Blog — Page 204 of 281

Anthrax

Skyway Theatre

Minneapolis, MN

February 24, 2018

I have a pinched nerve in my neck. Self-diagnosed, but diagnosed nonetheless. It’s from shoveling snow. We’ve had so much snow this year. It doesn’t just snow a little at a time either. Every time it's snowed it’s been some sort of snowmadeggon extinction level event. It’s snowed so much this year that my sidewalk looks like Planet Hoth. And I don’t have a snow blower because I’m not 50 years old. Using a snow blower if you’re under 50 years old is some real bourgeoisie shit. In fact, living somewhere where it doesn’t get cold or snow is some real bourgeoisie shit. But I’m not going to get into all that right now. Just know that if you live somewhere were it doesn't snow or get cold I'm judging you. And if you do live somewhere where it snows and use a snowblower and you're under 50 years old, I'm also judging you.

So I’ve got this pinched nerve in my neck that makes it so I can’t turn my head to the side or look up and down, and here comes another giant snow fall. And wouldn’t you know it, this particular snowpacolypse happens to also be the night Anthrax comes to town. There’s a travel advisory too.

So naturally I’m going to go. But first I must procrastinate and pretend that I’m not. Unlike the pinched nerve in my neck, which, fingers crossed, is only temporary, procrastination is an ailment I’ve suffered from my entire life.

According to the press email Anthrax is scheduled at 8:30 pm; after Havok and before something called Killswitch Engage. So I spend an inordinate amount of time hem and hawing about whether or not I should go even though I’m definitely going to end up going. I secretly hope it gets cancelled. I go so far as to text the on-site contact to ask if it’s been cancelled yet. I get no answer. I continue hem and hawing right up until the time Havok is supposed to be go on, which is just enough time for me and the pinched nerve in my neck to shovel again, jump in my wife’s car, drive downtown in a travel advisory, park in my secret spot, trudge five blocks to the Skyway Theatre, and walk in minutes before Anthrax take the stage.

And that’s exactly what I do.

I find a comfortable spot stage left against a wall, and survey the scene. The place is packed; near if not at capacity. Mostly middle-aged folks with greying hair. There’s a punk dude with liberty spikes but he’s confusingly wearing a Staind T-shirt. A few younger kids are dressed like what you would dress like if you looked up “thrash metal” in Google Images. (I don’t have to describe this do I?) Everyone reeks of cigarettes and body odor. Most are drinking. I have forgotten my ear plugs, so I fashion some from a napkin I’ve had in my pocket from six months ago when I bought my co-worker a cup of Tim Horton's.

Anthrax run on stage, go into “Among the Living”, and the place erupts. A wave of relief washes over me as I realize risking it to get here was the right decision. Fists and devil horns shoot into the air. After everyone is good and warmed up and the requisite “Hey Minneapolis, how the fuck are ya’s?!” are out of the way they head into “Caught in a Mosh.” Everyone goes B to the nanas and I go, “Ouch!” I am immediately reminded of the pinched nerve in my neck. There will be no head banging for me tonight. Hell, there will be nary a head nod. I’m not so much a participant tonight as I am an observer.

The Skyway has really nice sightlines, as nearly the entire place is sloped. This makes it easy to see the whole stage from any vantage point without much obstruction. So when bassist Frank Bello goes running up the stairs on the riser to swing his hair wildly next to touring drummer Jon Dette, while Joey Belladonna stands below, flanked by axemen Scott Ian and Jonathan Donais you get that picture perfect heavy metal concert moment. You know, the kind of image that would adorn the inside of a double gatefold back in like, ’87. The light show is fairly streamlined but cool; alternating between white strobes and a Hulkamania-like red and yellow hue that shoots green lasers into the crowd. The sound is great too.

Belladonna asks, “What’s up freaks? Andybody got the fucking time?!” And then they play, you guessed it, “Got the Time.” The guys take full advantage of the large stage, running and leaping across it like toddlers that ate too many cookies at the daycare birthday party when rad dad wasn't looking. At what, 35 years or so, it’s amazing how much energy Anthrax puts into their live performance. Bello, Belladonna, and Ian move about like it spry teenagers still living out their wildest, thrashiest, heavy metalist fantasies. And the audience gives it right back. There’s a very large man next to the side bar that is battering about so carelessly that he’s moving the entire bar structure. It’s entertaining but the wait staff seem scared.

Two from the latest record, For All Kings (“Fight ‘Em ‘Til You Can’t” and “Breathing Lighting”) are bookended by two from Spreading the Disease (“Madhouse” and “Medusa”). It’s no secret Belladonna is a huge Vikings fan. He attempts to get a Skol chant going but to no avail. Giving in, he shrugs his shoulders and says, “Next year?” Then he dons a Vikings cap that someone tosses on stage and they tear into “I Am the Law.”

It’s weird, for a band that was once considered the knuckleheads of The Big Four, only Anthrax has truly outlasted, and remained entrenched in their thrash roots. Sure the other three still exist as well, but in no way whatsoever do they resemble the versions that rose to prominence. Meanwhile Anthrax put out arguably their best materiel three decades into their existence (see Worship Music) and maintain a rigorous tour schedule. This is the fourth time I've seen them since Belladonna reentered the fold, and it's just as forceful and entertaining as the previous three. While there are a few mainstays in the setlist, they switch it up every time they come around.

The show is rounded out by “Be All, End All”, my personal favorite “Antisocial”, and the closer “Indians.” The “war dance” part “Indians” leaves the mosh pit depleted of energy, dryness, and clothing. The band comes to the front of the stage and takes a bow the way metal bands do. And I head for the door with a gigantic smile on my face the way guys who have a pinched nerve in their neck who have to drive home in their wife’s car during a travel advisory only to shovel some more snow but who have just seen Anthrax so they don’t really care do.

Setlist:

Among the Living

Caught in a Mosh

Got the Time

Madhouse

Fight 'Em 'Til You Can't

Breathing Lightning

Medusa

I Am the Law

Be All, End All

Antisocial

Indians

Nathan G. O'Brien lives in Minneapolis. He publishes Soda Killers Magazine, and hosts HotDogDayz Radio. He goes the chiropractor next week to get his neck checked out. Follow him on Twitter at @OMG_NOB.

Futurism: An Anthology

Yale University Press

Now, this one is a no-brainer. As in, for anyone remotely into what happened in the twentieth century in the realms of design, architecture, social movements and freethinking, this tome is a must-have.

The facts:

1909.

Italy.

Industrialization.

Speed.

Youth.

Technological advancement.

Throw all of that into a blender, pepper it with any medium of artistic merit – be it paintings, sculpturing, designing, film, fashion, literature, music, et cetera and you got yourself the quintessence of what is considered “futurism”.

The probably most prominent and well-known emission from said period is Filippo Tommaso Marinettti’s Futurist Manifesto, which did not lack impact.

In essence it was a declaration of war with everything traditional and advocacy of everything new and original – at any cost, ridding the world of anything that would hold up progress. Needless to say that such an ambitious and remorseless approach resonated with representatives of all facets, including Italian fascists.

Originally published to honour the hundredth anniversary of the movement, this is the ultimate comprehensive anthology of all relevant texts – be it manifestos, poems, instructions, etc. – pertaining to the genesis of the futurist avant-garde movement.

What makes it specifically appealing is the accompanying visual component illustrating sketches and the myriad of voices that enable a holistic approach for the reader to form his own opinion and interpretation.

A one-stop book that works on many levels and that can be used for many purposes – research, referencing, inspiration or sheer enjoyment.

Fragrance.

Punk rock and fragrance, huh?

An oxymoron?

What would a punk rock perfume smell like? Super glue, urinal stones, stale beer, dogs and a hint of patchouli? A fragrant equivalent to Zoolander’s fashion line “Derelicte” sold at Hot Topic?

Too clichéd?

Growing up there was a time when fragrance was frowned upon, teenage year where future aspirations culminated on securing a spot in a squat, protest, being obnoxious, pilsner and overall Staatsverdrossenheit.

Now, that did only last as long as the female species became more relevant and the science of pheromones became more interesting than convening with your pack of peace punks.

Fragrance and the sense of smell have an effect that cannot be overrated, no matter what your preferences may be.

Scent is omnipresent – it affects moods, brings back memories, affects the limbic system significantly, trigger emotions, sets the scene and can enhance your personality.

Fragrances and the interaction between your olfactory senses and hippocampus can also just be plainly enjoyable, i.e. conjuring a person due to a smell – it is not for nothing that the loss of smell, i.e. Anosmia, is often linked to depression and, reversely, downcast peeps often lack a lack of smell sensation.

So what’s your smell?

How are you tackling the notes pyramid?

Are you into top notes or base notes?

Gourmands?

How about ones that you love the top notes about but despite how it mixes with the base notes?

Do you make sure that your fragrance is wearable throughout the day and that the notes dance well with one another?

Do you pay attention to the ingredients in a day and age where most fragrances are pumped full of aroma enhancing synthetic chemicals and big fake fruity notes?

Do you assess the “drydown” of the scent once the top notes have lost their allure?

Do you pay attention to silage, longevity, depth, projection and uniqueness?

I am sure you do, even if you are not consciously aware of it.

Not unlike wine, a good fragrance can actually be something quite simple and basic.

Expensive does not necessarily equal quality.

The difference to wine lies in the fact that with wines price is usually proportional to how it is made while with perfumes it comes more down to the ingredients.

Or it can be intricate and complex and unfold its true character by playing the claviature of notes – a smellable symphony of sorts.

Does the intro entice you to listen to the whole thing?

Does it move you emotionally?

Does contact with your skin enhance it?

Let’s not forget that in essence, dealing with scents is a chemistry experiment, which is why you should avoid the cardboard strips in department stores and rather use the main component of the operation, i.e. your skin, as a determiner.

Is it linear, i.e. does it retain its character?

Does it develop over time from the top notes (citrus fruits and aromatics) at first contact via the mid-notes (floral, green, fruity, spices) after a few hours to the base notes (wooded and balsamic), which is what is left at the end of the day, or merely defined by its volatile top notes with hardly anything left behind once they have dissipated?

Is it monotonous?

Packaging can and more often than not plays a role.

Aesthetics count more in the realm of fragrances than they do in other areas.

As do ingredients, however, the mere fact that they were sourced by having had to conjure some sort of alchemy in an arcane manner is in itself not a selling point.

However, the focus should always be on the content.

The “je ne sais quoi” factor is also important. As in, “Yes, I like it and can tell how it is composed yet there is something that makes its character that I cannot really pin down.”

Some scents might be your go-to because they subliminally evoke memories and associations.

Summa summarum:

When it comes to olfactory preferences, we enter a complex area.

Fragrances and scents are invisible yet with smell being ones of the most prominent senses directly connected to limbic system, an important part of you that does not lack effect – to others and yourself.

Fragrances usually come in the following categories; Eau Fraiche (the most diluted version), Eau de Cologne (with a bit higher concentration, still light), Eau de Toilette (usually a spray with the concentration upped again and with pure essentials dissolved in alcohol), Eau de Perfume (usually unisex to describe variations and concentrated in a manner that usually lasts five to eight hours) and finally what is in Latin referred to as “per furnum” (“through smoke”) – with pure perfume essence as a basis and slightly oilier in nature.

Designer fragrances are plentiful and usually produced for a mass market, which results in cheaper ingredients being used to ensure consistency for volume production.

The more niche ones tend to accept the risk that it might not be for everyone yet confidently follow their direction and trust in being discovered by the aficionado.

Ultimately it is up to you and your preferences as it is a unique experience, which is why many of the scents you have accumulated as gifts are rarely if ever used.

Not entirely sure if you are familiar with Rei Kawakubo and her often revolutionary designs and fashion, but if you are, chances are that you would be equally intrigued about her explorations in the world of fragrance.

Enter Comme des Garçons parfums.

If you are familiar with Rei Kawakubo’s oeuvre, which is mainly channeled through the world of wearable fashion, you would know that her style is elegant, subversive and deliberately avant-garde and more often than not provocative, which is an approach that is not neglected when it comes to their scents.

Remember when I talked about the three-phases perfumes usually go through?

Well, Comme des Garçons defies that classical mold and aims at reshuffling preconceived notions and stereotypes and add their own melody to the symphony.

All of their fragrances are marketed as unisex and personally, I like that they have a feel to it that is reminiscent of the 1980s, my favourite decade, with something that reminds me of a highly integrated mélange of medical potions mixed with spices. Exotic yet utterly familiar. Futuristic yet altbacken and postmodern. Deep, complex, abstract and dense. Interesting at the very least.

The following are some of my favourites from the Comme des Garçons range:

Black.

This is a bold and sophisticated one with the main accords that coming to mind being smoke, woods, leather, liquorish and a hue of burnt spices, predominantly black pepper, which make it a sensual scent that amplifies the darker neither regions of your personality.

Not unbefitting of its name.

I prefer to wear it in cooler climate and like its longevity and three dimensionality, which it unfolds after the drydown and maintains its sillage punch.

I can see how Black would be perceived to be “challenging “ to some people, not in an offensive way, but then again this one is not made to please the mainstream, as in white collar club goer. I find it utterly wearable.

Comme des Garçons Dot.

Now, the flacon of this beauty is something you are very likely to keep in your collection even after its contents are long gone.

The character is that of an oriental floral fragrance, with an emphasis on fruity, citrus notes and floral hues – kind of the counterpart to Black.

Pleasantly light and fresh, and if you are usually into more mainstream scents and not adverse to floral notes, this would make a good introduction into the olfactory emissions of Comme des Garçons

as it is less of a quirky trailblazer and more palatable.

Comme des Garçons Concrete.

Comme des Garçons’ most recent creation comes in an extraordinaire concrete bottle, which is an appropriate introduction as it is a smell that hits your first after application. What follows it a myriad of interdependent hues ranging from warm spices via sandalwood to balsamic and woody notes.

Concrete is based on an interesting concept and certainly hits the mark with its edgy and industrial presentation and play with expectations.

A solid and fascinating fragrance that can be comfortably worn yet is more on the experimental side of things.

Comme des Garçons 2 is one of their flagship scents: An aromatic mélange of fizzy light and shadows with metallic aldehydes, spices, hints of ink, wood and amber all playing different roles and feeding off each other.

Good longevity that is needs to have top unfold its theatrical, sensual non-linear notes, not unlike a sunrise through misty woods.

I find 2 to be utterly original, charismatic and hard to classify as it well blended and has a lot going on – it is not for nothing more of the more known fragrances from Comme des Garçons.

Interested in what terra australis has to offer in terms of libations and tipples?

Look no further.

The first instalment of this series shall shed light on Starward.

Have you ever longed for a place where you can partake in something of unique taste that resonates with our inner E-chord whilst allowing you to connect with like-minded individuals within the confines of a comfortable, low-lit surrounding reminiscent of a speakeasy during the prohibition era?

Sydney Shirt Bar’s Scotch Club could be exactly that place.

Once a month they host private tasting sessions where an expert or a team of them will guide the selected audience through the different spirits on offer.

Usually on a Tuesday night in the middle of the month and almost always a sell-out, interesting conversations usually evolve organically and are a welcome bonus

The Scotch Club we attended introduced us to a drop from Melbourne, Victoria: Starward.

Melbourne, unlike it’s sister Tasmania down south, is not exactly known to be an epicenter of whisky making tradition, yet if you are remotely into whiskys you could not help but notice that Starward building on the heritage of whisky making, has infused it with what Australia has to offer and created a mélange that has been decorated with accolades for being a craft distiller ever since its first inception for its fine wine cask matured single malt. It has firmly placed the flag of Melbourne, Victoria on the map of whisky lovers and I have yet to meet one that was not swayed by their emissions once they have had a chance to try it.

Blame it in parts to Melbourne's notoriously ever-changeable weather conditions, i.e. seasons in the size of days, which assist in the creation of a richer, mellower whisky in a shorter time frame because of the way the barrels are made to allow for the subtle flavours to evolve.

The discrepancy in Victoria’s temperature result in the whiskys expanding and contracting within the red wine barrels at an accelerated rate, which culminates in alcohol evaporating quicker and flavours being extracted in a faster manner.

Long story short, Australian mainland whiskys like Starward need therefore less time to mature and manage to reach their prime within two and a half years instead of four, which is the going rate of more temperate, stable surroundings, and gives Starward an edge when it comes to scale quickly.

David Vitale, Starward’s founder, started off the proceedings of the evening with an introduction shedding light on how in 2007 he was inspired to create a spirit that reflects his hometown, which is surrounded by some of down under’s most prominent wine regions and has become known as the micro brewing capital of the Southern hemisphere.

Relying on ingredients chosen from local suppliers, e.g. locally grown brewer’s barley, which is married with yeast to conjure the signature flavour of Starward – one that would not be ill described with “luscious”.

Following the fermentation / brewing process and a distillation process involving copper pot stills, the emission, reminiscent of a barley schnapps, gets its rich ruby red colour and additional flavor notes from Starward’s red wine barrels – using these is the equivalent of Starward’s “secret sauce”:

Having established close collaborations with local winemakers, Starward fills the barrels while there are still saturated with remainders of vino for the entire period of maturation without charring them again, which is usually done in Europe.

It is not further wondrous that as a result, you do not need to be a truffle pig to detect vibrant nuances of voluminous Shiraz and Cabernet reds, as well as more subtle notes of Pinot and Rosé.

Sounds delicious? Your palate will thank you.

Your humble narrator’s favourite Starward emission is the beautiful Solera, which is solely matured in Australian fortified wine barrels, which are hand selected specifically for aging this special drop.

The barrels have formerly contained Apera, which is an Australian take on Spanish sherry. The barrels are approximately forty to fifty years of age and have diverse and complex flavours of dried fruit, spice and sweetness.

What is in a name?

Well, in this case a modern approach to the solera system to ensure consistency.

If I had to describe Solera to the uninitiated, reference points would be the rich toasty caramel and crème Brule and other confectionary aroma notes that meet fruit, pepper, sandalwood and nutmeg for a fulminant finish.

Oh, and of course the fact that it comes ochre in colour and a finish reminiscent of the aforementioned wines.

Complex.

Rich.

Well calibrated.

Starward.

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Photo from Starward website

Wine Selector’s 50 Best

The Old Rum Store

Sydney, Australia

February 15, 2018

Wine Selector is the authority and when it comes to the finer things of all things pertaining to the fermented juice of grapes in all of its varieties.

Wine Selector’s tasting committee of industry experts is comprised of over one hundred and forty years of perspicacity in the vino industry, with representatives having longstanding backgrounds in the art of winemaking, educating the uninitiated and judging panels the world over: They know their stuff, are extremely knowledgeable and have a sense for identifying emerging styles or new variations that have the potential to become the next big thing, which they accomplish not by merely judging but doing their due diligence with visits of vineyards and looking behind the scenes of operations of Winzers and what makes them tick.

Summa summarum, they are a reference point that does not lack integrity and is a great starting point and compass when you embark on your explorations in wine territory.

Wine Selector’s 50 Best Tasting event paid tribute to what they consider the best liquid emissions that emerged in 2017 with a focus on drinkability, complexity of flavour profiles, value and, most importantly, scoring points in the deliciousness department with quite a few hidden gems being introduced to your humble narrator.

The result of their deliberations after having tasted more than four thousand wines resulted in a showcase that paid homage to not only the known and classic region-specific variations but effort was made to incorporate drops at different price points and shed light on new discoveries, flanked by some light fare and morsels proffered via grazing tables.

Personal favourites of the evening were Margaret River’s clear and vibrant Umamu’s Sparkling Chardonnay 2005, with its crispness and dryness and honey-esque palate, and, heading from Clare Valley, the dark fruity dangerously drinkable Erin Eyes Gallic Connection Cabernet Malbec 2015.

The event was held at the top level of Chippendale’s Old Rum Store, which extended to a rooftop terrace and provided the ideal ambience for a celebration that would have made Dionysus proud.

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photos by @k.a.vv