Water of Life - Glendalough Distillery

Dedicated to reviving the heritage of craft distilling in Ireland and based in County Wicklow, Glendalough was founded eleven years ago by collective paying homage to their habitat not only via the name, i.e. referencing the local glacial valley, but also with the logo, which depicts local Saint Kevin, who in turn inspired the quintet to make “Stand apart” the motto of the brand.

While I have to admit that uisce beatha of the Irish variety is not necessarily my favourite as far as regions are concerned, it is nevertheles the territory that has proved to be one of the most consistent and reliable as far as quality is concerned. 

My first exposure to Glendalough was via its Double Barrel expression, which with its telling name indicates that it is based on an experiment in oak and thus has been aged twice in different barrel varieties, i.e. American oak and Spanish Oloroso barrels.

Upon approach, the translucent, deep golden coloured drop tickles the nostrils with its floral vanilla notes, which are accentuated by dark fruity, cherry and chocolatey highlights. 

What the nose promised transitions seamlessly via a velvety mouthfeel to the top of the mouth with honeyed vanilla courtest of the Bourbon barrels providing the foundation on which pear, dried fruits and burnt brown sugary nuances dance.

Things are rounded out with a full-bodied crescendo which culminates in a gingery-oak wood,-spicy reverberating finish, which is delicately counterpointed by a delicate musky earthiness.

Clocking in at an ABV of 42%, the Double Barrel proves to be a solid, hard to dislike, daily sipper.

Things are taken up a notch with Glendalough’s Pot Still expression, the defining feature of which is that is has been refined for up to twelve months in virgin Irish oak hogshead casks, with each bottle being traceable to not only the cask it emanated from but even the trees it was made from in a sustainable manner. 

Given that the base liquid is the most quintessentially Irish of whiskeys, i.e. pot still from a mash bill of malted and unmalted barley, this little number is an example par excellence for honouring both terroir and local ingredients while showcasing how secondary barrel finishing can enhance and elevate traditional whiskeys to new heights: Raw malty and charred oak aromas blend in with waves of cinnamon, red apples and spices, which on the palate give way to citrussy, florally green woody notes informed by a nice creamy mouthfeel.

Not unlike the Double Barrel, things get spicy with the finish with nutmeg, cinnamon and slights notes of astringency counterbalancing the red berry, vanilla and toasted oak flavours.

One can only hope that the Glendalough quintet ( https://www.glendaloughdistillery.com ) will try their hand and barrel experiments with a cask strength expression soon.

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image from company website

The Formative Years -  Sunn O))) 

I vividly remember the first time I heard about Stephen O’Malley’s new endeavour Sunn O))) and given how much I appreciated what he achieved with Burning Witch and Khanate, I could not wait to check it out.

Upon checking out Sunn O))) first recordings, I was instantaneously intrigued by not only their heavy, slow larva of sound that moved and threatened to swallow you at a glacial pace but also the obvious reference to both the Sunn amplifiers and the pioneers of drone metal, i.e. the band Earth.

Witnessing them channelling their distinct aesthetics dressed in druid robes and shrouded in fog and dry ice in a live environment and experiencing first-hand how they expertly and patiently built their monolithic dropped-A feedback fuelled, distorted low register ambient soundscapes was an occurrence that literally resonated with my inner core due to the high volume that turned the event into an overwhelming, tectonic plate shifting physical experience and confronting endurance testing of your limits, simultaneously depriving the sense while overloading them, resulting in a state reminiscent of a drug or anxiety induced attack.

Ever since, Sunn O))) evolved much more than the mere sum of drone metal, dissonance and noise, it became a genre on itself and a cathartic vibe that I have never felt in that intensity before. 

Dust off your battle vest and break out the studded bracelets, and prepare to go back in time to 1982. After having to postpone their 40th-anniversary celebration after front-man, Keith Morris, contracted Covid, the band is picking up their first tour in 15 years to a sold-out crowd at Pomona's, Glass House, before their big hometown show in Hollywood. Joining them on tour are Detroit's Hardcore-Punk pioneers, Negative Approach, and Reno's primitive Straight-Edge outfit, 7Seconds. The two So-Cal shows of the tour have the added bonus of Jersey's, Bouncing Souls. All the makings for a quintessential punk show. So how was the predominantly older audience going to fare this Tuesday night?

Negative Approach kicked off the show at 7 pm, and despite being a little early, the crowd didn't need any warm-up. Those already on the floor were cheering along while the pit got going. As aggressive as Negative Approach were, everyone in the pit was respectful to each other as they made their rounds, making sure not to push down the two in wheelchairs joining in on the fun. The highlight of the set was hearing Ron Sakowski's meaty bass tone as frontman, John Brannon, growled through tracks like "Tied Down" and "Lost Cause."

Following was 7 Seconds, and this set was a real highlight of the entire show. The band claimed when they broke up in 2018, that they wouldn't be doing any reunion shows, but here we are 5 years later. The audience was excited, and the band was excited. Kevin Seconds maintains his mantra of being young 'til he dies and he gives one of the most energetic performances of the night. The room was only maybe half full as it was relatively early, but everyone joined in the singalongs, especially when the band powered through their cover of Nena's "99 Balloons." The band oozed positive vibes and it was clear the crowd was giving it right back.

The "little brothers" of the show were the Bouncing Souls. The band definitely felt like the odd one out, but it was a nice bonus to have them join the show. You could tell the slight younger fans in the room were getting their moment. At one point, a crowd-surfer was fighting his way onto the stage. As the bouncers tried to pull him off, bassist Bryan Kienlen, fought to pull him on stage, eventually getting it through the bouncer's head to let him onto the stage. The fan took over mic duties during the band's "Manthem" chorus. While the set had its moments, overall it was starting to feel a little like the room was tired. However, the audience lit up during their cover of "Lean on Sheena" and of course the crowd-favorite, "True Believers" as they closed their set.

As the Circle Jerks started to set up and the 4-page setlist that probably took longer to write than most of their albums, was taped to the floors, the room began to fill. Without cutting the lights, no big walkout or hype song, the band took the stage. Keith took a moment to pour over their excitement to tour for Group Sex's 40th anniversary, but then Covid put that on hold. In that time, the band's second album, Wild in the Streets, reached its 40th anniversary, so now they're celebrating both albums. While many generations covered the floor, even 5 or 6-year-old kids more likely dragged to the show by their punk parents, the crowd was much older. Maybe it was the Tuesday night or maybe its because of the older demographic, It was clear that there was some fatigue in the room. It really showed when the Circle Jerks took a moment to thank the bands joining them on tour and asked the crowd to cheer, but they were met with a lukewarm response. Something that Keith even took note of as he asked "Have we really been that fucking boring?" Perhaps he couldn't see the huge circle pit that overtook most of the floor during the entire set though. Aside from the huge pit though, most of the crowd just stood and enjoyed the show.

All-in-all, the Circle Jerks were great and it's a shame the fans couldn't give the same energy back. Many of the fans left before the encore. It was hard to tell if they thought the show was really over or if they were ready to call it a night. All I know is I recommend not missing the tour if it's yet to hit your town. Everyone seemed in high spirits and there was a positive vibe in the venue. Go have a great time and appreciate some of punk's most legendary acts!

Thus Let Us Drink Beer

Vale Brewing IPA and Wayward Brewing Hazy IPA

Vale Brewing

Originally incepted fourteen years ago as McLaren Vale Beer Company, Vale Brewing’s reputation precedes as it has not merely established itself as a veritable heavyweight on the firmament of South Australian breweries but with is boundary pushing, accolade decorated, innovative, sessionable craft beers has shown its commitment to deliver consistent brews.

As I unfortunately missed out on Vale’s Margherita Sour, which quickly sold out shortly after its release, my first exposure to Vale was via their IPA expression, which proved to be a tour de force in merging the best that New Zealand, terra australis and the US have to offer in terms of quality hops, i.e. Nelson Sauvin, Galaxy and Citra variants, the total of which results in much more than the sum of the individual components would have you think.

With the hop forward emphasis being on tropical and citrussy flavours with a distinct passionfruit note, subtle nuances of malty caramel are weaved in and rounded out by piney notes and a delicately subdued bitterness, this could be interpreted as an Australian / New Zealand balanced take on a traditional American IPA.

Given the quality of the IPA, I can only hope that Vale Brewing will confidently venture into continuing to craft exotic, bigger and higher ABV expressions.

Wayward Craft Brews

If you have remotely followed this series, the fact that with its dedication to create exciting brews that marry traditional European approaches with its own idiosyncratic twist, Wayward Brewing is one of my favourite Australian craft breweries should not come as a surprise.

With the common denominator of Wayward’s Craft Brews being that they are all about flavour, especially their releases in the realm of India Pale Ales have been consistently knocking things out of the park and having refined and calibrated the DNA of their hazy variants over the last three years, Wayward’s 2022 incarnation of their Hazy IPA is no exception:

In essence, Wayward Brewing’s Hazy IPA with its relatively tame ABV of 5.8% is the epitome of what could be classified as a sessionable IPA. Based on a foundation of Sabro, Simcoe and Citra hops, the nostrils are tickled upon approach by an tantalizing juicy hoppiness.

With barely any remnants of bitterness, what materializes on the top of the mouth is a tour de force of tropical flavours with mango and pineapple nuances taking centre stage, subtly counterpointed by hints of resinous pine accents.

While I usually reach for the bolder section in the IPA department, Wayward expertly showcases with this tweaked little number that flavours do not have to be overwhelming to tick all the boxes and leave you savouring each and every sip.

The Formative Years – Spermbirds

First incepted in 1982 in Kaiserslautern and having evolved from the fun punk band Die Walter Elf, an outfit that was more inspired by traditional British classic punk,  Spermbirds established themselves quickly as a trailblazer in the realm of catapulting Germany on the forefront of the firmament of the American hardcore punk inspired scene.

Fronted by the ex-GI Lee Hollis who introduced his other constituents to bands like Minor Threat, Misfits, Descendents, Bad Brains, the Big Boys, et cetera, the band quickly created their own idiosyncratic sound, which was heavily influenced by the attitude of bands like Angry Samoans and Agent Orange.

With the advent of the 1990s, not unlike many of their contemporaries Spermbirds underwent style and line-up changes, with Lee Hollis departing to explore ventures not unlike the more artistically inclined, progressive rock inspired post-hardcore outfit 2Bad. While it saw Spermbirds garnering some mainstream success and a departure from their trademark hardcore sounds, it did not last long before dissolving only to eventually reconnect with their roots, leading to a reunion with Hollis, resulting in them continuing their journey to this day.

Of unwavering relevance to this day not merely for the European hardcore scene are their first four albums - not merely because of their fast, furious and innovative sound and unbridled at times un-PC attitude but mainly due to the fact that they reflect the times and spirit of the nascent German hardcore scene in an authentic and most infectious form.