The Formative Years - Die Kreuzen

There are bands that you listen to once and they are etched into your brain forever.

I vividly remember when I first heard Die Kreuzen’s first album , which included their newly recorded versions of the tracks from their debut 7” Cows and Beer. It was during one of my regular phone calls with an older scenester, who I struck up a friendship with in my early teens to learn more about punk and hardcore. The record was playing in the background and I could not believe my ears. He was kind enough to record it on a cassette tape and mailed it to me.

I was hooked immediately by the velocity and tight delivery of the twenty-one songs, all of which are explosive in nature yet for the genre and its timely context they were recorded, i.e. 1984, it was insanely well-executed, crisply recorded and articulated. I had to get the vinyl and included it in my next order from Touch & Go Records.

Incorrectly named with the intention to be the Teutonic equivalent to “The Crosses”, Die Kreuzen sounded furious, raw and maniacal – it was a sonic whirlwind pressed onto vinyl, with the screamed, possessed sounding vitriolic vocals only adding to the appeal that the trebly distorted guitars and the off-kitler galloping drums laid out.

A perfect album with a sound that has inspired a myriad of iconic bands and provided pretty much the template and opened doors for bands like ABC Diabolo and Rorschach.

Having recently revisited Die Kreuzen’s discography, it was interesting to see the development to the second album, which saw them adapt a deliberately softer, new wavy conceptual sound, culminating in their third album, Century Days, which saw not only Butch Vig at the helm of production but had incorporate a piano and a horn section with the trademark screechy vocals being the only constant, before anticipating what would become grunge with their album Cement in 1991.

If there ever was a hardcore punk that was lightyears ahead of its time in the first half of the 1980s, Die Kreuzen would definitely be a contender with their thrashy energy, well-thought out song structures and on-point delivery

Water of Life – 78 Degrees Distillery & Duncan Taylor Octaves

I vividly remember my first exposure to 78 Degrees Distillery: It was at a local gin tasting that I was proffered their Classic Gin expression, which not only ticked all the boxes in terms of being small batch juniper juice at the higher end of the spectrum, but also convinced with its idiosyncratic South Australian twist via the use of local ingredients and a unique never before used melange of twelve botanicals. 

I remember the occasion as I asked about the significance of the “78 degrees” which lead to the naming, and was explained that it constitutes the boiling point of alcohol and hence signifies the enabler for distilling.

Vapour infused and sourced from a grape base, the drop instantaneously conveyed that 78 Degrees Distillery are not in the game to merely replicate existing styles but to carve out their own lane with their emissions paying homage in equal measure to both Australia’s traditions as well as what it has and will evolve to.

Needless to say, I was intrigued and could not wait until 78 Degrees was going to channel its alchemy in the creation of their own new world order whiskies in innovative and sustainable ways, with their focus firmly set on making all facets of the production and ingredients transparent.

The first 78 Degrees whiskey I had the opportunity to try from their accolades decorated range was their Muscat Finish expression. 

Clocking in at 44% ABV, this limited little number is an example par excellence for expertly showcasing Australian characteristics in terms of style and flavour by handcrafting single paddock, unmalted barley to create a unique melange with eleven speciality malts.

Given the higher sugar residue of Muscat and the stone fruity nuances the casks offer, it is not further wondrous that what tickles the nostrils is a tour de force in terms of dark chocolatey and raisiny aromas, with a delicate whiff of smoke.

What the nose promises transitions seamlessly to the palate where luscious layers of chocolate are backed by the both sweet and savoury flavours of raisins, culminating in a crescendo that is crowned by a spicy, peppery kick.

The elongated finish reverberates in the realm of dark fruity flavours, set against a backdrop of molasses and dark sugars, which is pierced by cinnamon, glove and peppery highlights. The fact that the finish is crowned with a deliciously smoky climax leaves one lusting for another dram.

Given the limited nature of the release, this will be gone sooner than later and anyone remotely into innovative, artisanal Australian whiskies would be well advised to scoop up a bottle ASAP.

I cannot wait to try 78 Degrees’ much fabled about grain whiskey as well as their Corsair Smoked expression, which has me salivating thinking of the fact that it is not only peated but has been smoked with gum and cherry wood.

We have covered the excellent emissions of the independent bottler Duncan Taylor before from a range of angles as part of this series and while I have yet to come across anything bottled by them that does not delight me, I could not wait to get my paws on a sample from a series that sees their team experiment with maturing whiskies in smaller sized Octave casks (about an eighth of the size of a regular butt cask) to allow for more wood interaction in a bid to enhance the respective whisky’s flavour profile to become more complex and sophisticated.

Duncan Taylor's trademarked Octave series encapsulates juice from the cream of the crop of iconic Scottish distilleries, resulting in an extensive portfolio of currently close to fifty Octave Invigorated expressions.

My first exposure to the Octave series was via a sample of a Beldorney expression, which after napping for twenty-three year oak, has undergone Duncan Taylor’s “Octivation” process for six months to spice things up with the finishing touches.

With a dark amber hue, upon approach the nostrils are tickled by an avalanche of fruity aromas on the pear and apple-cidery side of things, which then transitions into raspberry and more tropical territory, pierced by zesty orangery, vanilla and cinnamon-ey highlights.
What the nose promised, continues on the top of the mouth against a backdrop of honey, lemon and a delicate waxiness sitting on a backbone of resinous oak, counterpointed by a soft peppery-spicy climax.

The elongated finish culminates in a reverberating and immensely moreish vanilla crescendo, backed by on oaky earthiness. An exercise par excellence in yumminess and it would have been fantastic to sample this dram side-by-side next to a twenty-three year old Beldorney, to pinpoint where the Octave casks have enhanced the flavour profile.

The common denominator of Duncan Taylor’s Dimensions series is that under its banner, single casks are bottled at cask strength  without any further dilutions to ensure each expression brings out the purest facets and complexities of the respective distilleries’ DNA.

The Highland Park 16 Year Old Dimensions is a borderline ideal companion to the aforementioned Beldorney in that sweet and floral aromas reign supreme and catch my fancy as I detect the most delicate hint of smoky peat. 

On the palate, the warming alcohol sets the stage for  sour, sweet, musty/earthy, fruity flavours to dance with peat, which with the addition of a couple of drops of H2) only intensifies.

The well-rounded medium-length finish is warm and dry with spiced oak, cloves and a whiff of cold smoke.

I can only hope that one day I can taste how Duncan Taylor channels its alchemy when it comes to Islay distilleries.

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images form company websites

Audio = Groundzero part 3 - JBL

For People Who Listen

We live in a time and age where traditional headphones have almost completely been replaced by earbuds and while them being wireless, small and convenient to use, more often than not especially the free ones that come along with your phone purchase are of questionable quality and tend to not last overly long.

Now, in a more than crowded market, choosing the most suitable ones for your individual needs and balancing budgetary constraints and specific features elevating outcomes when it comes to audio fidelity and noise cancellation can be a challenge.

After a period of trial and error, testing both headphones and ear buds for both working from home with video conferencing and going for long runs in between, I have grown to appreciate some new styles, which are able to connect to the computer and phone via Bluetooth, sound fantastic and in terms of design prove much more convenient to use than headsets or headphones with a cord between the two earbud components.

Before selecting earbuds, checking the product specifications is an essential first step as e.g. matching the impedance of the source to the impedance of the earbuds; the right level of sensitivity; the range of audio frequencies the earbuds can repeat (which should correlate with the type of music you prefer) and the quality of drivers will all impact on the overall sound quality, the listening experience and to an extent the health of your ears.

Another important factor is figuring out the shape of your ear and what you will feel comfortable with when it comes to earbuds nestling in your ear cavity and depending on the kind of activity you will be using them for, how they work to isolate sound, cancel noise and resist sweat during strenuous workouts.

After having tried many models, I settled on a couple of models that have become reliable companions during work, travel and running. A more recent one is the Live Pro+ TWS, which is a wireless earbud specimen from JBL, a company I have not had any experience with before.

The combination of dynamic drivers aimed at getting the most out of most common music genres paired with a noise cancellation and “ambient aware” features that are adaptive the Live Pro+ tick two important boxes for me, especially the latter when working in public spaces and need to block out the world around me. Needless to say, the noise cancelling qualities also come in handy when trying to nap while travelling.

Another bonus is not only the fact that the JBL Live Pro+ can be charged wirelessly and with the combination of seven hours of playback plus a further twenty one in the case, they keep humming along all day long.

As I am not an avid user of voice assistance, the fact that I could use them for those purposes is not a selling point for me personally, but surely for anyone who is borderline married with Alexa, Siri and co.

Now, an important feature for using them while running is not only the fact that the Live Pro+ are water resistant, but that they come with a handful of sets of silicone ear tips to create the perfect fit for your auricle, even when wearing them with gators or masks.

If you experienced wireless earbuds when they first hit the market, you would be acutely aware of how important it is for phone calls for the microphones to give at least a semblance of a real conversation, which is where many earbuds still fail. With these babies and the noise cancellation qualities of the phone, taking calls while running proves to be doable without running danger of sounding like a robot in a wind tunnel and what I love about listening to music while running is how the long bars outside the ears let me control music playback functions to perfectly calibrate the sound you are aiming for without feeling like you are knocking directly on your ear drums.

Sound-wise, I would not have expected these tiny buds to deliver such a clear, punchy and big sound, with a customizable broadly range EQ to refine nuances to a tee. All around an well-priced, versatile and great sounding product that delivers what it claims.

Based on the experience I have had, I checked out what JBL has to offer in other areas of audio equipment and opted for one their Bluetooth speakers when it came to getting a new one for outside activities and blasting tunes while on the move or settling into hotels, et cetera.

The JBL Charge 5 is a compact, durable and portable powerhouse built in a manner that not only looks sleek and aesthetically pleasing, but is fully water- and dustproof, i.e. it is the ideal speaker to kick about when having debauched parties, the work shed, shenanigans in the shower or outdoor workouts with the squad.

Being moderately priced paired with the fact that sound wise things are on the balanced and articulate end of the spectrum even when using it outdoors, the feature that sealed the deal for me was that it doubles as a power bank and works incredibly well with voice assistants.

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images from company website

The Formative Years – Hüsker Dü  

Formed at the rear end of the 1970s in Saint Paul, Minnesota, Hüsker Dü  remains one of the most influential bands in my musical pantheon when it comes to crossing over from straight out hardcore punk into shaping alternative rock without ever having run danger of sacrificing an iota of significance and relevance.

If you dig underground music, you would find yourself hard-pressed to find a flaw with Hüsker Dü’s ferocious, primal sounding Land Speed Record, Everything Falls Apart and the seminal concept album that is Zen Arcade, which gradually saw them experiment with incorporating slower and melodical ingredients into their aggressive songs to forge their characteristically intense trademark sound, which was comprised of stuttering, hiccup drumming, heavily distorted guitars and hoarse twin vocal arrangements and resulted in an idiosyncratic melange that simmered down an eclectic range of genres to fit in a single tune.

In layman’s terms, Hüsker Dü was a band that had an aversion to being pigeon holed, so they created their own land, which was pivotal to creating the sound that convinced hardcore punk purists that there is more to the genre than the worn out, tried and tested loud, fast and heavy-formula.

I have yet to come across anything that evolved out of the ashes of Hüsker Dü – be it Hart & Mould’s solo albums or the bands they went on to form, e.g. Nova Mob and Sugar.

Via his most recent album, Blue Heats, I recently revisited Bob Mould’s solo output and it lead me down a wonderful rabbit hole of beautifully bulldozing songs, the onslaught of which make it hard for me to decide what sounds more convicted and angrier – his guitar or his intensively angsty vocal delivery. 

One of a kind.

Enjoy:

Francis Bacon or the Measure of Excess 

ACC Art Books

My library has quite a considerable segment dedicated to the art of and literature about Francis Bacon, which has been accumulated for over two decades and while I always eagerly  welcome new additions to the fold, there are sometimes elaborations in book form that actually enrich my collection.

Case in point: Yves Peyre’s Francis Bacon or the Measure of Excess.

Based on first-hand experience and his long-standing friendship with Francis Bacon, Peyre chronicles the artist’s journey from its genesis via the evolution of his art to the ultimate culmination, resulting in some of his more prominent artworks in the 1980s. 

What I specifically like about Peyre’s approach is how he navigates between Bacon’s yin  and yangs, e.g. life and death, beauty, violence and torment, civilisation and its downfall, lust and disgust, et cetera. 

The tome will appeal to both the aficionados as well as the uninitiated as it starts off with a detailed biography to create the foundation to then drill deeper in a bid to meticulously analyse not merely individual artworks but Bacon’s oeuvre and its significance at large.
With Peyre’s intimate knowledge of Francis Bacon’s approach to art and his life in general as well as his pedigree, inspirations and hauntings, he effortlessly manages to engage the reader as he guides us through the factors that influenced him from philosophical, political and poetic angles and thereby adds a unique viewpoint to the canon of explorations that try to explain the becoming of one of the most significant and  idiosyncratic artists of the twentieth century.

A monograph that serves in equal measure as a monumental tribute to Bacon as well as a veritable resource for anyone remotely interested in twentieth-century figurative art. 

The fact that the both informative and inquisitive essays are substantiated by aesthetically pleasing large high quality illustrations does not hurt either.