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The Formative Years – Crucifix

Discharge coined a whole genre with their first 7”s and laid the foundation with how they channeled their emulation of the percussive backbone of early Motorhead and Buzzcocks’ songs.

While there is no shortage of D-Beat bands, few of them proved to be as intense and original as the genre’s pioneers. The ones that were, created masterpieces that stand the test of time to this very way.

Crucifix could be considered the US’ answer to Discharge with their metal-tinged political hardcore punk and both their first 7” from 1982 as well as their “Dehumanization” album released a year later on Crass’ Corpus Christi label are solid 10 out of 10 anarcho-punk albums with its unique ground-breaking melange that was marrying California hardcore with early British crust core.

The raw power of the band oozes off the vinyl with both the band and their Cambodian born singer sounding like they are trying to break themselves in halves with their furious onslaught. Seldomly have I come across an album that so perfectly marries brutal on point distorted riffage, speed and adrenaline fuelled passionate outrage like Crucifix does with their wall of sound.

The original album came with an expertly designed six-panel foldout poster sleeve and together with the lyrics about the evils of the world, oppression, displacement and mistreatment of human rights, it not only comprises everything that attracted me to the objectives of punk and inspired me to form my own band, but constitutes a monumental release that feels like the hardcore punk equivalent of lightning in a bottle.

The fact that the band hit the scene, searched and destroyed and dissolved in 1984 only adds to the appeal.

Thus Let Us Drink Beer

Sunday Road and Fox Hat Brewing

Sunday is widely considered to be the best day of the week for many reasons. For one, it is usually a day off and dedicated to relaxation, time with your loved ones, indulgence with sleep ins, leisure activities, brunches, et cetera. 

And yes, it also rhymes with “funday”. 

On the other hand, it offers opportunity to work on things we are passionate about, which is what made it the best day of the week for Sunday Road’s founder Brad Walker as he used Sundays to hone his skills in the realm of homebrewing – a hobby that he enjoyed so much that it became the ultimate aim of every week, hence “the road to Sunday” becoming a symbol for doing the things he loves.

Sunday Road has evolved significantly from the homebrewing days and with its operations situated in the beautiful surrounds of the Royal National Park, it pumps out its delicious core brews interweaved with carefully curated limited releases, with consistency at the core of their endeavours as they enjoy having people fall in love with their accessible beers instead of reinventing the wheel for the sake of novelty. 

As an ode to one of the hiking trails of the National Park Sunday Road Brewery is situated in, their Coast Track Lager adds Sunday Road’s idiosyncratic twist on the traditional German pale ale lager style by amplifying the citrus and floral notes, which are counterpointed by a delicate bitterness.

An example par excellence for their flavourful emissions is their well-balanced and accolade decorated Cryotherapy Hazy IPA. 

While it is not the most eccentric IPA in terms of the flavour profile, it ticks all the boxes a hophead could hope for: Based on a foundation of Sabro, Mosaic and Cascade hops, which delivers a pine residue deliciousness and a delicate bitterness, it sets the stage for the fruity highlights to shine in form of citrus, passionfruit and mango flavours.

Taking things to the next level is Sunday Road’s ruby tined Sunseeker Red IPA, which won me over instantaneously with its immense malt backbone clocking in at bitterness of 50 IBU, on which a range of clearly distinguishable fruity, caramel and berry flavours comfortably rest. 

With an ABV of 7% a veritable tour de force in terms of big flavours and a recommendation for any Amarillo, Galaxy and Falconers hops aficionado without running danger of entering overwhelming territory.

So far, so good.

My favourite of the bunch, however, is the mouthful that is the double oat cream IPA known as Dust From A Distant Sun.

Constituting a collaboration between Sunday Road and Bintani, who contributed their Victorian crop which was then married with a melange of New Zealand and Australian hops and a generous serving of oats, this babyh comes with deliciously smooth and juicy body, around which vanilla, lactose and mango do their magic before the affair is being rounded out with the faintest hit of bitterness.

I cannot wait to try one of Sunday Road’s Double IPA…

Fox Hat Brewing

If you follow this series it would have not gone unnoticed that I love bold IPAs and discovering breweries that excel at brewing them, especially if they have not been on my radar so far. 

While there are gems to be found with a lot of breweries within the confines of the mushrooming craft beer scene in Australia, there are few that consistently deliver quality when it comes to the untamed variants of beer. 

Sure, there is a lot of experimentation and a smorgasbord of flavours on offer, but it takes skill to create bold flavours which not only overwhelm but portray distinguishable nuances, which is where Fox Hat Brewing found its niche. 

Originally founded to complement the mass compatible line-up of Vale Brewing’s established core offerings, Fox Hat set out to push the boundaries in every way possible by unearthing and tweaking homebrewing recipes with new hop variants and having fun with it.

My first exposure to Fox Hat was via their West Coast style Metric IPA, and boy, was I in for a treat. The first sip instantaneously kickstarted the citrussy and piney hop party on the top of my mouth and further accentuated it with an exuberant bitterness clocking in at 80 IBU. 

With an alcohol content of 7% it packs a bit of a punch and makes a perfect companion to a dram of the sweet and smoky Ailsa Bay. The name is definitely a telling as it feels that a metric ton of hops have been used to create it. 
Lip smackingly good.

Thought the Metric IPA was taking things into the stratosphere as far as flavours are concerned? 

Think again.

Fox Hat’s Red Pelt is its fierce, red hued bigger India Red Ale sister, which in terms of intense flavours takes things almost into stout territory with its dark coloured toffee colour. 

In every aspect possible, the Red Pelt amplifies things to eleven with an ABV of close to 8%, avalanches of hoppy piney residue, which are rounded out by a malty and syrupy backbone set against a heavy-hitting bitterness of 88 IBU.

A brewery that I hope will continue to boldly stride the path they have set out on.

The Formative Years – Big Boys

There is a myriad of intense punk and hardcore bands that coined my radicalisation, but then there are bands that blew my mind, expanded my horizons and exposed me to one could interpret punk a tad differently away from the stereotypes of what everyone else was doing, which added an appealing facet to the mix. 

Big Boys was a band that perfectly embodied the idea that punk is freedom and a state of mind. 

Founded in Texas, Big Boys was unique in that as early as 1981, they infused punk with funky, irreverent, fun and openly gay elements, while not diluting the essence of what a hardcore punk band was supposed to be under the Reagan regime.

From the get go, Big Boys incorporated R&B, soul and even disco elements without attempting to ridicule the respective genres but marrying it with the core tenets and furiousness of punk rock. 

Visually, the Big Boys lived up to the band’s name, yet instead of buying into the machismo of the scene, the core line-up of Tim Kerr, bassist Chris Gates, and frontman Randy "Biscuit" Turner, the band crossed dressed or wore costumes on stage, adding an important visual component to their shows, which had a lasting effect on anyone coming across their antics – both in positives ways as e.g. Ian MacKaye would attest to as well as in the negative stance the Bad Brains took.

Big Boys remain one of the true innovators and pioneers of punk rock not merely because they shaped of what skate punk was to become and the channelling of seemingly unrelated musical styles to create their unique brand of sound, which in a live environment resembled to be the equivalent of block party with invitations being extended to join them on stage to sing along and dance.

To this day I regret to have sold my Pushead designed Big Boys Zorlac skateboard, as there is hardly another physical subject from that era that would better embody the trinity that made punk important for me. 

Having created the foundation, Big Boys was a soulful band whose true legacy and impact is still unfolding and impacting how underground music evolves.

Thus Let Us Drink Beer

Black Arts and St Andrews Beach Brewery

The emphasis of the last round of instalment of this series has been heavily on breweries that pump out IPAs and brews on the hoppier end of things. While this is certainly one of my favourite aspects in the world of beer, what I ultimately am looking for are flavours that are not restricted to one-dimensionality and breweries that set out to push the envelope beyond what appeases the mainstream palate with the tried and tested offerings of lagers and pale ales.

Enter Black Arts.

With the premise to do anything but the ordinary and their focus set on the creation of Australian wild and sour ales, they take inspiration from as far as the old world, specifically when it comes to taking a page or two off the book of traditional beer-making of Belgium, to then infuse it with their own idiosyncratic twist.

The result of Black Arts’ approach is never not complex, with specifically the blending and  fermentation process adding the “je ne sais quoi” as this time-intensive act along with the maturation in oak barrels resulting in elegant and flavourful ales that deliberately blur the line between cider, wine and beer.

Formally established in 2019, Black Arts started with blending the beers that had been ageing since 2016 launching a core line-up of three beers to complement them with smaller runs of single-barrel, dry hopped and fruitier versions.

Black Arts focus is firmly set on drinkability rather than exorbitant sour- and acidicness, however, suffice to say, for the untrained palate a first encounter with a funky sour can be an overwhelming and even off-putting experience. To ease in the uninitiated, Black Arts produces their Bière de Coupage, which acts as a bridge being a beer but already introducing funkier components by blending their mature wild ale with a young saison. The result is a slightly funky, cideresque brew with lemony nuances.

Once you have tasted blood, it is time to venture on to Black Arts’ Golden Wild Ale, an homage to the sour beers of Belgium which leads one down the rabbit hole into funkier, more sour and stewier realms of what experimentation with bacteria and yeast strains can produce. Vinous and dry and nature, this little number grows in complexity with each sip and gives an idea of the cosmos of flavours that can be achieved with fermentation.

My favourite of what I have tried so far is the Red Wild expression. It reminds me of my numerous trips to Belgium, where I enjoyed tarty and full-bodied ales that took me on a nuanced journey with flavours derived from oakyness of the barrels, accentuated by dark chocolatey, vanilla and grape flavours.

St Andrews Beach Brewery

What I have grown to love about Australia’s ever expanding craft beer scene is not merely the variety and quality that breweries produce, but that it has so expansive that brewers confidently set up their operations outside the confines of the tried and tested hotbeds in cities like Melbourne and Sydney, which became the original hotbeds with its industrial areas and warehouses.

The location and evolution of St Andrews Beach Brewery harks back to when its co-founder revisited a property six years ago that he had originally helped to develop around the turn of the millennium: In essence, St Andrews Brewery’s digs are a converted racetrack, with the stables having been converted into one of the more unique brewery outfits Australia has to offer.

Needless to say, the brewery has not only established itself on the forefront of Australian craft beer creators but prides itself on the ways they attention to details and its commitment to diligently handle each facet of their operations themselves, including a hop farm and the cultivation of English cider apples and pears – an approach that pays dividends and one that can be both tasted as well as experienced in both the design of their artwork as well as the carefully curated merchandise, which in terms of detailed features and quality of garments takes things to new heights.

Each of the beers of St Andrews Beach Brewery celebrates the property that is home to their operations, with names and characteristic chosen to pay homage to the racetrack, horses or other idiosyncratic features. 

My favourite of the St Andrews Brewery range so far – and I say “so far” as I have missed out on their Double IPA expression – is their The Farrier India Pale Ale.

The Farrier is a brew that will excite both hopheads and craft beer aficionados as well as the uninitiated as it well-balanced approach includes both huge tropical flavours on the orangery and pineappley end of the spectrum, yet with clearly distinguishable nuances on the other.

Weighing in at 6.4%, it packs a bit of a punch and with its mid-range bitterness, you get to taste the hop resin goodness with the grist of the malt rounding things out with a delicate sweetness at the back end, which along with the hop aromas entice you and bring you in.
Time to set a reminder to not miss out on St Andrews Beach’s next DIPA venture.

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images from company websites

The Formative Years – Leatherface

Leatherface’s third album Mush is one of the greatest punk rock releases of the 1990s, if not of all time. 

Period.

I feel in love with the record upon first listen and I would go as far as to claim that anyone remotely into punk and hardcore would be hard pressed not to like it. The way Leatherface effortlessly and authentically channels raw pain, intensity and a knack for melodies and great song-writing remains unrivalled and the fact that they have remained underneath the radar added to the appeal but was undeserved.  

Every track stands for itself yet the album appears to be cast from one consistent mould, with the common denominator being a beautiful sense of desperation, immediacy and urgency, conveyed specifically by the dense entwining interplay of fleeting ever duelling guitar arrangements, which hit you bullseye when they culminate in an in-sync crescendo.

Frankie Stubbs’ vocal delivery reigns supreme in a league of its own – charismatic, rough not unlike Lemmy Kilmister, passionate and paired with his melancholic, inward looking and longing lyrics, heart wrenchingly moving and intensely affecting. He manages to strikingly articulate something deep down in a way that other aspiring vocalists can only dream of as he got the ever so elusive “je ne sais quoi” in spades.

Despite the greatness of all individual ingredients, the sum of the whole constitutes a much grander unique construct. Yes, there is melancholia, nostalgia, sentimentality and emotional content, but it is also immensely powerful, non-apologetic, yearning and brutal.

Suffice to say, without Leatherface, bands like Hot Water Music, Avail, Gaslight Anthem and pretty much all of Jensen’s bands, i.e. Dackelblut, Oma Hans, etc., would have sounded very different – let alone the band that Frankie Stubbs ventured on to produce, i.e. Snuff, Wat Tyler and China Drum.