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Have One On Us #5

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September 28, 2011
Augustiner Brau, Have One On Us, Marston's, Young's
2 Comments

An ongoing series documenting our search for the best beers available in Manchester.

Reader, the break between #4 and #5 of this series was not because we were temporarily teetotal. Perish the thought! We found the time to get through the odd drink here and there at the start of September, most notably at Fuel Cafe Bar a while back. You see, they stock Young’s Double Chocolate Stout, which is an absolute treat. An enticing aroma is but a prelude to a rich, full-bodied beverage that is chocolatey enough to live up to its name without being overwhelmingly sweet. The definition of decadence, one bottle simply isn’t enough. Highly recommended.

A few days afterwards, we headed out to Berlin, our home away from home. That involved drinking a hell of a lot of Warsteiner (a standard lager, albeit a cut above more familiar brands) at the festival we attended, plenty of old favourite Augustiner Helles, and any number of weissbier variations. The latter option is definitely the route to take if you find yourself visiting Germany.

Which brings us up to last week. We’re lucky in that our local supermarket has a decent range of domestic beers, so ahead of the book club we host it was the perfect venue to quickly stop off at, pick up a couple of bottles of something-or-other, and then shoot off to prepare for hosting duties.

In the end, it was Marston’s committment to decent strenght Indian pale ales that won the day. Whilst the government is busy slapping an additional 25% tax on beers with an ABV of above 7.5%, connoisseurs have long known that many of the best brews are around that percentage. The two efforts we sampled – Old Empire and Strong Pale Ale – were both close to the 6% mark, which lent them an added punch that plays wonderfully on the palate.

As far as Old Empire is concerned, hops are to the fore in terms of both aroma and taste, with a slightly malty flavour and a hint of citrus. It’s crisp enough to satisfy the post-work need for something refreshing, but not distinctive enough to belong in the upper echelon of IPAs.

Strong Pale Ale, meanwhile, is a step up in quality. A more robust offering in every way, the flavours have a greater complexity, with hops and malts both competing for your attention, which is captured even before that first sip by its lovely earthy aroma.

The book club, alas, was not as successful as previous events, with a limited (albeit passionate) turnout. Which is a shame, considering that In Cold Blood is probably the finest example of literary journalism that has ever been committed to the page. Not one to ponder in an advanced state of inebriation (not least because it’s extremely sombre and sobering in tone), given the prominence of the Troy Davis story in the news it was a particularly timely and appropriate choice.

Tales of a Go-Nowhere Indie Band, part one

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September 22, 2011
Manchester, Music, Tales of a Go-Nowhere Indie Band

It’s 2011, and Manchester has an absolutely thriving music scene. No matter what they tell you, though, it wasn’t always this way. I should know: after all, I was a small part of it during the first decade of the new century, playing drums in a band called, let’s say, The Found Navigation Chart. Throughout that time, this city’s music scene was as much characterised by audience indifference and dreadful bands as anything else. But I’m getting ahead of myself…

It started aged sixteen, when four friends asked me to learn to play the drums. For them, that was easier than having to recruit somebody by meeting new people. I wasn’t all that up for it – it sounded too much like hard work – but It’s hard to say no to friends, and soon enough I was buying drums, arranging lessons, and experiencing the cathartic joy of pounding away on a beautiful new kit.

This happened at the start of 2002. Naturally when it came to establishing the sound of the band, we aimed for Kid A and ended up with a slightly more angsty, less catchy version of Coldplay. Our practise room, for the most part, was a church hall we were allowed to use for free thanks to a rather generous reverend. Occasionally, garages and living rooms would suffice. With little else to do with our lives, we’d lock ourselves away for hours at a time, for days in a row, plotting a path towards indie stardom.

From those humble origins we soon found our feet, and became a little more ambitious. Not always with positive results; one song featured live drums, a drum machine, and a line sampled from Darren Aronofsky’s Pi that was shoehorned in in such a way that is was almost impossible to play around it. Alas, that was to become something of a theme for us – overcomplicating things to the point where actually just playing a song was almost more trouble than it was worth. Perhaps that’s why it took three years of practising before we finally played our first gig. But again, I’m getting ahead of myself…

Over the course of those years, we honed our craft, developed an understanding as musicians, argued a hell of a lot, and – crucially – started listening to better music. Our songs improved massively as a result, and our collective egos had us convinced that we were one of the best bands in Manchester before we’d even played a note in front of an audience.

That wasn’t just arrogance on our part, though; as I’ve already alluded to, the city’s music scene wasn’t exactly in rude health back then. Too many bands were still in thrall to Joy Division, Stone Roses, Oasis et al, and as a result were producing derivative music that wasn’t worth listening to. A good few people – promoters and reviewers and the like – were trying to push things forward, but progress was slow. We honestly thought we could make a difference. How naive we were…

In part two: we start playing gigs and start recording our songs, and critical acclaim quickly follows. The fans, sadly, do not.

The Festival Effect

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September 17, 2011
Music

I hadn’t heard a single note by The Naked and Famous until the week before Berlin Festival. I hadn’t been interested in listening to them either, but I make a point of checking out every band ahead of time, so I know heading in who to see and who to skip. Having played it through, Passive Me, Aggressive You didn’t do a whole lot for me. It struck me as extremely generic indie rock that, whilst in no way objectionable, would forever struggle to be anything other than somewhat pleasant background music.

Skip forward a week and we’re lingering around the main stage, waiting for Beirut, when The Naked and Famous start up. What followed was an excellent set, a powerful performance from a band I would have been only too happy to write off as wuss rock. I doubt I’ll ever listen to their music in the comfort of my own home, but for forty-five minutes they killed it, and I loved the hell out of them.

Of course, this phenomenon is not at all uncommon, as anyone with experience of festivals can no doubt attest. Often, the band you enjoy the most will come completely out of left field. The flip side, unfortunately, is that favourite bands can end up falling short of expectations, often for reasons that are nigh on impossible to pinpoint.

Take The National. There was no band I was more looking forward to seeing at this year’s Primavera. It had been far too long since I’d last seen them live, and they’d only grown in stature since. And they were good, no question, but not in the life-affirming, transcendent way I was hoping for. Was that partly my fault for going in with such high expectations? Perhaps, but I felt that their last three records provided plentiful evidence of a band that could own such grand occasions. In the end, the vastness of the Llevant stage and the surrounding area was just too much for them to fill, and I was left a touch disappointed.

Festivals are both the best and the worst place to see any band. If everything clicks, then you’re liable to have an incredible time. The problem is that so many factors can work against you. Technical difficulties are pretty common, as are stages that just don’t sound very good. A failure to strike the correct food-beer balance can be fatal, meaning that you peak too early or too late, or not at all. Tiredness can set in unexpectedly, especially abroad, where the festivals tend to run until six in the morning and one bad night’s sleep can ruin everything. If the audience isn’t up for a given band, it’s all the more difficult to get into them. Festival attendance involves running a gauntlet of obstacles, and only after you’ve overcome them can you truly start enjoying yourself.

I’d be about ready to question why I still make the effort, but the answer is easy: hearing “Common People” or “All My Friends” or “Do You Realize??” in the midst of a mass of people who are all as excited and up for it as you are is incomparable. Which is why, for all the pitfalls, I’m not ready to quit festivals just yet.

The Art of Berlin Festival

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September 13, 2011
Art, Berlin Festival

Music festivals typically provide a range of distractions for those occasions when you’re burnt out on bands and need a change of pace. Berlin Festival was no exception; as well as several decent chillout areas (complete with hammock-type structures), and a fantastic range of food, there was a little village where artists were working live on large canvases, creating pieces and murals with limited supplies as audience members watched on. On the second day, we wandered over camera in hand to take a closer look.

Berlin is pretty legendary for its graffiti (one could easily spend their entire holiday here traipsing around the city in search of great pieces on the sides of buildings and always find something new), so the village felt like a natural fit, and it was no surprise to see that a number of strong, striking images had been created…

…which really added something to the already spectacular setting. From the outside, Tempelhof is an immense, imposing building that appears nothing like an airport until you get inside, with the odd decommissioned plane still inhabiting a space that saw use during World War II. Some sixty-five years on, and it’s hosting a yearly music festival, complete with pieces by some of the most talented individuals creating art in the city. How quickly things can change!

Gig Review: Onions, The Bell Peppers, and New Hips

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September 6, 2011
Fuel Cafe Bar, Manchester Scenewipe, New Hips, Onions, The Bell Peppers

So, yet another evening dining out on the finest music Manchester has to offer? We’d be about ready to complain, but for the first time in our adult lives this city has an embarrassment of riches in terms of local bands, and right now we’re happy to enjoy as many of them as possible. Once again, Manchester Scenewipe had scheduled an impressive Friday night lineup that promised plenty, and once again our expectations were more than exceeded.

The demise of Death to Van Gogh’s Ear was one to be lamented, given that they were easily one of Manchester’s most accomplished acts. So the news that three-quarters of the band had resurfaced to form New Hips (pictured above) was extremely welcome to us; even more so, given that they’ve clearly been honing their craft during their absence. To label their music as complex would be to do them a disservice: the time signature changes and off-rhythm interludes feel playful rather than wilfully obtuse, and there are hooks enough to keep any listener interested. To achieve this balance takes great skill, something New Hips have in abundance. Adam Stafford is a guitar virtuoso, and more in sync with frontman Evan Wilson than ever before; the latter has clearly grown in confidence, and now commands the stage. Add into the mix an amazing new drummer and the always propulsive bass of Holly Carter, and you have one hell of an outfit. That they shine so brightly during such a brief appearance bodes well for the future.

The Bell Peppers are a different proposition entirely. Looking just like Buddy Holly, it’s no surprise that their songs sound as though they’ve been plucked from the 1950s. Minimalist programmed drum beats provide a backdrop to their laid-back brand of surf rock, which has a studied looseness that suits it perfectly. Their topnotch, unshowy guitar playing and an obvious way with a melody both stand out, as does their unwilligness to go the obvious or expected route, which ensures that they never descend into mimicry. Ones to watch.

Headliners Onions (pictured above) are easily one of Manchester’s catchiest bands: listen to them once, and the chances are that their songs will be stuck in your head forever. If such a description suggests that they make infectious pop music of the highest order, you’d be right: imagine a combination of The Kinks at their finest and Of Montreal before the theatrics became more important than the music, with a touch of Electric Light Orchestra, and you’re still only about halfway there. As soon as they strike their first note the dancefloor fills with flailing limbs and improbable shapes, which is particularly noteworthy given that Fuel is usually the type of venue that engenders restraint. It’s also an entirely justified reaction, as the band are on electric form, blasting through all their best tracks with tons of energy, and showing exactly why so many people rave about them. With a debut album on its way soon, expect Onions to make an even bigger name for themselves over the next 12 months.

Gig Review: Comet Gain, Help Stamp Out Loneliness, and The ABC Club

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September 2, 2011
Comet Gain, Help Stamp Out Loneliness, Hey! Manchester, Roadhouse, The ABC Club, Underachievers Please Try Harder

The Roadhouse’s popularity may have diminished in the face of the Deaf Institute’s monopolistic hold on the Manchester music scene, but it still makes for a great live venue. On paper, the Tuesday immediately following a Bank Holiday Monday is not an ideal night to put on an event, but the way to counter that is to book a lineup too good to ignore. That’s the strategy promoters Underachievers Please Try Harder and Hey! Manchester went with, and as the place fills up a sense of anticipation starts to build amongst an audience who know that they’re about to see something special.

Opening band The ABC Club wear their influences on their sleeves just enough that you know where they’re coming from (which is New York City by way of Manchester), but not so much as to sound derivative. The guitar interplay hints at the Strokes, but the vocals are less Julian Casablanca’s affected nonchalance and more Debbie Harry’s restrained passion without the overtly pop trappings, unhurried yet still urgent and full of soul. The scattershot energy of the drumming complements the songs perfectly, and the overall effect is immensely impressive. Clearly, this is a band with enough in their repertoire to release a great debut album in the not-too-distant future.

Help Stamp Out Loneliness (pictured above) have already done that; their fantastic first record inevitably drew comparisons to Belle and Sebastian, but they’re a very different proposition live. Their songs feel more charged, more powerful, like Beat Happening without the rough edges.  D. Lucille Campbell’s vocals shine in this setting, too; the lyrics switch effortlessly from withering putdowns to genuine heartbreak, and the delivery of every line is flawless. Enough of their indie pop insticts shine through to get the audience shuffling along to the music, and everything about them suggests that there is still a hell of a lot more to come.

The evening’s main attraction more than live up to the high standards set by the support bands. Comet Gain (pictured first) are purveyors of a very British brand of indie: that means earnest lyrics married to infectious melodies, guitars competing against slightly shouted vocals, and a confidence that may well be entirely bravado. Once they launch into their set, there’s energy enough in the music to evoke the spirit of ’77 (the Undertones, rather than the Pistols), and the atmosphere is almost celebratory, as though the band are fully aware that they’ve just put out their best album to date. Indeed, the songs from the justly lauded Howl Of The Lonely Crowd stand out, and the crowd is on board from the start. More nuanced than first impressions suggest, there is an understated beauty that underpins their very best tracks, and they turn in the type of performance that suggests their status as future indie rock royalty is guaranteed.

Upon leaving, anticipation has given way to certainty: we have just seen something special. An outstanding lineup means nothing if the bands don’t deliver on the night, yet all three acts easily exceeded expectations. That two of them hail from Manchester makes it all the sweeter.

Track by Track: Mirror Traffic by Stephen Malkmus and the Jicks

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August 31, 2011
Music, Stephen Malkmus and the Jicks, Track by Track

Let’s start with a truth that is by no means universally acknowledged: there are some great songs spread across the four albums Stephen Malkmus released prior to Mirror Traffic.

The first, self-titled solo album is by far the most open, honest record he’s ever been responsible for, with a handful of truly beautiful low-key moments. The lyrics are less wilfully obtuse, with what may well be personal sentiments given room to breathe amongst all the tortured wordplay and literary gymnastics. During the chorus of “Church On White,” for example, Malkmus opines that “all you really wanted/was everything/plus everything/and the truth/I only poured you/half a line,” which still staggers me every time I hear it. “Pink India” and “Trojan Curfew” are less introspective, but still absolutely lush, while “Phantasies” and “Jenny and the Ess-Dog” are enjoyable pop ditties, with the latter particularly suitable for a spot of indie karaoke.

Pig Lib followed, and was another success: occasionally unhinged but mostly restrained, there’s a playfulness that permeates the record. “Vanessa From Queens” is not just a fine song, but damn-near romantic with it; more importantly, the album sees Malkmus’ love of a long, drawn-out jam become more prominent, with “(Do Not Feed The) Oyster” and “Witch Mountain Bridge” hinting at such tendencies before the near-ten-minute “1% of One” plays around with the same structure for the entirety of its running time. This would become important come album number four.

Before that, there was Face The Truth, which lacks an absolutely killer track but is worth the price of admission for the line “you said ‘done is good’/but done well is so much fucking better,” which lights up “Freeze The Saints,” a pleasant indie ballad of the sort Malkmus has become more and more comfortable with since Pavement split. A little all over the place in terms of its musical influences, there’s enough good to counteract the few tracks that don’t shine all that brightly.

Real Emotional Trash feels like an album Malkmus had been wanting to make for years: six tracks break the five-minute barrier and a seventh comes close, and he shows no fear in pushing a simple idea to breaking point (if not beyond). Always likely to be a decisive release, whilst for some it probably signified an ending, for me it was the boldest thing he’d released since Wowee Zowee. It’s not the first record I reach for from his back catalogue, but it suits certain moods perfectly, and really shows off his talent as a guitarist, which is often unfairly overlooked.

Which brings us up to the present day. So far, much of the praise Mirror Traffic has received has focused on how much the material sounds like Pavement. Indeed, ever since the band split in ’99, critics and fans alike have seemingly wanted nothing more than for Malkmus to make the next Pavement record, and to those people it never much mattered whether he did so by putting the band back together, or by returning to that sound with his solo work.

This desire is misplaced for at least a couple of reasons. Firstly, whilst the five Pavement albums all sound decidedly “Pavement,” the music changes significantly from record to record. From the lo-fi slacker rock of “Slanted & Enchanted” to the glorious experimentation of “Wowee Zowee” to the weary folk-infuenced stylings of “Terror Twilight,” each new release felt like a progression (not necessarily in terms of quality, it must be said), and felt different to the work that preceded it. And secondly - as I’ve just spent some time elucidating - Malkmus has released some great material over the last ten years.

With all that in mind, to me Mirror Traffic stands out as Malkmus’ best post-Pavement work. As eclectic as ever, there are both callbacks to all of his previous albums and moments of genuine surprise, which highlight both how innovative he continues to be and how unwilling he is to allow complacency to set in: this is everything you would hope for from a man putting out his tenth record (tenth! And that’s not even counting side projects and guest appearances). Let’s take it track by track.

1. “Tigers”

A tried-and-true Malkmus indie pop song, of the sort that appear at least once on all of his albums (which is definitely a positive, given how good he is at writing them). It’s an interesting choice for the opening track because, more than anything else on the record, it invites the Pavement comparisons that so many critics have been making.

2. “No One (Is As I Are Be)”

One of the most restrained songs on the album, “No One (Is As I Are Be)” is introspective and even a touch sentimental: the kind of track most musicians would feel it necessary to build towards, its appearance so early on is disarming. The delivery of the lyrics is practically spoken word (which has always suited Malkmus), and moments of humour and insight are brilliantly alternated.

3. “Senator”

Typically Malkmus, in that it adheres to the quiet-loud template without rhyme nor reason, complete with breakdowns and build-ups that lead to more wonderful, wonderful noise. Some great lyrics, a false ending, a refrain of “you are fading fast,” and a glorious guitar solo outro: this is grade A indie rock, and probably the highpoint of the album.

4. “Brain Gallop”

A loose practise room jam that fleetingly calls to mind “The Hexx,” and is otherwise pitched somewhere between Wowee Zowee and Real Emotional Trash. That said, the “there’s not much left inside my tank today” refrain is unlike anything else in Malkmus’ oeuvre, and immediately stands out because of that. Once the ending kicks in, the guitar squall returns the listener to more familiar territory.

5. “Jumblegloss”

A short, dreamy, Terror Twilight-esque instrumental that breaks up the album nicely.

6. “Asking Price”

Switching gears several times, “Asking Price” has plenty to like about it, particularly the vocal-heavy verses, which call to mind “Transport Is Arranged” and allow Malkmus to showcase his voice at its best.

7. “Stick Figures In Love”

The guitar line that kicks off “Stick Figures In Love” is immediately arresting, and forms the entirety of the chorus, which is completely devoid of lyrics (a trick he repeats elsewhere on the album). The song is as about as musically upbeat as the record gets, and injects a much-needed bit of energy after several slower jams.

8. “Spazz”

The midpoint of the album, whilst “Spazz” is not quite as wild as its name suggests, it is another guitar heavy track. It starts off at a rampant pace, quickly morphs into jam band territory, and then ends where it began.

9. “Long Hard Book”

If the first half of the album was punctuated by songs that evoke Malkmus’ past glories (without ever directly imitating them), the second half showcases how adept he is at introducing new influences to his music. “Long Hard Book” is pretty from the offset, sounding like part two of “Jumblegloss,” with the same sense of dreaminess.

10. “Share The Red”

Perfectly restrained and ambiguously introspective, “Share The Red” could easily have slotted alongside “Old To Begin” and “Type Slowly” on Brighten The Corners. The subtle guitar work showcases Malkmus’ range, and the piano melody that mimics it – bringing the song to a close – is wonderful.

11. “Tune Grief”

Practically surf rock, “Tune Grief” is a couple of minutes of seemingly simple fun that benefits from multiple listens.

12. “Forever 28″

Ditto “Forever 28,” which boasts more great guitar work, the best drumming to be found on the album, and a fabulous ending. The sort of hidden gem that only stands out once you’ve listened to a record from cover to cover several times.

13. “All Over Gently”

Vaguely countrified guitar twangs underpin the start of “All Over Gently,” before gentle vocal harmonies build towards a chorus that, interestingly enough, never arrives. Instead, the song lurches in a number of different directions before ending in mock-collapse.

14. “Fall Away”

One of the standout tracks, “Fall Away” is a lovely little song that is carried along by gentle drums, slight guitar, and some excellent vocals. The only cause for complaint is, that at just over two minutes long, it ends far too soon.

15. “Gorgeous Georgie”

“Gorgeous Georgie” is an appropriate way to bring an end to proceedings, in that it incorporates elements of all of Malkmus’ previous solo records. The lyrics recall “Craw Song,” and the music is more Stephen Malkmus than anything else on the album.

And that, ladies and gentlemen, is Mirror Traffic: a superlative record that is well worth your time, and further proof that Stephen Malkmus doesn’t need Pavement to make great music.

Have One On Us #4

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August 24, 2011
Have One On Us, Port Street Beer House, Thornbridge Brewery

An ongoing series documenting our search for the best beers available in Manchester.

If the fact that Thornbridge Brewery started their day’s work at half four in the morning is not proof enough of how committed they are to their craft, then the drinks they brought with them to Port Street Beer House’s latest Meet the Brewer event settled the issue decisively. Thornbridge used the evening as a showcase for new and exclusive brews, each of which suggested that their future will be particularly bright.

First drink Summer Ale is aptly named, being as it is a lighter-than-air lager-type effort that is suffused with fresh-picked sage and, more noticeably, ginger: the kind of drink that is perfect for wiling away the remaining hours of summer, in other words, and a perfect start to the night. It calls to mind Marble Brewery’s Ginger, and round these parts that is a massive compliment.

A striking-yet-pleasing fizz is the first thing you notice upon tasting Kipling, at which point it becomes clear that the brewery isn’t quite as hostile to the mainstream as some of their peers. The difference is, of course, that the big name brands deliver all fizz and no flavour, whilst Thornbridge’s brews have the right level of complexity about them. Kipling is a well-rounded, full-bodied beer that starts with an initial sweetness and finishes with a sharp bitterness, and like Summer Ale, is highly drinkable.

The third beer only serves to push our opinion even higher. The sweetest drink of the night, Seaforth is also something of a challenge, in the best possible way. Subtle notes of citrus, the slightest hint of toffee, an abundance of English hops, and an exceptional maltiness all compete for your attention, before eventually setting down and sitting wonderfully on the palate. Inspiring equal amounts of debate and enjoyment, for us Seaforth is the highlight of the evening.

Alchemy 8VI, a dry hop barley wine, is a fantastic way to bring the evening to a close, providing a deep, intense flavour with no small amount of kick that goes down an absolute treat. For the uninitiated, barley wines really do taste like a cross between beer and wine (which takes a little time to get used to!). In this case, once you’re acclimatised notes of toffee and caramel are to the fore, along with a distinctive woodiness and a pleasing dryness that rounds off each sip.

Once the drinks have been consumed, the delicious Bakewell tart has been polished off, and the money has run out, it is unfortunately time to leave. But we’ll be back, and if you weren’t lucky enough to be there, you should make every effort to visit Port Street whilst Thornbridge’s brews are still the main event. You won’t be disappointed.

Hey! After Hours at Whitworth Art Gallery

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August 20, 2011
Artangel, Hey! Manchester, Jason Singh, Liz Green, Prism Quartet, Whitworth Art Gallery
2 Comments

If you’re anything like us, you’re always on the lookout for events that are in some way outside of the ordinary. Which is why, as soon as it was announced, Hey! After Hours was something we were looking forward to. Designed as a response to Projections: Works from The Artangel Collection, Hey! Manchester and Whitworth Art Gallery clearly put a lot of thought into the composition of the night’s proceedings. The result was an illuminating evening, very much of the “once in a lifetime” ilk.

Upon arrival, the Royal Northern College of Music’s Prism Quartet were spread throughout the building, with each individual performing seemingly disparate pieces that, once you reach certain points, come together to form a highly impressive whole. As far as classical music is concerned, it is always the string section that sets our pulses racing, and the Phillip Glass pieces Prism Quartet perform are particularly impressive examples of the art form. Sometimes taut and dramatic, sometimes quiet and restrained, the players provide the perfect backdrop for the evening.

As far as the Artangel pieces are concerned, Atom Egoyan’s Steenbeckett immediately stands out. 2000 feet of film is spread around a darkened room, constantly in motion, and the sound it makes is somewhere between rainfall and the quiet nighttime hum of a refrigerator; the overall effect is mesmerising. The technology-obsessed drawings and paitings of Tony Oursler capture our attention, and Catherine Yass’s High Wires – through which the artist explored the practically dystopian 20th century phenomenon of thirty-storey blocks of flats being envisaged as the future of housing provision – is also striking, with four large screens being used to depict high wire walker Didier Pasquette’s ultimately failed journey between two wind-beaten towers. It’s definitely worth making a special journey to the Whitworth to check out this exhibit.

In the midst of this setting, the ambient soundscapes of Jason Singh are quietly haunting, the sort of music that inhabits your headspace if you give it half a chance. It takes you over, takes you out of the room, and evokes moments or memories rescued from forgotten dreams: soundtrack music of the best possible kind.

Liz Green, pictured above, starts her set with just her bluesy holler and handclaps, although this introduction is something of a misnomer, as once she picks up her guitar it’s the folk influence that shines through most brightly. She seems comfortable playing in front of a room filled with fans and soon-to-be-devotees, cracking a Tom Waits-themed joke and introducing one song as “Homer’s Odyssey from the perspective of Penelope.” Her music suits the environment down to the ground, and it is quickly clear that her debut album – due out this November – is one to look forward to. If Green is able to live up to all her promise, it’ll be one to cherish, too.

We came away thoroughly satisfied with everything we’d seen, and that sensation hasn’t worn off yet. If only all art and entertainment were this affecting.

Have One On Us #3

By
August 16, 2011
Augustiner Brau, Brakspear, Dark Star Brewery, Drink, Have One On Us, Hook Norton Brewery, Port Street Beer House, Summer Wine Brewery

An ongoing series documenting our search for the best beers available in Manchester.

Given the stigma attached to the likes of Carlsberg Special Brew and Tennent’s Super – extra-strength beers that are less about enjoying a nice cold one than about inducing unconsciousness - it’s somewhat surprising that in recent years, stronger ales have been growing in popularity among aficionados. BrewDog have arguably been at the forefront of this, offering a number of beers that either push or exceed 10% ABV, including the ridiculous-for-more-than-just-its-reductive-name Sink the Bismarck!, which clocks in at a staggering 41%. Still, however you feel about their attention-grabbing antics, this approach has helped the brewery achieve nationwide recognition in a comparatively short space of time, whilst introducing a significant number of drinkers to the joys of higher percentages.

Of course, this isn’t an entirely new development. Dating back to at least the middle of the 20th century, the word “tripel” has been used as a banner term to indicate strength. Brakspear’s Triple represented our first foray into this arena, and we’re happy to report back that it was a complete success. Upon pouring, the colouring immediately catches your eye, as dark clouds swirl around the top of the glass before settling. The depth of flavour is initially disarming, and this intensity takes a few sips to get used to. Once your palate has adjusted, however, you’ll start to appreciate the wonderful complexity of this drink, and its balanced notes of toffee and fruit.

Later on in the week, a brief stop off at Port Street Beer House was as fruitful as it always is. Augustiner Helles is one of the only lagers we drink these days, with good reason. Sometimes you crave nothing more than a clean, crisp, refreshing beverage, and Augustiner’s flagship brand more than delivers on all of these fronts. We spent a fair amount of time in Berlin last year, during which we proved that it is pretty much the perfect session beer. Its increasing prevalence in Manchester is something to be grateful for.

We were also happy to partake in a Summer Wine Brewery offering that was new to us. The pump clip for The Benz promises an aromatic black, and the drink certainly delivers that. Blessed with a wonderfully deep black colour, it’s the kind of beer that lights up the senses before the first drop has hit your mouth. The taste is pitched somewhere between a stout and a porter, with hops very much to the fore, which the fruity malts complement perfectly. Another unqualified success from Summer Wine!

To round the week off, we opted for Hook Norton Brewery’s Old Hooky. A golden brown colour gives way to a deep, woody taste that dominates the beverage, lingering on the tongue to a far greater extent that the subtle hint of fruit. Slightly more complex than your average beer, it’s light enough that it goes down easily, but certainly isn’t for session drinking. Definitely one to add to the hypothetical beer cellar.

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