Star Wars: The Empire Strikes Back - In concert with the SSO

ICC Theatre

Sydney, Australia

July 27, 2018

Given the immense attention to detail and curation of the Star Wars soundtracks, presenting screenings of the classic incarnations along with the power, nuances and intensity that only a symphony orchestra in a live environment can convey, it was not further wondrous that Sydney’s ICC Theatre was nearly sold out for the Sydney Symphony Orchestra, under the direction of conductor extraordinaire Hamish McKeish, delivered a live score to The Empire Strikes Back.

Attracting a diverse crowds comprised of all walks of life, ages and of course a substantial base of die-hard dressed up Star Wars aficionados, the event was infused with a very special and thrilling atmosphere and sense of anticipation – part of what you would usually get at a philharmonic concert, part pop event, part huge scale movie screening.

The foyer catered to fan moments, with ample opportunities to pose with and get a photo taken with an illustrate cast of Star Wars characters – witnessing an army of Stormtroopers parade by or bumping into Chewbacca and Darth Vader has yet to lose its allure.

The common denominator of the evening was the appreciation for the legendary music created by John Williams.

Star Wars – The Empire Strikes Back was the first movie I ever saw at the cinema and it has had a massive impact on me as a pre-teenager.  While I certainly remembered the most iconic aspects of the movies along with the classic lines of dialogue, in this new context it felt like I experienced the story and performances in an enhanced manner for the first time.

It is quite astonishing how well the movie worked in tandem with the Sydney Symphony Orchestra channelling their alchemy – with the dialogue in sub-titles for those instances in which the overwhelming sound of the orchestra drowned out some of the soundtrack, one never missed a beat.

What made the evening for me was the fact that the event enables audiences to hear these scores in a new way – a way that usually can go unnoticed in the cinema, specifically when it comes to the brass section amplifying the battle sequences and the overall storytelling aspect of the movie.

An evening that was testament not only to the timeless visionary oeuvre of George Lucas, his characters and the Oscar-winning score by John Williams, but also the abilities of conductor Hamish McKeish, a self-professed Star Wars fan, who was able to hit the sweet spot when it comes to paying homage but still transport a legacy into the current time and frame it into a context that makes for an engaging event for all ages.

Word around the campfire is that the next instalment of the Sydney Symphony Orchestra delivering a live score for a Star Wars episode is planned for early 2019 – given the interest, securing tickets early on is advisable.

Men's Society

Guide to Social Protocol, Necessary Skills, Superior Style, and Everything Else That Will Set You Apart From The Pack

Murdoch Books

Men’s Society, founded by Hugo and Bella Middleton in 2012 in London, is an accolade-decorated product design brand from the United Kingdom whose focus it is to provide the male gender with geschmaecklerische, at time quirky and finely handmade accessories and grooming products, with their credo being that aestheticism is equally as important as longevity.

Their Guide to Social Protocol is an advisory book shedding light on what some perceive as common sense and most seem to lack these days, i.e. etiquette, manners style and skills to navigate one’s way through this modern world’s era vulgaris.

Recommendations and advice is presented in an approachable, tongue-in-cheek manner that is refreshingly devoid of preachy schoolmaster’s demeanour. The book also does not lack real-world application and is not merely a “how-to” guide to defray one’s existence as a stylized James Bond clone.

The book sheds light on all sorts of grooming, basic knowledge on tipples, manners, courtesy, recommendations on essential books, films and music and other basic skills a man should be able to master.

The fact that it is less a glorification of testosterone and machismo and more a kick in the butt to step one’s game up, makes it a book I can see a lot of ladies subtly gifting their other halves.

Sonos House

40 Queen St

Sydney, Australia

July 10-21, 2018

Music.

Sounds.

Sonic pleasures.

High-fidelity.

How do you listen to music?

Why would you want to invest in gear to enjoy music at a different plain?

The people behind Sonos beseelt with the tenet to take a different approach to activism and sonic culture, filled a landmark Sydney home with a two-week program of cool tunes, compelling conversation, exhibitions, product experiences and storytelling with change-makers from the worlds of music and culture for audiences to turn off, tune in, and, well, listen better.

Saying that the range of offerings was diverse would be an understatement par excellence: The range of offerings was as eclectic as it was diverse, to say the very least, running the gamut from industry veterans, artists and influencers sharing their insights to spirited discussions about music-centric issues along with immersive workshops and listening experiences that were enhanced by Sonos devices, the quality of which did not need to be advertised or talked up as their emissions spoke for them.

A beautiful former Masonic Lodge, tobacco factory and grand private residence was morphed via employing the services of House of Orange and HK Living into the home of everything Sonos.

A home that doubled as a work base and co-work space during the day where you’d have coffee in the salon or alternatively congregate in the great hall with beautiful images of emerging female talent, each of with accompanied with an elaboration about the artist’s “Battlehymn”, i.e. a meaningful piece of music (the collection of which comprise a curated playlist downloadable via Spotify), and served as the backdrop for play, after work drinks, performances and Q & A sessions once the sun settled.

It was refreshing to see that Sonos’ new grants program is aimed at supporting activist organisations fighting censorship and inequality, promoting music education and driving community engagement in the fields of Science, Technology, Engineering, Arts and Mathematics (STEAM) in a bid to inspire the next generation of artists, scientists and engineers.

Apart from serious discussions, the occasion of Sonos House was also used as a platform for the launch of their sound platform Sonos Beam.

There is no shortage of brands trying their hand in creating pop-up experiences, most of which feel like a glorified advertisement come to live.

What Sonos managed through careful curation and full understanding of their role as both an amplifier and enhancer – both literally and figuratively – was to create a third place that proved to be fertile ground for ideas,, inspiration and immersion and a forum for listening better – not merely to music but to the issues surrounding it in a holistic manner.

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Photos by @k.a. vv

ADWA tasting event

The Oak Barrel

Sydney, Australia

July 13, 2018

Glass ceilings.

Those unseen, yet unbreakable barrier that keep minorities and women from rising to the upper echelons of the realm of their professions and crafts, regardless of their expertise and qualifications.

A phenomenon that not surprisingly, does not seem to refrain from pervading the male dominated domain of distilling.

What to do?

Commiserate, learning where your place is and play along?

Not an option for the women behind the ADWA: To promote awareness of the industry to women looking to enter into the distilling community, women within these activities to those outside the distilling industry and the standards of best practice for the industry as a whole, ADWA (“Australian Women in Distilling Association”, do not confuse it with Charles Manson’s uncompromising ecological mandate propounded by Charles Mans, i.e. “ATWA”) has been founded.

The main tenet of the association is to put focus on the encouragement of women who seek to enter the industry by providing access to networking opportunities through curated events, the growth of knowledge through forums and presentations as well as access to the wealth of expertise its members have to offer.

Last Friday one the events was held at Sydney’s fiercely independent, geschmaecklerische bottle shop The Oak Barrel.

The event was open to lovers of all things spirits, specifically women in the distilling industry and those wanting to get into the industry to offer chance to chat about all things distillery related, sample the latest emissions from the organisers distils and get to know the stories of the women behind them.

Hosted by Kristy Booth Lark from Killara Distillery, who along with her mother, the first lady of Australian Distilling, Lyn Lark shed light on their times building the whisky empire that not only had an immensely positive effect on the Tasmanian distilling scene but became one of the most esteemed whisky houses on international terrain, the event’s presenters included Lorelle Watson from Bellarine Distillery, Genise Hollingworth from Black Gate Distillery and the American Samantha Stephani from Archie Rose.

Proceedings started off with Kristy Booth detailing her journey from being the head distiller of her father’s Lark Distillery before moving from underneath her heritage’s immense shadow taking a leap of faith to start anew and create her own Killara Distillery in Goodwood, Tasmania with a 600-litre copper pot still in 2015.

We have had the pleasure of sampling Killara’s Apothecary Gin before: An excellent spirit based on a foundation of ten different botanicals, housed in a stylish bottle that pays homage to Kristy’s faible for antiques and nostalgia.

Her cane-sugar based vodka proved to be dangerously drinkable. Vodka might not be known for its sip-able qualities, but I can see myself enjoying this by itself without the need for adding further mixers.

What got me mildly excited is the prospect of Killara's first single malt whisky being released in September, albeit in a super limited edition of a mere  bottles made with glass hand-blown in Launceston.  As a teasing taster, Kristy offered an idea of what direction her whisky that has so far been aged for 8 months is taking.  It still has another sixteen months to mature, but it promises to be a big one.

Archie Rose based in Rosebery, NSW was established in 2014 and has since become a veritable force in the distillery scene – both in Australia and internationally. You would be hard pressed to not find the distillery's gins, vodkas, rums and white whiskies on bar menus around Sydney and the reason for it is plain to see: Their trademark Distiller’s Strength Gin, which was proffered tonight, is informed by the flavours of sixteen individually distilled botanicals including fresh pears out of Orange and honey from the distillery's rooftop beehives and, what can I say, is a sheer delight. Representative Samantha Stephani elaborated on her travails from being a college student in the US to scoring a job with the upcoming house of Archie Rose and being catapulted to the forefront of the distilling scene with a distillery whose operations are constantly expanding.

Archie Rose is known for its willingness to experiment and collaborate – merely thinking of Archie Rose’s collaboration with Kaiju! evokes a Pavlovian reaction with your humble narrator – and I hope that we will be able to sample their first rye malt whisky in mid-2019, with a single malt to follow soon afterwards.

Bellarine Distillery was established in 2015 after a trip to Scotland and the founders being inspired by the romance of the Highlands, as the first Distillery on the Bellarine Peninsula and the first in the greater Geelong region.

Tonight’s offering and the discovery of the evening was Teddy and the Fox Gin: Describing it as an aromatic blend of six  botanicals, juniper, coriander, orange, lemon myrtle, orris root and star anise does not do it justice as the end result with its dominant citrus character is much bigger than the sum of its components. One of the most sip-able, aromatic gins I have had the pleasure to taste in a long time. Given their gin, I cannot wait to taste their upcoming whisky expressions, which most definitely will warrant a separate feature.

Black Gate Distillery is a small, husband and wife operation established in 2009 in the Central West of New South Wales. While they produce Single Malt Whisky and Dark Rum, unfortunate tonight only the Rum was on offer.

Genise Hollingworth shared how the big and bold rum with toffee and caramel flavours, made from fermented refinery molasses and double distilled in a traditional all copper, direct fired pot still came to fruition. A formidable tipple, that convinces with its natural flavours as it is devoid of sugars or flavours.

Again, it pained to become cogniscent of the fact that Black Gate Distillery not only does rum, but apparently Single Malt Whisky that was matured in rum casks without being able to taste it. If Black Gate’s rum is anything to go by, it will be a winner for sure.

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Photos by @k.a.vv

Water of Life

Sullivans Cove

If you are remotely anything whisky related, the name Sullivans Cove alone will probably give you goose bumps make your hair raise in the best way possible with the World Whisky Awards having awarded the distillery an array of well-deserved accolades

Sullivans Cove's French Oak variety has been repeatedly named the world's best single malt and thereby not only lifted the profile of Tasmanian whiskies and its perception on this earthround but catapulted it into the stratosphere – a feat that has been achieved by the relatively small team manning the operation behind it.

Located a stone’s throw from Hobart’s airport at Cambridge, Sullivans Cove first incarnated three years after Lark Distillery in 1995 – peep our feature on Lark Distillery in a previous instalment of “Water of Life”.

Not unlike Lark Distillery, Sullivans Cove entertains a close relationship with Hobart’s Cascade Brewery, which produces Sullivan’s Cove’s wash. An ingredient that along with exclusively using Tasmanian barley cements Sullivans Cove being proudly ingrained into the local DNA.

Sullivans Cove’s emission of its locally built copper double-distil – she goes by the name of Myrtle -  eventually find their way into different cask variants, with Bourbon and French oak cask being among the more popular ones after they undergo minimum aging process of eleven years enhanced by Tasmania’s dynamic climate:

A trademark of Sullivans Cove, apart from using Tasmania’s pure waters from the surrounding rainforests, is their short distilling cycle, which allows for purer flavours at the sweeter end of the spectrum to be captured and results in a relatively high proof of 146.

Sullivans Cove whiskies have character.

Character that if you forced me to find a common denominators, I’d be happy to define it as one of rustic complexity. The je ne sais quoi factor that enters the equation with Sullivans Cove is that they have never limit themselves to merely superficial age statements: They only release whiskies when they feel that they are ready. For the more inquisitive whisky aficionado information about the alchemy that was channelled in the making of each bottle can be found on a small side tag – information that is further elaborated on with more meticulous info on their website. A testament to their curated, carefully considered production process with each bottle leaving the distillery becoming a unique release.

If you like whisky and have not at least heard of Sullivans Cove’s French Oak Single Malt, you must be in the wrong game: A rich, darkly intense, extraordinary nutty, citrusy whisky that culminates in a finish reminiscent of an amalgamation of cereal oats and grains bedded on a foundation of vanilla. Aged in 300 litre ex-tawny barrels, this one is the cherry on top of each annual Winter Feast visit, the decadent banquet which forms the backbone of the Dark Mofo Winter Festivals, where Sullivans Cove holds court on a regular basis.

While it proves hard to find something faulty with the French Oak Single Cask, even though I am usually more into peated varieties, I have to admit that I prefer the American Oak and concur with Bill Murray, author of the renowned reference Whisky Bible, when he referred to it as “liquid gold”, a label that is mirrored by its matching golden appearance.

Bottled not unlike all of Sullivans Cover’s drops in single barrel releases, its malted barley is aged entirely in used American oak cooperage and the bouquet it offers is something else: A universe in itself – tropical, yet earthy and an array of nuances that form a unique symbiosis: The palate experiences an extension of Sullivans Cove classic and fresh French Oak Single Malt, taking fruity, sweet and juicy flavours a step up with a dominant nuance of honey based on a foundation of malt.

A thing of beauty that is well-balanced and complex to the extent that each sips offers new revelations yet still robust and distinctive.

So far, so good, yet it was not until the (I shall remember the date) at Sullivans Cove’s pop-up incarnation at one of Hobart’s best cocktail lounges, i.e. the gourmet bistro and European inspired Ettie Bar, where Whisky luminary extraordinaire Fred Siggins and his partner-in-crime Daniel Gregory, the Australian bar keeper of the year 2017 who is a delight to watch in action, not only proffered specifically designed concoctions with their own twist, but also had Sullivans Cove’s Special Single Casks in the line-up.

Their Special Single Cask undergo a stringent quality assurance process and only a consensus of their internal tasting panel decides if one will see the light of day outside the confines of the distillery.

Whisky porn par excellence with the side-effect that every time I see a green label on a bottle in a bar, it evokes a Pavlovian reactions and the urge to zoom in to see if one of the few hundred bottles has made it outside Tasmania. If you come across one, treat yourself to this experience (and let me know where to find it).

Oh, Freude schöner Götterfunken – what delight with a finish that leaves you lusting for another sip! Not usually the biggest advocate of exclamation marks in texts, but this one is heartfelt and warranted.

Needless to say that due to the very limited quantities, Sullivans Cove does not come cheap and whatever is adorned by their label and sign of approval is usually instantly bought up by connoisseurs and aficionados around the world, which warrants a visit to Hobart either to their distillery or  whenever Sullivans Cove holds court, be it as part of Dark Mofo’s Winter Feast, where they occupy a designed booth manned by their knowledgeable and charming team and offer an annual limited edition Dark Mofo exclusive Winterfeast bottling, which at times explores some more experimental territory.

Word around the campfire has that Sullivans Cove is launching a Pilot Cask programme for experimental distillery only bottling, for which we have already planned a visit for a future instalment of our “Water of Life” series, which will elaborate on why Sullivans Cove has become known for one of the best whiskies in the world: The fact that all their accolades and successes keep them doing things the slow and hand-made way underpinned by their credo that to create what you would want to drink yourself.

Read more Water of Life entries here.

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Photos by @k.a.vv