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Gault & Millau Restaurant Guide Launch

The Cannery, Rosebery

Sydney, Australia

For the uninitiated: Gault et Millau incarnated first in 1965 as a collaboration between restaurant critics, Henri Gault and Christian Millau in in 1965.

Tonight’s launch of the latest Australian edition saw chefs, sommeliers, industry folk and friends convene for the exclusive launch of the Gault & Millau Restaurant Guide 2018 and to celebrate the global influences that make up modern Aussie Cuisine, toast the year that was, and raise a glass to the best restaurants and chefs across Australia – a market Gault & Millau expanded its reach to in 2014.

Following the standards set by the original French guide, the 2018 Restaurant Guide focuses on what really matters: the food. Gault&Millau acknowledges the skill and creativity of chefs and the quality of the food above all other aspects of restaurant dining with its independent judges providing the reliable, unbiased reviewing that remains the cornerstone of the guide.

The universal scoring system allows restaurants in the guide to measure themselves against their peers around the world.

Being the only internationally recognized restaurant guide on terra australis and with over 700 restaurant reviews across Sydney, Melbourne, Brisbane, Canberra, Adelaide and Perth, the 2018 Restaurant Guide is designed for savvy diners and the ideal compass to navigate Australia’s vibrant restaurant scene.

The launch of the newest incarnation saw the following awards presented:

• Ben Shewry's Attica received Restaurant of the Year following being awarded five hats. 
• The prestigious Chef of the Year was awarded to Shaun Quade of South Melbourne’s Lûmé.
• Chris Lucas' Kisumé secured New Restaurant of the Year.
• French-born pastry chef, Pierrick Boyer (Le Petit Gâteau, Melbourne) received Pastry Chef of the Year.
• John Rivera (Amaru, Melbourne) was named one to watch as Young Talent of the Year.
• Sommelier of the Year went to Carlos Simoes Santos of Vue de Monde (Melbourne).
• Clare Wallace secured Professional of the Year as owner and manager of Brisbane brasserie, Montrache.
• Pepe Saya (NSW) won Producer of the Year for their cultured butter. 

Ecca Vandal

Oxford Art Factory

Sydney, AustraliaN

November 11, 2017

To some the South African born Ecca Vandal might appear to be a riddle, which might be due to her giving a toss about label and categories and instead confidently channelling a maelstrom of influences into a mélange of her own.

Chuzpah, catchiness, swagger and her personality form the foundation upon which her brash electro-punk / hip hop emissions complete with striking DIY attitude is based, with an immense talent to infuse each track with coherence and consistency despite a myriad of sounds that find their way into it.

Being an astute lyricist does not hurt either and help to sneak in serious messages into uplifting tunes – the medium is the message and her revolution can be danced to.

An example par excellence that toughness does not have to go at the expense of femininity and gritty down-to-earth style not at the expense of glamour.

By challenging expectations, a healthy disregard for stereotypes and being an avid advocate for diversity while making sure that the party aspect is inherent in every song, her live incarnation makes for quite an engaging, inclusive and enjoyable experience – especially when Ecca draws on more intricate vocal patterns which help to translate dynamic energy of their tracks live.

Safe to say that bigger stages await – so make sure that you get to catch Ecca Vandal in more intimate environments before the mainstream will inevitably catch on and elevate her into different scenarios.

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Photos by KAVV

Goose Island Thanksgiving Dinner

National Art School

Sydney, Australia

November 10, 2017

Let us start off with the basics for the uninitiated:

Goose Island Brewery is a brewery based in Chicago, Illinois. It started its operations in 1995 and was originally named after a nearby island.

Goose Island produces a number of beers that are available year-round, as well as some beers that are seasonal.

In November 2008, Goose Island made news when its small batch of Bourbon County Stout became available for the first time in Western states.

Fast forward to April 2017 and Goose Island descended on terra australis, hitting the Australian craft beer scene with a bang that still resonates with the connoisseurs of everything oat soda.

The first taste of Goose Island’s emissions came in the form of the Midway IPA: a sessionable 4.1% IPA – an Indian Pale Ale with hop character that could be embraced by all, not just hop aficionados.

“Midway” pays again homage to the windy city as it was inspired by the Chicago World’s Fair of 1893. At the heart of the Expo was the ‘Midway Plaisance’, a mile-long park with games and amusements for everyone. The Midway Session IPA endeavour to capture this spirit with its citrusy hop and a pleasant balancing malt character, low to moderate bitterness and a unique, bright tropical hop aroma derived primarily from Mosaic hops.

The result is very refreshing and enjoyable beer with a great hop aroma that serves as an ideal thirst quencher on a hot day.

To celebrate its first Turkey Day down under, Goose Island was holding an early Thanksgiving dinner at Sydney's National Art School:

A three-course traditional thanksgiving dinner was paired with Goose Island that were carefully matched to the epicurean offerings.

Remarkable were Goose Island’s Foudre Project, a red ale with dark tart cherry notes, caramel, faint hints at vanilla and citric acidity, as well as Madame Rose, a crimson coloured Belgian style brown ale with sour, spice and wood notes, entered a beautiful dialogue with the pumpkin pie and apples crumble that were served as desert.

Unfortunately Goose Island’s Lolita and other limited creations were not proffered on this occasion but word is that there future shenanigans are planned by the creative heads behind from Chi-Town.

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Photos by KAVV

The cold evening here in Pratteln is a world away from the kind of weather Portugal’s Sinistro are used to. However, the band bring plenty of heat to their opening slot and despite seemingly missing a member, they still intrigue many here tonight. The addition of Patrícia Andrade on 2016s sludgy Semente was a stroke of genius and her dramatic style coloured by broken marionette movements only add to the spectacle that they bring to the stage. Time will tell whether they can echo the success of last year’s record but with Sangue Cássia coming out early in 2018, we won’t have long to wait.

Pallbearer’s star has been on the rise for the seven years they’ve been releasing music and it will only continue to exponentially increase as time goes on. Beginning life as a pretty standard funeral doom style band, they’ve slowly been incorporating other elements into their repertoire with synths, progressive leads and a healthy dose of emotion creating music that speaks to many here.

“Worlds Apart” begins their time on the stage in monstrous fashion and Brett Campbell’s instantly recognisable voice soars over the venue with a confidence that is soaked up by the audience. “Dancing in Madness” from this years Heartless thrills with its synth-led introduction and the clever tricks that Pallbearer use on the album in order to never repeat any section twice. It’s glorious but it’s set closer “Foreigner” that brings about the biggest response with a song that speaks to many on the sadness that is held inside when you’re feeling alone.

Having a career that has spanned nigh on thirty years is a tough task to achieve, but to get there with 80% of your original members, still be relevant and still sound as vital as you did back when you first started is a hard trick to pull off. Paradise Lost do that and much more and with Medusa receiving critical acclaim after its release a few months ago, tonight is their chance to showcase just how exciting their new music is, while also delving deep into an extensive catalogue to please the older audience that have gathered here tonight.

“From the Gallows” from Medusa sets the tone perfectly and in Nick Holmes the band have a frontman who not only has the voice, but also the command. His sense of humour is wickedly dry and while some of the jokes may be lost in translation on this Swiss crowd, they still hold each word in reverence and it’s during a beautiful rendition of “Faith Divides Us – Death Unites Us” that this is all the more obvious. Holmes’ clean vocal rings out over the vast hall and the fluid transition into the gruff, death/doom style is almost magical. It’s difficult to believe one person can move so easily from one style to another but Holmes makes it look so easy.

Old and new songs sit comfortably alongside each other and with such a huge array of songs to choose from then some may have been left disappointed. However, we do here classics such as “Tragic Idol” and “Embers Fire” as well as newer tracks like “Beneath Broken Earth” and the deliciously heavy “No Hope in Sight.”  

“The Last Time” closes out the show in all its gothic glory giving Paradise Lost enthusiasts a glimpse of the band as they were. It somehow still sounds refreshing and it surely won’t be the last time we see this legendary band.

United Cellars Champagne Tasting

Hudson House

Sydney, Australia

November 9, 2017

Alright, guilty as charged.

Me likey bubbles.

A lot.

Sparkling – be it water or wine.

Especially Champagne.

I have traveled the region of just to hit the cellar doors and more upmarket offering to indulge – guilty as charged!

Now, there are Champagne tastings and the fact that Australia’s appetite for champagne is an insatiable one.

However, it can tend to be a ponzy and showy affair.

Exit pretence and intimidation and enter United Cellars ( http://au.unitedcellars.com ), i.e. French born wine luminary Roxane Pinault and her team of connoisseurs.

“C'est le ton qui fait la chanson” and careful curation is the name of the game behind an event that caters to both the well heeled enthusiasts, long time aficionados, and first timers the chance to explore the world of Champagne on a deeper level by exploring its many hues and enabling them to make comparisons.

What United Cellars offers is an immersive, open and welcoming forum for the curious as well as the connoisseurs.

The location for this year’s Sydney event could not have been more perfect:

Beautiful vistas over Sydney’s harbour, i.e. bridge and Opera House, served as the backdrop for Champagne Houses and growers celebrating their offerings, allowing attendees to move through at their own pace while offering valuable input for tasting and making new discoveries.

A well calibrated sophisticated yet laid back delivered in an informative and unpretentious way.

The event showcased the following among others:

• Henriot
• Duval Leroy
• Delamotte
• Deutz
• Devaux
• Dom Pérignon
• Moët
• Ruinart
• Drappier
• Hattingley
• Henriot
• Jacquinot
• Jacquesson
• Krug
• Louis Roederer
• Taittinger
• Tissot
• Vilmart

Most Houses had three to six champagnes from their portfolio on offer.

Styles ranged from Non-Vintage to Vintage, Blanc de Blancs, Blanc de Noirs, Rosé and Prestige and with varying degrees of sweetness (Brut Nature, Extra Brut, Brut and some Demi-Secs).

Some offered hard-to-find gems, others the go-to champagnes that you retreat to when it doubt, with some more “exotic discoveries” sprinkled in, e.g. who would have known that the English could come up with such an enjoyable drop like Hattingley’s Valley Classic Cuvée – Hattingley being a grower-producer that I have never heard of previously.

A common thread between all of the aforementioned varieties was how well balanced they were, offering complexity or something unexpected with House representatives making genuine efforts to establish connections with the attendees.

An evening punctuated by the feeling of well-being and genuine pleasure each person exuded throughout the night, and no doubt took home with them.

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Photos by KAVV