there are plans for Starward Distillery to expand across the pond and excite the imagination of North American whiskey aficionados, not unlike the savoury complexity of the smooth Two-Fold is something to keep your eyes peeled for.

Read more Water of Life entries here.

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Photo by T

Haruki Murakami – Killing Commendatore

Penguin Classic

Murakami has been a constant source of joy for me over the last decade. His Kafka-esque, surreal, multi-dimensional story telling scattered with allusions and references is like a tonic for your brain as he invites you into a world beyond the mundane confines we must deal with every day.

Following Murakami’s labour of love, i.e. translate F. Scott Fitzgerald’s The Great Gatsby into Japanese, Killing Commendatore is more than a mere subtle homage to one of his favourite writers – it is a long declaration of love and adulation for Scott Fitzgerald’s oeuvre.

The novel casts its web wide when it comes to intertwined narrative threads and never grows tired when it comes to explore ideas revolving around everything from art, to the dystopian brave new world we find ourselves in to classics like Don Giovanni and Alice in Wonderland.

Following the lead of an unnamed narrator, we explore his claustrophobic tumbling down a myriad of rabbit holes pervaded by Murakami’s trademarked metaphysical plateaus that never grow tired to stage the next unexpected turn.

While for the faithful Murakami aficionado nothing ground-breaking new is proffered, his distinctive way of storytelling along with explorations of his pet peeves and riddled themes he feels passionate about is omnipresent throughout this literary emission.

If you like Haruki Murakami’s previous novels, you will not be disappointed as Killing Commandatore is an extension of what he has become loved and known for with the merging of logic and riddles that allow for the magic to become apparent in the realistic depiction of the mundane.

Bill Murray and Jan Vogler

Opera House

Sydney, Australia

November 9, 2018

Bill Murray.

Actor.

Entertainer.

Comedian.

I have yet to meet somebody who dislikes the man and it is certainly a hard feat giving the decades of laughter and bemusement his career has bestowed on us. His collaboration with classically trained cellist Jan Vogler, a luminary in his own right, is centred around a well-documented chance meeting at an airport which evolved to what found its incarnation tonight at Sydney’s Opera House.

Flanked by pianist Vanessa Perez and Jan Vogler’s partner Mira Wang, who complete the troika that Bill Murray finds himself in the midst of.

The evening is an interesting off kilter melange of highbrow classical music interludes, Murray reciting classics of the tenor of North American prose and expertly infusing poetry with his trademark DNA and him crooning, dancing, joking and everything in between, meandering territory from Mark Twain via Franz Schubert to Walt Whitman.

Now, the audience is dotted with aficionados wearing Team Zissou red hats to show their devoutness and it is palpable that a lot of Murray’s fans think that he is a genius and can do no wrong. I personally found Murray’s refreshing first address to the audience quite fitting: The performance is many things – funny, thought provoking, whimsical, tedious, drawn out, hilarious, enjoyable, deliberately foolish, heartfelt, silly, sad and self-indulgent.

The one constant is the superb performance of Jan Vogler and the female constituents of his chamber outfit, whose effortless deliveries are a delight to not only listen but also eye candy.

It certainly is an experience to see Murray perform in the third dimension and reassuring how this fine mimic achieves big results with the tiniest of gestures and the fact that he does not take himself too seriously while still showing respect for the works he is presenting and referencing, however, at times his emissions are a mixed bag. The good thing is that he is aware of it and does not try to camouflage the patchy pointless parts but is committed to the performance with conviction. A man that exists in multitudes.

The audience lapped it up and with most of them, Murray can do no wrong. Despite the adoration, the more than two-hour long performance was moving, powerful, surprisingly physical and unlike anything that you would expect based on the backgrounds of the individual protagonists, the poetry recited and or the music being performed.

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Photo: Bill Murray and Jan Vogler - New Worlds album cover

Aight, we are about to enter realm of Wild Turkey.

Now, what we got here is the lovechild of poteen aficionado, Oscar Award decorated and public face of Wild Turkey Matthew Mc Conaughey teaming up with the grand olde dame of distilling Eddie Russell, who channelled his alchemy to create this eight-year viciously golden expression that matured in newly charred oak for eight years before it was put through a refinement process and percolated through a process involving the duality of mesquite and tested and tried oak brunets. The result is an 86-proof flavourful melange that runs the gamut from peppery spices to vanilla via caramel to dark sweet fruits and nuances of citrus, before it leaves with a hint of a slightly smoky, oaky yet soft finish.

This small batch Bourbon was much anticipated as the big leadup after McConaughey’s appointment and his mug gracing advertisements, it was to be seen if there was more to the celebrity endorsement than what the wider spirits industry brought forward partnering up with big names to tout their often mediocre emissions.

Longbranch is more on the authentic end of the spectrum, with McConaughey having been actively involved in the process along from the inception to the bottling and what materialised with the tasting kit in front of me seems not contrary and well aligned to his persona, which lends credibility to a joint effort that went on for two full years.

The refined conglomerate derived from the constituents of corn, rye and malted barley unfolds a smooth warmth and incorporates a discernible South Western character to what I am used to when it comes to expressions from Kentucky.

Longbranch did certainly not set out to compete with Wild Turkey’s complex high rye flagship releases or to rock the socks off 101 die-hards and if you manage your expectations in that regard, it proves to be an easily sip-able and solid introduction to the world of Bourbon, which makes the involvement of a renowned actor a smart move to appeal to the broader masses.

A non-gimmicky, lower-proof, well-balanced, approachable Wild Turkey expression that with its affordable price point will certainly become a favourite for those on the quest for gateways to the kingdom of Bourbons.

Read more Water of Life entries here.

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Photos by T

Mark Rothko: From the Inside Out

Yale University Press

Mark Rothko.

Chances are that if you have a remote interest in art related matters and visited modern galleries within the last two decades, you would have had the mesmerizing experience that only unfolds its full grandeur in the third dimension, i.e. a Rothko painting.

Mark Rothko: From the Inside Out is Christopher Rothko, i.e. his son’s approach to his oeuvre, which is not further wondrous given that he gave up his academic pursuits to curate his father’s legacy.

The book is a collection of critical essays circled around Rothko’s paintings and its undoubtedly immense impact on the recipients.

What is interesting is that Christopher Rothko manages to debunk many of the myths that surround his old man, who committed suicide in 1970, and illustrated that at the core Rothko’s approach to painting was one of hope and at times aesthetically fragile instead of overly trying to be aggressive.

The personal approach of Christopher Rothko when he details his old man’s techniques and sheds light on inspirations and passions in a straight forward matter-of-factly manner substantiated by in-depth stories that other books on Rothko are devoid of.

I found the chapters detailing Rothko’s infatuation with music and abstract expressionism particularly enlightening as well as the fact that Rothko wrote extensively throughout the 1930s and 40s.

The book is a fluid, intriguing reference piece and effortlessly points out where interpretations of the art world get it wrong.