The Formative Years – Social Distortion

Despite having been formed in 1978, Social Distortion did not really enter my musical cosmos until the early 1990s via a taped version of their Mommy's Little Monster and Prison Bound LPs. Especially their debut album coloured me intrigued and sent me down a rabbit hole to track down a dubbed VHS version from Urs Völlmin (Apocalypse Now fanzine-fame) of the Another State of Mind tour documentary.

Mommy’s Little Monster captured essentially the DNA of adolescent punk rock, i.e. fast paced tempi, omnipresent teenage angst and timeless melodies that eventually became a trademark for Orange County based punk bands.

However, the Prison Bound LP with its country / western flavours and the band entering of what was to become classified as honky tonk influenced “cowpunk” did not manage to ignite my imagination, to put it mildly, and I was pretty sure that the band had peaked early on until, well, until I was taken by surprise by the release of the album White Light, White, Heat, White Trash in 1996.

The album saw Social Distortion return to a harder sound, let go of country influences and as the cherry on top, they managed to recruit former Danzig drummer Chuck Biscuits, who propelled the band forward in a live environment with his idiosyncratic drumming that is reminiscent of him beating up his drum kit. 

Apart from powerful, passionate and personal lyrics dealing with personal demons and an underlying darkness and sinister feeling all songs seem to be informed by, the album harbours the song Don’t Drag Me Down, which is easily one of the hardest songs Social Distortion has written, both in terms of the subject matter as well as musically. 

It was fantastic to catch them on tour in 1996 and witness them in a small venue packed to the rafters transition from the Rolling Stones cover Under my Thumb into Don’t Drag Me Down.

Thames & Hudson

The Catwalk Collection and Monocle book series

If I was tasked with simmering down what makes the confines of your four walls your distinct abode that not only looks but feels like it captures your DNA, visually appealing coffee table books would rank high as sources to spark inspiration.

Obviously not limited to specific locations, books can add an idiosyncratic and subtle facet to interior design, change the mood of a room and be a borderline ideal conversation starter in case you are inclined to entertain.

All the better if the coffee table books of choice are not merely comprised of a collection of photos but have substance beyond iconographic appeal, which is where Thames & Hudson’s collection of 'Catwalk' books comes in. 

Showcasing thousands of spectacular outfits, accessories, beauty looks and set designs, each instalment zeroes in on either fashion house or a specific designer.

Favourites of the Catwalk series include e.g. Vivienne Westwood’s Complete Collections, which captures the inimitable creations imagined by the lady that effectively brought punk and new wave fashions to infiltrate into mainstream culture. 

From shedding light on her first runway show in 1981 to her evolution on international terrain, the tome also captures the creations designed by her husband and long-time artistic partner in crime, Andreas Kronthaler.

Catwalk’s ode to Louis Vuitton eases the reader into proceedings with an introductory chapter on the history of the French luxury fashion house to then move on to profiling its first creative director Marc Jacobs and Nicolas Ghesquière, who is at the helm of LV today, before canvassing the extraordinary collections en detail.

Another favourite series in the realm of Thames & Hudson’s coffee table books are the never not inspiring are the emissions from Monocle magazine. 

Ever since Monocle was launched in 2007 with what has become its trademark unique, refreshing and overly well curated content, it has become an integral briefing on global affairs, business, culture, design and everything in between aimed at a globally minded readership.

On the publishing side, Monocle has established a book series available via Thames & Hudson, each release of which does not merely lend itself exceptionally well as a coffee table book, but is full of inspiring content, be it with The Monocle Book of Entrepreneurs’ stimulating elaborations and ideas, resulting in a handbook centred around making your vocation your job or vice versa. 

As far as coffee table books and interior design is concerned, it does hardly get more to the point than The Monocle Book of Homes, with its telling name it is essentially a guide to exceptional residences framed by a tour of delving into community-driven twenty inspiring properties from a converted cottage on an Australian island to a contemporary boltholes. 

The Formative Years – Angry Samoans 

Few bands have left their imprint on the first wave of US punk like the Angry Samoans. Incepted in 1978 by former music critics with a knack for irony, satire, self-loathing and causing controversy at any cost, their brand of short punk ditties is some of the catchiest, snottiest and outrageous of the era.

The Angry Samoans were essentially a dark joke band that set out to be deliberately offensive / distasteful in a bid to make people feel uncomfortable. The difference to acts like GG Allin was that they were musically appealing.

Seemingly inspired by bands like the Dictators, the gems of 60s garage rock and sped up metallized chord progressions, they formed the foundation on which bands like the Beastie Boys could blossom later on. 

Angry Samoans took the short song approach from bands like Wire and the Meatmen and refined it further.

Being musically much tighter than bands like the Circle Jerks and armed with an eloquence that was lacking in the scene which informed their sardonic lyricism, their shit steering antics got them banned from the Los Angeles live circuit, which resulted in e.g. not being part of the Decline Of Western Civilization documentary, thereby effectively self-sabotaging their ascent into the olymp of bands like Fear, X, Black Flag and the Germs.

Water of Life

Paul John Singles Malts

While it might not necessarily be on the radar of the common whisky connoisseur, India has evolved to become a veritable hotbed for sophisticated, maverick distilleries that change the perception of what great single malts can be.

Originally based in Bangalore, John Distilleries was originally known for molasses-based spirits, before it launched Paul John Single Malt ten years ago at a new location in the former Portuguese and party enclave of Goa on the west coast of India.

Given the unique tropical climate of the region, whisky matures not only at an accelerated pace but a phenomenon that could be best described as “angel’s share in reverse” takes place, i.e. the heat lets more H2O than alcohol evaporate and thereby results in a higher ABV.

Based on Himalayan six row barley, which is grown during the colder months and harvested in summer,  Paul John’s Bold expression is a fully peated single malt variant, with the peat being sourced from the Hebridean island of Islay before it is used to dry the barley.

What tickles the nostrils upon approach are nuances of faintly sweet, singed barley, molasses, mildew, crisp apples and citrus.
On the palate, oaky honey serves as the foundation on which fruity and floral dance against a backdrop of peaty soot courtesy of the Islay peat, which blend in with hints of copper. 

The finish is dominated by a peppery, prickly piquancy, which is rounded out by wafts of distant peat smoke. With an ABV of 46% a very nice sipper indeed.

Stepping things up a notch is Paul John’s Classic Single Malt, which after having been matured in ex-Bourbon casks for eight years is a cask strength expression, materialising in my Glencairn with an appealing golden hue.

The aromas evoke a Pavlovian responses with puff pastry, cinnamon sugar, brioche, butter and tropical nuances, interweaved by juicy pears and heathery, earthy honey.

On the palate, layers of orchard fruit unveil a rich, full bodied complexity with a borderline perfect equilibrium between spicy piquancy and honeyed vanilla sweetness,  which is accentuated by toffee and oaky highlights.

The lingering finish reverberates with honeyed oak, spices and cinnamon, leaving one lusting for another dram.
 
So far, so good.

The pièce de résistance, however, is Paul John’ Peated Select Cask, which not unlike the aforementioned Classic expression dials in at cask strength.

The nose wins me over straight away with a bewitching aroma of earthy moss, nuts, mango, a tannic spiciness and petrichor.

Things get interesting on the palate with sweet, peaty, tangy and spicy components forming a melange reminiscent of barbeque meats set against hints of dark chocolate, tropical fruit juice, melons and pineapple.

Via the elongated, elegant finish vanilla meets melted caramel and fruit roasted on a barbeque.

Summa summarum, if you like whisky, especially of the peated variety, you would do yourself a disservice if you did not the masterfully calibrated expressions Paul John has to offer.

Timboon Distillery

Evolved from a farm contracting business and imbued with a sense of place, over the last seven years owner and distiller Josh Walker  has established Timboon Railway Shed Distillery firmly on the ever expanding firmament of Australian quality small batch craft distilleries by focussing on quality over quantity with their malted barley based expressions and the spirits landscape at large with liqueurs, vodka, schnapps and limoncello also being part of Timboon’s portfolio.

Timboon’s Port Whisky Expression has been matured in a variety of American oak casks from Victoria, Rutherglen and Tasmania. 

Golden in appearance, fruit cake, honeyed vanilla and blackberry aromas reel one in as they are enhanced by caramel, white musk, woody notes and dark chocolatey highlights.  

Things get interesting on the palate as a delicate peppery piquancy is married with almonds, cocoa, blackcurrant, honeyed peaches and a wonderful layer of smoke, which reverberates with a hint of baked lemon tart.

The medium-length finish is an exercise par excellence in fruitiness ranging from almost cloyingly berry informed sweetness via crispy green apple sourness to tarty notes.

When it comes to premium small batch cask strength expressions on terra australis, there are few that play in the same league as Timboon’s Christie’s Cut. 

Clocking in at 60% ABV, the ode to the era of illicit distilling and Inspector John Christie who at the turn of the nineteenth century tracked and captured Tom Delaney who was an illicit distiller in the Timboon area, is a tour de force in terms of bold complexity.

Aged for at least five years in ex-Port casks and reddish-brown in appearance, on the aroma front cocoa beans are entwined with creamy milk, fluffy musk, sensuous vanilla bean, rosewater and dried cranberries. 

Spicy and peppery piquancy is the name of the game on the top of the mouth, flanked by oaky flavours and a juicy, tangy bitterness.

The sheer endless finish culminates in a fulminant crescendo of malt-forward port notes, raisins, pungent ripened fruits like strawberries and raspberries, as well as darker fruits such as blackcurrants and blackberries counterpointed by a wonderful hint of smoke and chestnuts.

Despite being big and boozy, a truly fantastic drop with a silky mouthfeel that still surprises with delicate nuances. 

Given the quality of Timboon’s liquid emissions, it warrants a visit to their HQ to sample the expressions that are exclusive to the distillery.

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images from company websites

The Formative Years - Battalion of Saints

The original incarnation of Battalion of Saints from San Diego only existed from 1980 to 1985, a span of time during which they churned out two classic releases, i.e. their Fighting Boys 7”and the full-length Second Coming LP. 

What set them apart from their peers was the fact that in addition to their idiosyncratic melange of speedy hardcore with references to classic British outfits like Discharge and Motorhead, they successfully channelled the energy of bands like the Descendents, Dead Kennedys and Adolescents.

Inherently conveying an additional layer of danger courtesy of their personas due to their live-fast-die-young, devil may care ethos fuelled by debauchery and nihilistic swagger, it made their musical emissions even more authentic and appealing.

The fact that most of their stippling artwork was drawn by artist Mad Marc Rude, an artist who in terms of abrasiveness and debauched antics was a match par excellence for Battalion of Saints, only added to the appeal.

Battalion Of Saints were not merely a major catalyst in accelerating the transition from the already buoyant, adrenaline-charged, speedy punk of the early 1980s to untamed, gruff hardcore punk of the cold war era, but their radical outlook on the world and legendary live shows made them stand tall as one of the more unique bands of North America’s early hardcore scene.