The Formative Years – Godflesh

I vividly remember when I was first introduced to the visceral sonic aggression that is being emitted once the needle hits Godflesh’s Streetcleaner debut album.

The way the album was mixed felt like a veritable wall of sound with the agitated, guttural growls and at times echoing vocals seamlessly blending in and becoming a mere enhancement of the instrumental onslaught.

Intentionally repetitive, stiff and artificial, the pounding rhythm section and drum machines are complemented by thudding bass lines  and lingering, jagged and nuanced doom metal guitars to create an industrial alienating yet meditative foundation on which samples are projected, the grand total atmosphere of which results in something much more than what the mere sum of the individual components would suggest.

The rhythm based Streetcleaner took the essence of what was perceived to be industrial and noise music in 1989 from bands like Whitehouse and Throbbing Gristle and mixed it with influences from bands like Black Sabbath, Big Black, et cetera, to create a new lane that was a continuation of post-punk in that they furthered the sounds of bands like Killing Joke to the extreme.

Thirty-three years on, the haunting masterpiece that is Streetcleaner has stood the test of time and remains a ridiculously heavy, monumental album that inspired a myriad of epigones and still manages to evoke vivid, perception altering nightmares.

Thus Let Us Drink Beer

7th Day Brewing

Needless to say that after having covered and thoroughly enjoyed the approachable and immensely sessionable quality brews of 7th Day Brewing before, I was excited when I got word about their occasionally blasphemous Making Waves series dedicating two releases to paying homage to a country known for its love of waffles, chocolate, French fries, and, most importantly, a vast diversity in beer. 

Being a huge fan of the highly carbonated and crisp Duvel, 7th Day Brewing’s fruity Sinner Belgian Blonde hits the spot with characteristics not entirely dissimilar to the Belgian triple style albeit drier and a tad more bitter.

Adorned by can art courtesy of the much lauded illustrator Biffy Bretano, this copper hued golden blonde little number tickles the nostrils with a melange of sweet and funky notes reminiscent of wet hay, which seamlessly transitions to the top of the mouth where light sweetness, spices and low to medium fruity ester flavours are married with sugary, almost caramelly notes, tinged with hints of light floral components that are somewhat similar to jasmine.

Clocking in at an ABV of 6.7%, sinning with this Belgian makes it a sessionable affair.

Taking things up a notch or four is 7th Day Brewing’s take on the Belgian quadruple style, i.e. the Belgian Quad Saint, which greets the nose with aromatic esters of winey, fruity raisins and clean clove spicy, slightly tropical nuances. 

Flavour-wise, we got a veritable tour de force in terms of piquant richness:

On the palate this dark brown beauty unfolds nicely calibrated flavours of cinnamon, ginger flavoured biscuits and a sweetness reminiscent of the creamy middles from a stack of French toast, further accentuated by a distinct maltiness, molasses and spiced rum highlights.

I can only hope that 7th Day Brewing will start sinning in Double and Triple IPA territory soon.

Otherside Brewing

Sometimes you have to create what you want to be part of: Founded in one of the most remote parts of this earthround, i.e. Fremantle in Western Australia,  Otherside was started by a conglomerate of mates who set out to brew straightforward quality, preservative free beers that they wanted to drink with the best of ingredients available.

Centred around their approachably and fun-loving ethos, it did not take long until Otherside’s liquid emissions became loved and sought after by craft beer loving communities both on terra australis and internationally to an extent that necessitated for Otherside’s game to be stepped up and for their operations to be upscaled significantly, culminating in the establishment of their own brewery.

Apart from a solid and extremely sessionable core line-up comprised of classic expressions like a Teutonic styled Helles to musically themed IPAs, my interest was piqued by their experimental Pilot series, which set out to push the envelope in terms of creativity and seasonality.

Informed by a playful approach and the endeavour to give back to the community, the Pilot series cans feature artwork from local artists to further accentuate and give those expressions an idiosyncratic note.

One of the aforementioned releases that blew me away from the get go is Otherside’s tour de force in the realm of tropical notes, i.e. the aptly named Headliner DIPA. 

Resting on a foundation of Pavlovian-response evoking deliciously dank resinous flavours, sweet, tart and bitter nuances are married with honeydew and cantaloupe before culminating in a crisp finish that leaves one lusting for more. The fact that the can is artfully designed by Melbourne-based artist Maegen Brown only adds to the holistic appeal.

Otherside’s Redliner DIPA is a seasonal, annual release, whose name not only hints at its crimson hue but is flavour-wise firmly rooted in juicy, moderately bitter territory, backed by caramel, toffee and a dark fruity malt character which is carefully calibrated so that hints of hops, mangos and peaches still manage to shine through.

If you harbour a remote interest in this beer-centric series, it should not come as a surprise that I am partial of a great Boilermaker.  Otherside’s Shift Brewers’ NZ Double IPA proved to be the ideal partner to a dram of Octomore 6.3 with its aromatic, weedy New Zealand aromatic hops, which dance against a backdrop of  intense lime, lemon zest, anise, lemongrass and tropical fruit notes. 
Much more refreshing than traditional IPAs courtesy of its delicate dryness, this subtle little number is an example par excellence for a well-calibrated, balanced and therefore dangerously moreish sipper. 

Last not least, Liquid Noise does exactly what the name alludes to in terms of upping things to eleven when it comes to over-the-top haziness, which is accentuated by bright tropical characters of pineapple, pine, and passion fruity nuances courtesy of Vic Secret hops, earthy blueberry and berry medley aromas derived from Mosaic hops and potently unique stone fruity flavours with faint elements of resiny pine and black tea derived from Idaho 7 hops being part of the mix.

With each of the four Pilot expressions I have had so far the chance to sample being a winner, I cannot wait for future Otherside releases.

The Formative Years – Discharge

I vividly remember the first time I was exposed to Discharge’s masterpiece and piece de resistance, i.e. their Hear Nothing See Nothing Say Nothing album.

In equal measure, it was minimalist, heavy, aggressive, political, raw, had barked vocals, distinct drumming and songs that sounded like the sonic equivalent of a targeted assault. 

I was hooked straight away and could not believe that such a well-calibrated melange of metal and punk was conceived as early as 1982. 

With an unrivalled intensity, confronting immediacy and well-timed sub two minute songs that were stripped of all ornaments, it eclipsed literally all other punk bands in terms of intensity I had heard before.

Needless to say, Discharge’s iconic and distinct aesthetic comprised of confronting black and white imagery along with what became the patented studded leather jacket style along with coining a drum beat that was not only named after them but became synonymous for a whole genre, helped to further set them further apart. They quintessentially forged what was become known as crust core.

If you listen to early Discharge today, it is nigh impossible to not become instantaneously aware of how much they have influenced and created the foundation and template for generations of not only punk, hardcore but also metal bands, especially in the more extreme realms of the genre such as grind-, death- and even black metal.

While Discharge’s evolution and discography took some interesting turns, e.g. a detour into hair metal territory with their album Grave New World, which was not exactly badly done but understandingly not well received by their punk followership of the time, it is one of the bands whose emissions have stood the test of time.

If you are into hardcore punk and for whatever strange reason have so far evaded the majesty that is early Discharge, do yourself a favour and check out Discharge’s early releases or peep their most recent live incarnation at the Hellfest Festival which is testament to the timelessness of their legacy.

Oceania Burger Special

Five Guys incarnating on terra australis

What is the secret to a great hamburger?

According to those who make great burgers, the answer seems to be simple: By focusing on quality ingredients and ensuring consistent quality.

Five Guys has firmly established itself as a veritable heavyweight on the firmament of North American burger chains and would be a known quantity to readers in the new world. 

Needless to say, I was intrigued when word around the campfire had that they were going to materialize on terra australis in collaboration with Seagrass Boutique Hospitality Group, an entity that so far has focussed its efforts solely on developing its own unique brands, each of which is imbued with a distinctive DNA and widely appreciated for going above and beyond when it comes to customer service and satisfaction.

Given the aforementioned and the fact that it was the first time Seagrass Hospitality Group endeavoured into franchising, expectations were high.

Now, for the uninitiated: Five Guys streamlined offerings are centred around crispy yet pillowy soft fries and four core burger variations, the latter of which come with a standard serve of two patties which can be customised via fifteen different toppings than can be chosen from, i.e. mayo, ketchup, mustard, A1 Sauce, barbecue sauce, hot sauce, lettuce, tomatoes, pickles, onions, relish, grilled onions, grilled mushrooms, green peppers, and jalapeño peppers; resulting in over two-hundred fifty thousand permutations to individualize your burger and thereby enabling you to make it unique not unlike a snowflake.

While purists and aficionados wax lyrical about their ways of assembling their burgers, the common denominator is that every burger cooked at Five Guys is prepared well-done without further variations on offer and to serve them as fresh as possible and with the bookending eggy cake-like buns striking a borderline perfect balance between fluffiness and toastiness, with just the slightest hint of a char courtesy of being cooked directly on the grill.

Another Five Guys USP is their use of applewood-smoked bacon, resulting in what could be best described as a melange of sweet and smoky, which, curiously enough, can also be had as an ingredient in their hand-spun milkshakes.

With Five Guys’ commitment to freshness, it should not be further wondrous that their locations neither house any freezers nor heat lamps, with all produce including the hand formed patties being made, sliced and chopped fresh every morning and temperature controlled via wireless sensors throughout the day in a bid to ensure that raw ingredients are stored at a safe temperature at all given times.

Taking all of the aforementioned points into account, Five Guys’ unconventional approach  results in a total that is much more than the mere sum of its individual components: Essentially, Five Guys is more of casual Fifties throwback restaurant rather than a mere fast-food joint, with the employees adding their own idiosyncratic touches in the open kitchen which does add a Willy Wonka-esque approach.

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image from company website

Audio = Ground Zero

Harman Kardon Citation MultiBeam 1100 soundbar 

The first time I was exposed to Dolby Atmos was at the recent premiere of Rammstein’s new album Zeit, which was streamed live in select cinemas around the globe. 

Given that Zeit is Rammstein’s most digitally influenced record to date and heavily informed by their trademark enigmatic sound design with post-production effects galore, having it mixed in Dolby Atmos made a lot of sense and the premiere proved to be an example par excellence for an immersive sound experience.

Now, if you are remotely familiar with Harman Kardon, Citation would ring a bell as some of the most prominent and highest performing amplifiers in Hi-Fi history carry that name, with the Multibeam 1100 being Harman Kardon’s latest emission, channelling their audio technology alchemy into your home.

If you are looking for a soundbar that not merely adds Dolby Atmos to the mix but takes things to the next level in terms of creating an all-enveloping sounds experience, look no further: By adding overhead audio channels and employing the total of its eleven drivers, six racetrack drivers and three one inch tweeters, you would be hard pressed to currently find a match to this powerhouse. 

With its two up-firing height channels to create the equivalent of a three-dimensional wall of sound, it can not only be connected to your TV via regular means but has the capability to stream music directly from its in-built Apple Air Play, Alexa Multi-Room Music and Chromecast services.

But first things first: With its automatic room calibration, Harman Kardon’s Citation MultiBeam 1100 meticulously analyses the layout of your abode, to then calibrate and make the most of its audio output by aligning it with the nature of its surroundings.

While quite a few soundbars that we have previously covered come equipped with the aforementioned feature, what sets this model apart if Harman Kardon’s PureVoice technology, which manages to precisely clarify and enhance nuanced sounds and speech through its centre channel at any volume. 

The fact that the MultiBeam 1100’s elegant design is informed by the utmost attention to detail does not hurt either. 
With its subtle, delicate real wool dirt-repelling and flame-retarding fabric covering and timeless aluminium details courtesy of the renowned Danish design innovator Kvadrat, this sleek little number blends in with your home decor and adds a delightfully understated stylish nuance.

Further accentuated via its fine resolution and intuitive, tactile luminous LCD touch screen interface, it shows the album cover and name of the artist. That is if you do not prefer to conveniently control the system via its remote control or the voice-assistant enabled function.

Summa summarum, no matter what your jam is – be it movies, music or games - within the confines of soundbars and home sound systems, Harman Kardon’s Citation MultiBeam 1100 has raised the bar significantly and elevated things to a whole new, highly defined level.

As an audiophile, I can attest that this baby is of the most complete, expansive and accomplished systems I have experienced so far. 
It not only adds joy to the listening experience but provides an excellent balance of good quality sound and easy installation without the added complication of having to buy individual components.

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image from company website