#Liquid Funk Mix 2018

[luuurien]

FKJ - V I N C E N T

(Neo-Soul, Alternative R&B, Nu-Jazz)

Vincent Fenton's second album is dreamier than ever, leaning towards a sweeter and warmer sound compared to the snappy electronic beats and jazz crossovers of his debut. V I N C E N T is Fenton fully coming into his own as an artist, subduing the sound he cultivated on his debut and bringing out the best in him as an instrumentalist.

☆☆☆☆

One of the pioneers for French neo-soul and electronica, Vincent Fenton's career has been able to appeal to both mainstream folks looking for some classy background music and those searching for the next groundbreaking artist. His work under the FKJ moniker has resulted in some of the biggest songs to come from the Paris soul and jazz world in years, his Roche Musique debut French Kiwi Juice introducing the world to his jazz-inflected brand of French House, pop and electronica that became an abundant source of energy in the early spring of 2017 when it released. Now, with a Mom + Pop label deal and access to more time, more instruments and more musicians, his sophomore album V I N C E N T narcotize his sound with thick sub-bass, psychedelic guitars, and the dreamier sides of soul to make for his most relaxed and enjoyable album to date. Fenton paces himself more than ever here, and it pays off greatly. All the calling cards of Fenton's sound are still here - his pristine mixes filled to the brim without being overwhelming; the touches of his saxophone, guitar, and piano that always get thrown into a song; the relaxed beats that still have enough oomph to get you moving in time with them - but V I N C E N T sees him let up on the gas pedal a bit to see the world around him. This could easily be explained as the kind of slowdown that's occurred with many artists throughout the pandemic, but Fenton's music doesn't feel stifled by it at all. Rather, he sounds better than ever, able to open up the more atmospheric side of his sound hinted at in older projects like his 2018 Just Piano EP and bring it into his album experiences, too. The trippy side of alternative R&B his music lies on helps greatly in this effort, the Little Dragon assisted highlight Can't Stop lavishly decorated with shimmering guitars and plush synthesizers as Fenton and Yukimi Nagano's voices melt around a honey-thick bassline and soft percussion, and the masterful Different Masks for Different Days blends Fenton's warm saxophone tone around a lurching downtempo groove and trickling piano lines that prove he's just as charismatic when things are as dark as a candlelit room. He picks up the energy on occasion to help ensure the album doesn't become too mushy, The Mission pulling out a fun call-and-response between his guitar improvisations and his singing and the massive Once Again I Close My Eyes the closest he's ever gotten to a gospel tune if it was dipped in liquid gold, but V I N C E N T is by and large a relaxed experience that soothes more than anything else. Fenton never tries to make it be anything but. It's that consistency that makes V I N C E N T such an effective album. Sure, its songs aren't always the most exciting, but there's something so serene about how his falsetto swells around wah-pedal guitars on New Life or how the warped strings wrap around soulful piano improv on the watery opening track Way Out that makes the album's quaint sound just as engaging as any other of the great albums to release this year. It's a subdued beauty, but that doesn't mean the quality of the music is hidden in any way, the delightful slow-burn Once I Close My Eyes making for one of the most romantic songs to come out this entire year and the mellow funk of A Moment of Mystery with Toro y Moi a sweet little respite after the magical Different Masks for Different Days that preceded it. Fenton knows that making soft music doesn't mean it all has to congeal, taking different forms of it from downtempo to atmospheric electronic to intimate jazz and finding ways for them to all coexist within V I N C E N T. It's incredible how well he's able to make it happen. It's an album best experienced in one sitting and without stops, letting yourself luxuriate in its warm production and kaleidoscopically-dense instrumentation that only gets better with time. V I N C E N T is a low-risk, high-reward album for Fenton that only asks you to drink down the music like midnight wine and notice all the little things that make it taste so good.  Music as smooth and approachable as this could never fail, and through having Fenton's musical knowledge and ear for harmonies, V I N C E N T ends up not only standing out from the crowd, but making a peak in Fenton's discography thus far that shows him at his most artistically expansive and musically impressive. He's always been a fantastic musician, and V I N C E N T shows what he can do even when the lights are off, his music a torch in the dark directing you towards the moonlit café Fenton's music has built here. Sure, V I N C E N T might not be the wildest listen out there, but it doesn't need to be - Fenton makes these dreamy nu-jazz tunes more than worth your while.

[thesmilingfish]

A bunch of free Stargate (and related) stuff to watch while you’re stuck at home

A list by me.

It got really long so under the cut it goes.

Please reblog and add your favorite videos to the list!

I wanted to clarify a couple of things - I put in a lot of categories but sometimes a lot of what would normally fall in those are put up in the more generic “YouTube Channels” list because one person has posted a pretty significant chunk of Stargate stuff so in order to keep the list from getting too unwieldy I didn’t put them in twice. For example, under “Promos” it doesn’t include the SyFy Channel Super Fan stuff because BriaHalifax has them on their YT Channel. I’m sorry if it’s confusing but if you guys have any questions please let me know! I was just watching a bunch of stuff and am an inveterate list maker and thought I should just inflict share with all of you.

YouTube Channels:

Stargate Command

GateWorld

David Hewlett’s YT Channel

BriaHalifax

Gaffsie

CreationTV

The Popcast

QueenReyes79

SGAngel204

Susan Shambaugh

BiggestStargateFan

Yabolksar (DragonCon 2009 videos)

Alex Petrov (Farscape related content)

Angie Dean (BenBrowder.net YouTube page)

Claudia Black Unofficial

General Hospital

Fandom Spotlite

Ronald J. Coleman

The GATE

Randommind time

Fan videos (mostly not on YouTube):

The Colonel by lilly-the-kid (Password: colonel)

Dr. Horrible Trailer Spoof by firefly827347              

Stress by sandy and rache

Written by the Victors by zulu

This is How it Works by lim

By Way of Sorrow by sandy and rache

Previously, on Stargate SG-1… by Jameson Zed

Liquid Bird by hollywoodgrrl

Missed the Saturday Dance by Zoetrope

The Real Reason…(you love Stargate SG-1!) by Jameson Zed

The Fate of Atlantis by Stargate Fenura

John Sheppard | Funk Soul Brother {WWAC} by KyraLove

Stargate Atlantis intro NCIS style season 2 by House352

SG-1/SGA/SGU - High Voltage by kuwdora (Password: pixie_vids)

Masters of War (Pegasus Rising Remix) by bironic

Breathe You In from Holdt

Stargate: Camelot (Merlin/SG-1) by DoubleTreble1518

Roads Untraveled by esteefee

Pro videos (mostly folks showing off their VFX work on the shows):

Interface Mix by Lomax

stargate s.g.i and stargate atlantis by Martin Halle

Promos:

NOW TV - Stargate SG-1 Promo

Stargate SG1 Christmas Marathon :15 version

Stargate SG-1 Weekend Marathon

SyFy Channel Q&A with Joe Flanigan: Stargate Atlantis

SyFy Channel Q&A with David Hewlett: Stargate Atlantis

STARGATE SG-1 UNLEASHED TEASER

SyFy Channel Stargate Atlantis promos (with action figures)

SyFy Stargate Atlantis German promo

SyFy Stargate Atlantins und Stargate SG 1 German Trailer

SyFy Channel Stargate Universe promo

Stargate Universe Sales Tape

SF Stargate Atlantis Marathon

Convention Panels:

Joe Flanigan/David Hewlett Chicago Convention 2013

Stargate Q&A with Richard Dean Anderson & Amanda Tapping - Wales Comic Con 2019

Richard Dean Anderson (Stargate SG-1, MacGyver) Fan Expo Canada - Full Panel

CALGARY EXPO 2013: STARGATE SG-1 - Richard Dean Anderson and Michael Shanks

Dragon Con 2015 - Doctors of Stargate (David Hewlett, Paul McGillion and Teryl Rothery)

Jason Momoa On Mooning David Hewlett - 2008 Creation Stargate Convention in Burbank, CA

Stargate SG1 Panel Wales Comic Con April 2019

Joe Flanigan (Stargate Atlantis) Fan Expo Canada 2018 Full Panel

Stargate SG-1 Panel from SDCC '08   

SDCC 2007 Stargate Atlantis Panel                                     

Fan Films:

Stargate: SG-2 - The Ninth Symbol 

Stargate Hades Part One

Stargate Hades Part Two

Stargate The Euderion Chronicles (German)

Stargate The Lost Colony

Downloads:

bluespirit - David Hewlett

bluespirit - Joe Flanigan

Vids by Clucking Belles: Sandy 'n Rache

Other:

Richard Dean Anderson Website Video Gallery

AmandaTapping.com Media Page

Stargate: Instructional videos by Daniel Jackson

KINO 101 - STARGATE UNIVERSE

Stargate Universe KINO Webisode

Top 10 Stargate Moments

The GOA'ULD (STARGATE Explained)

Stargate Atlantis - Vegas "Beautiful People"

Discussion on Stargate Universe

Stargate: the complete saga (this is for an English assignment!)

Stargate Origins: Catherine - Analysis and Review

STARGATE INFINITY | S01E01

We NEED a Legit Stargate Game Like This!

The Complete History of Atlantis

Stargate SG-1 - The Role-playing Game

Behind the Mythology of Stargate SG-1

The Making of Stargate 1994 Movie Documentary

25 Minutes with Richard Dean Anderson

Richard Dean Anderson -- My Favorite 'Macgyver' Invention Was ...

Chris Judge Voice for STARGATE SG-1  UNLEASHED - OUTTAKE

Amanda Tapping Sanctuary Season 4 Ending, Charities & Universal Soldier

David Hewlett from "Stargate Atlantis" tests your evil mutant knowledge!

Talking VR, Gaming and Cyborgs with David Hewlett

Stargate - A Gate to other Worlds

[thesunlounge]

Reviews 348: Expositions

I came to the music of Reuben Smith through Balearic Social Records, who included “Venezuela” on the Sola various artists EP back in 2017. Released under the name Calle Gravina, the song was a total revelation and saw tropical mallet instrumentation dancing alongside big bottomed synth basslines, beachside downbeats, and psychedelic wah licks while equatorial synthesizers fluttered on a seabreeze. And best off all, the track featured a truly jawdropping “Na Na Na” chorus that truly must be heard to be believed, for so powerful is its effect that words simply fail me. In the time since the release of “Venezuela,” I’ve often dreamed about more music from Reuben and finally, after three years of waiting, my patience has been rewarded in ways I couldn’t have imagined, for the artist is making a big splash in 2020 via a new project named Expositions. The first release from Expositions and the focus of this review is the Yellow Haze EP, which was recently put out by the ever-amazing Forest Jams, a label that never fails to blow me away and who I last checked in with via the California coastal psychedelia of Starving Daughters. Here, the pairing between label and artist couldn’t be more sympathetic, for across the EP’s four tracks, Reuben moves smoothly between sunset downtempo, island life dubfunk, slow motion boogie, and seaside fusion, as subsonic basslines slide sensually, synthesizers fall like a summer storm of gemstones, shakers and tambourines add touches of beachdance swing, solar space leads swim in stoner splendor, palm-muted echo riffs dance on sunbeams, and fat bottomed balearic beats guide the body through exotica bongo and conga tapestries. And in crucial moments of soulful pop euphoria, a vocalist named Hanna delivers delirium diva incantations awash in an Ibizan chill-out dreamhaze...her voice sometimes joining Reuben’s for dopamine hooks, while at other times floating off into the ether.

As well, I’d like to briefly discuss the second Expositions EP Nights at Casa Ana, which is already in the works via a Qrates crowdfunding campaign found here. I encourage readers of this blog to back the pressing if possible, as the release is truly special and deserves its place on wax. Moreover, Nights at Casa Ana sees the welcome return of the aforementioned Balearic Social Records, a favorite label of mine that has been lying low since 2018’s Nyala split EP between Bonnie & Klein and BlackBush Orchestra. Though Nights at Casa Ana still revels in familiar vibes of sunshine positivity and oceanic radiance, the EP sees Reuben moving slightly away from downtempo pop towards fever dream fantasies and drug-induced paradises, which is nowhere more apparent than on the near 15 minute “Energía Mística.” The track is a slowed seaside disco epic, featuring nimble funk basslines, kaleidoscopic guitar refractions, blissful fusion leads, layers of solar squelch, fourth world dub electronics, acid fuzz space solos, and snippets of spoken Spanish flowing in and out of birdsong…the whole thing comprising a journey in extended balearic jamming only rivaled by Max Essa’s “Panoramic Suite.” As for the other two tracks, we are treated to shorter, though no less expansive adventures, both featuring acid house bassline percolations and further trippy Spanish spoken word sampling. “Misteriosi” sets a filmic dancefloor gallop beneath jangling western guitars, sea-crystal melodies, mellotronic prog flutes, sci-fi synth leads, chanted breaths, and layers of extasy laughter while in “Tomate tu tiempo,” machine beats lock into a samba-esque swing, AOR guitars ride a warming summer wind, marimba fractals surround woodwind lullabies, soulful chords stoke vibes of 70s disco intoxication, and starbeam fusion solos dance through layers of seaspray while neon-hued acid tracers fire gently across the mind.

Expositions - Yellow Haze (Forest Jams, 2020) Shakers and sonar sequencers set the stage in “Get With You” before cutting away to slinky bass guitar riffage and a slow motion balearic breakbeat, with touches of boom bap kissing the rhythmic flow. Static textures swoosh around smooth Rhodes riffs as the basslines hit ever heavier and high in the sky, synthesizers radiate Italo fusion lullabies and new age starscapes amidst cooing vocal accents. After a drum fill eruption, we drop into paradise pop intoxication, with Reuben’s and Hanna’s hazy vocal hooks trailed by soulful Rhodes chord flourishes…the whole thing like a supremely stoned out _Moon Safari-_era Air cut. Underneath, tapped rides shake out golden glitter, snares crack on the beat, and basslines execute funky octave walks while later, after a brief cut into dreamhouse pianos and slow motion disco drums, a run down the ivories ushers in a symphonic paradise climax awash in pads that breath like celestial ether. Then, following another delirium chorus accented by tambourine jangles and liquid wah wah gurgles that flutter outwards in every direction, the track ends with synth solo dazzlement, as laserlight runs ascend on ocean-filtered sunbeams amidst mechanized ride bells, swinging shaker hypnotics, crashing cymbals, and Hanna’s ethereal vocal shadowspells. “Rollerskates” follows with its spaceage harpsichord/steel pan synths layering a rainfall of percussive ocean crystal over shakers and robotic slapbass weirdness. As the groove drops in, we find ourselves in a broken beat dub out, with hi-hats spitting fire on a skanking riddim, lofi snares popping off the beat, and layers of angel starlight and nacreous vocal chaos swirling all around. It’s a doped out boogie beat groover in the style of A Vision of Panorama, wherein crystalline keyboard chords and Carribean steel leads swim through rainbow gases, low down vocal drones filter into cut-up trance euphoria, and meditative whistle tones ensnare the mind. After a quick drop, snare fills bring back the jam, which now seems to squiggle and shimmer with an almost nervous sense of energy, and as the rhythms continue pulling in and out, pianos scat out blues-tinged reggae riffs amidst gaseous bodies of choral star magic. And as the futuristic harpsichords and synthetic island idiophones continue bouncing alongside the dubwise boogie rhythms, one can easily imagine a boardwalk scene where myriad skaters glide graciously beneath a shining sun.

In “Sun Shine Down,” galactic pads swirl amidst crashing waves as hand drums hint at a blossoming beat. Then comes the groove proper, wherein distorted basslines generate huge wavesfronts of subsonic romance, tick-tock cymbals move around pounding kicks and cracking snares, and Hanna sings spells of shadowy wonderment…her lyrical phrases and wordless extasy reveries calling to mind Cathy Battistessa’s work with balearic masters such as Afterlife and Blank & Jones. At certain moments, feedback synths evoking both seagulls and diamond sparkles melt over the mix while piano chords hit like neon liquid. Elsewhere, during understated climaxes, these amazing polysynth melodies start descending…as if discretized pulses of psychedelic starlight are dancing across a sunset sky. All throughout, massive basslines slide with a fluid grace, bongos blow in on a coastal breeze, and hissing cymbals open up into heatwave blasts, with heady rhythmic drop stoking vibes of anticipation. And as the the track ends, a blazing fusion synth solo works into the stereo field…slow and sensual…with trippy modulation wiggles interspersing the paradise glide. Yellow Haze ends with “Holding On,” which drops into a bottom heavy heroin groove seeing palm-muted echo guitars moving lackadaisically over a dubfunk pulse. Basslines hit low before sliding high, shakers and cymbals guide the body, and tropical hand percussions spread out as Hanna executes dazzling soul diva reveries, with her voice occasionally trailed by coral-colored synth harmonizations. A towering tom fill cuts the groove down to tapped rides, spitting hats, and pooling bodies of liquid synthesis while later, as the kick, snare, and bass synths slam the body into oblivion, wah wah electronics spread outwards into a ghostly sea haze while e-pianos communicate with dolphins and whales. During a magnificent synthesizer solo, bluesy fusion leads filter and bend as the basslines move in tandem with the beats…the vibe bleary eyed and stoned out before reducing to a Floydian pulse, one overplayed by strange bell-tone cacophonies. Building back, tambourines jangle and guitars generate psychosonic dub lick and echo-morphing funk riffs beneath a cascade of vocal starlight before the downtempo body groove finally slams back in, with the stereo field now overflowing with wavering webs of crystallized vibrato while Italo-style squelch leads seek out the sun.

(images from my personal copy)

[thesportsfreak]

Liquid DnB March 2018 mix - Extreme Sports

New Post has been published on https://sportsclub.website/liquid-dnb-march-2018-mix-extreme-sports/

Liquid DnB March 2018 mix - Extreme Sports

Follow us on all social media www.soundcloud.com/saywhatlondon www.facebook.com/saywhatmusics www.twitter.com/saywhatlondon www.instagram.com/saywhatlondon

This is our first video mix and hopefully many to come… We love Liquid Drum n Bass and would love to share with all of you.

[dendre]

Hanglemez 2019/02

Default Genders: Main Pop Girl 2019  9.0  (future pop) Ot to Not To: It Loved To Happened  9.0  (mark hollis of experimental r&b) Y La Bamba: Mujeres  8.5  (latin alt, indiefolk) Piroshka: Brickbat  8.5  (indierock) Roses Gabor: Fantasy & Facts  8.5  (elektro r&b) Feels: Post Earth  8.5  (lofi-posztpunk) Fling: Fling Or Die  8.5  (indiepsychpop)

Golden Daze: Simpatico  8.0  (neopsychdreamjanglepop) The Delines: The Imperial  8.0  (altcountry-soul) Cherusii & Maria Minerva: ST  8.0  (hypnogogic outsider pophouse) Sleaford Mods: Eton Alive  8.0  (spokenword posztpunk) Powder: Powder In Space  8.0  (dj mix, house) Time Grove: More Than One Thing  8.0  (electrosouljazz) Nate Wooley: Columbia Icefield  8.0  (jazzambient) Celestial Trax: Serpent Power  8.0  (ambient) AJ Lambert: Careful You  8.0  (elegantpop-feldolgozáslemez Sinatra-unokától) Leyla McCalla: The Capitalist Blues  8.0  (cajun, folkswing) Swindle: No More Normal  8.0  (purple sound, uk hiphop) Pom Poko: Birthday  8.0  (dancepunk) Du Blonde: Lung Bread For Daddy  8.0  (indierock) Wadada Leo Smith: Rosa Parks  8.0  (jazz) Theon Cross: Fyah  8.0  (jazz) Mikron: Severance  8.0  (ambient techno) Sunwatchers: Illegal Moves  8.0  (jazzpsychrock) Pierce Pettis: Father’s Son  8.0  (folk) Vtgnike: Steals  8.0  (ambient juke) Our Native Daughters: Songs Of Our Native Daughters  8.0  (banjofolk) Jozef Van Wissem / Jim Jarmush: An Attempt To Draw  7.5  (avantfolk instru) Tourist: Everyday  7.5  (deep house) Nakhane: You Will Not Die  7.5  (artpop&b) Greensky Bluegrass: All For Money  7.5  (progressive bluegrass) Seed Ensemble: Driftglass  7.5  (souljazz) Gum Takes Tooth: Arrow  7.5  (expreirock) Frances Cone: Late Riser  7.5  (indieartpop) Diat: Positive Disintegration  7.5  (posztpunk) The Long Ryders: Psychedelic Country Soul  7.5  (paisley under, powerpop) Yugen Blakrok: Anima Mysterium  7.5  (hiphop) Julia Jacklin: Crushing  7.5  (indiefolk) Angelo De Augustine: Tomb  7.5  (indiefolk) Madolin Orange: Tides Of A Teardrop  7.5  (folk, altcountry) Yola: Walk Through Fire  7.5  (soulpopcountryblues) Twin Talk: Weaver  7.5  (sleepjazz) Calva Louise: Rhinoceros  7.5  (indierock) Lor Choc: Love Is Love  7.5  (rap&b) Bjarki: Happy Earthday  7.5  (izlandi idm-ambient techno) Brìghde Chaimbeul: The Reeling  7.5  (skót dudazene, folk)

International Teachers Of Pop: S/T  7.0  (disco-szintipop) Buke And Gase: Scholars  7.0  (indietronica, artpop) Betty Who: Betty  7.0  (softy, synthy, 80s-y dancepop) Vandoliers: Forever  7.0  (cowpunk) Finlay Shakespeare: Domastic Economy  7.0  (electro) Copeland: Blushing  7.0  (dreampop) Mykele Deville: Maintain  7.0  (hiphop) Jio: TFW  7.0  (alt-elektro r&b) XamVolo: All The Sweetness...  7.0  (alt&b) Markers: Heaven In The Dark Earth  7.0  (droneposztfolk) The Cool Greenhouse: Crap Cardboard Pet EP  7.0  (bedroom posztpunk) Spellling: Mazy Fly  7.0  (experi electropop) Harlem: Oh Boy  7.0  (garage pop) The Entrepreneurs: Noise And Romance  7.0  (noisepop) Hugh Marsh: Violinvocations  7.0  (hegedűs glitchambient) Julia Kent: Temporal  7.0  (vonós posztminimalambient) Fran And Flora: Unfurl  7.0  (hegedűcselló modern classical) The Unthanks: Emily Bronte  7.0  (kamarafolk) Adia Victoria: Silences  7.0  (artrock) Robert Ellis: Texas Piano Man  7.0  (piano pop) Telekinesis: Effluxion  7.0  (indiepop) James Yorkston: The Route  7.0  (indiefolk) Chaka Khan: Hello Happiness  7.0  (dancesoulpop) Charlotte Adigéry: Zandoli EP  7.0  (altdancepop) Surachai: Come, Deathless  7.0  (noise) Shook Twins: Some Good Lives  7.0  (decens folkpoprock) Liz Brasher: Painted Image  7.0  (popsoul) Mike Krol: Power Chords  7.0  (power garage) Bass Clef: 111  7.0  (outsider dubhouse-idm) Teeth Of The Sea: Wraith  7.0  (neopsych-elektroposztrock) Desperate Journalist: In Search Of The Miraculous  7.0  (posztpunk-indierock) Tender: Fear Of Falling Asleep  6.5  (dreamy electropop) Lee Gamble: In A Paravental Scale EP  6.5  (idm) Subjective: Act One  6.5  (deephouse and bass) Thelma: The Only Thing  6.5  (artpop) Susanna & Brotherhood...: Garden Of Earthly Delights  6.5  (avantfolk-artpop) And The Kids: When This Is Over  6.5  (indierock) Yann Tiersen: All  6.5  (ambient pop) Machinefabriek: With Voices  6.5  (konkrét elektronika) Deer Tick: Mayonnaise  6.5  (folkrock, americanablues) Julian Lynch: Rat’s Spit  6.5  (indie-dreamfolk) Ry X: Unfurl  6.5  (folktronica) Kehlani: While We Wait  6.5  (neosoul-r&b) Efdemin: New Atlantis  6.5  (minimal/ambient/abstract techno) Tiny Ruins: Olympic Girls  6.5  (folkpop) Black Taffy: Elder Mantis  6.5  (absztrakt hiphop) Drenge: Strange Creatures  6.5  (garázsposztpunk)

Homeshake: Helium  6.0  (hypnagogic synthfunk) Nate Young: Dilemmas Of Identity  6.0  (post-industrial) Lorelle Meets The Obsolete: De Facto  6.0  (mexikói neopszichkrautrock) Le Butcherettes: bi/MENTAL  6.0  (artrock) Say Anything: Oliver Appropiate  6.0  (acousticemo) Cub Sport:  Cub Sport  6.0  (elektropop&b) Rosie Carney: Bare  6.0  (indiefolk) Cucina Povera: Zoom  6.0  (a capella minimal synth) Deep Cut: Different Planet  6.0  (shoegaze-psych) TMBOY: Steam  6.0  (elektropop) Go Dark: Neon Young  5.5  (hipszeterelektropop) Thyla: What’s On Your Mind EP  5.5  (indierock) Tim Presley: I Have Toe Feed  5.5  (psychpop) Elena Setién: Another Kind Of Revolution  5.5  (szofiszti artpoppy)  Hayes Carll: What It Is  5.5  (altcountry, americana) Dreezy: Big Dreez  5.5  (trap-hiphopr&b)  Boogie: Everything’s For Sale  5.5  (westcoasthiphop) Fredo: Third Avenue  5.0  (uk rap) Perfect Son: Cast  5.0  (szintis artpop) 

+++++ Brown Sugar: I’m In Love With A Dreadlock (Birth Of Lovers Rock 1977-1980)  9.5  (gyönyörű, úttörő lovers rock-életmű összegzése, 2018-as, decemberi lemez) Don The Tiger: Matanzas  8.5  (2018-as évvégi lemez, poszt afrocuban) VA: The Social Power Of Music  8.0  (négylemezes Smitshonian Folkways-válogatás, komoly protest song-history) Damon Zucconi: Untitled Substance  8.0  (b-more deconstructed, 2007-es, elfeledett LP újrakiadása) Stano: Content To Write  8.0  (1983-as ír posztpunk újrakiadása) D. Rothon: Nightscapes  8.0  (2018-as évvégi, smoothpopjazzmoodmusic) Moma Ready: Ocean Walker II  8.0  (2018-as évvégi, liquid funk, breaks) Hedvig Mollestad Trio: Smells Funny  7.5  (2018-as évvégi, heavypsych-jazz) BlueWhale: Process  8.0  (2018-as évvégi, atonal rock) Rattle: Sequence  8.0  (2018-as évvégi, dobzene)

(Ezeken kívül még sok lemezbe belehallgattam, és maximum 10 percet töltöttem velük, mert annyira nem nekem szóltak vagy szimplán borzasztóak voltak, ezeket nem sorolom. És igen, ez amolyan laza sorrend.)     

Eszméletlenül sok olyan zene van ma (kösz soundcloud/bandcamp), amit az alkotója valamilyen (leginkább életkori) oknál fogva nem tudott megvalósítani akkor, amikor az újszerű, releváns, aktuális, izgalmas lehetett volna. Ezek között persze akad több olyan, ami legalább érdekes, ügyesen nyúl a témához, jól hallgatható, de ha már hallottad azt, amiket másolnak, akkor nyilván nem tudnak revelációt kiváltani (vagy csak nagyon kivételes esetben). És akkor ugye hallani is minek, ha nem másnak, hogy szóljon valami elmegy háttérzene. Rengeteg lemez esik ebbe a kategóriába, a szabad újrafelhasználás, a miért ne korát éljük.

Ugyanakkor ha nem ösztönöz a remény, hogy potenciálisan jó zenéről maradhatok le, akkor nincs is értelme új megjelenéseket hallgatni. Vagy a régiek közül keresgélni.

Ami még általánosságban jellemző, az a kislemez (albumtrekk)-nagylemez örök szkanderének aktuális kiélesedése. Még a legtöbb 6.5 alatti lemezről is tudnék egy jó számot kiemelni, és végülis nem ez a lényeg? Jó számokat hallgatni. Pont ez van, Spotify-kor definíció szerint: jó számokat kiválasztani, abból jó playlisteket hallgatni. De ha én baszom el ezzel az időt, akkor csak ezzel foglalkozom (és jó eséllyel úgy sem fogom két-három alkalomnál többször hallani), ha más, nem hiszek neki, nem hiszem el, hogy ne hagyott volna le valami jót és a végén becsavarodunk az értelmetlen, újzenét megszállottan (ennél, amit itt csinálok, sokkal megszállottabban) kereső spirálba. Plusz, ha tudtál egy jó számot, akkor hallani akarom, hogy tudsz-e többet is? Ha nem, az sajnálatos. Ha igen, akkor meg csinálj belőlük egy jó lemezt, ami képes egy egységes hangulatot, világot nyújtani, amibe szívesen elmerülök.

Ebben a hónapban két lemeznek is az a címe, hogy Unfurl. Sok februári LP volt már az első részben is, így ez a második most alighanem rövidebb. Kevesebb a kiemelkedő album, ennélfogva. Most is kettő tetszett nagyon, az egyik a legtipikusabb future pop, mindent bele Default Genders friss albuma, ő a reményteljes, de ki nem igazán teljesedő Elite Gymnastics egyik fele volt (ez a chillwave idején feltűnt zenekar mindent mashupolt: dreampopot, jungle-t, house-t, k-popot stb.), ez a második szólólemeze és a zenekarral elkezdett munka eddigi betetőzése. Perfekt jövőpop, ami természetesen nem jelent mást, mint, hogy 2019-ben ilyennek is kellene lennie a jó popzenének, miközben alig ilyen. A másik nagyon tetszetős lemez egy Ot to Not To nevű előadó harmadik albuma, róla nem hallottam korábban. A zenéjére nem én találtam ki a Talk Talk-os Mark Hollis-párhuzamot, ami tökéletesen illik:  mark hollis of experimental r&b. Valami nagyon szellős, szétszerelt-újrarakott folk r&b ez, nagyon távoli kapaszkodónak lehet használni Kindness-t, aki nagyon kicsit hasonlóan szerelte az 80s softpopos r&b-t néhány éve. Ebből a kínmondatból is látszik, milyen nehéz körbeírni a zenét, inkább hallani kell. Jó még a  Y La Bamba eklektikus indiefolkpopja, nagyon kicsit US Girls, ha ez segít, aztán a Lush-os milányunk, Miki Berényi új zenekara, a Piroshka egy több mint korrekt albummal debütált, persze vele elfogódott vagyok, ezt itt be is jelentem, de mindenesetre ez sokkal jobb, mint a három évvel ezelőtti Lush-visszatérő EP, és úgy általában is. Kellett neki három hallgatás, hogy a korrektnél többnek halljam, itt tartok most vele. Roses Gabor szerintem nem a mi lányunk, ha jól veszem ki, grenadai szülők gyereke (Gábor ZsaZsa ihlethette a nevét?) erős elektro r&b-t tol, a Feels nekemvalóan megkapó lofi-posztpunkot, a Fling pedig szórakoztató indiepsychedéliát, utóbbi három lemezt lehet, hogy kicsit túlértékelem. Majdnem ennyire jó még a Golden Daze télies, ártalmatlan dreampopja (picit Real Estate-es jangle is), amibe nagyon jó belebújni. Akárcsak a The Delines soulos altcountryjába. A Sleaford Mods ismét szórakoztató, zeneileg talán minden korábbinál, izé, zeneibb. Cherusii & Maria Minerva kiadványa félig posztumusz anyag, Cherusii fiatalon hunyt el, barátnője, Minerva gondozta, fejezte be közös felvételeiket, nyilván nagyon sajnálatos, hogy előbbi nem tudott kibontakozni, utóbbi viszont hosszabb hallgatást tört meg ezzel a jó lemezzel. Mi van még? Nyilván mindig keverednek a friss megjelenések közé pár hetes, hónapos kiadványok is, ennyit csak ilyen tempóban lehet feldolgozni. Nem nekem, a nemzetközi sajtónak, amiből mondjuk a Popmatters úgy tud minden nap pár lemezt bemutatni, hogy nem ismétli a Pitchfork-féle fősodor kínálatát és mégis érdekes. De amúgy nagyon sok mindent kell olvasni, hogy összeálljon egy ilyen kép, ilyen lemezsor. 

Ezek tetszettek a legjobban februárban. A második kupacban (és harmadik elején) még olyanok vannak, amiket szerintem abszolút érdemes meghallgatni annak, aki bírja az adott stílust, a harmadik-negyedik adagban viszont már azok szerepelnek, amikhez rajongónak kell lenni és úgy sem kizárt a csalódás.

[tinymixtapes]

Music Review: King Vision Ultra - Pain of Mind

King Vision Ultra Pain of Mind [Ascetic House; 2018] Rating: 4.5/5 “It was like bondage for me. It was like slavery.” – a voice, emanating around 35:50 “In the wake, the semiotics of the slave ship continue: from the forced movements of the enslaved to the forced movements of the migrant and the refugee, to the regulation of Black people in North American streets and neighborhoods[,] to the reappearances of the slave ship in everyday life in the form of the prison, the camp, and the school.” – Christina Sharpe, In the Wake Sound thumps through registers of the stereophone (the ineluctable modality of the audial), and it is so loud and the cells — swanging. Boom-bap billows heave in on around despite. Place unfurls into space and sound (interning everything in its wake by and with its carceral panoptics) just as those markers (but not the marked) disintegrate as the hold erases specificities, bodies, attachments, gestures. Lockjaw, locked up, lockstep, sawed off, there is a thump there and a rattle, too. There is no there there, except the voices and the scratching of the cockroaches, the pleading and the negotiating, the longue durée of G-funk plunderphonics drifting into the sound of the alarm, the sound of the baton, the rattles and rackets and ruptures of the captivity of human beings. We slink with King Vision Ultra (Val Bertelsen) into Rikers, into the hold, a present incarnation of the incarceration, disciplining, and dehumanization of black life undertaken to secure and securitize racial capital in the long half-millennium since its colonial inception. The pitched-up, pitched-down, scatterbrained, and scattershot voices churn in the hold of the prison, the hold of the ship, their disembodied (inter/trans)locutors ungendered and the atmosphere that they create and by which they are in turn inflected ungenred (“genre,” of course, marks the closest word the French language has to express “gender”). Hortense Spillers (2003, 214) writes, “under these conditions [of the abduction and subsequent deportation across the Atlantic of enslaved Africans] we lose at least gender difference in the outcome, and the female body and the male body become a territory of cultural and political maneuver, not at all gender-related, gender-specific.” Emblematizing what Christina Sharpe (2016) calls wake work, Bertelsen’s cassette for Ascetic House presents “a mode of inhabiting and rupturing this episteme [of violent ubiquitous dehumaning antiblackness] with our known lived and un/imaginable lives [in order to] imagine otherwise from what we know now in the wake of slavery” (Sharpe 18). Bertelsen ushers us into one of the contemporary iterations of the hold so that we might know its pain and its place, so that we might see its dehumaning dysgraphia as part and parcel of “the ongoing willful disasters of the wake” (Sharpe 94). Underwritten by the slave ship, the coffle, the enslaved woman’s womb, the prison and as the black people shuttled and violated within them, the “anagrammatical blackness that exists as an index of violability and also potentiality” (that damning doubling that articulates the simultaneous liquidation of black life and optimization of black bodies’ abilities to produce and reproduce) disrupts and forecloses the moves made by Bertelsen. Mixed up, twirled, torqued, twerked, refusing the slaveholding logics of partus sequitur ventrem (that which is brought forth follows the womb), the oral offspring of Bertelsen’s incarcerated (inter/trans)locutors garble into unplaceable static, unmappable, no longer owned. Living in/as/with and sublating “the afterlife of property,” Bertelsen’s aural poetics here muddle the performative capture of the bequest — the intergenerational transmission of property perfected in its contemporary form, as shown by Jennifer Morgan, through the bodies and futures of enslaved black people — stuttering and jumbling its passage into ownership and valorization (Sharpe 15). Bertelsen scrambles the hermeneutic of valorization through devaluation (of the human through the recognized and surveilled and algorithmically predicted and held and held and held), scribbling a palimpsest over the anagrammatic orthography of antiblackness of but also always gurgling somewhere beyond the wake. As Morgan notes, “the archive [and the scenes it discloses] is [not only] a site of violent dispossession [but also] a point of departure, not a conclusion” (Morgan 2016, 186); Bertelsen’s speakers speak out as they “are constituted through and by continued vulnerability to this overwhelming force [but] are not only known to [them]selves and each other by that force” (Sharpe 134). Schizophrenia, the voices always talking: another hold, another capture, reiterating the orthography, verbalized and dissociative. Lives rent by the wake tearing into multiplicities, into impossible contradictions, productive contradictions: the contradictions that intercept the aspects of life that can’t be funneled into the production of surplus value. Pain of mind as analytics, as a vice of the hold. When she cut her wrists with shards of glass, she was slapped with 90 days in solitary for possession of contraband. Her refusals to stop trying to kill herself often resulted in more time. More time: more decomposing of time and agency, more disciplining into the “numbers, the arithmetics of the skin, the shadow of the whip” (McKittrick 2014 23). When she was denied sanitary pads and used her jumper to stop the bleeding, that earned her time for destruction of jail property. Doing time for destruction of jail property: life in the wake is/as (the conjuncture of is and as — verb and preposition — articulating the ongoing processes of dispossession and incarceration conjugating the present tense with confinement within the hold policed by antiblackness and the criminalization of poverty) life in the longue durée of the inhospitable weather that authorized (and continues to authorize) the transubstantiation of black life into property “(by which process we might understand the making of bodies into flesh and then into fungible commodities while retaining the appearance of flesh and blood)” (Sharpe 29). The mathematics of black life (McKittrick) as that demonic orthography that trans*literates social poesis into production, into quantized and quantified appendages brutalized in and by the ledger. From Saidiya Hartman (2008, 6): “Black lives are still imperiled and devalued by a racial calculus and a political arithmetic that were entrenched centuries ago. This is the afterlife of slavery — skewed life chances, limited access to health and education, premature death, incarceration, impoverishment.” A voice telling you: You are going to fail before you do anything. Pain Of Mind by King Vision Ultra Blackness as debit: an entry recording an amount owed, listed on the left — hand side or column of an account (OED), the ditto ditto of the slaver’s log evacuating the black enslaved individual of any ontological claim beyond the production and reproduction of dead labor (cargo and its afterlives as property); blackness as debt (Moten), the lived excess of the commodity form excised and abjected and abjured, the ongoing structural constitutive violence of Western Modernity, uncreditable, incredible, always charged but never payable, both owing and threatening the contract that criminalizes the humanity it forlornly holds. I would just pray and think of a way to kill myself. Pray to God that I would die, and ask him why am I being punished like this if he knows I’m innocent. Blackness as incurable guilt, as the purgatory of penitence, as the penitentiary of purgatory. What makes Pain of Mind wake work rather than another genre of radical discourse is that it ascertains the conditions of the possibility of antiblackness beyond what Frank Wilderson calls the “contingent violence” of situations and tessellates the imprisonment, degradation, and state violences of the prison within the orthography of the wake as an ongoing and “gratuitous” mode of forcibly, violently, fatally circumscribing black being (or blackness as non-Being) (Wilderson 2010, 56). I see things that other people don’t see and stuff like that: the first words we hear on the project speak to a re-cognition (not recognition) of the frameworks that subtend the everyday devaluation, incarceration, dispossession, and traumatization of black people living in the wake. Motivating the conflagration of catastrophes (minor and major) is Bertelsen’s indelible labor of care: care as an analytics, care as an ethics of engagement, care as an aesthetics. As wake work — as visitation, as uncapitalizable exchange, as discomfiting but kinmaking being-with — brings us to linger, to “stay in the wake with […] those whom the state positions to die ungrievable deaths and live lives meant to be unlivable” (Sharpe 22), we glimmer alongside and beside, beside ourselves (the voices) and beside the people systematically expropriated and brutalized as the insurance in bodies crediting the extractive flows of racial capitalism. Besides, despite the ontological and phenomenological facts of their lives in the hold — the enveloping valences of their incarceration — the people we hear on Pain of Mind are granted a venue in which to be otherwise, in which to be beheld. That which is beheld is insisted and insisting, and we become beholden to them, duty bound, no longer twain (of mind), “intramural” (Spillers 1998). And just as the verb “to behold” improvises across bodies and subject positions (the beholden behold the beheld), Pain of Mind cuts across the shattered coordinates of antiblack violence and refuses to plot them (in a line, as a graph, as development) along the violent calculus — that spectral residue of the integral — of mathematized blackness. Pain of Mind invites us to “sit[] in the room with history” (Dionne Brand 2002, 28), the past that is not yet past (Brand), the schizophrenic mind, the cell, the hold, the wake. In this wake, we float past the passé, past-tense, hogtied, handwringing, hamstrung, dispossessed, gentrified idiom of “woke” — always already prefigured by the black death that necessitated its inception — as Bertelsen, along with Sharpe, Brand, Spillers, Hartman, McKittrick, Moten, Wilderson, rouses us into the oceanic vastness of care. A/wake. http://j.mp/2N5c2pr

[soaptunes]

my top 75 quarantine records: #65-56

check out #75-66 here!

bandcamp links under the cut as always!

#66. kendrick lamar - untitled unmastered. (2016) this album of demos, leftovers, and outtakes from kendrick's masterpiece to pimp a butterfly is simultaneously in the shadow of that record and yet stands on its own. kendrick wasn't afraid to flirt with jazz and r&b on tpab, but this one dives hard into free jazz, off-kilter funk, and traditional, d'angelo-ish r&b, leading to some of the most colorful backings kendrick has ever rapped on. it's absolutely worth it, but you may not have the full context to really get onto its wavelength if you haven't heard tpab. so do that first!!

#64. walter etc - dark comedy performance piece of my life (2020) honest to god i don't think there's a ton to say about this one, it's just a really nice scrappy post-punk songwriter record from the artist formerly known as walter mitty and his makeshift orchestra. the song topics are cute and original, his lyrical perspective is very relatable and grounded, and his instrumentals are really easy to get swept up in like little whirlwinds. it's partially a breakup album, partially an "oh god, i'm almost 30" album, partially just a jangly narrative tour of his life.

#63. iceage - beyondless (2018) iceage often still get the "punk" or "post-punk" label slapped on them since they orbit in the circles of bands like idles and parquet courts, but there really is no other band that sounds like them. they've evolved past their early, more derivative sound, and grown to embrace slower songwriting, grinding dissonance, and the full emotional range of elias rønnenfelt's voice. the guy sounds like he's melting on most of these songs, and when his body's not liquefying he sounds somewhere between a circus ringmaster and an olt-time oil baron, the sheer sleaze of it is impressive. love this creaky thing to bits, can't wait for shelter.

#62. okay kaya - watch this liquid pour itself (2020) known to the world as a king krule collaborator, okay kaya's own material might actually be the equivalent of pop music on whatever bizarro planet she and archy are from. this album is like kaya peeling herself, the eerie hooks and contorted melodies somehow winding their ways into your brain. despite the creepy bent, there's influence here from jazz and r&b, and the lyrical style is personal and frank to an uncomfortable level. this is a rare album where the title and cover art convey what you're about to get perfectly.

#61. honey harper - starmaker (2020) harper describes his queer, glam-dusted, r&b-inflected country style as "cosmic country," and while that label might be a bit pretentious, these meticulously produced and arranged songs definitely have a bit of a space vibe to them. flute passages, gentle trip-hop grooves, slide guitar, and and unexpected interpolation of the christmas song O Night Divine are all things you will find on this. it's relaxing, enjoyable, and harper's voice is like syrup.

#60. hail mary mallon - bestiary (2014) aesop rock is my favorite rapper, i have rarely heard a song of his i didn't like. this will not be his last appearance on this list either! for his hail mary mallon side project, he teamed up with fellow rhymesayers mc rob sonic, who has similarly diverse vocab, but adds an edge factor that aes doesn't usually have on his own. that's okay, since aes doesn't usually go for edge, but this is one of the only projects hes been on that i can describe as sounding a little menacing, while still employing his head-spinning, intellectual style and creative song topics. i can take or leave the fundraiser concert concept, but it does have a fun ending.

#59. car seat headrest - nervous young man (2013) personally, i think this is csh's best pre-signing album. while it's of similar length and almost as ludicrous density as how to leave town, somehow i find this one way easier to get into and the songs just as cathartic and even stickier. the understated cover art gives way to walls of guitars, hollered choruses, and confessions of emotion wrapped up in weird metaphors and cute instrumental passages. will's kinda going through it on this one, he repeatedly tears himself and his friends and partners down, all while assuring himself that it's all fine.

#58. the war on drugs - a deeper understanding (2017) this was actually my first taste of the war on drugs! i got into kurt vile years ago, but somehow just missed his band entirely. i think i always thought they were too stuffy for me, but when i was younger, a lot of the time i tended to confuse "quiet" or "meditative" for "stuffy." this album is a lot of things, and while "meditative" is sometimes one of them, "quiet" is often not. right when you least expect it, these songs ignite in warm, searing guitar, bringing the sheer passion written into them into full view. the song i've linked here is really unmissable imo!!

#57. alex g - house of sugar (2019) second artist in a row that i didn't like for the longest time, but alex g is one that actually had to grow on me, rather than just never listening to him. house of sugar is one of his most immediately accessible albums imo, and while there's a lot of woozy detail to unpack in it, a lot of what's engaging and entertaining about it is right there on the surface too. captivating hooks, smoky, illusionist textures, unusual song strutures, and a dreamy, fuzzed-out aesthetic shift and osmose over each other here; when he throws in something even weirder and unexpected it sometimes barely even registers that way.

#56. the shins - wincing the night away (2007) three in a row that i thought i didn't like for years! i think i'm the latest person in the world to the shins, but in case i'm not: this album's mix of winding song strucutres, inscrutably wordy lyrics, glossy production, and pure sugary britpop won them huge acclaim in the mid-2000s, and for good reason. james mercer is a really distinctive songwriter and voice, and this is a record that has more and more intricacies to it on repeated listens, even though it may grab you with its easygoing hooks on the first listen.

[lordendsavior]

Blame the law of unintended consequences: the kiwi fruit has had a pivotal role to play in Harry Styles’s first UK tour as a solo star. On stage in London, Styles slipped on one. Thrown by a fan, it was not a negative review of the former boy band member’s new, rockier bent, but a ploy to get Styles to play his song Kiwi – one of the more guitar-driven tracks on his self-titled debut album, released last May.

On the Manchester leg of the tour, a branch of Asda actually banned the sale of kiwis to anyone under 25. But at least one rogue kiwi got in there; Styles had to duck another missile.

In Glasgow, thankfully, they eschew fruit. We are inside a small theatre known as the Armadillo; arenas will follow in 2018. When Styles finally plays Kiwi, it brings this small, but baying twentysomething crowd to a peak. A pummelling glam stomp, it depicts a heady affair involving “hard liquor mixed with a little bit of intellect”. The song is rumoured to be about Styles’s tryst with a New Zealand model, perhaps the one who posted a video on Snapchat of Styles playing Scrabble with her in a dressing gown.

Transported by the power of rock’n’roll, Styles ends tonight’s full-blooded rendition of Kiwi by flinging a pint of liquid over the crowd and chucking the plastic glass after it. He is clearly enjoying himself; and, you could argue, he deserves to. Styles has managed to turn his back on One Direction and their sound without rubbishing his days as a teen idol. He covers two 1D songs tonight, Stockholm Syndrome and What Makes You Beautiful, duly guitared-up to fit the new regime. By contrast, Zayn Malik left 1D acrimoniously, and pointedly turned into a sultry R&B heartthrob. The various other Directions have taken myriad other musical paths, none of them much good.

Live, Styles’s tunes vary, but largely convince. A song like Two Ghosts – allegedly about his relationship with Taylor Swift – has all the makings of a terrific country song, perhaps in tribute to Swift’s genre roots; it is crying out for a weepy pedal-steel solo.

Carolina, by contrast, emphasises the album’s gentle familiarity with the Beatles’ catalogue. The stompers here are punctuated by dreamy, gauzy intros and interludes, sensitive indie-rock shadings and unexpectedly good musicianship – particularly from guitarist Mitch Rowland, plucked from pizza-restaurant obscurity to co-write much of Harry Styles. He could easily solo most obnoxiously – the version of “rock” that most often turns up in pop.

Instead, he confines his guitar to well-appointed groans rather than squeals. There is only one truly terrible song – Only Angel, a series of boorish musical and lyrical cliches that sits ill with the moving, believable candour of tracks like From the Dining Table, in which Styles masturbates sadly in a hotel room.

Listening to it all again, Styles’s album is, for the most part, full of regret at silences and miscommunication – a convincing display of emotional intelligence that puts peers like Justin Bieber in deep shade. Styles has two women in his band – drummer Sarah Jones and Scottish keyboard player Clare Uchima, whose family are well-represented in the house. (“If you’re a crazy Glaswegian auntie,” Styles hollers at the end of the heavy funk-rock of Woman, “put your hands in the air!”)

The majority of Styles’s LA tourmates, Muna, identify as queer; his merchandise says “treat people with kindness”. Towards the end, Styles gets everyone to hold the hand of the person next to them, encouraging support and non-judgment.

You get the sense that, having matured in content and developed some muscular snowflake tendencies, Styles is still trying out identities – stagediving free spirit (just the once in LA), heartland balladeer, dandy, sensitive soul. He hasn’t gone the full Matt Healy (the 1975’s singer routinely sports leather trousers) but Styles’s uncertain grasp of what guitar music purveyors should look like is expressed by a series of garish Austin Powers suits.

Tonight, perhaps the most disappointing revelation about Styles Mk II is that he has so little natural rhythm. The two most successful boy band refugees – Justin Timberlake and Robbie Williams – have the super-smooth moves of more natural show-offs. Styles, by contrast, expresses abandon by stalking across the stage, shaking his fists. He makes no mention of kiwis, but brings on a leathery cingulate. “This is the nicest armadillo I have ever come across,” he beams.

[sinceileftyoublog]

Live Picks: 1/24 - 1/30

From left to right: Joey Burns (Calexico), Sam Beam (Iron & Wine), & John Coventino (Calexico); Photo by Piper Ferguson

BY JORDAN MAINZER

This time, I’ve got your itinerary for a week!

1/24: DJ Maseo (De La Soul), Empty Bottle

De La Soul MC Vincent Mason, also known as Maseo, does a DJ set at the Empty Bottle tomorrow night. He’s currently working on his “DJ-Conductor” concept album, whatever that entails, so don’t be surprised if he spins album cuts and potentially spits over them, too.

Boogie Munster and Cutz on Cuts collective member Shazam Bangles opens with a DJ set.

1/24: Junius Paul, Constellation

The most recent album for upright and electric bassist Junius Paul was December’s excellent ISM, yet another in a strong line of releases on local jazz label International Anthem. Tomorrow night, he plays as part of a quartet with some of the record’s most prominent contributors: Corey Wilkes on trumpet, Justin Dilliard on piano, and Vincent Davis on drums.

CHAI

1/24-1/25: Tedeschi Trucks Band, Chicago Theatre

Tedeschi Trucks Band returns to the Chicago Theatre for their annual residency, which took place last weekend and continues tomorrow night and Saturday. Their most recent record was last year’s Signs, which we described as “definitely a band showcase,” highlighting the horns of “Walk Through This Life” and Susan Tedeschi’s blues guitar picking on “The Ending”. A year removed from Signs, expect to hear from all over their discography and a smattering of covers, especially if their recent sets have been any indication.

1/24-1/26: Benjamin Gibbard & Tara Jane O’Neil, Thalia Hall

Death Cab For Cutie leader Benjamin Gibbard comes to Thalia Hall for a three-night stint. Though he’s released one studio solo album (not counting his cover of Teenage Fanclub’s Bandwagonesque), most of his performed material should be DCFC with a couple Postal Service classics thrown in for good measure.

Opening is LA-based multi-instrumentalist and songwriter Tara Jane O’Neil, whose last studio album was her excellent 2017 self-titled release. Over the past couple years, she’s dropped various compilation, reissue, live, soundtrack, benefit, and singles records. With a catalog that spans two decades, who knows what she’ll perform?

1/25: Dave Burrell with Joshua Abrams and Hamid Drake, Constellation

Saturday’s trio at Constellation juxtaposes a piano legend with two of Chicago’s finest bassists and drummers--respectively, Dave Burrell with Joshua Abrams and Hamid Drake.

Benjamin Gibbard

1/25: Dave Alvin and the Guilty Ones and Kevin Gordon Band, FitzGerald’s

At this point, Blasters founding member Dave Alvin has had a longer career as a solo artist than as a member of various classic cowpunk acts. While one of those bands, The Flesh Eaters, released an album last year, Alvin’s last record billed to his name was Downey to Lubbock, a collaboration with country singer Jimmie Dale Gilmore. He has, however, got a new band called The Third Mind, who are releasing a 6-song self-titled debut with 5 covers and 1 original on Valentine’s Day. Saturday, look forward to a mix of solo material, band material, and covers.

Louisiana singer-songwriter Kevin Gordon’s last record was 2018′s Tilt and Shine. In previewing a set a couple years ago at SPACE, we wrote that it was “an album about his vision of Louisiana through and through. The tracks are musically referential to the region; take the blues stomp of 'Fire at the End of the World' or the buzzing, organ-fueled country of 'Saint on a Chain'. And in lieu of fetishizing a Southern mythology, Gordon’s stories are rooted in everyday life or people’s perceptions of it, from prisoner rodeos to deals with the Devil.”

1/25: CHAI, Empty Bottle

We covered Japanese quartet CHAI’s set at Pitchfork Music Festival last year (they’re still touring their excellent 2019 album PUNK):

“CHAI believes you can be Kawaii while still subverting standard definitions of beauty and femininity. Or really, they argue that there’s no such thing as the 'standard.' They exist somewhere between individualism–arguing that you’re a 'Fashionista' as long as you’re dressing the way you dress–and collectivism, donning a band uniform of an orange top and pink pants with white stripes, tightly harmonizing and chanting with equal pitch. That dichotomy in and of itself is unique, especially in Japanese culture. They call it PUNK, their terrific second album. From freedom anthem 'CHOOSE GO!' to the propulsive beats of 'THIS IS CHAI', the band’s instrumental variation (the funk of 'FAMILY MEMBER', banging dance of “Curly Adventure”) is always tied together by the four women and the spirit each of them brings to the performance combined with the sum of parts that the band CHAI represents. And their radicalism is present in songs like 'GREAT JOB', a reclamation of housework as therapeutic, but it’s never so strong as when they shout their simple proclamation: ‘We are CHAI!'”

Bunny, the dream pop/bedroom rock project led by local musician Jessica Viscius and Sports Boyfriend, the indie pop project of local musician Eileen Peltier, open.

1/25: GZA, Concord Music Hall

Wu-Tang clan member GZA performs his classic sophomore album Liquid Swords with a live band. Any non-Liquid Swords tracks he might perform include other solo material, Wu-Tang clan verses, or even snippets from other Wu-Tang members.

Wu-Tang Clan affiliate Killah Priest, local rapper Femdot, and local remix masters Altered Tapes open.

Dave Alvin

1/26: John Cale, Art Institute of Chicago

Andy Warhol and the Velvet Underground are forever entwined, and because of that, I can’t think of someone more appropriate to celebrate the Art Institute’s current major Warhol retrospective than Velvets member John Cale. Expect, however, to hear mostly solo material.

1/28: Whitney, SPACE

Though not quite as strong as 2016′s Light Upon The Lake, Whitney’s most recent album Forever Turned Around does manage to reflect inward and distinguish itself that way from the band’s breakout debut, as we wrote in our preview of their Thalia Hall show last month. Here’s your chance to see them in a venue as small as SPACE while they continue to ascend.

Japanese quartet CHAI (mentioned above) opens.

1/29-1/30: Calexico & Iron & Wine, Thalia Hall

In 2005, Calexico & Iron & Wine were hot shit. The former, prolific as ever, were 2 years removed from their most acclaimed album yet, Feast of Wire, whereas Iron & Wine had released two beloved LPs and an EP. The prospect of a collaborative EP between the two was something to behold, and they lived up to the hype with In the Reins. Fifteen years later, neither act is as trendy, and they aren’t necessarily the critical darlings they once were, but they’re finally touring together to celebrate the unlikely release of their first collaborative LP, last year’s Years to Burn. They should play collaborative songs, and perhaps more excitingly, drawn-out highlights from their respective careers, plus some covers.

Local singer-songwriter Gia Margaret opens Wednesday. Singer-songwriter Madison Cunningham opens Thursday.

[wineanddinosaur]

The 50 Best Beers of 2019

At last estimate, there were more than 7,500 breweries operating in the U.S. in 2019. As more breweries open — introducing a never-ending stream of new beers to the marketplace — finding the best is near impossible. Luckily, we’ve spent a lot of time over the last year tasting them.

This, evidently, was the year of saison; our 2019 list concludes with an unprecedented number of Belgian-style farmhouse ales, which signals that yeast may be having its moment. Lower-alcohol, “better-for-you” beers are in the limelight, too, as more craft beer drinkers seek beers that fit healthier lifestyles, or simply want more sessionable options — and more breweries are figuring out how to make these delicious.

On the whole, we as a craft beer drinking society may not be pivoting away from IPA to craft lager just yet (at least, not statistically), but rest assured, plenty of both make the list.

This ranking was determined by members of the VinePair team. Hundreds of selections were considered and narrowed down to 50 with the following criteria: All beers must be available for retail in the U.S. in a can or bottle retail, or otherwise be a seasonal release or part of a rotating series we expect to see back in 2020. Placement is limited to one beer per brewery. The 50 best beers of 2019 ranking focuses on labels released within the year, although this is not a requirement. Selections from last year’s 50 best beers of 2018 were not considered.

Availability has an effect on ranking: In other words, if you have to travel, trade, or sacrifice your firstborn for a 4-ounce pour, recommending it in our top 10 is not helpful to a majority of beer drinkers. Now for the fun part!

These are VinePair’s 50 best beers of 2019.

50. Mother Earth 4Seasons Hazy IPA (With Fremont Brewing)

Nampa, ID ABV: 7.5%

Previously dubbed “The Four Seasons of Mother Earth,” this 4Seasons release debuted in summer 2019 in partnership with Seattle’s Fremont Brewing. The duo used “craft” malt from a farmer-owned co-op in Spokane to further share the local love. On the hop front, this beer showcases African Queen, a fruity, herbal, spicy variety from South Africa, along with Galaxy, Mosaic Cryo, and El Dorado hops. The result? Mango, passion fruit, and orange aromas; a grain-forward, almost savory malt flavor reminiscent of sage; and a fruity, herbal finish. Although a limited release, we look forward to tasting more “seasons.”

49. Lakefront Brewery Hazy Rabbit IPA

Milwaukee, WI ABV: 5.2%

Pouring bright gold and cloudy, a Camembert-esque cheesy aroma kicks off the nose on this hazy IPA, followed by orange, tangerine, passionfruit, and a melon cotton candy note. Low on bitterness, but less sweet than “traditional” hazy/juicy IPAs, it’s bright and balanced with soft carbonation and light malt character due to flaked oats.

48. Anchor Brewing Fog Breaker IPA 

San Francisco, CA ABV: 6.8%

San Francisco stalwart Anchor Brewing’s relatively new Fog Breaker, released in 2018, earned its fair share of loyal drinkers this year. It was especially a hit among classic IPA lovers, who lament the days of IPAs that tasted like pine, weren’t too bitter, and didn’t look like OJ. This IPA has some West Coast bitterness, a hint of fruitiness and a touch of haze (O.K., fog). It’s piney and crisp, and adds Cryo hops to its dry-hopping regimen, along with whole-cone Denali and Cascade.

47. Shiner Ruby Redbird 

Shiner, TX ABV: 4%

Spoetzl Brewery’s Shiner Beer updated its Ruby Redbird lager in 2019 with nutrition facts faux-dive bars will be fawning over: It contains 95 calories, 3.1 grams of carbs, and Texas-grown Ruby Red grapefruit juice. Grapefruit and ginger are present on the nose and palate, making this easy-drinking sipper with a kick perfect for sushi pairing.

46. Cascade Brewing Cuvée du Jongleur

Portland, OR ABV: 9.4%

Toward the tail end of 2018, Cascade re-released this oaky, complex, funky cuvée for the first time since 2008. A decade after its original release, the label did not disappoint: Berry and oak aromas are followed by a creamy mouthfeel and fruity tartness. When nursed in a tulip glass, it opens up nicely as it warms, releasing further fruit aromas such as cherry, plum, and hints of grapefruit and caramel.

45. Goose Island Bourbon County Double Barrel 

Chicago, IL ABV: 18%

In this 2019 variant of Goose Island’s infamous barrel-aged stout series, “double barrel” refers to the stout aging one year in 11-year-old Elijah Craig barrels, then afterward aging another year in (different) 12-year-old Elijah Craig barrels. Fruit, leather, chocolate, and yes, intense bourbon flavors swirl on the palate, with a whiskey-beer-hybrid warmth all the way down. Although this variant is very limited in quantity, several other Bourbon County stouts are out there. Forget the drama, they’re still delicious.

44. Hardywood Park Distorted Perception 

Richmond, VA ABV: 7%

A cornucopia of tropical fruit explodes on the nose of this NEIPA — tangerine, passionfruit, guava. With our eyes closed, we could swear this was actual juice. Mango-flavored bubble tea and tart, juicy smoothie flavors make this a little sweet, but it is lip-smackingly delicious.

43. Separatist Beer Project Spellbook Imperial Stout 

Easton, PA ABV: 13%

Maple syrup and cinnamon additions amplify this imperial stout’s sweet side, while roasted malt’s coffee and dark chocolate notes add bitterness to balance.

42. Wiley Roots Black Bart Monstah 

Greeley, CO ABV: 11%

Inspired by the Spanish-descended fried dough sopapilla (or more specifically, the sopapilla served at Mexican Restaurant Casa Bonita, which has a room named “Black Bart’s Cave”), this dark, velvety imperial stout brings chocolatey, roasty flavors rather than fresh fried dough. Cinnamon, burnt sugar, and honey are added for extra decadence, making this a sweet stout to sip on a cold, boozy afternoon.

41. Garage Brewing Peanut Butter Chocolate Milk Stout 

Temecula, CA ABV: 7.1%

This liquid Reese’s Pieces is rich, but not sticky; chocolatey, but not cloying; and full-bodied, yet feels lighter on the palate than its peanut-butter-chocolate-flavored 7.1 percent ABV might have you think. Our panel unanimously found this pastry stout daringly easy to drink.

40. WeldWerks PB&J Berliner 

Greeley, CO ABV: 4.6%

Considering that it was mostly its juicy IPAs, not wildly flavored kettle sours, that put this Colorado brewery on beercationers’ maps, a peanut butter and jelly-flavored Berliner weiss wasn’t what we expected to love most from WeldWerks this year. Yet, here we are. Berliner weiss and fruit are ancient companions, so perhaps it’s not surprising that strawberry puree would complement grain and tart flavors so well — add peanut powder to the mix, and the combination of flavors is unforgettable.

39. Reuben’s Brews Brettania (Series): Boysenberry and Blackberry

Seattle, WA ABV: 6.3%

Brettanomyces can make or break a beer. In the right hands, as at Reuben’s Brews, it really sings. In this mixed-culture saison aged for six months in oak puncheons, then aged with boysenberries and blackberries for an additional six months, and finally refermented in-bottle, it sings. Brettania: Boysenberry and Blackberry was the first release in Reuben’s Brews’ barrel-aged sour program, and it promptly began winning awards. Brettania: Guava and Brettania: Blackcurrant followed, and we’re anxious to taste what’s next.

38. Bell’s Brewery Official Hazy IPA 

Comstock, MI ABV: 6.4%

Released in March 2019, Bell’s Brewery’s “Official” marked the legendary beer pioneer’s entry into the hazy IPA category. Long celebrated for its Two Hearted IPA, a bracingly bitter, grapefruit-flavored exemplar of the more “old-school” IPAs style, this newcomer stands on its own with tropical fruit and citrus aromas, a palate that’s lighter than the style-defining NEIPAs of the Northeast, and an orange juice kick on the finish.

37. Oskar Blues Can-O-Bliss Hazy IPA 

Fort Collins, CO ABV: 7.2%

Can-O-Bliss “Hazy,” part of a rotating IPA series (“Tropical” and “Citrus” are others), serves up OJ, pineapple juice, and a hint of cheesy funk on the nose, followed by a fruity, herbal, spicy potpourri of hop-driven flavors on the palate. (Strata, Cashmere, Enigma, Hallertau Blanc, and Eureka hops are all used in this brew.) It’s surprisingly light in color and body, though, with crisp carbonation to balance its pungent hoppiness.

36. Springdale Beer Pearly Wit 

Framingham, MA ABV: 4.8%

Springdale Beer, of Jack’s Abby, debuted this wispy witbier last year, but in 2019 we started to see it on a lot more tap lists — and rightfully so. It’s the definition of a sessionable wheat beer: pillowy soft, crisp and coriander-flavored, with a hint of tangy citrus to keep things interesting.

35. Sierra Nevada Oktoberfest (2019)

Chico, CA and Asheville, NC ABV: 6%

Sierra Nevada’s Oktoberfest got so much love this year, people married it (or at least, got married with it. At Oktoberfest. In Germany.) As for us, we appreciated the 2019 version of this annual classic as a bubbly aperitif. Brewed in collaboration with Germany’s Bitburger Brewery, it combines the smooth flavors of Caramel, Munich, and Pilsner malt with a bitter punch, perhaps from Bitburger’s Siegelhopfen — that’s German for “sealed hops,” or the brewer’s “secret” hop blend.

34. Equilibrium Moon of Vega

Middleton, NY ABV: 8.7%

Brewed in collaboration with Florida’s J. Wakefield Brewing, this double IPA is made with more than copious amounts of Citra, Galaxy, and Mosaic hops, vanilla, and lactose (milk sugar), pouring creamy and sweet, aroma-dosed with mango, and just a hint tart on the finish. It’s the ridiculousness of a milkshake IPA in an obscenely delicious package.

33. Pure Project Rain

San Diego, CA ABV: 5.3%

Unfiltered, yet clear and golden as a summer sky, topped with a fluffy white cloud of foam, Rain is a subtle eruption: pilsner malt’s telltale biscuity aroma is amplified by its single-malt, organic producer; lemongrass follows, from Hallertau Mittelfruh hops’ herbal, citrus nudge. German ingredients and an American craft brewer’s hand make this bitter little pilsner exactly what to look for at the end of — or start of — a long day.

32. Brouwerij West Picnic Lightning

San Pedro, CA ABV: 6.8%

Picnic Lightning proves West Coast breweries can do New England-style IPAs well — and even add their own touch. Lemongrass, grapefruit, and a hint of tropical fruit blend on the nose as well as on the palate, creating a slightly sweet, herbal-citrus mix with a bitter kick. Along with malted barley, this beer uses oats and raw spelt, allowing a soft mouthfeel. Juicy, earthy, and memorable, this one is on tap at the brewery at press time — nab yourself a pour if you happen to be in L.A.

31. West Kill Kaaterskill IPA

West Kill, N.Y. ABV: 6%

Teetering on the edge of dialed-in juicy IPA and new-American pale ale, this farm-brewed New beer from New York’s Catskill Mountain region is modern and rustic at once. Modern, with its dry-hopping regimen of Azaaca, Columbus, Mosaic, and Citra hops. Rustic, in that it’s crafted on a farm in the mountains. Though not as available as other IPAs on this list, this beer is worth the hike. Mountain or specialty beer shop, a word to the wise: a 4-pack is never enough.

30. Avery Bon-Bon Cerise

Boulder, CO ABV: 14.6%

Stout lovers won’t know what’s coming until sipping this bourbon-barrel-aged imperial stout aged with cherries, cacao nibs, and vanilla beans. Sounds like standard fare for a barrel-aged pastry stout, but it’s anything but: Yes, it’s boozy and laced with bourbon-barrel character, but what stood out to our tasters was its powdered chocolate note and cooked fruit flavor, akin to cherry pie. Like the dessert, Bon Bon Cerise has layers to enjoy.

29. Left Hand Raspberry Milk Stout 

Longmont, CO ABV: 5.7%

Launched in 2019, this sister to Left Hand’s category-defining milk stout has raspberry on the nose and palate, balanced with roasty notes and a touch of sweetness. Bitter chocolate and cherry on the finish wrap it all up in a smooth, dessert-friendly (or dessert-replacing) package.

28. Monday Night Ante Meridiem Blend No. 1 (2018)

Atlanta, GA ABV: 13.5%

Several Monday Night beers were considered for this list, but its “imperial brown ale” — fair enough, it’s 13.5 percent ABV, aged in locally sourced bourbon barrels, and dosed with locally roasted coffee, Ugandan vanilla beans, and maple syrup — is a testament to the Atlanta brewery’s relentless experimentation. Firstly, it brings the noise for brown ale (even if it’s hyperbolizing the usually subtly roasty style). In a similar conundrum, It smells like vanilla ice cream and chocolate syrup, and tastes creamy and sweet. But warm bourbon and coffee bean prevent it from becoming cloying. The body has excellent texture, rich but drinkable, with just enough carbonation to give a crisp edge, lifting it safely out of the barrel-aged-syrup-beer danger zone. No single part overpowers another, making this a rare treat. (It’s available seasonally on draft and in 500-milliliter bottles in Georgia, Tennessee, and Alabama.)

27. Lamplighter Major Tom 

Boston, MA ABV: 6.8%

This space-themed, true New England-Style IPA brewed by Boston’s Lamplighter, a brewery, coffee purveyor and soon-to-be-distillery, is, like its maker, bold. Floating in this tin can* are Australian Galaxy hops, imparting tropical-fruit juicy flavors, but also a bitter bite hiding in the haze. *The can is aluminum.

26. Saint Archer Mexican Lager

San Diego, CA ABV: 4.8%

Saint Archer Brewery debuted its Mexican-style lager in March 2019, and it rose up our ranks for its many juxtapositions: sweet and herbal; cooked corn tortilla and fresh herbs; and, philosophically, a San Diego-brewed, Mexican-style beer owned by the very North American MillerCoors. Maybe it’s not that crazy. You would, however, be crazy to pass this up if you’re a fan of Mexican lagers like we are. Pair with chicken enchiladas, tortilla chips with salsa verde, or a lime wedge.

25. Athletic Brewing Co. Run Wild NA IPA

Stratford, CT ABV: < 0.5%

This isn’t the first time we’re praising Athletic Brewing’s flagship IPA, but it is the first time a non-alcoholic beer has made it to the top 50 beers of the year list. This says a lot, not only about the quality of this particular brew — which is made with all-organic grains, and five hop varieties from the Northwest U.S. — but it speaks to the market’s move (if inching, even) toward no- and low-ABV, as well as lower-calorie (this one’s 70), options. This beer is flavorful and balanced, featuring an herbal, citrus kick over a mild malt backbone. It became a regular purchase for some panelists over the course of the year. We’ve bought out in the wild on several semi-sober occasions. For us, this one isn’t about abstaining, it’s about sustaining — through the day and night with friends, can in hand.

24. J. Wakefield 24th Street Brown Ale

Miami, FL ABV: 6.5%

Don’t let this beer’s street-smart exterior dark, murky interior fool you. On the inside, from the first sip, it’s sweet chocolate malt balls, smooth toffee flavor, and roasty, dialed-back bitterness (think cold-brewed coffee compared to burnt iced coffee). 24th Street Brown Ale is named for the brewery’s Miami address, and with the recent remodeling of that taproom, we felt it was owed another look and a new appreciation in 2019.

23. Coronado Set West

Coronado, CA ABV: 7%

This West Coast IPA from California stalwart Coronado Brewing dials back the style’s bitterness with biscuity, freshly baked bread and fresh-squeezed orange juice on the nose. It’s dry on the palate, with a bitterness that lingers just the right amount, allowing the beer to be refreshing, rather than weigh down the palate. A hallmark West Coast IPA.

22. Two Roads Area Two Table Terroir 

Stratford, CT ABV: 3.7%

Connecticut-grown malts, hops, and yeast so local it was captured in the brewery’s own hop yard put the “terroir” in Table Terroir, a food-pairing companion and conversation starter that’s as fascinating as it is tasty. Delicate and complex, with fruity and spicy notes, it’s one we wish we could find more often — but, like this beer’s ingredients, you’ll have to go to the brewery for that.

21. Gueuzerie Tilquin Oude Pinot Noir Tilquin à L’Ancienne

Rebecq, Belgium ABV: 8.2%

“Finesse” comes to mind when attempting to describe this spontaneously-fermented lambic, which gets its fruit not from the traditional cherries (kriek) or raspberries (framboise), but from Pinot Noir grapes (260 grams of Pinot Noir grapes per liter of lambic, according to Gueuzerie Tilquin). The first version of this lambic, made to mark the 10th anniversary of legendary Belgian beer bar Moeder Lambic, used hand-harvested grapes from Valentin Zusslin Estate’s biodynamic Bollenberg vineyard. This new version uses organic grapes from a family farm in Steinseltz, France.

20. Cerebral Forbidden Idol: Mai Tai (Tiki Sour IPA Series) 

Denver, CO ABV: 7%

Kicking off the year with a tiki sour IPA series is a bold move. For Cerebral Brewing, which we already love for its show-stopping IPAs and interesting forays into categories like wood-aged lager, Forbidden Idol’s pineapple, lime, and passionfruit-flavored tiki cocktail-inspired release was an awakening. Our panel agreed this one actually tasted like a Mai Tai, proving that tiki cocktails can translate into IPA forms — and that sour IPAs, at their best, beautifully emulate cocktails. We were hooked from the start, but Cerebral Brewing has released this beer in Mai Tai, Singapore Sling, Castaway, Zombie and Painkiller versions. (And, by the way, Mai Tais are better than you think.)

19. Finback Rolling in Clouds

Queens, NY ABV: 7.1%

When we think of an ideal juicy, hazy IPA, this is it. It’s not too sweet, not too boozy, and has a smooth mouthfeel. Fruity without being super sweet and gooey, it’s just right.

18. Tired Hands Shambolic 

Ardmore, PA ABV: 6.5%

Shambolic, a saison brewed with malted spelt and raw wheat, rested in oak foudres, and dry-hopped with what is likely a lavish amount of Nelson Sauvin and Simcoe hops, is a lot to take in. Tropical fruit, lemony citrus, and floral notes create an intense perfume and palate, while fermentation with Tired Hands’ house saison yeast (and maybe microflora from the foudres) adds a tart, citric kick on the finish.

17. Grimm Artisanal Ales Awoogah IPA

Brooklyn, N.Y. ABV: 6.4%

At this point, seeing an IPA below 7 percent ABV is a godsend. Fruity and floral aromas give way to a soft palate, with spicy hop character and a hint of tangerine tartness coming from a combination of Columbus, Galaxy, Hallertau Blanc, and Simcoe hops. It’s refreshing and balanced, with certain parts pleasantly exaggerated — citrus zest, for example — without going even a molecule too far. Truly hazy and juicy, without being too bitter or sweet, this is a perfect IPA.

16. pFriem Family Brewers Pilsner

Hood River, OR ABV: 4.9%

Available in cans starting in 2019, this crystal-clear, golden pilsner is reminiscent of springtime. A fresh floral aroma, soft carbonation, and suite of unusual herbal hops varietals like Perle and Saphir make this both palate cleanser and a center-stage sipper. Whether thoughtfully or thoughtlessly, enjoy this on a porch, in a backyard, at a barbecue, or basically anywhere, anytime.

15. The Referend Bier Blendery Le Mur (2018)

Pennington/Hopewell Township, N.J. ABV: 6%

“Blackberry spontaneously fermented golden ale” is a mouthful of a beer description, but it only begins to scratch the surface of how this exquisite vintage is made. Released in July 2019, Le Mur is a blend of one- and two-year-old beer, the younger re-fermented with southern New Jersey blackberries in French oak, and the older with northern New Jersey blackberries in stainless steel. It pours a dusty garnet with a fluffy ruby head. Tart cherry, raspberry, and blackberry aromas are pungent from first whiff. Up close, nose to glass, it’s all citrus — fresh-squeezed grapefruit juice, acidic orange, and a hint of lemon and lime. A brioche scent wafts in, creating a tart berry-pie aroma. The palate is tart, concentrated fruit, sharp but balanced with jammy berry flavors — it is not puckeringly sour like so many unoaked, kettle-soured beers tend to be. Oak puncheons, and perhaps more so, time, have softened its edges. Depth, complexity, and excitement.

14. Perennial Artisan Ales Prism: Mosaic

St. Louis, MO ABV: 5.5%

Showcasing the multi-faceted, New-World Mosaic hop in a classic saison would be a terrible idea if you were anyone but Perennial. But saisons and farmhouse-style ales are among this small St. Louis brewery’s specialty, and this particular release in its “Prism” series did the best job at convincing us the result can be delicious. Maybe it’s the magic of Mosaic meeting a saison yeast strain, but this saison is better than the sum of its parts.

13. Holy Mountain Witchfinder

Seattle, WA ABV: 6.1% ABV

Golden, frothy, and skunky (in a good way), this pungently-scented saison is all earthy funk on the nose, followed by floral and citrus flavors and a lingering pithy finish. It’s one of many excellent saisons from this Seattle brewery, and solidifies our suspicion that we’ll grab a bottle any time we see one — if the beer budget allows.

12. Threes Brewing The Dictator Is The People

Brooklyn, N.Y. ABV: 6%

Pungent, peppery spice, and tart apricot aromas are a precursor to this oak-aged saison’s delectable journey. Lightly fruity, dry, Champagne-sparkling, it’s a saison worth celebrating with — or celebrating, period. Next in rotation of mixed-culture, oak-aged wheat beers is Bad Faith.

11. Transmitter Brewing S9 

Brooklyn, N.Y. ABV: 5.8%

After moving from a very small space in Queens to one of Brooklyn’s biggest commercial centers, Transmitter released S9, a saison that rivals its smaller-scale days, and, dare we say, its Belgian inspirations. This iteration is pale and can be perceived as light on the palate, but it has hidden complexities: earthy, fruity notes derived from yeast and hops complement cereal grain flavors, with lively carbonation and bitterness hitting at the finish.

10. Trillium Crown and Crate

Boston, MA ABV: 8.6%

Massachusetts hives provide the nectar for this double IPA with raw wildflower honey, which, along with lactose, give the beer its ultra-creamy mouthfeel, and supple, smoothie-sweet decadence. Named for the queen bee (the “crown”) and the milk crate her worker bees use to create their hive, its abundance of tropical fruit flavors invoke the plenitudes of spring, royalty, and indulgence.

9. Harpoon Rec League

Boston, MA and Windsor, VT ABV: 3.8%

Is there anything more exciting than a 3.8-percent-ABV hoppy beer? It’d be hard to convince us while sipping Rec League. Harpoon is officially back in the game with this refreshing, light-bodied, lightly bitter and light-everything low-ABV refresher. Hints of pineapple and tropical fruit on the nose, and clementine and tangerine on the palate, yet dry as a bone, it��s a standout of the year.

8. Lagunitas Daytime Ale

Petaluma, CA ABV: 4%

Whether you’re into the low-alcohol, low-calorie phase of your beer-drinking career or not, it’s important to know that brewing a beer that’s light and tastes good is no easy feat. As the can perhaps suggests, Daytime Ale nails it. It’s citrusy and herbal, light and flavorful, and barbecue-friendly in every way. Coors Light chicks and hazebros can unite over this hoppy yet thirst-quenching summer sipper.

7. Sixpoint Citrus Jammer

Brooklyn, N.Y. ABV: 4%

We tasted every Jammer variety time and time again this summer, and while our favoritism fluctuated between the original and tropical fruit flavors, we ultimately landed on Citrus Jammer. It has the salty, spicy gose flavor we’re looking for, but is slightly subdued (compared to American goses that overdo it). Added to that are candied orange aromas, Sprite-like lemon-lime, and a lingering, lemony tang, and we found its bright and bitter finish was more refreshing than the original. Soft coriander on the finish.

6. New Belgium Mural Agua Fresca Cerveza (With Primus Cervecería)

Fort Collins, CO; Asheville, NC; and Mexico City, Mexico ABV: 4%

Mural Agua Fresca got its start via test batches brewed by New Belgium and Primus at the Mexico City cerveceria. In 2019, the agua-fresca-inspired ale is available in all 50 U.S. states (and, coming soon, more flavors). It’s refreshing all around — Mural gets its red-pink color and tart essence from hibiscus, its thirst-quenching flavor from watermelon, zippy refreshment from lime, and a touch of sweetness from agave. Get out there and try this “cerveza” before it’s rebranded as spiked seltzer.

5. Funkwerks Passion Fruit Provincial (Series)

Fort Collins, CO ABV: 4.2%

If sour ales can be sessionable, Funkwerks is one of the few breweries that can accomplish it — and lucky for us, the Colorado farmhouse-style brand added New York, New Jersey, Ohio, Kentucky, Chicagoland, and, finally, Kansas to its distribution network this year. Passion Fruit Provincial is a memorable bottled ecosystem of passionfruit’s interaction with soft malt and saison yeast. Tart, tropical, and refreshing, it’s one that has us looking out for more “Provincial” variants — raspberry, “rhuberry” (strawberry and rhubarb), and pineapple guava are among them.

4. Rodenbach Classic 

Rosalare, Belgium ABV: 5.2%

Nationally available as of 2019, Rodenbach Classic in cans — cans! —is what brought this classic brand to the top of our list this year. Rodenbach, a nearly-200-year-old Belgian brewery that defines the Flemish red beer style, launched its Rodenbach Classic label statewide in the U.S. in cans. The sleek, elegant take on a tallboy puts one of the best beers of all time in a pedestrian package, signaling that centuries-old tradition and the mastery of foeder-aging (courtesy living legend Rudi Ghequire), actually can be enjoyed anytime. No longer do we have to hoard our Rodenbach for Christmas dinner… unless it’s a vintage. As for the classic, it’s a blend of young and aged beer, the latter part of the blend aged for two years in giant oak foeders. It’s fruity and tart, pairs perfectly with rich foods, and is surprisingly sessionable on its own, too. Also in 2019, Rodenbach announced its first-ever beer collaboration with American craft beer pioneer Dogfish Head Craft Brewery.

3. SweetWater 420 Chocolope Stout

Atlanta, GA ABV: 6.4%

Chocolate stouts have been brewed many times over, but none have tasted like this. SweetWater’s 420 Strain, a series of cannabis-inspired beers, can be gimmicky, but this one wowed us every time we reached for it. It’s brewed with three types of roasted malt (Pale Chocolate, Chocolate, and Roasted Barley), a pair of herbal hops (Bravo, Willamette), and what the brewery refers to as “strain-specific terpenes and natural hemp-type flavors” — the latter being the “X”-factor. It’s insanely aromatic, like a sticky nug of weed, but roasty, too, and somehow, actual chocolate completes the package (Dutch chocolate, naturally). Insert weed joke here.

2. Cigar City Guayabera Citra Pale Ale 

Tampa, FL ABV: 5.5%

Guayabera pours frothy, fruity, and intensely aromatic. Using only Citra hops, known for their citrusy profile of grapefruit and tropical fruit, this American pale ale is juicy and refreshing, balancing citrusy bitterness, soft, bready malt character, and endlessly quaffable aroma. It also makes a great shower beer.

1. Allagash River Trip

Portland, ME ABV: 4.8 %

2019 was all about easy-drinking refreshment, and Allagash nails it with River Trip — most importantly, the pioneering brewery does so without sacrificing its style. While craft brewers clamor to diversify with light lagers and hard seltzers, this Belgian-style session ale is easy-drinking with an edge. Spiced with coriander like a traditional Belgian witbier, and fermented with Allagash’s house yeast, it adds bright, bitter, grassy notes to its table beer base. Yes, Allagash excels at beautifully executed mixed-fermentation sour beers, but it was River Trip we kept coming back to this year, again and again.

The article The 50 Best Beers of 2019 appeared first on VinePair.

source https://vinepair.com/articles/best-beers-2019/

[isaiahrippinus]

The 50 Best Beers of 2019

At last estimate, there were more than 7,500 breweries operating in the U.S. in 2019. As more breweries open — introducing a never-ending stream of new beers to the marketplace — finding the best is near impossible. Luckily, we’ve spent a lot of time over the last year tasting them.

This, evidently, was the year of saison; our 2019 list concludes with an unprecedented number of Belgian-style farmhouse ales, which signals that yeast may be having its moment. Lower-alcohol, “better-for-you” beers are in the limelight, too, as more craft beer drinkers seek beers that fit healthier lifestyles, or simply want more sessionable options — and more breweries are figuring out how to make these delicious.

On the whole, we as a craft beer drinking society may not be pivoting away from IPA to craft lager just yet (at least, not statistically), but rest assured, plenty of both make the list.

This ranking was determined by members of the VinePair team. Hundreds of selections were considered and narrowed down to 50 with the following criteria: All beers must be available for retail in the U.S. in a can or bottle retail, or otherwise be a seasonal release or part of a rotating series we expect to see back in 2020. Placement is limited to one beer per brewery. The 50 best beers of 2019 ranking focuses on labels released within the year, although this is not a requirement. Selections from last year’s 50 best beers of 2018 were not considered.

Availability has an effect on ranking: In other words, if you have to travel, trade, or sacrifice your firstborn for a 4-ounce pour, recommending it in our top 10 is not helpful to a majority of beer drinkers. Now for the fun part!

These are VinePair’s 50 best beers of 2019.

50. Mother Earth 4Seasons Hazy IPA (With Fremont Brewing)

Nampa, ID ABV: 7.5%

Previously dubbed “The Four Seasons of Mother Earth,” this 4Seasons release debuted in summer 2019 in partnership with Seattle’s Fremont Brewing. The duo used “craft” malt from a farmer-owned co-op in Spokane to further share the local love. On the hop front, this beer showcases African Queen, a fruity, herbal, spicy variety from South Africa, along with Galaxy, Mosaic Cryo, and El Dorado hops. The result? Mango, passion fruit, and orange aromas; a grain-forward, almost savory malt flavor reminiscent of sage; and a fruity, herbal finish. Although a limited release, we look forward to tasting more “seasons.”

49. Lakefront Brewery Hazy Rabbit IPA

Milwaukee, WI ABV: 5.2%

Pouring bright gold and cloudy, a Camembert-esque cheesy aroma kicks off the nose on this hazy IPA, followed by orange, tangerine, passionfruit, and a melon cotton candy note. Low on bitterness, but less sweet than “traditional” hazy/juicy IPAs, it’s bright and balanced with soft carbonation and light malt character due to flaked oats.

48. Anchor Brewing Fog Breaker IPA 

San Francisco, CA ABV: 6.8%

San Francisco stalwart Anchor Brewing’s relatively new Fog Breaker, released in 2018, earned its fair share of loyal drinkers this year. It was especially a hit among classic IPA lovers, who lament the days of IPAs that tasted like pine, weren’t too bitter, and didn’t look like OJ. This IPA has some West Coast bitterness, a hint of fruitiness and a touch of haze (O.K., fog). It’s piney and crisp, and adds Cryo hops to its dry-hopping regimen, along with whole-cone Denali and Cascade.

47. Shiner Ruby Redbird 

Shiner, TX ABV: 4%

Spoetzl Brewery’s Shiner Beer updated its Ruby Redbird lager in 2019 with nutrition facts faux-dive bars will be fawning over: It contains 95 calories, 3.1 grams of carbs, and Texas-grown Ruby Red grapefruit juice. Grapefruit and ginger are present on the nose and palate, making this easy-drinking sipper with a kick perfect for sushi pairing.

46. Cascade Brewing Cuvée du Jongleur

Portland, OR ABV: 9.4%

Toward the tail end of 2018, Cascade re-released this oaky, complex, funky cuvée for the first time since 2008. A decade after its original release, the label did not disappoint: Berry and oak aromas are followed by a creamy mouthfeel and fruity tartness. When nursed in a tulip glass, it opens up nicely as it warms, releasing further fruit aromas such as cherry, plum, and hints of grapefruit and caramel.

45. Goose Island Bourbon County Double Barrel 

Chicago, IL ABV: 18%

In this 2019 variant of Goose Island’s infamous barrel-aged stout series, “double barrel” refers to the stout aging one year in 11-year-old Elijah Craig barrels, then afterward aging another year in (different) 12-year-old Elijah Craig barrels. Fruit, leather, chocolate, and yes, intense bourbon flavors swirl on the palate, with a whiskey-beer-hybrid warmth all the way down. Although this variant is very limited in quantity, several other Bourbon County stouts are out there. Forget the drama, they’re still delicious.

44. Hardywood Park Distorted Perception 

Richmond, VA ABV: 7%

A cornucopia of tropical fruit explodes on the nose of this NEIPA — tangerine, passionfruit, guava. With our eyes closed, we could swear this was actual juice. Mango-flavored bubble tea and tart, juicy smoothie flavors make this a little sweet, but it is lip-smackingly delicious.

43. Separatist Beer Project Spellbook Imperial Stout 

Easton, PA ABV: 13%

Maple syrup and cinnamon additions amplify this imperial stout’s sweet side, while roasted malt’s coffee and dark chocolate notes add bitterness to balance.

42. Wiley Roots Black Bart Monstah 

Greeley, CO ABV: 11%

Inspired by the Spanish-descended fried dough sopapilla (or more specifically, the sopapilla served at Mexican Restaurant Casa Bonita, which has a room named “Black Bart’s Cave”), this dark, velvety imperial stout brings chocolatey, roasty flavors rather than fresh fried dough. Cinnamon, burnt sugar, and honey are added for extra decadence, making this a sweet stout to sip on a cold, boozy afternoon.

41. Garage Brewing Peanut Butter Chocolate Milk Stout 

Temecula, CA ABV: 7.1%

This liquid Reese’s Pieces is rich, but not sticky; chocolatey, but not cloying; and full-bodied, yet feels lighter on the palate than its peanut-butter-chocolate-flavored 7.1 percent ABV might have you think. Our panel unanimously found this pastry stout daringly easy to drink.

40. WeldWerks PB&J Berliner 

Greeley, CO ABV: 4.6%

Considering that it was mostly its juicy IPAs, not wildly flavored kettle sours, that put this Colorado brewery on beercationers’ maps, a peanut butter and jelly-flavored Berliner weiss wasn’t what we expected to love most from WeldWerks this year. Yet, here we are. Berliner weiss and fruit are ancient companions, so perhaps it’s not surprising that strawberry puree would complement grain and tart flavors so well — add peanut powder to the mix, and the combination of flavors is unforgettable.

39. Reuben’s Brews Brettania (Series): Boysenberry and Blackberry

Seattle, WA ABV: 6.3%

Brettanomyces can make or break a beer. In the right hands, as at Reuben’s Brews, it really sings. In this mixed-culture saison aged for six months in oak puncheons, then aged with boysenberries and blackberries for an additional six months, and finally refermented in-bottle, it sings. Brettania: Boysenberry and Blackberry was the first release in Reuben’s Brews’ barrel-aged sour program, and it promptly began winning awards. Brettania: Guava and Brettania: Blackcurrant followed, and we’re anxious to taste what’s next.

38. Bell’s Brewery Official Hazy IPA 

Comstock, MI ABV: 6.4%

Released in March 2019, Bell’s Brewery’s “Official” marked the legendary beer pioneer’s entry into the hazy IPA category. Long celebrated for its Two Hearted IPA, a bracingly bitter, grapefruit-flavored exemplar of the more “old-school” IPAs style, this newcomer stands on its own with tropical fruit and citrus aromas, a palate that’s lighter than the style-defining NEIPAs of the Northeast, and an orange juice kick on the finish.

37. Oskar Blues Can-O-Bliss Hazy IPA 

Fort Collins, CO ABV: 7.2%

Can-O-Bliss “Hazy,” part of a rotating IPA series (“Tropical” and “Citrus” are others), serves up OJ, pineapple juice, and a hint of cheesy funk on the nose, followed by a fruity, herbal, spicy potpourri of hop-driven flavors on the palate. (Strata, Cashmere, Enigma, Hallertau Blanc, and Eureka hops are all used in this brew.) It’s surprisingly light in color and body, though, with crisp carbonation to balance its pungent hoppiness.

36. Springdale Beer Pearly Wit 

Framingham, MA ABV: 4.8%

Springdale Beer, of Jack’s Abby, debuted this wispy witbier last year, but in 2019 we started to see it on a lot more tap lists — and rightfully so. It’s the definition of a sessionable wheat beer: pillowy soft, crisp and coriander-flavored, with a hint of tangy citrus to keep things interesting.

35. Sierra Nevada Oktoberfest (2019)

Chico, CA and Asheville, NC ABV: 6%

Sierra Nevada’s Oktoberfest got so much love this year, people married it (or at least, got married with it. At Oktoberfest. In Germany.) As for us, we appreciated the 2019 version of this annual classic as a bubbly aperitif. Brewed in collaboration with Germany’s Bitburger Brewery, it combines the smooth flavors of Caramel, Munich, and Pilsner malt with a bitter punch, perhaps from Bitburger’s Siegelhopfen — that’s German for “sealed hops,” or the brewer’s “secret” hop blend.

34. Equilibrium Moon of Vega

Middleton, NY ABV: 8.7%

Brewed in collaboration with Florida’s J. Wakefield Brewing, this double IPA is made with more than copious amounts of Citra, Galaxy, and Mosaic hops, vanilla, and lactose (milk sugar), pouring creamy and sweet, aroma-dosed with mango, and just a hint tart on the finish. It’s the ridiculousness of a milkshake IPA in an obscenely delicious package.

33. Pure Project Rain

San Diego, CA ABV: 5.3%

Unfiltered, yet clear and golden as a summer sky, topped with a fluffy white cloud of foam, Rain is a subtle eruption: pilsner malt’s telltale biscuity aroma is amplified by its single-malt, organic producer; lemongrass follows, from Hallertau Mittelfruh hops’ herbal, citrus nudge. German ingredients and an American craft brewer’s hand make this bitter little pilsner exactly what to look for at the end of — or start of — a long day.

32. Brouwerij West Picnic Lightning

San Pedro, CA ABV: 6.8%

Picnic Lightning proves West Coast breweries can do New England-style IPAs well — and even add their own touch. Lemongrass, grapefruit, and a hint of tropical fruit blend on the nose as well as on the palate, creating a slightly sweet, herbal-citrus mix with a bitter kick. Along with malted barley, this beer uses oats and raw spelt, allowing a soft mouthfeel. Juicy, earthy, and memorable, this one is on tap at the brewery at press time — nab yourself a pour if you happen to be in L.A.

31. West Kill Kaaterskill IPA

West Kill, N.Y. ABV: 6%

Teetering on the edge of dialed-in juicy IPA and new-American pale ale, this farm-brewed New beer from New York’s Catskill Mountain region is modern and rustic at once. Modern, with its dry-hopping regimen of Azaaca, Columbus, Mosaic, and Citra hops. Rustic, in that it’s crafted on a farm in the mountains. Though not as available as other IPAs on this list, this beer is worth the hike. Mountain or specialty beer shop, a word to the wise: a 4-pack is never enough.

30. Avery Bon-Bon Cerise

Boulder, CO ABV: 14.6%

Stout lovers won’t know what’s coming until sipping this bourbon-barrel-aged imperial stout aged with cherries, cacao nibs, and vanilla beans. Sounds like standard fare for a barrel-aged pastry stout, but it’s anything but: Yes, it’s boozy and laced with bourbon-barrel character, but what stood out to our tasters was its powdered chocolate note and cooked fruit flavor, akin to cherry pie. Like the dessert, Bon Bon Cerise has layers to enjoy.

29. Left Hand Raspberry Milk Stout 

Longmont, CO ABV: 5.7%

Launched in 2019, this sister to Left Hand’s category-defining milk stout has raspberry on the nose and palate, balanced with roasty notes and a touch of sweetness. Bitter chocolate and cherry on the finish wrap it all up in a smooth, dessert-friendly (or dessert-replacing) package.

28. Monday Night Ante Meridiem Blend No. 1 (2018)

Atlanta, GA ABV: 13.5%

Several Monday Night beers were considered for this list, but its “imperial brown ale” — fair enough, it’s 13.5 percent ABV, aged in locally sourced bourbon barrels, and dosed with locally roasted coffee, Ugandan vanilla beans, and maple syrup — is a testament to the Atlanta brewery’s relentless experimentation. Firstly, it brings the noise for brown ale (even if it’s hyperbolizing the usually subtly roasty style). In a similar conundrum, It smells like vanilla ice cream and chocolate syrup, and tastes creamy and sweet. But warm bourbon and coffee bean prevent it from becoming cloying. The body has excellent texture, rich but drinkable, with just enough carbonation to give a crisp edge, lifting it safely out of the barrel-aged-syrup-beer danger zone. No single part overpowers another, making this a rare treat. (It’s available seasonally on draft and in 500-milliliter bottles in Georgia, Tennessee, and Alabama.)

27. Lamplighter Major Tom 

Boston, MA ABV: 6.8%

This space-themed, true New England-Style IPA brewed by Boston’s Lamplighter, a brewery, coffee purveyor and soon-to-be-distillery, is, like its maker, bold. Floating in this tin can* are Australian Galaxy hops, imparting tropical-fruit juicy flavors, but also a bitter bite hiding in the haze. *The can is aluminum.

26. Saint Archer Mexican Lager

San Diego, CA ABV: 4.8%

Saint Archer Brewery debuted its Mexican-style lager in March 2019, and it rose up our ranks for its many juxtapositions: sweet and herbal; cooked corn tortilla and fresh herbs; and, philosophically, a San Diego-brewed, Mexican-style beer owned by the very North American MillerCoors. Maybe it’s not that crazy. You would, however, be crazy to pass this up if you’re a fan of Mexican lagers like we are. Pair with chicken enchiladas, tortilla chips with salsa verde, or a lime wedge.

25. Athletic Brewing Co. Run Wild NA IPA

Stratford, CT ABV: < 0.5%

This isn’t the first time we’re praising Athletic Brewing’s flagship IPA, but it is the first time a non-alcoholic beer has made it to the top 50 beers of the year list. This says a lot, not only about the quality of this particular brew — which is made with all-organic grains, and five hop varieties from the Northwest U.S. — but it speaks to the market’s move (if inching, even) toward no- and low-ABV, as well as lower-calorie (this one’s 70), options. This beer is flavorful and balanced, featuring an herbal, citrus kick over a mild malt backbone. It became a regular purchase for some panelists over the course of the year. We’ve bought out in the wild on several semi-sober occasions. For us, this one isn’t about abstaining, it’s about sustaining — through the day and night with friends, can in hand.

24. J. Wakefield 24th Street Brown Ale

Miami, FL ABV: 6.5%

Don’t let this beer’s street-smart exterior dark, murky interior fool you. On the inside, from the first sip, it’s sweet chocolate malt balls, smooth toffee flavor, and roasty, dialed-back bitterness (think cold-brewed coffee compared to burnt iced coffee). 24th Street Brown Ale is named for the brewery’s Miami address, and with the recent remodeling of that taproom, we felt it was owed another look and a new appreciation in 2019.

23. Coronado Set West

Coronado, CA ABV: 7%

This West Coast IPA from California stalwart Coronado Brewing dials back the style’s bitterness with biscuity, freshly baked bread and fresh-squeezed orange juice on the nose. It’s dry on the palate, with a bitterness that lingers just the right amount, allowing the beer to be refreshing, rather than weigh down the palate. A hallmark West Coast IPA.

22. Two Roads Area Two Table Terroir 

Stratford, CT ABV: 3.7%

Connecticut-grown malts, hops, and yeast so local it was captured in the brewery’s own hop yard put the “terroir” in Table Terroir, a food-pairing companion and conversation starter that’s as fascinating as it is tasty. Delicate and complex, with fruity and spicy notes, it’s one we wish we could find more often — but, like this beer’s ingredients, you’ll have to go to the brewery for that.

21. Gueuzerie Tilquin Oude Pinot Noir Tilquin à L’Ancienne

Rebecq, Belgium ABV: 8.2%

“Finesse” comes to mind when attempting to describe this spontaneously-fermented lambic, which gets its fruit not from the traditional cherries (kriek) or raspberries (framboise), but from Pinot Noir grapes (260 grams of Pinot Noir grapes per liter of lambic, according to Gueuzerie Tilquin). The first version of this lambic, made to mark the 10th anniversary of legendary Belgian beer bar Moeder Lambic, used hand-harvested grapes from Valentin Zusslin Estate’s biodynamic Bollenberg vineyard. This new version uses organic grapes from a family farm in Steinseltz, France.

20. Cerebral Forbidden Idol: Mai Tai (Tiki Sour IPA Series) 

Denver, CO ABV: 7%

Kicking off the year with a tiki sour IPA series is a bold move. For Cerebral Brewing, which we already love for its show-stopping IPAs and interesting forays into categories like wood-aged lager, Forbidden Idol’s pineapple, lime, and passionfruit-flavored tiki cocktail-inspired release was an awakening. Our panel agreed this one actually tasted like a Mai Tai, proving that tiki cocktails can translate into IPA forms — and that sour IPAs, at their best, beautifully emulate cocktails. We were hooked from the start, but Cerebral Brewing has released this beer in Mai Tai, Singapore Sling, Castaway, Zombie and Painkiller versions. (And, by the way, Mai Tais are better than you think.)

19. Finback Rolling in Clouds

Queens, NY ABV: 7.1%

When we think of an ideal juicy, hazy IPA, this is it. It’s not too sweet, not too boozy, and has a smooth mouthfeel. Fruity without being super sweet and gooey, it’s just right.

18. Tired Hands Shambolic 

Ardmore, PA ABV: 6.5%

Shambolic, a saison brewed with malted spelt and raw wheat, rested in oak foudres, and dry-hopped with what is likely a lavish amount of Nelson Sauvin and Simcoe hops, is a lot to take in. Tropical fruit, lemony citrus, and floral notes create an intense perfume and palate, while fermentation with Tired Hands’ house saison yeast (and maybe microflora from the foudres) adds a tart, citric kick on the finish.

17. Grimm Artisanal Ales Awoogah IPA

Brooklyn, N.Y. ABV: 6.4%

At this point, seeing an IPA below 7 percent ABV is a godsend. Fruity and floral aromas give way to a soft palate, with spicy hop character and a hint of tangerine tartness coming from a combination of Columbus, Galaxy, Hallertau Blanc, and Simcoe hops. It’s refreshing and balanced, with certain parts pleasantly exaggerated — citrus zest, for example — without going even a molecule too far. Truly hazy and juicy, without being too bitter or sweet, this is a perfect IPA.

16. pFriem Family Brewers Pilsner

Hood River, OR ABV: 4.9%

Available in cans starting in 2019, this crystal-clear, golden pilsner is reminiscent of springtime. A fresh floral aroma, soft carbonation, and suite of unusual herbal hops varietals like Perle and Saphir make this both palate cleanser and a center-stage sipper. Whether thoughtfully or thoughtlessly, enjoy this on a porch, in a backyard, at a barbecue, or basically anywhere, anytime.

15. The Referend Bier Blendery Le Mur (2018)

Pennington/Hopewell Township, N.J. ABV: 6%

“Blackberry spontaneously fermented golden ale” is a mouthful of a beer description, but it only begins to scratch the surface of how this exquisite vintage is made. Released in July 2019, Le Mur is a blend of one- and two-year-old beer, the younger re-fermented with southern New Jersey blackberries in French oak, and the older with northern New Jersey blackberries in stainless steel. It pours a dusty garnet with a fluffy ruby head. Tart cherry, raspberry, and blackberry aromas are pungent from first whiff. Up close, nose to glass, it’s all citrus — fresh-squeezed grapefruit juice, acidic orange, and a hint of lemon and lime. A brioche scent wafts in, creating a tart berry-pie aroma. The palate is tart, concentrated fruit, sharp but balanced with jammy berry flavors — it is not puckeringly sour like so many unoaked, kettle-soured beers tend to be. Oak puncheons, and perhaps more so, time, have softened its edges. Depth, complexity, and excitement.

14. Perennial Artisan Ales Prism: Mosaic

St. Louis, MO ABV: 5.5%

Showcasing the multi-faceted, New-World Mosaic hop in a classic saison would be a terrible idea if you were anyone but Perennial. But saisons and farmhouse-style ales are among this small St. Louis brewery’s specialty, and this particular release in its “Prism” series did the best job at convincing us the result can be delicious. Maybe it’s the magic of Mosaic meeting a saison yeast strain, but this saison is better than the sum of its parts.

13. Holy Mountain Witchfinder

Seattle, WA ABV: 6.1% ABV

Golden, frothy, and skunky (in a good way), this pungently-scented saison is all earthy funk on the nose, followed by floral and citrus flavors and a lingering pithy finish. It’s one of many excellent saisons from this Seattle brewery, and solidifies our suspicion that we’ll grab a bottle any time we see one — if the beer budget allows.

12. Threes Brewing The Dictator Is The People

Brooklyn, N.Y. ABV: 6%

Pungent, peppery spice, and tart apricot aromas are a precursor to this oak-aged saison’s delectable journey. Lightly fruity, dry, Champagne-sparkling, it’s a saison worth celebrating with — or celebrating, period. Next in rotation of mixed-culture, oak-aged wheat beers is Bad Faith.

11. Transmitter Brewing S9 

Brooklyn, N.Y. ABV: 5.8%

After moving from a very small space in Queens to one of Brooklyn’s biggest commercial centers, Transmitter released S9, a saison that rivals its smaller-scale days, and, dare we say, its Belgian inspirations. This iteration is pale and can be perceived as light on the palate, but it has hidden complexities: earthy, fruity notes derived from yeast and hops complement cereal grain flavors, with lively carbonation and bitterness hitting at the finish.

10. Trillium Crown and Crate

Boston, MA ABV: 8.6%

Massachusetts hives provide the nectar for this double IPA with raw wildflower honey, which, along with lactose, give the beer its ultra-creamy mouthfeel, and supple, smoothie-sweet decadence. Named for the queen bee (the “crown”) and the milk crate her worker bees use to create their hive, its abundance of tropical fruit flavors invoke the plenitudes of spring, royalty, and indulgence.

9. Harpoon Rec League

Boston, MA and Windsor, VT ABV: 3.8%

Is there anything more exciting than a 3.8-percent-ABV hoppy beer? It’d be hard to convince us while sipping Rec League. Harpoon is officially back in the game with this refreshing, light-bodied, lightly bitter and light-everything low-ABV refresher. Hints of pineapple and tropical fruit on the nose, and clementine and tangerine on the palate, yet dry as a bone, it’s a standout of the year.

8. Lagunitas Daytime Ale

Petaluma, CA ABV: 4%

Whether you’re into the low-alcohol, low-calorie phase of your beer-drinking career or not, it’s important to know that brewing a beer that’s light and tastes good is no easy feat. As the can perhaps suggests, Daytime Ale nails it. It’s citrusy and herbal, light and flavorful, and barbecue-friendly in every way. Coors Light chicks and hazebros can unite over this hoppy yet thirst-quenching summer sipper.

7. Sixpoint Citrus Jammer

Brooklyn, N.Y. ABV: 4%

We tasted every Jammer variety time and time again this summer, and while our favoritism fluctuated between the original and tropical fruit flavors, we ultimately landed on Citrus Jammer. It has the salty, spicy gose flavor we’re looking for, but is slightly subdued (compared to American goses that overdo it). Added to that are candied orange aromas, Sprite-like lemon-lime, and a lingering, lemony tang, and we found its bright and bitter finish was more refreshing than the original. Soft coriander on the finish.

6. New Belgium Mural Agua Fresca Cerveza (With Primus Cervecería)

Fort Collins, CO; Asheville, NC; and Mexico City, Mexico ABV: 4%

Mural Agua Fresca got its start via test batches brewed by New Belgium and Primus at the Mexico City cerveceria. In 2019, the agua-fresca-inspired ale is available in all 50 U.S. states (and, coming soon, more flavors). It’s refreshing all around — Mural gets its red-pink color and tart essence from hibiscus, its thirst-quenching flavor from watermelon, zippy refreshment from lime, and a touch of sweetness from agave. Get out there and try this “cerveza” before it’s rebranded as spiked seltzer.

5. Funkwerks Passion Fruit Provincial (Series)

Fort Collins, CO ABV: 4.2%

If sour ales can be sessionable, Funkwerks is one of the few breweries that can accomplish it — and lucky for us, the Colorado farmhouse-style brand added New York, New Jersey, Ohio, Kentucky, Chicagoland, and, finally, Kansas to its distribution network this year. Passion Fruit Provincial is a memorable bottled ecosystem of passionfruit’s interaction with soft malt and saison yeast. Tart, tropical, and refreshing, it’s one that has us looking out for more “Provincial” variants — raspberry, “rhuberry” (strawberry and rhubarb), and pineapple guava are among them.

4. Rodenbach Classic 

Rosalare, Belgium ABV: 5.2%

Nationally available as of 2019, Rodenbach Classic in cans — cans! —is what brought this classic brand to the top of our list this year. Rodenbach, a nearly-200-year-old Belgian brewery that defines the Flemish red beer style, launched its Rodenbach Classic label statewide in the U.S. in cans. The sleek, elegant take on a tallboy puts one of the best beers of all time in a pedestrian package, signaling that centuries-old tradition and the mastery of foeder-aging (courtesy living legend Rudi Ghequire), actually can be enjoyed anytime. No longer do we have to hoard our Rodenbach for Christmas dinner… unless it’s a vintage. As for the classic, it’s a blend of young and aged beer, the latter part of the blend aged for two years in giant oak foeders. It’s fruity and tart, pairs perfectly with rich foods, and is surprisingly sessionable on its own, too. Also in 2019, Rodenbach announced its first-ever beer collaboration with American craft beer pioneer Dogfish Head Craft Brewery.

3. SweetWater 420 Chocolope Stout

Atlanta, GA ABV: 6.4%

Chocolate stouts have been brewed many times over, but none have tasted like this. SweetWater’s 420 Strain, a series of cannabis-inspired beers, can be gimmicky, but this one wowed us every time we reached for it. It’s brewed with three types of roasted malt (Pale Chocolate, Chocolate, and Roasted Barley), a pair of herbal hops (Bravo, Willamette), and what the brewery refers to as “strain-specific terpenes and natural hemp-type flavors” — the latter being the “X”-factor. It’s insanely aromatic, like a sticky nug of weed, but roasty, too, and somehow, actual chocolate completes the package (Dutch chocolate, naturally). Insert weed joke here.

2. Cigar City Guayabera Citra Pale Ale 

Tampa, FL ABV: 5.5%

Guayabera pours frothy, fruity, and intensely aromatic. Using only Citra hops, known for their citrusy profile of grapefruit and tropical fruit, this American pale ale is juicy and refreshing, balancing citrusy bitterness, soft, bready malt character, and endlessly quaffable aroma. It also makes a great shower beer.

1. Allagash River Trip

Portland, ME ABV: 4.8 %

2019 was all about easy-drinking refreshment, and Allagash nails it with River Trip — most importantly, the pioneering brewery does so without sacrificing its style. While craft brewers clamor to diversify with light lagers and hard seltzers, this Belgian-style session ale is easy-drinking with an edge. Spiced with coriander like a traditional Belgian witbier, and fermented with Allagash’s house yeast, it adds bright, bitter, grassy notes to its table beer base. Yes, Allagash excels at beautifully executed mixed-fermentation sour beers, but it was River Trip we kept coming back to this year, again and again.

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[thesunlounge]

Reviews 347: Pellegrino pres. Zodȳaco - Caucciù

Back in 2018, Pellegrino and Early Sounds Recordings presented Zodȳaco, the first LP in a series of releases exploring the mythological relationship between the stars and the sea via mediterranean prog funk, paradise jazz fusion, and sunset disco romance. Now in 2020, the second chapter of this saga has arrived in the form of Pellegrino pres. Zodȳaco - Caucciù, a 7” which sees Pellegrino and production partner Dario Bassolino splitting the title track into two distinct versions across each side. For the “Migliera” version, the duo treat the listener to lackadaisical disco rhythms, slapfunk basslines, squiggling clavinet electronics, and bluesy e-piano dreamscapes that sparkle like ocean crystal while hushed vocals whisper romantic lyricisms. Delaying tracers rise like bubble clouds as guitar, synth, and piano lock together for smooth fusion pyrotechnics and at some point, we find ourselves in a flowery expanse of flute-led progressive rock. The “Damecuta” version, on the other hand, is aimed more so for dancefloor dreaming, with tropical bongo and conga panoramas and heatwave fusion pads surrounding a Latin-infused disco beat. Mermaids sing sexual serenades, e-pianos work through bluesy funk patterns, and multi-layered wah guitars cycle around each other, with the track climaxing several times…first into a tribal timbale rhythm storm, then later into sky-searing synthesizer psychedelia.

As with the first Zodȳaco album, resident Early Sounds artist extraordinaire Riccardo Corda has rendered another set of esoteric fantasy landscapes in monochrome for the Caucciù 7″, which helps to unite both Zodȳaco presentations into a cohesive, if mysterious, story. The visuals spread across the two releases take my mind to more historical forms such as wood carvings, lithographs, and even cave paintings, which only helps to imbue the sonic works with a sense of ancient magic and mystical wonderment, one that ties in nicely with the project’s conceptual framework of examining the mythological relevance of the oceans and the night sky across cultures and generations. There’s also a sense that the paradisiacal environments featured on the Zodȳaco releases have some personal importance for Pellegrino and that Corda’s seaside vistas are not entirely imagined, but are instead stylistic renderings of actual locations somewhere near the slopes of Vesuvius…perhaps secret viewpoints and hidden beachfronts known only to Pellegrino and a trusted few…places that resonate with the soul in some unknown sense. And what better way to celebrate the spiritual significance of these natural environments than with the music of their very soil? Than with cosmically inclined and romantically kissed journeys in melodic disco and sunset fusion that could only come from Napoli? 

Pellegrino pres. Zodȳaco - Caucciù (Early Sounds Recordings, 2020) In “Caucciù (Migliera version)” echo guitars transmute into underwater bubble strands and crystalline e-piano lullabies float over squelching clavinets while distant shaker rhythms guide the flow. A lackadaisical disco beat swings into the scene on closed hat rhythmics and crisp snare smacks that occasionally roll through shuffling fills and there are light splashes of hand drum tropicalia all throughout the stereo field. Syncopated sunshine funk guitars play off the clarinet riffscapes and tight fusion basslines snap, slap, and slide while electric pianos revel in melting chord tapestries and blurring saloon blues leads. Gaetano Scognamiglio, perhaps more popularly known as Carlos Valderrama, delivers a whispered and echo-soaked vocal performance…his lyrical phrases and romantic hooks exuding a youthful naivety. Understated space guitar phrases circle in the sky, which presage breathtaking synth, guitar, and piano descents that fall like shooting stars over the sensual vocal spells and at certain moments, tapped rides emit golden vibrations and erotica angels sing softly at the edges of the mix. The basslines briefly abandon slapfunk riffing for sub-bass body pulsations, signaling an unexpected yet brilliant transition towards flute-led prog rock, all swooning psychedelic magic as bass and drums spread into an ambient jazz swing, angel voices sing through pearlescent clouds, and woodwinds execute a fairy forest dance. Then, we flow into an uptempo flower field disco march, wherein layered woodwinds, guitars, and keys unite for regal harmonizations before swaying into a drunken dreamscape swoon, seeing every instrument flowing in round before transitioning effortlessly back towards the oceanic disco paradise. Later, flutes join the groove via radiant blasts of solar drone and after the percussion momentarily reduces, the track is reborn into paradise AOR mesmerism, with vocals backing down into wordless melodic magic and singing in closed eye revery over the island breeze jamscape...their motions tracked by sprightly woodwind melodics while long legato breaths stretch out towards the horizon.

The “Damecuta” version of “Caucciù” sees adventurous basslines working the body via low slung atmospheres of Latin jazz and midnight fusion, with thumping slap lines and liquid funk squelches accompanying disco drum maximalism. Hi-hats shuffle irresistibly and bongo pops and conga rolls suffuse the spectrum, sometimes locking in with the dancefloor beats, other times splaying out towards rainforest psychotropia. Blues soaked funk pianos bounce through playful chord motifs while up in the sky, synthesizers circulate before introducing passages of glorious vocal erotica, as the mystical background sirens from the “Migliera” version are here given center stage…their orgasmic moans and breathy coos soaring through an aquamarine haze and backed by whispered scat. Quacking wah licks and panoramic palm-mute riffs intermingle with circular fusion leads while those familiar surf guitar echo tracers continue transforming into sparkling bubble clouds and increasingly, droning cosmic wavefronts threaten to overtake the mix before eventually ascending into a screaming synth solo, though one that quickly devolves into a mess of stoner modulation. All the while, the track’s percussive underbelly explodes as clattering timbales generate stormclouds of mediterranean groove magnificence, with everything anchored by energetic jazz basslines that walk up and down the fretboard. Eventually, electronic squelches evoking the schmaltzy call of a saxophone wash the mix clean, with drums reducing in anticipation, bell tones keeping the beat, and snare clacks and barely there timbale twiddles whispering all around. And progressively, solar leads begin setting the air aflame as we work towards a blazing solo climax, wherein drums and bass glide eternally on vibes of Neapolitan fusion perfection, piano chords scat joyously amidst sensual mermaid serenades, wah wah riffs drop like psychosonic liquids, and rainbow starscape synthesizers soar beyond the stars.

(images from my personal copy)

[johnboothus]

The 50 Best Beers of 2019

At last estimate, there were more than 7,500 breweries operating in the U.S. in 2019. As more breweries open — introducing a never-ending stream of new beers to the marketplace — finding the best is near impossible. Luckily, we’ve spent a lot of time over the last year tasting them.

This, evidently, was the year of saison; our 2019 list concludes with an unprecedented number of Belgian-style farmhouse ales, which signals that yeast may be having its moment. Lower-alcohol, “better-for-you” beers are in the limelight, too, as more craft beer drinkers seek beers that fit healthier lifestyles, or simply want more sessionable options — and more breweries are figuring out how to make these delicious.

On the whole, we as a craft beer drinking society may not be pivoting away from IPA to craft lager just yet (at least, not statistically), but rest assured, plenty of both make the list.

This ranking was determined by members of the VinePair team. Hundreds of selections were considered and narrowed down to 50 with the following criteria: All beers must be available for retail in the U.S. in a can or bottle retail, or otherwise be a seasonal release or part of a rotating series we expect to see back in 2020. Placement is limited to one beer per brewery. The 50 best beers of 2019 ranking focuses on labels released within the year, although this is not a requirement. Selections from last year’s 50 best beers of 2018 were not considered.

Availability has an effect on ranking: In other words, if you have to travel, trade, or sacrifice your firstborn for a 4-ounce pour, recommending it in our top 10 is not helpful to a majority of beer drinkers. Now for the fun part!

These are VinePair’s 50 best beers of 2019.

50. Mother Earth 4Seasons Hazy IPA (With Fremont Brewing)

Nampa, ID ABV: 7.5%

Previously dubbed “The Four Seasons of Mother Earth,” this 4Seasons release debuted in summer 2019 in partnership with Seattle’s Fremont Brewing. The duo used “craft” malt from a farmer-owned co-op in Spokane to further share the local love. On the hop front, this beer showcases African Queen, a fruity, herbal, spicy variety from South Africa, along with Galaxy, Mosaic Cryo, and El Dorado hops. The result? Mango, passion fruit, and orange aromas; a grain-forward, almost savory malt flavor reminiscent of sage; and a fruity, herbal finish. Although a limited release, we look forward to tasting more “seasons.”

49. Lakefront Brewery Hazy Rabbit IPA

Milwaukee, WI ABV: 5.2%

Pouring bright gold and cloudy, a Camembert-esque cheesy aroma kicks off the nose on this hazy IPA, followed by orange, tangerine, passionfruit, and a melon cotton candy note. Low on bitterness, but less sweet than “traditional” hazy/juicy IPAs, it’s bright and balanced with soft carbonation and light malt character due to flaked oats.

48. Anchor Brewing Fog Breaker IPA 

San Francisco, CA ABV: 6.8%

San Francisco stalwart Anchor Brewing’s relatively new Fog Breaker, released in 2018, earned its fair share of loyal drinkers this year. It was especially a hit among classic IPA lovers, who lament the days of IPAs that tasted like pine, weren’t too bitter, and didn’t look like OJ. This IPA has some West Coast bitterness, a hint of fruitiness and a touch of haze (O.K., fog). It’s piney and crisp, and adds Cryo hops to its dry-hopping regimen, along with whole-cone Denali and Cascade.

47. Shiner Ruby Redbird 

Shiner, TX ABV: 4%

Spoetzl Brewery’s Shiner Beer updated its Ruby Redbird lager in 2019 with nutrition facts faux-dive bars will be fawning over: It contains 95 calories, 3.1 grams of carbs, and Texas-grown Ruby Red grapefruit juice. Grapefruit and ginger are present on the nose and palate, making this easy-drinking sipper with a kick perfect for sushi pairing.

46. Cascade Brewing Cuvée du Jongleur

Portland, OR ABV: 9.4%

Toward the tail end of 2018, Cascade re-released this oaky, complex, funky cuvée for the first time since 2008. A decade after its original release, the label did not disappoint: Berry and oak aromas are followed by a creamy mouthfeel and fruity tartness. When nursed in a tulip glass, it opens up nicely as it warms, releasing further fruit aromas such as cherry, plum, and hints of grapefruit and caramel.

45. Goose Island Bourbon County Double Barrel 

Chicago, IL ABV: 18%

In this 2019 variant of Goose Island’s infamous barrel-aged stout series, “double barrel” refers to the stout aging one year in 11-year-old Elijah Craig barrels, then afterward aging another year in (different) 12-year-old Elijah Craig barrels. Fruit, leather, chocolate, and yes, intense bourbon flavors swirl on the palate, with a whiskey-beer-hybrid warmth all the way down. Although this variant is very limited in quantity, several other Bourbon County stouts are out there. Forget the drama, they’re still delicious.

44. Hardywood Park Distorted Perception 

Richmond, VA ABV: 7%

A cornucopia of tropical fruit explodes on the nose of this NEIPA — tangerine, passionfruit, guava. With our eyes closed, we could swear this was actual juice. Mango-flavored bubble tea and tart, juicy smoothie flavors make this a little sweet, but it is lip-smackingly delicious.

43. Separatist Beer Project Spellbook Imperial Stout 

Easton, PA ABV: 13%

Maple syrup and cinnamon additions amplify this imperial stout’s sweet side, while roasted malt’s coffee and dark chocolate notes add bitterness to balance.

42. Wiley Roots Black Bart Monstah 

Greeley, CO ABV: 11%

Inspired by the Spanish-descended fried dough sopapilla (or more specifically, the sopapilla served at Mexican Restaurant Casa Bonita, which has a room named “Black Bart’s Cave”), this dark, velvety imperial stout brings chocolatey, roasty flavors rather than fresh fried dough. Cinnamon, burnt sugar, and honey are added for extra decadence, making this a sweet stout to sip on a cold, boozy afternoon.

41. Garage Brewing Peanut Butter Chocolate Milk Stout 

Temecula, CA ABV: 7.1%

This liquid Reese’s Pieces is rich, but not sticky; chocolatey, but not cloying; and full-bodied, yet feels lighter on the palate than its peanut-butter-chocolate-flavored 7.1 percent ABV might have you think. Our panel unanimously found this pastry stout daringly easy to drink.

40. WeldWerks PB&J Berliner 

Greeley, CO ABV: 4.6%

Considering that it was mostly its juicy IPAs, not wildly flavored kettle sours, that put this Colorado brewery on beercationers’ maps, a peanut butter and jelly-flavored Berliner weiss wasn’t what we expected to love most from WeldWerks this year. Yet, here we are. Berliner weiss and fruit are ancient companions, so perhaps it’s not surprising that strawberry puree would complement grain and tart flavors so well — add peanut powder to the mix, and the combination of flavors is unforgettable.

39. Reuben’s Brews Brettania (Series): Boysenberry and Blackberry

Seattle, WA ABV: 6.3%

Brettanomyces can make or break a beer. In the right hands, as at Reuben’s Brews, it really sings. In this mixed-culture saison aged for six months in oak puncheons, then aged with boysenberries and blackberries for an additional six months, and finally refermented in-bottle, it sings. Brettania: Boysenberry and Blackberry was the first release in Reuben’s Brews’ barrel-aged sour program, and it promptly began winning awards. Brettania: Guava and Brettania: Blackcurrant followed, and we’re anxious to taste what’s next.

38. Bell’s Brewery Official Hazy IPA 

Comstock, MI ABV: 6.4%

Released in March 2019, Bell’s Brewery’s “Official” marked the legendary beer pioneer’s entry into the hazy IPA category. Long celebrated for its Two Hearted IPA, a bracingly bitter, grapefruit-flavored exemplar of the more “old-school” IPAs style, this newcomer stands on its own with tropical fruit and citrus aromas, a palate that’s lighter than the style-defining NEIPAs of the Northeast, and an orange juice kick on the finish.

37. Oskar Blues Can-O-Bliss Hazy IPA 

Fort Collins, CO ABV: 7.2%

Can-O-Bliss “Hazy,” part of a rotating IPA series (“Tropical” and “Citrus” are others), serves up OJ, pineapple juice, and a hint of cheesy funk on the nose, followed by a fruity, herbal, spicy potpourri of hop-driven flavors on the palate. (Strata, Cashmere, Enigma, Hallertau Blanc, and Eureka hops are all used in this brew.) It’s surprisingly light in color and body, though, with crisp carbonation to balance its pungent hoppiness.

36. Springdale Beer Pearly Wit 

Framingham, MA ABV: 4.8%

Springdale Beer, of Jack’s Abby, debuted this wispy witbier last year, but in 2019 we started to see it on a lot more tap lists — and rightfully so. It’s the definition of a sessionable wheat beer: pillowy soft, crisp and coriander-flavored, with a hint of tangy citrus to keep things interesting.

35. Sierra Nevada Oktoberfest (2019)

Chico, CA and Asheville, NC ABV: 6%

Sierra Nevada’s Oktoberfest got so much love this year, people married it (or at least, got married with it. At Oktoberfest. In Germany.) As for us, we appreciated the 2019 version of this annual classic as a bubbly aperitif. Brewed in collaboration with Germany’s Bitburger Brewery, it combines the smooth flavors of Caramel, Munich, and Pilsner malt with a bitter punch, perhaps from Bitburger’s Siegelhopfen — that’s German for “sealed hops,” or the brewer’s “secret” hop blend.

34. Equilibrium Moon of Vega

Middleton, NY ABV: 8.7%

Brewed in collaboration with Florida’s J. Wakefield Brewing, this double IPA is made with more than copious amounts of Citra, Galaxy, and Mosaic hops, vanilla, and lactose (milk sugar), pouring creamy and sweet, aroma-dosed with mango, and just a hint tart on the finish. It’s the ridiculousness of a milkshake IPA in an obscenely delicious package.

33. Pure Project Rain

San Diego, CA ABV: 5.3%

Unfiltered, yet clear and golden as a summer sky, topped with a fluffy white cloud of foam, Rain is a subtle eruption: pilsner malt’s telltale biscuity aroma is amplified by its single-malt, organic producer; lemongrass follows, from Hallertau Mittelfruh hops’ herbal, citrus nudge. German ingredients and an American craft brewer’s hand make this bitter little pilsner exactly what to look for at the end of — or start of — a long day.

32. Brouwerij West Picnic Lightning

San Pedro, CA ABV: 6.8%

Picnic Lightning proves West Coast breweries can do New England-style IPAs well — and even add their own touch. Lemongrass, grapefruit, and a hint of tropical fruit blend on the nose as well as on the palate, creating a slightly sweet, herbal-citrus mix with a bitter kick. Along with malted barley, this beer uses oats and raw spelt, allowing a soft mouthfeel. Juicy, earthy, and memorable, this one is on tap at the brewery at press time — nab yourself a pour if you happen to be in L.A.

31. West Kill Kaaterskill IPA

West Kill, N.Y. ABV: 6%

Teetering on the edge of dialed-in juicy IPA and new-American pale ale, this farm-brewed New beer from New York’s Catskill Mountain region is modern and rustic at once. Modern, with its dry-hopping regimen of Azaaca, Columbus, Mosaic, and Citra hops. Rustic, in that it’s crafted on a farm in the mountains. Though not as available as other IPAs on this list, this beer is worth the hike. Mountain or specialty beer shop, a word to the wise: a 4-pack is never enough.

30. Avery Bon-Bon Cerise

Boulder, CO ABV: 14.6%

Stout lovers won’t know what’s coming until sipping this bourbon-barrel-aged imperial stout aged with cherries, cacao nibs, and vanilla beans. Sounds like standard fare for a barrel-aged pastry stout, but it’s anything but: Yes, it’s boozy and laced with bourbon-barrel character, but what stood out to our tasters was its powdered chocolate note and cooked fruit flavor, akin to cherry pie. Like the dessert, Bon Bon Cerise has layers to enjoy.

29. Left Hand Raspberry Milk Stout 

Longmont, CO ABV: 5.7%

Launched in 2019, this sister to Left Hand’s category-defining milk stout has raspberry on the nose and palate, balanced with roasty notes and a touch of sweetness. Bitter chocolate and cherry on the finish wrap it all up in a smooth, dessert-friendly (or dessert-replacing) package.

28. Monday Night Ante Meridiem Blend No. 1 (2018)

Atlanta, GA ABV: 13.5%

Several Monday Night beers were considered for this list, but its “imperial brown ale” — fair enough, it’s 13.5 percent ABV, aged in locally sourced bourbon barrels, and dosed with locally roasted coffee, Ugandan vanilla beans, and maple syrup — is a testament to the Atlanta brewery’s relentless experimentation. Firstly, it brings the noise for brown ale (even if it’s hyperbolizing the usually subtly roasty style). In a similar conundrum, It smells like vanilla ice cream and chocolate syrup, and tastes creamy and sweet. But warm bourbon and coffee bean prevent it from becoming cloying. The body has excellent texture, rich but drinkable, with just enough carbonation to give a crisp edge, lifting it safely out of the barrel-aged-syrup-beer danger zone. No single part overpowers another, making this a rare treat. (It’s available seasonally on draft and in 500-milliliter bottles in Georgia, Tennessee, and Alabama.)

27. Lamplighter Major Tom 

Boston, MA ABV: 6.8%

This space-themed, true New England-Style IPA brewed by Boston’s Lamplighter, a brewery, coffee purveyor and soon-to-be-distillery, is, like its maker, bold. Floating in this tin can* are Australian Galaxy hops, imparting tropical-fruit juicy flavors, but also a bitter bite hiding in the haze. *The can is aluminum.

26. Saint Archer Mexican Lager

San Diego, CA ABV: 4.8%

Saint Archer Brewery debuted its Mexican-style lager in March 2019, and it rose up our ranks for its many juxtapositions: sweet and herbal; cooked corn tortilla and fresh herbs; and, philosophically, a San Diego-brewed, Mexican-style beer owned by the very North American MillerCoors. Maybe it’s not that crazy. You would, however, be crazy to pass this up if you’re a fan of Mexican lagers like we are. Pair with chicken enchiladas, tortilla chips with salsa verde, or a lime wedge.

25. Athletic Brewing Co. Run Wild NA IPA

Stratford, CT ABV: < 0.5%

This isn’t the first time we’re praising Athletic Brewing’s flagship IPA, but it is the first time a non-alcoholic beer has made it to the top 50 beers of the year list. This says a lot, not only about the quality of this particular brew — which is made with all-organic grains, and five hop varieties from the Northwest U.S. — but it speaks to the market’s move (if inching, even) toward no- and low-ABV, as well as lower-calorie (this one’s 70), options. This beer is flavorful and balanced, featuring an herbal, citrus kick over a mild malt backbone. It became a regular purchase for some panelists over the course of the year. We’ve bought out in the wild on several semi-sober occasions. For us, this one isn’t about abstaining, it’s about sustaining — through the day and night with friends, can in hand.

24. J. Wakefield 24th Street Brown Ale

Miami, FL ABV: 6.5%

Don’t let this beer’s street-smart exterior dark, murky interior fool you. On the inside, from the first sip, it’s sweet chocolate malt balls, smooth toffee flavor, and roasty, dialed-back bitterness (think cold-brewed coffee compared to burnt iced coffee). 24th Street Brown Ale is named for the brewery’s Miami address, and with the recent remodeling of that taproom, we felt it was owed another look and a new appreciation in 2019.

23. Coronado Set West

Coronado, CA ABV: 7%

This West Coast IPA from California stalwart Coronado Brewing dials back the style’s bitterness with biscuity, freshly baked bread and fresh-squeezed orange juice on the nose. It’s dry on the palate, with a bitterness that lingers just the right amount, allowing the beer to be refreshing, rather than weigh down the palate. A hallmark West Coast IPA.

22. Two Roads Area Two Table Terroir 

Stratford, CT ABV: 3.7%

Connecticut-grown malts, hops, and yeast so local it was captured in the brewery’s own hop yard put the “terroir” in Table Terroir, a food-pairing companion and conversation starter that’s as fascinating as it is tasty. Delicate and complex, with fruity and spicy notes, it’s one we wish we could find more often — but, like this beer’s ingredients, you’ll have to go to the brewery for that.

21. Gueuzerie Tilquin Oude Pinot Noir Tilquin à L’Ancienne

Rebecq, Belgium ABV: 8.2%

“Finesse” comes to mind when attempting to describe this spontaneously-fermented lambic, which gets its fruit not from the traditional cherries (kriek) or raspberries (framboise), but from Pinot Noir grapes (260 grams of Pinot Noir grapes per liter of lambic, according to Gueuzerie Tilquin). The first version of this lambic, made to mark the 10th anniversary of legendary Belgian beer bar Moeder Lambic, used hand-harvested grapes from Valentin Zusslin Estate’s biodynamic Bollenberg vineyard. This new version uses organic grapes from a family farm in Steinseltz, France.

20. Cerebral Forbidden Idol: Mai Tai (Tiki Sour IPA Series) 

Denver, CO ABV: 7%

Kicking off the year with a tiki sour IPA series is a bold move. For Cerebral Brewing, which we already love for its show-stopping IPAs and interesting forays into categories like wood-aged lager, Forbidden Idol’s pineapple, lime, and passionfruit-flavored tiki cocktail-inspired release was an awakening. Our panel agreed this one actually tasted like a Mai Tai, proving that tiki cocktails can translate into IPA forms — and that sour IPAs, at their best, beautifully emulate cocktails. We were hooked from the start, but Cerebral Brewing has released this beer in Mai Tai, Singapore Sling, Castaway, Zombie and Painkiller versions. (And, by the way, Mai Tais are better than you think.)

19. Finback Rolling in Clouds

Queens, NY ABV: 7.1%

When we think of an ideal juicy, hazy IPA, this is it. It’s not too sweet, not too boozy, and has a smooth mouthfeel. Fruity without being super sweet and gooey, it’s just right.

18. Tired Hands Shambolic 

Ardmore, PA ABV: 6.5%

Shambolic, a saison brewed with malted spelt and raw wheat, rested in oak foudres, and dry-hopped with what is likely a lavish amount of Nelson Sauvin and Simcoe hops, is a lot to take in. Tropical fruit, lemony citrus, and floral notes create an intense perfume and palate, while fermentation with Tired Hands’ house saison yeast (and maybe microflora from the foudres) adds a tart, citric kick on the finish.

17. Grimm Artisanal Ales Awoogah IPA

Brooklyn, N.Y. ABV: 6.4%

At this point, seeing an IPA below 7 percent ABV is a godsend. Fruity and floral aromas give way to a soft palate, with spicy hop character and a hint of tangerine tartness coming from a combination of Columbus, Galaxy, Hallertau Blanc, and Simcoe hops. It’s refreshing and balanced, with certain parts pleasantly exaggerated — citrus zest, for example — without going even a molecule too far. Truly hazy and juicy, without being too bitter or sweet, this is a perfect IPA.

16. pFriem Family Brewers Pilsner

Hood River, OR ABV: 4.9%

Available in cans starting in 2019, this crystal-clear, golden pilsner is reminiscent of springtime. A fresh floral aroma, soft carbonation, and suite of unusual herbal hops varietals like Perle and Saphir make this both palate cleanser and a center-stage sipper. Whether thoughtfully or thoughtlessly, enjoy this on a porch, in a backyard, at a barbecue, or basically anywhere, anytime.

15. The Referend Bier Blendery Le Mur (2018)

Pennington/Hopewell Township, N.J. ABV: 6%

“Blackberry spontaneously fermented golden ale” is a mouthful of a beer description, but it only begins to scratch the surface of how this exquisite vintage is made. Released in July 2019, Le Mur is a blend of one- and two-year-old beer, the younger re-fermented with southern New Jersey blackberries in French oak, and the older with northern New Jersey blackberries in stainless steel. It pours a dusty garnet with a fluffy ruby head. Tart cherry, raspberry, and blackberry aromas are pungent from first whiff. Up close, nose to glass, it’s all citrus — fresh-squeezed grapefruit juice, acidic orange, and a hint of lemon and lime. A brioche scent wafts in, creating a tart berry-pie aroma. The palate is tart, concentrated fruit, sharp but balanced with jammy berry flavors — it is not puckeringly sour like so many unoaked, kettle-soured beers tend to be. Oak puncheons, and perhaps more so, time, have softened its edges. Depth, complexity, and excitement.

14. Perennial Artisan Ales Prism: Mosaic

St. Louis, MO ABV: 5.5%

Showcasing the multi-faceted, New-World Mosaic hop in a classic saison would be a terrible idea if you were anyone but Perennial. But saisons and farmhouse-style ales are among this small St. Louis brewery’s specialty, and this particular release in its “Prism” series did the best job at convincing us the result can be delicious. Maybe it’s the magic of Mosaic meeting a saison yeast strain, but this saison is better than the sum of its parts.

13. Holy Mountain Witchfinder

Seattle, WA ABV: 6.1% ABV

Golden, frothy, and skunky (in a good way), this pungently-scented saison is all earthy funk on the nose, followed by floral and citrus flavors and a lingering pithy finish. It’s one of many excellent saisons from this Seattle brewery, and solidifies our suspicion that we’ll grab a bottle any time we see one — if the beer budget allows.

12. Threes Brewing The Dictator Is The People

Brooklyn, N.Y. ABV: 6%

Pungent, peppery spice, and tart apricot aromas are a precursor to this oak-aged saison’s delectable journey. Lightly fruity, dry, Champagne-sparkling, it’s a saison worth celebrating with — or celebrating, period. Next in rotation of mixed-culture, oak-aged wheat beers is Bad Faith.

11. Transmitter Brewing S9 

Brooklyn, N.Y. ABV: 5.8%

After moving from a very small space in Queens to one of Brooklyn’s biggest commercial centers, Transmitter released S9, a saison that rivals its smaller-scale days, and, dare we say, its Belgian inspirations. This iteration is pale and can be perceived as light on the palate, but it has hidden complexities: earthy, fruity notes derived from yeast and hops complement cereal grain flavors, with lively carbonation and bitterness hitting at the finish.

10. Trillium Crown and Crate

Boston, MA ABV: 8.6%

Massachusetts hives provide the nectar for this double IPA with raw wildflower honey, which, along with lactose, give the beer its ultra-creamy mouthfeel, and supple, smoothie-sweet decadence. Named for the queen bee (the “crown”) and the milk crate her worker bees use to create their hive, its abundance of tropical fruit flavors invoke the plenitudes of spring, royalty, and indulgence.

9. Harpoon Rec League

Boston, MA and Windsor, VT ABV: 3.8%

Is there anything more exciting than a 3.8-percent-ABV hoppy beer? It’d be hard to convince us while sipping Rec League. Harpoon is officially back in the game with this refreshing, light-bodied, lightly bitter and light-everything low-ABV refresher. Hints of pineapple and tropical fruit on the nose, and clementine and tangerine on the palate, yet dry as a bone, it’s a standout of the year.

8. Lagunitas Daytime Ale

Petaluma, CA ABV: 4%

Whether you’re into the low-alcohol, low-calorie phase of your beer-drinking career or not, it’s important to know that brewing a beer that’s light and tastes good is no easy feat. As the can perhaps suggests, Daytime Ale nails it. It’s citrusy and herbal, light and flavorful, and barbecue-friendly in every way. Coors Light chicks and hazebros can unite over this hoppy yet thirst-quenching summer sipper.

7. Sixpoint Citrus Jammer

Brooklyn, N.Y. ABV: 4%

We tasted every Jammer variety time and time again this summer, and while our favoritism fluctuated between the original and tropical fruit flavors, we ultimately landed on Citrus Jammer. It has the salty, spicy gose flavor we’re looking for, but is slightly subdued (compared to American goses that overdo it). Added to that are candied orange aromas, Sprite-like lemon-lime, and a lingering, lemony tang, and we found its bright and bitter finish was more refreshing than the original. Soft coriander on the finish.

6. New Belgium Mural Agua Fresca Cerveza (With Primus Cervecería)

Fort Collins, CO; Asheville, NC; and Mexico City, Mexico ABV: 4%

Mural Agua Fresca got its start via test batches brewed by New Belgium and Primus at the Mexico City cerveceria. In 2019, the agua-fresca-inspired ale is available in all 50 U.S. states (and, coming soon, more flavors). It’s refreshing all around — Mural gets its red-pink color and tart essence from hibiscus, its thirst-quenching flavor from watermelon, zippy refreshment from lime, and a touch of sweetness from agave. Get out there and try this “cerveza” before it’s rebranded as spiked seltzer.

5. Funkwerks Passion Fruit Provincial (Series)

Fort Collins, CO ABV: 4.2%

If sour ales can be sessionable, Funkwerks is one of the few breweries that can accomplish it — and lucky for us, the Colorado farmhouse-style brand added New York, New Jersey, Ohio, Kentucky, Chicagoland, and, finally, Kansas to its distribution network this year. Passion Fruit Provincial is a memorable bottled ecosystem of passionfruit’s interaction with soft malt and saison yeast. Tart, tropical, and refreshing, it’s one that has us looking out for more “Provincial” variants — raspberry, “rhuberry” (strawberry and rhubarb), and pineapple guava are among them.

4. Rodenbach Classic 

Rosalare, Belgium ABV: 5.2%

Nationally available as of 2019, Rodenbach Classic in cans — cans! —is what brought this classic brand to the top of our list this year. Rodenbach, a nearly-200-year-old Belgian brewery that defines the Flemish red beer style, launched its Rodenbach Classic label statewide in the U.S. in cans. The sleek, elegant take on a tallboy puts one of the best beers of all time in a pedestrian package, signaling that centuries-old tradition and the mastery of foeder-aging (courtesy living legend Rudi Ghequire), actually can be enjoyed anytime. No longer do we have to hoard our Rodenbach for Christmas dinner… unless it’s a vintage. As for the classic, it’s a blend of young and aged beer, the latter part of the blend aged for two years in giant oak foeders. It’s fruity and tart, pairs perfectly with rich foods, and is surprisingly sessionable on its own, too. Also in 2019, Rodenbach announced its first-ever beer collaboration with American craft beer pioneer Dogfish Head Craft Brewery.

3. SweetWater 420 Chocolope Stout

Atlanta, GA ABV: 6.4%

Chocolate stouts have been brewed many times over, but none have tasted like this. SweetWater’s 420 Strain, a series of cannabis-inspired beers, can be gimmicky, but this one wowed us every time we reached for it. It’s brewed with three types of roasted malt (Pale Chocolate, Chocolate, and Roasted Barley), a pair of herbal hops (Bravo, Willamette), and what the brewery refers to as “strain-specific terpenes and natural hemp-type flavors” — the latter being the “X”-factor. It’s insanely aromatic, like a sticky nug of weed, but roasty, too, and somehow, actual chocolate completes the package (Dutch chocolate, naturally). Insert weed joke here.

2. Cigar City Guayabera Citra Pale Ale 

Tampa, FL ABV: 5.5%

Guayabera pours frothy, fruity, and intensely aromatic. Using only Citra hops, known for their citrusy profile of grapefruit and tropical fruit, this American pale ale is juicy and refreshing, balancing citrusy bitterness, soft, bready malt character, and endlessly quaffable aroma. It also makes a great shower beer.

1. Allagash River Trip

Portland, ME ABV: 4.8 %

2019 was all about easy-drinking refreshment, and Allagash nails it with River Trip — most importantly, the pioneering brewery does so without sacrificing its style. While craft brewers clamor to diversify with light lagers and hard seltzers, this Belgian-style session ale is easy-drinking with an edge. Spiced with coriander like a traditional Belgian witbier, and fermented with Allagash’s house yeast, it adds bright, bitter, grassy notes to its table beer base. Yes, Allagash excels at beautifully executed mixed-fermentation sour beers, but it was River Trip we kept coming back to this year, again and again.

The article The 50 Best Beers of 2019 appeared first on VinePair.

Via https://vinepair.com/articles/best-beers-2019/

source https://vinology1.weebly.com/blog/the-50-best-beers-of-2019

[theliberaltony]

via Politics – FiveThirtyEight

Take a look at prediction markets and you’ll find what bettors think is a clear top tier of four Democratic presidential candidates. Three of the names are exactly who you’d expect to see. There’s Joe Biden, the former vice president, who has led in the vast majority of state and national polls (even though he hasn’t yet announced a bid for president). There’s Vermont Sen. Bernie Sanders, the runner-up in 2016, who is second and rising in the polls and who has already raised lots of money and drawn huge numbers of people to his rallies. There’s California Sen. Kamala Harris, who realized the biggest gains in the polls following her announcement in January, who potentially has the broadest coalition and who seems to have the most support from party leaders in early states.

And then there’s … Beto O’Rourke, the former Texas Congressman who has never held statewide office, who lost his bid for U.S. Senate to Ted Cruz last November and who has spent most of his time since then trying to find his way out of a post-election “funk”/midlife crisis.

That’s a deliberately troll-ish characterization of O’Rourke, who has some strong attributes as a candidate, including the potential to appeal to a broad coalition of millennials, moderates and possibly Hispanics. His performance against Cruz was actually quite strong — one of the four best performances by a Democratic Senate candidate last year along with Sanders, Joe Manchin and Amy Klobuchar — relative to Texas’s partisanship and Cruz’s incumbency status. It’s not uncommon for candidates to take some time to decide whether to run for president, and lately, O’Rourke has given fairly clear signals that he does want to run for the White House after all.

But like a candidate such as Klobuchar or Cory Booker, O’Rourke would seem to have a roughly even mix of upside potential and downside risks. A good prospect, but not necessarily someone who has established himself in the big leagues, as Sanders has.

I’m guessing that you — yes, you!, dear reader — agree with me so far. I’m guessing that you don’t take O’Rourke’s chances as seriously as you do those of Biden, Harris and Sanders. That’s not to say you don’t think he could win, just that you wouldn’t put him in that top tier.

I’m guessing that because … I already asked you about it. In a series of (unscientific) Twitter polls I conducted on Monday, I asked people to assess the chances of 16 actual or potential Democratic candidates winning the nomination. O’Rourke didn’t come out as one of the front-runners, but instead in a second tier along with Elizabeth Warren and Booker.1

@NateSilver538 Twitter followers are bearish on Beto

But they’re bullish on Warren and Booker

Chance of winning the presidency according to … Candidate @NateSILVEr538 poll Betting markets* Kamala Harris 17.7% 18.4% Bernie Sanders 16.9 18.1 Joe Biden 13.8 15.1 Elizabeth Warren 9.8 5.1 Beto O’Rourke 9.4 14.3 Cory Booker 7.5 4.6 Amy Klobuchar 5.2 4.8 Sherrod Brown 4.2 4.9 Kirsten Gillibrand 3.2 2.2 Pete Buttigieg 1.9 Julian Castro 1.7 John Hickenlooper 1.5 Tulsi Gabbard 1.5 Michael Bloomberg 1.2 Jay Inslee 1.0 John Delaney 0.5

* Average of PredictIt and Betfair as of 11 a.m on March 5. Only candidates with liquid markets in both PredictIt and Betfair are listed. Probabilities are adjusted so that they equal 100 percent once also accounting for unlisted candidates.

So I’m here to make the case that maybe you’re wrong and that maybe O’Rourke really does belong in the top tier. I’m not sure I entirely believe the case, but I’m going to make it, so hold tight. We’re about to enter the Beto Quadrant, where Democrats are always exactly one election cycle from flipping Texas and the only content is Pod Save America.

[ … ENTERING BETO QUADRANT … ]

Things are so much clearer to me now, dear reader. By virtue of being a FiveThirtyEight and/or a @NateSilver538 follower, you see, your political tastes are much too highbrow. You like Warren because of her detailed policy stances. You’re bullish on Harris and Booker because you think they could unite the different factions of the party as evidenced by their strong start in endorsements.

Most Democrats aren’t like you, though. They don’t care that much about policy or any of that shit. They almost certainly have never visited the FiveThirtyEight endorsement tracker. They don’t even follow the news cycle all that closely. They weren’t aware of Beto’s road trip, let alone that it became a subject of derision by smart-aleck journalists. They just want someone who can beat Trump.

And from what they do know about Beto, they like him, he makes them feel good, and they think — despite his loss to Cruz — he’s a 2020 winner.

Start with Beto’s favorability ratings, which are among the strongest in the field. In this week’s batch of Morning Consult polling, for instance, which is culled from interviews with more than 12,000 Democratic voters, Beto had the second-best ratio of favorable to unfavorable ratings, with 43 percent of Democrats saying they have a favorable view as compared to just 8 percent with an unfavorable one. Only Biden’s ratio is better, and indeed, Biden, Beto, Sanders and Harris are the four strongest candidates by this metric, just as betting markets have them.

Democrats who know Beto O’Rourke like Beto O’Rourke

Share of Democratic voters who had a favorable impression or unfavorable impression of each candidate according to a Morning Consult survey

Candidate Favorable Unfavorable Ratio of favorable to unfavorable Joe Biden 79% 11% 7.2 Beto O’Rourke 43 8 5.4 Bernie Sanders 75 15 5.0 Kamala Harris 52 11 4.7 Cory Booker 43 12 3.6 Sherrod Brown 23 8 2.9 Elizabeth Warren 54 19 2.8 Eric Holder 32 13 2.5 Kirsten Gillibrand 32 14 2.3 Amy Klobuchar 28 13 2.2 Julian Castro 25 12 2.1 Terry McAuliffe 17 9 1.9 Pete Buttigieg 13 7 1.9 Jay Inslee 12 7 1.7 John Hickenlooper 12 8 1.5 Tulsi Gabbard 16 11 1.5 Michael Bloomberg 33 23 1.4 John Delaney 13 10 1.3 Steve Bullock 10 8 1.3

Survey conducted from Feb. 25 to March 3, 2019. Respondents were given an option to say they had never heard of a candidate

Source: Morning Consult

Beto also has the potential to make a big splash if and when he announces — in contrast to candidates like Booker, who are well-liked by Democratic voters but whose entry into the race didn’t create major news. Look at Google search volume for some of the major Democratic candidates dating back to Labor Day and you’ll find that the spike of interest in Beto on and around Election Day last year exceeded that for any of the Democrats when they announced their campaign so far.2

Then there’s Beto’s ability to raise loads of money. He brought in more than $80 million in individual contributions in the 2018 cycle, more than double the fundraising haul for any other candidate for Congress last year (not counting self-financing or party and PAC contributions). Almost half of these contributions, $37 milion, were unitimized, meaning that they came from small donors. Sure, the mechanics are going to be different now that Beto is competing against other Democrats and not just Cruz. That was nonetheless an impressive accomplishment — the most money raised in individual contributions by any Senate candidate, ever — and Beto will have a heck of a donor list to start with.

O’Rourke lapped the field in money raised in the 2018 cycle

2018 congressional candidates who raised at least $20 million in individual contributions

Candidate Party State Total individual contributions Small-donor (unitemized) contributions Beto O’Rourke D Texas $80.1m

–

$36.9m

–

Claire McCaskill D Missouri 32.0m

–

11.5m

–

Ted Cruz R Texas 30.5m

–

12.0m

–

Jon Ossoff* D Georgia 29.5m

–

19.1m

–

Heidi Heitkamp D North Dakota 25.6m

–

11.5m

–

Bill Nelson D Florida 25.5m

–

7.2m

–

Doug Jones* D Alabama 24.5m

–

13.8m

–

Tammy Baldwin D Wisconsin 24.2m

–

9.4m

–

Jacky Rosen D Nevada 22.9m

–

8.4m

–

Elizabeth Warren D Massachusetts 21.3m

–

13.3m

–

Self-funding is excluded.

* Special election

Source: Federal Election Commission

So by these rather important metrics — fundraising, favorability ratings, virality in Google searches — Beto indeed looks like a top-tier candidate. Are they the fanciest metrics? No! And that’s fine. The point is not to overthink it. Beto was sort of a candidate-celebrity not all that long ago, which is not a bad thing to be when you have to differentiate yourself in a field that will likely consist of about 20 candidates. (It worked pretty well for President Trump!) And nothing has really changed since then other than that Beto has been out of the spotlight, a problem that would instantly fix itself once he announces his bid. The candidates with the strongest launches to date, Sanders and Harris, are running well to Beto’s left; indeed the moderate-ish, beer-track “lane”3 is wide open, with Klobuchar off to an OK-but-not-great start and Biden not yet having decided about whether to run at all.

Furthermore, the various mini-controversies Beto had in January — about his road trip, about his Instagramming an interview with his dental hygienist (something that was misdescribed in media accounts as “live-streaming his teeth cleaning”), about his sometimes answering interview questions with “I don’t know” — are things that only media snobs care about and aren’t substantively important, as evidenced by the fact that they didn’t dent his favorability ratings one bit. Indeed, to the extent that pundits and political analysts are more bearish on Beto than people in betting markets, that’s at least as likely to be a favorable indicator for Beto as an unfavorable one, considering the pundits’ track record in situations like these.

[ … EXITING BETO QUADRANT … ]

I’m back. I’m home! I’ve returned safely from the Beto Quadrant, and I mostly feel fine, although I feel an inexplicable urge to order a Sleep Number mattress, promo code #PODSAVE.

I’ve also almost managed to convince myself that O’Rourke really is a top-tier candidate after all, although I expect the feeling to wear off after a few more hours.

Here’s what I really think. I think O’Rourke has the potential to have a very strong launch, as measured by the various metrics (polling gains, fundraising, impressive staff hires, endorsements, media attention) that we’d usually measure it by. O’Rourke was a pretty big candilebrity in 2018, and I think it really does help to have a differentiated brand in a divided field. Furthermore, although the “lanes” thing is way overdone, there are still quite a few moderate Democrats (both voters and “party elites”) who might be looking for a place to hitch their wagon. O’Rourke doesn’t have any endorsements yet,4 but he’s been getting plenty of encouragement from influential Democrats to run, especially from former Obama staffers.5 Conditional on that strong launch, I think he belongs in the top tier.

He also may have missed his moment, or he may not look the same to voters now that the sugar high of almost beating Cruz has worn off. The road trip and dentist stuff may not have mattered to voters, but it didn’t necessarily reflect great self-awareness or judgment. And the dynamics of a white man running in a field full of women and people of color — and potentially getting the nomination despite having considerably less experience than several of them — are not great in the context of contemporary Democratic politics. So for the time being, I put Beto in Tier 1.5, behind the Harris/Biden/Bernie group but ahead of the rest of the Democrats.

[funkyshirty-blog]

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[netunleashed-blog]

A guide to the UK's best indie clubs – because sticky floors and Smiths tunes never get old

http://www.internetunleashed.co.uk/?p=31836 A guide to the UK's best indie clubs – because sticky floors and Smiths tunes never get old - http://www.internetunleashed.co.uk/?p=31836 The best clubs across the country to hit when you want to strut your funky stuff, come awn! Ah, indie clubs. The stench of stale snakebite, the roar of ‘The Only One I Know’, the romantic intermingling of mad-for-it Oasis fan and Tranquility Base sophisticate. A place of dreams and possibilities – and quite a lot of Blur – but where can you find the very best? Follow our guide to the best of the UK’s indie cubs, and you’ll be pogoing clean out of your Converse to ‘A Punk’ in no time. Missed your favourite? Drop us a line on Twitter! Nottingham Pressure at Rescue Rooms The history: Rescue Rooms has been a bastion of Nottingham alternative music since time immemorial, and this weekly Tuesday night bash is where local heroes D.I.D. (formerly known as Dog Is Dead before, we can only assume, they got a new dog) pump out indie, rock and party faves while hip-hop heads are catered to in the upstairs bar. What they play: Old school bangers from The Smiths, New Order, Prince and Blondie alongside more modern treats from Alt-J, Arctic Monkeys and Bombay Bicycle Club. What they say: “Nottingham’s top-notch house-party hot-spot.” Manchester Dirty Dancefloors at 42’s The history: Formerly known as Slack Alice, the low-ceilinged indie nirvana that is 42’s was something of a ‘60s legend, now retooled for the millennials with a range of nights for all alternative tastes. Chief amongst which is the weekly Friday party Dirty Dancefloors. What they play: Indie, rock, dance and “cheese”, which to these chart-averse types will generally mean ‘Teenage Dirtbag’. What they say: “A friendly nightclub for friendly people. We play alternative music with a nod to Manchester’s past and an ear in the future.” Sheffield Sonic at The Leadmill The history: A Sheffield institution, the Saturday night post-gig indie shindig at the legendary Leadmill now goes by the title Sonic, having dropped the Boom when somebody, presumably, shook shook the room. What they play: An ever-evolving indie and rock playlist, which now includes Wolf Alice, Slaves and Rat Boy amidst the classic ‘00s and Britpop names. What they say: “Make sure you do your Saturday night right at SONIC!, with the best music in town. From Arctic Monkeys all the way through to The Stone Roses.” Because chronology doesn’t matter when you’re pissed. SONIC Saturday! 💥 Sheffield's home of Indie rock anthems! 🎸 Room 1 – The biggest Indie bangers all night! Room 2 – Soul, Ska & Funk classics! Beat the queues >> https://t.co/tEoBmdWKw9 pic.twitter.com/64dfkiqKYm — The Leadmill (@Leadmill) August 1, 2018 London This Feeling at Monarch/Water Rats The history: A club night championing future rock’n’roll and tipped by the likes of Kasabian and Noel Gallagher, This Feeling has branched out from straight-up East London club-and-band nights to put on national tours of upcoming acts, start a radio programme and even its own TV show. What they play: Ladrock anthems in all their many hues, plus rising guitar rock. What they say: “The UK’s most rock’n’roll night out, where to see the next big things first.” Antidotes at Old Blue Last The history: Shifting to the Old Blue from Birthdays in Dalston, the monthly Antidotes has hosted secret gigs from the likes of The Cribs over the past five years and maintained an eclectic alternative edge that has made it the go-to indie cult club in London. What they play: The cutting edge alt-rock sounds of Pond, Tame Impala, Fat White Family and The Big Moon alongside indie rock classics and new bands as on-the-ball as Canshaker Pi, Black Honey and The Magic Gang. What they say: Antidotes don’t need to blow their own trumpet. Had a month away but now we're BACK BACK BACK with Creatures, Hoopla Blue and Heirloom. Let's get to it xx Posted by Antidotes on Tuesday, June 19, 2018 Birmingham Rehab at Snobs The history: Four years ago, after 40 years in Paradise Circus, the long-running Birmingham indie rock retreat relocated to Smallbrook Queensway at a cost of £2 million. And they told you rock was dead, eh London? What they play: Friday night down Rehab is a revolving cast of specials, with retro nights, Britpop monthlies and guilty pleasures taking over the middle room while everything from The 1975 to Arctic Monkeys and Kanye gets pumped out downstairs. What they say: “If you like Indie Beats mixed with Funky & Retro stuff then welcome to Heaven.” Back on it tonight with REHAB! ⚡️ All the usual Snobs tunes downstairs with Live Forever upstairs ✌ 🎟 https://t.co/A7afGCmT5D pic.twitter.com/4GOclyWail — Snobs Birmingham (@snobsnightclub) April 28, 2017 Glasgow Camden Rocks at Firewater The history: Firewater has been hosting some of Sauchiehall Street’s rowdiest aftershows since 2001, and now holds Glasgow’s dedicated indie rock party every Thursday, in tribute to the Home Of Britpop. What they play: Who cares? It’s 89p for a shot of vodka. What they say: “Best indie student club night in Glasgow!” Still open & throwing the best parties in town since 2001! pic.twitter.com/T3kSMrQIOw — Firewater Glasgow (@FirewaterClub) July 27, 2018 Edinburgh Propaganda at The Liquid Room The history: Started by DJ Dan at Bristol University, Propaganda grew to become the UK’s biggest alternative club brand, with nights across the country drawing 25,000 a week. Edinburgh’s branch is a fine example, with its parties themed around pirates, dinosaurs, unicorns and other such fantastical nonsense. What they play: Libs, Wolf Alice, White Stripes, Florence, all the indie big hitters. What they say: “Your rock’n’roll party every Friday”. ICYMI: The pics from Friday night's Unicorn Party are up on our facebook page now! Have a look and tag your friends! pic.twitter.com/8TdywbFvpG — Propaganda Edinburgh (@PropagandaEdinb) August 2, 2018 Leeds Bigmouth at The Key Club The history: There are big boots for this newcomer to Leeds’ alt-night scene to fill, since the city’s Kaiser-led ‘00s indie explosion was one of the loudest in the country. What they play: Modern indie and pop – think Lorde rubbing up against Dream Wife. Now stop thinking that, you pervert. What they say: “INDIE BANGERS! EVERY WEDNESDAY!” Can’t argue with that. TONIGHT – @BigmouthLeeds, INDIE BANGERS ALL NIGHT! £1 entry before midnight plus £1 BEERS & CIDERS before midnight… SEE YOU THERE 🎵🤘🎸 pic.twitter.com/a6bKTx8kio — The Key Club (@thekeyclubleeds) May 16, 2018 Newcastle Hey Scenesters! at The Head Of Steam The history: Another brand new night helping spark rumours of a nationwide indie club revival after its first edition earlier this year hit capacity by midnight. What they play: A pretty thorough summary of the past two decades of alt-rock, including Future Islands, Catfish, Chvrches and Royal Blood amongst the major indie rock names of the century thus far. What they say: “The 00s wave is our bedrock whilst also dipping into the classics as well as the current generation of torchbearers.” Photos from our special bank holiday Rock Night 2000 and Hey, Scenesters! nights are up on the RISE and RISEorDie Promotions pages! Make tomorrow's alarm clock seem worth it by reliving the memories! #risenewcastle #riseordie #rocknight2000 #heyscenesters pic.twitter.com/6Tq2WU4tQA — RISE Newcastle (@rise_newcastle) April 2, 2018 Stoke Electric Fridays at Sugarmill The history: Indie thrills have been pumping out of Staffordshire’s indie Sugar Daddy every Friday night since Alex Turner was knee high to a martini policeman. Plus all-nighters once a month. What they play: Since one of the club’s lead Facebook photos is the one of Arctic Moneys dressed as country gents, assume they’re pretty fearless in playing all the latest indie tunes. What they say: “Electric will always play the very best in cutting edge independent music (electronic or guitar) whilst never forgetting its Britpop roots.” Don't miss out on our ALT 90s ALL NIGHTER tonight.10pm until 6am.Last entry is 3am. pic.twitter.com/tW1pYmjJHn — The Sugarmill (@SugarmillStoke) July 27, 2018 Bristol Pressure at Thekla The history: Rocking Bristol’s famed boat-based disco Thekla every Thursday for almost ten years, Pressure is a Brizzle indie institution, with a punk rock and metal room up in the ship’s cabin. What they play: A broad-minded lot this – their facebook mentions James Blake, SBTRKT, best Coast and The Killers in the same sentence. What they say: “Expect the finest cuts from the contemporary counter-culture, indie bangers and alternative classics, plus some curve-balls to keep things interesting!” "It's coming home! But maybe it's time for you to go home?" @ Pressure. Every Thursday @ Thekla Bristol Event: https://t.co/PpLAd7HhVR Tickets: https://t.co/dqXUyTQtYB pic.twitter.com/4ypEpS2aZ5 — Pressure (@PressureBristol) July 9, 2018 Source link