Mayhem

Summit Music Hall

Denver, CO

3.12.22

As with many cities, it’s been a long, long drought for any significant live shows in Denver, Colorado. The bright promise could be seen on the faces in crowd as well as the faces on Mayhem as they said their goodbyes from the stage. Artist or audience, It feels great to be together again.

Mayhem never fail to put on a great show, and Saturday night was no exception. Their set comprised of essentially three acts. The first being the newer material - from 2019’s Daemon and reaching back to 1997’s Wolf’s Lair Abyss. Act two was dedicated solely to De Mysteriis Dom Sathanas and the final act devoted to the band’s legendary first release, the Deathcrush e.p.

As always, the unholy theatrics of vocalist Attila Csihar make an already brutal experience all the more visceral and unforgettable. 

The Sanguine Sodomy of North America continues through April 3. Sadly, without Watain who had to forego the tour due to unforeseen visa issues.

The Formative Years – King Crimson

There was a period as a teenager where I despised anything that was even remotely associated with progressive rock, well, until I was introduced to King Crimson through Rorschach’s cover version of 21st Century Schizoid Man.

The cover version intrigued me enough to take a punt and purchase In the Court of the Crimson LP second-hand, following the thinking that what served as a source of inspiration for Charles Maggio, Thom Rusnak and gang, should be interesting or at least educational for me as well.

And educational it was, for the sheer musicianship that through Brian Wilson’s fantastic production takes psychedelia and polyphonic experimentation to new heights, to culminate in shaping their own microcosm via their orchestral arrangements. 

It took a couple of spins during which my appreciation evolved to the point where my mind was blown when I finally grasped the extent of what King Crimson channelled: The album encompassed the building blocks of classic rock, classical grandeur and mixed it with a seemingly effortless freely improvised approach, which seemed to follow nothing but the respective band members’ instincts. It was a level of sheer boundless musical sophistication, simultnenously eccentric, refined, orchestrated, diabolical and wonderfully absurd, I had so far not encountered before.

It was good to hear Kanye West sample 21st Century Schizoid Man again for his song Power in 2010 and thereby injecting it into the ears of younger generations, which resulted in me diving down into a King Crimson rabbit hole to experience their other fantastic albums as well, down to their new wave-tinged album Discipline from the early 1980s.

Given that their magnus ops album has not lost an iota of relevance in now fifty-three years since it was released speaks volumes about the quality. I have yet to hear a prog-metal band that has not in some form directly or indirectly been inspired by a band that was aeons ahead of its time.

In the Court of the Crimson King was a prototype never considered for mass production and thereby serves as a fundamental cornerstone of artful rock.

When I last wrote here, I was halfway through a four-week songwriting course taught by Robin Pecknold of Fleet Foxes fame, facilitated by LA-based School of Song. It’s an online class conducted over Discord and Zoom – each week, participants are set a homework assignment, and join a Zoom breakout room with 3-4 random coursemates to share their music and give feedback.

By the midway point of the course, I’d produced a piece of music I was incredibly proud of. Not because it’s a perfectly polished recording or something that represents the apex of my creative ability, but because it’s something I couldn’t have conceived of writing a month before the course began. 

Taking inspiration from opium

Our second lecture was “Melody & Lyrics” and we learned about techniques like extensions (a note outside the triad of a given chord, eg. Dm9 rather than plain old Dm), appoggiatura (an added non-chord note in a melody that is resolved to the regular note of the chord) and mode shifts (eg. moving from aeolian to dorian mode, for example). Some of this was new to me and some of it was giving names to things I did without realising on guitar (my main instrument).

I bought an 88 key midi controller (like an electric keyboard but you need a computer to provide the audio) last Christmas and this second class provided the inspiration for me to write something on it. Inspired by the class, I picked out some chord shapes I already knew, then tried to add extensions and new notes. I tried to find a vocal melody which didn’t resolve to the “obvious” notes in the scale, and used a suggestion of Robin’s for finding lyrical inspiration: take lines from poems/books and find a way to adapt/translate them for your own sound.

In my case, I looked at Project Gutenberg (a repository of out-of-copyright books) and looked up Confessions of an English Opium-Eater, by Thomas De Quincey, a favourite of mine from university. I looked up a brilliant passage about the narrator’s opium-induced dream about ancient Egypt and used it as the basis for this song:

The song poured out of me and I put together three verses, a bridge and a chorus in a short space of time, feeling like I’d finally tapped into something subconscious where I knew what story I wanted to tell with the words. I recorded a few takes of the vocal but didn’t overthink it, and in the final mix embedded here you can hear a vocal outtake in the background which works well—sometimes—as a harmony/echo with the main vocal, a nice touch of serendipity. It’s not the most polished thing I’ve ever done, but the growth it represented in my work made me incredibly proud.

Great artists steal

The following week’s class was specifically about lyrics and gave us some homework themes including “the magpie”, about trying to copy certain aspects (a drum sound, a lyrical approach, a dynamic quality etc) of multiple songs and merge them into something new. I ended up writing two songs for this: one an effort to make something with the guitar riff energy of Minus The Bear, and another which tried to ape the vocal style of the Tallest Man On Earth (and let’s be honest, the guitar style too).

I was really proud of both pieces and although they’re clearly indebted to the artists who inspired them, I was encouraged that they sounded like real songs too, rather than just plain copies. One of them even got the seal of approval from Robin himself on the School of Song’s jukebox, which I was very happy with – even just the idea that he heard something I wrote was pretty thrilling, however much of a fanboy that makes me sound.

By the final lecture of the course, we were all quite emotional: a couple of thousand people had been on this course and we’d all made ourselves vulnerable each week, sharing our work with one another and asking for feedback. In the final song share, I played two strangers the song I’d written about the journey my partner and I have been on these past few years, while they shared music about a parents’ dementia and an intense, physical love for someone else. It really felt like we’d all pushed through something and built a new thing together.

The course finished a month ago now but I’ve been aiming to keep the same energy and output going: I have six complete songs, three or four which just need lyrics, and a hundred ideas kicking around in Garageband files. My aspiration is to release them as a couple of EPs or a whole album (depending on how well I can convince myself that they fit together thematically/musically). My confidence is hugely increased: I know this stuff isn’t the best music ever recorded and I’m aware I’m not going to set the streaming services alight overnight if this music ever makes it there. But I also know that by my own standards, this is the best stuff I’ve ever done, and much more than I could have imagined doing before starting the course.

The School of Song offer a bunch of other courses besides the one I did: there are guest teachers from famous indie bands aplenty, but there are also musical specialists teaching things like guitar skills, piano basics, advanced music theory and recording technique. The community is as welcoming and motivating as anything I’ve ever come across (in fact, more so) and it’s given me creative permission to break out of my comfort zone and a decade-long creative dry patch where it was easier to just play covers than do anything original. I still have a way to go, but I’m so glad I started this.

Thus Let Us Drink Beer

Feral Brewing, Future Mountain and Hawke’s Brewing

What’s in a name?

In the case of the nomenclature of Feral Brewing, I would be majorly disappointed if the brewery’s mission was characterised by anything less than the pursuit of an untamed and unapologetic raw instinctive approach to creating fulminant legacy beers.
Incepted after trips to the mecca of IPAs, i.e. the West Coast of North America, Feral Brewing’s founders felt the itch to try their hand at not only pursuing their beer related careers in sales and project managing brewery installations, but letting their respective imaginations run will and upping the ante by channelling their alchemy in the mission to brew refined beers based on exceptional ingredients and artistry. 

Almost instantenously after launching their first brews, Feral Brewing was bombarded with accolades with each new releases being lovingly embraced by the beer loving community and as a result Feral has grown exponentially over the years.

If I had to pinpoint the quintessential Feral Brewing expressions you would want to try as a beer lover, I’d be amiss if I went past Feral’s hippity hoppity Biggie Juice: 

What started as an expertly brewed small batch East Coast IPA styled beer in nature, due to its success quickly entered Feral’s core range. Juice being a telling component of the name, the melange of Amarillo, Galaxy and Vic Secret hops results in a tropical, pulpy delectable and dangerously more-ish flavourful passionfruity tour de force, which is subtly counterpoint by a delicate bitterness.  

On the hop forward front, Biggie Juice is flanked by two superb IPAs: Feral’s Hop Hog ticks all the boxes in terms of resinous piney flavours slow dancing with citrussy highlights against a backdrop of an impressive yet balanced bitterness. With an ABV of 5.8% an excellent sessionable India Pale Ale.

The Full Metal Jacket themed American IPA and aptly named War Hog has become my new favourite for boilermakers as in terms of hoppiness, resinous notes and passionfruity aromas things are turned to eleven without ever running danger of entering novelty territory. One of my favourite recent discoveries and one that is bound to enter my heavy rotation.

I have recently developed a weak spot for sours and Feral Brewing’s Tropical Disco Sour proves to be an example par excellence for a refreshing summer beverage. The mango, guava and passionfruit nuances only add to the appeal.

Needless to say, Feral Brewing’s artistic inclinations also extend to their excellent merch range, more info on which can be found on their fun website.

Future Mountain

Some might claim that fermented brews, barrel aged beers and old-world style approaches to brewing result in concoctions that are an acquired taste, whereas I think it is a wonderful addition to an underappreciated facet of the Australian craft beer industry.

Enter Future Mountain.

Based on travels around the travel to experience and study the art of farmhouse brewing first-hand, a collective has formed with the mission to design an idiosyncratic Australian farmhouse brewery by utilising an open fermenting chamber and merging unique cultures and yeast strains with specifically sourced and cultivated oak barrels, thereby marrying the best of the old world with a distinctly contemporary approach with the focus set on provenance, sourcing their fruit locally.

Within merely three years, Future Mountain has established itself firmly on the firmament of Australia’s ever evolving local beer scene with their consistently delectable Lambic emissions that emerge out of their aptly named Culture Club, ranging in nature from Belgian-inspired saisons via pilsners to the barrel-aged, the barrel-fermented and the blended, with the common denominator being that each expression’s nomenclature is inspired by the owners’ musical references.

Future Mountain’s Constant State saison is essentially a formidable hybrid of pilsner malt, New World European hops and unmalted rye, rounded out by pear and citrussy nuances that are artfully counterpointed by peppery and earthy notes.

Take for example the oak barrel aged Alameda series with its batched expressions, which is not only accolade decorated, but a peachy tour de force that fully unveils its flavour nuances on the top of the mouth via honeyed highlights that dance against a backdrop of grounding oakiness before culminating in an acidic zingyness.

Given the ever-changing nature of Future Mountain’s releases and my weak spot for Belgian farm ales, I cannot wait to sample their other creations, which I hope delve deeper into funky cheese territory.

Hawke’s Brewing

Robert James Lee Hawke left quite a legacy in his wake, not merely in terms of the impact of his stint as Australian prime minister but overall in terms of his mission to build a nation devoid a second class citizens. Concepts like integrity were not unknown to the man, who besides his ethics harboured and actively cultivated a particular fun-loving side.

Having a penchant for great brews, a weak nostalgic spot for simpler times and for what Bob Hawke’s administration accomplished in terms of safety, authenticity, comfort and quintessential Australianness, the two founders of Hawke’s Brewing developed the concept of the brewery seven years ago to create the brewed equivalent to Bob Hawke’s characteristics and a centre point to bring people together.

Involving the man itself, Bob Hawke, never not the accomplished gentleman, agreed to be part of the venture under the condition that his share was to be donated to a charity dedicated to funding environmental restoration.

With its focus firmly set on what resonates well with larrikinism as well as the courageous unwavering spirit of Australia, what constitutes Hawke’s Brewery’s first emission is a straight-forward and honest slightly citrussy, mellowly malty craft lager brewed to suit Bob’s palate, which over the years has been joined by quite a few additions, all of which contribute to the creation of the idiosyncratic DNA of the brewery. 

A favourite Hawke’s Brewery expression is the aptly named Patio Ale. A pale ale in nature, this stonefruity little number rests of a formidable melange of Fortnight, Ekuanot and Mosaic hops, the nuances of which are counterbalanced by pear, watermelon and floral highlights, set against a backdrop of  delicately balanced by an earthy foundation and with a well calibrated bitterness.

If a lighter approach in the realm of beers is your jam, you would want to acquaint yourself intimately with Hawke’s Underdog Session Lage. 

Conveniently situated in the mid-strength region, this fruity Amarillo, Idaho 7 and Cashmere hops-based pilsner is the ultimate hoppy Durstlöscher. Given the crispiness and the boxes it ticks in the crowded mid-strength space, it is not further wondrous that it attracted a range of accolades despite only having been recently launched.

With Hawke’s Brewing’s meticulous attention to detail and conceptually thought through approach, it should not come as a surprise that apart from delectable brews they pump out consistently eye-pleasing and innovative quality merch designs, which thematically not only revolve around Bob Hawke but add an interesting dimension as they include references to iconic Australian moments.

The Formative Years – Nate Dogg

When one Nathaniel Dwayne Hale shuffled off this mortal coil about eleven years ago, the realm of hip hop not only lost an iconic legend but an immensely charismatic trailblazer that helped to create the foundation for how successful the idiosyncratic G-Funk and West Coast sounds were to become. 

Classifying Nate Dogg’s soulful, gospel-inspired singing style, which was conveniently located between tenor and baritone, as smooth would be an understatement par excellence as he rightly earned himself the title “king of hooks”, infusing songs with an unrivalled verve and his deep melodic vocals ever since he first teamed up with Snoop Dogg and Warren G in the early 1990s.

What followed was a career that through his gangsta singing guest work elevated the oeuvre of artists like Dr. Dre, 2Pac, Eminem, Mobb Deep, a myriad of Death Row Record artists, 50 Cent, Mos Def, et cetera, to new heights, resulting in a sheer endless array of billboard chart hitting anthems, aside from his own three studio albums

Nate Dogg remains an innovative originator that created a unique and diverse flow, especially in combination with Dr. Dre’s intricately layered yet seemingly simple beat compositions, in whose wake a myriad of imitators have only been able to create a diluted, washed down soulless carbon copy of his art.