Beer and Pavement

Starting Over

Posted in Beer, Massachusetts, Travelog by SM on August 4, 2015
The Dirty Truth

The Dirty Truth

Over the course of the last 10 years, I was part of a burgeoning craft beer scene in Middle Missouri. I was there before a lot of great breweries distributed and several new breweries opened there. I was at the first ever Columbia Beer Enthusiasts‘ tasting and eventually became an officer (a position I guess that I still hold despite moving 1300 miles away). At the height of the international and national craft beer boom, I was fully embedded in my own scene.

And now, I’m starting over.

I am no longer part of a scene outside of the fact I’m the “new guy” on a local Facebook group dedicated to craft beer in the region. However, I’m no longer a regular…well…anywhere. There are no local breweries following me on Instagram and Twitter. No one’s giving me the inside scoop on releases. In fact, I haven’t a clue when any beers are hitting the shelves. I’m lucky to stumble upon beers I’ve never had that are actually fresh.

It’s weird having to start from scratch. I don’t know that I have the energy to hunt down white whales or hit tap takeovers or hit the road on the weekends to travel to a nearby brewery. I received word of a beer fest in nearby Springfield and I scoffed at the $45 price tag. I don’t really want to start over.

So, my other choice is to ease into the craft community. And if it happens that I become an integral part again, so be it. However, it will most likely mean that I know a thing or two about beer. I know what I like and generally know where I can find it.

Somehow, I’m okay with this. I guess I kinda have to be. I mean, weeknight drinking (including Sundays) now becomes a lot tougher to maintain as my daily commute has tripled (10 to 30 minutes) and the demands of my new job have increased with less flexibility. Sure, I’ll get my summers off, but the coming fall will mean that I need to have a clear mind and plenty of rest to be effective. This is what I want and it’s worth adjusting my lifestyle.

Of course, there’s always the weekends…to spend with my almost-7-year-old and 17-month-old. The second kid made my participation in craft beer and homebrewing tough enough, but now I have to attend to my kids’ needs more that my time and availability is tighter during the week. Will I enjoy a good craft beer? Yes. Will I be ticking away at an impossible list of options? Probably not.

It’s similar to my place in the music scene. The scene here is so much more robust with five significant campuses and a couple of smallish urban centers loaded with creative types. So, it’s probably too big for me to put a dent in it anyway and once again, I honestly don’t have the energy anymore.

And all of this is okay.

Maybe my 30’s was my time to get involved in a scene or two. My 40’s seem to be about my family and career with a little enjoyment on the side. Through all my efforts in music and craft beer scenes, I feel I have a handle on how to enjoy them without being a part of them.

So, where do I get my craft beer fix now? I have Spirit Haus which is nearby – like 2 minutes nearby. This area is loaded with these little beer/wine/liquor stores with an assortment of odds and ends. This is good for exploring the possibilities of the region as well as scoring a gem now and again. Plus, there’s usually a guy at each of these stores who knows everything. At Spirit Haus, they have a guy (Gary, I believe) who knows wine. I haven’t been there enough to know whether or not they have a beer guy, but someone seems to know what they’re doing. The shelves are stocked with a nice spectrum of craft beer and there’s some interesting Belgians as well. The cooler is a labyrinth you enter at your own claustrophobic risk. I was in need of some unique tripels for a pesto dinner and instead of going for Belgians, I wanted some New England fare. What I got was the tripel from Allagash (maybe the best of the style I’ve had) as well as a somewhat older Fluffy White Rabbits – kept in the cooler as an older, hoppy beer should be. Spirit Haus is my neighborhood stop, something I’ve not had for a decade.


The other stops are not so close, but they offer a fix. Most beer folk know that to fully explore the range of a state’s distribution (if not always the complete breadth), you should hit a Whole Foods. The quantity is never amazing, but they feature locals, regionals, and some rarer, more expensive choices. If I want something local or high-end, I grab it at Whole Paycheck. (However, I’m going to avoid all the West Coast IPA’s that have been sitting there since last fall!) There’s also 44 Liquors which is a regional chain that’s just plain huge. They get everything and in large quantities. For a lot of special releases, places like this get a large share and it sits there for a while. There were so many 120 Minute IPA’s and World Wide Stouts not to mention a full lineup of Lost Abbey beers, that I was nearly overwhelmed. Of course, a place like this also has year-old IPA’s. I guess it’s all part of the learning process.

While Spirit Haus is in Amherst and the other places are in Hadley, my favorite place might be in Northampton. Provisions is one of those fancy food and drink stores that have everything. However, these stores often half-ass the beer and overprice everything. That is not the case with Provisions. They had the local breweries covered, including some rarer beers. I was even able to score several affordable offerings so that I could sample some beers from several breweries. Despite most of the beers being kept on shelves (there was a fully stocked cooler as well), the ages seemed appropriate. I suspect these beers move quickly. My only disappointing discovery was that the place with the largest number of bottles from Shelton Brothers (of nearby Belchertown who carry Mikkeller, Evil Twin, Jolly Pumpkin, everybody) was limited to a shelf in the corner. I opted not to check the dates of those beers as they looked to be not a priority to the store. Something I can overlook since the rest of the store is so amazing.

With unpacking and dragging a 17-month everywhere, I haven’t had time to check out local watering holes. That said, I enjoyed two. One was High Horse Brewing and the other The Dirty Truth in Northampton. I was told by a grad student that High Horse served great food, but the beer was so-so. The food was good, but I don’t know what beer these grad students must be used to. The Anti-Imperialist Session IPA was really good. If a brewery can do a good session IPA, they can certainly do most styles.

The other watering hole was sort of a spur of the moment stop. My father-in-law treated me to a beer at The Dirty Truth. After being carded and having to produce multiple forms of ID because my ID is still out-of-state (also, I’m 40), we slipped in at the end of a long bar to peruse the ~40 taps to try. I had the incredibly bitter Boom Sauce from Lord Hobo Brewing Company and my FiL sipped on White Lion’s Insane Mane (which I sampled as well). Nice, dark joint and they didn’t mind the antsy toddler at the bar.

And that’s about the extent of my beer adventures here in Western Mass. I feel so out of it not knowing any of the beers on tap (particularly local ones) or knowing where and when special releases hit the shelves. Just today I went looking for the Victory/Dogfish Head collaborative saison and two of the above places didn’t have it.

It’s either going to be a long time until I get fully acclimated with this beer scene or I just get back to enjoying the beer again. I mean, every time I go out or pick up something to take home, I’m having a beer I’ve never had before. So, that’s something right? It will be interesting to see how long I go before I start chasing white whales again.

For those who read this blog (assuming that you know it’s producing again) for the beer stuff, hang in there. I’ll find something to say. I might even go back to reviewing records with beers again which could be fun.


Also, I forgot to mention that it helps to have good neighbors. There will be more to say about this later, but I feel two families have been particularly welcoming and it would be wrong not to mention them in my quest for a place in the new beer scene. First, one couple has an in with Shelton Brothers. We’re hoping to set up a tasting sometime. I don’t need to tell you how excited that makes me. If/when it happens, that will be a night of epic beer drinking proportions. Probably.

The other neighbor only had two beers in his house when I was over last. It just so happens they were both two-year-old brews from Brasserie Fantôme. The first was Saison D’Erezée – Hiver which somehow tasted like a peaty scotch. How does that happen?!? Then, there was  Fantôme de Noël which was also silly good. I suspect there will be more stories involving that guy when the only two beers in his house are two white whales of the highest order.

My Non-Encounter with Kim Gordon

Posted in Book, Life, Massachusetts, Travelog by SM on August 2, 2015


Let me begin by saying that I am not a stalker. I do have a habit of obsessing over my heroes when there’s an off-chance I could meet them at the least and become best friends in my own delusional world at the most. Then, I realize I’m about to overstep and back off, because they are just working schmucks like the rest of us. Now, by overstepping, I would never do anything weird. I might just be a hanger-on or an awkward third wheel or whatever. But I’ll explain that all below.

So, as you know, we moved to Western Massachusetts. We live in Amherst (where J Mascis lives), next to Hadley (where there are farms, big box stores, and Frank Black), and across the river from Northampton (once the home of Kim Gordon and Thurston Moore in a grand, old house on a hill). It’s liberal heaven and beautiful. There are five fairly progressive campuses on top of each other and two of them are all-women colleges (which are either cooler or lamer than your school, the former in this case) surrounded by wilderness, rolling farm land, and mountains.

As I hinted above, some of my heroes live or have lived in the area. Kim Gordon is one in particular. I’m reading her excellent memoir Girl in a Band. So, I was sure Kim and I would hit it off or she would find my daughter reminds her of her daughter or my son would charm her the way he charms everyone or my incredibly talented wife would make quick friends with her as they discuss feminism over wine or… You get the picture.

It was nothing creepy. I, like any Sonic Youth fan, went through a Kim Gordon phase (similar to phases involving Kathleen Hanna, Kim Deal, etc.), but that was a youthful crush. I have friends Kim’s age with similar sensibilities. I didn’t want to have steal a piece of her soul or spy on her or her child. I’m just a fan who wanted on the inside, but I didn’t want to harm my hero in any way.

That said, I learned Kim Gordon was having a garage sale. How could I not go to Kim Gordon’s garage sale? Would I score some cool piece of art or a X-Girl t-shirt or some piece of Sonic Youth memorabilia? Something. And I would hand my cash to Kim and we’d strike up a conversation and she would ask that I bring the kids by sometime and maybe her daughter could babysit… I have an active imagination, but it hardly resembles reality.

Using my expert Googling skills, I confirmed that the address on the flier a friend sent me a pic of was indeed Kim Gordon’s residence. Not wanting to overwhelm her street with parked cars, I parked on a main strip and walked the last couple of blocks. At the corner of her street was another sign with that distinctive flier. Running down the hill was what looked to be the type of aging hipster who would be good friends with someone like Kim Gordon. You know the type. These dudes can pull off longish gray hair, a pair of Ray-Bans, Chuck Taylor’s well into the nursing home. He was fixing the sign. So, I hurried in case he was closing up the garage sale.


The house was old and somewhat stately. The landscaping was the typically overgrown New England jungle that somehow looked purposeful despite all the weeds. There were older foreign cars strewn along and in the driveway along the side of the house leading to the garage sale in the back.

I passed a for sale sign (same realty company we worked with) with more fliers covering one side and the other revealing an “Under Contract” add-on. This is when it struck me that this was more than an attempt at cleaning out some closets. Kim’s and Thurston Moore’s divorce had been known or in process for quite a while now. I guess I didn’t expect that she would leave Northampton. Rumor on the street is that Thurston lives in an apartment in Northampton with some rocker dude, but he’s rarely around as he’s been touring pretty steadily with his solo project. This was a divorce-caused-moving sale which is the saddest kind of garage sale. At that point, the sun felt a little more oppressive and the house began to sag a bit, but I was not to be deterred.

On my way toward the back, I could see some shelves, lamps, boxes of assorted stuff, and a couple of loaded bookshelves. A hipster couple walked in just ahead of me and an older couple was walking out with a newly purchased lamp. A few other people were perusing the piles as what sounded like a French woman oversaw the proceedings. And more aging hipster friends managed the merch.

The aforementioned hipster couple looked straight out of Singles. I guess grunge is back in style. They were raiding the racks of clothes. The woman was forcing a leather jacket around her torso, convincing her boyfriend that it fit. No doubt she was thinking it was Kim’s leather jacket, but the size made me think it was potentially Kim’s daughter’s, something she had grown out of years ago.

The lamp-carrying older couple looked a little less crazed grunge fan as they walked out with the retro metal lamp. We had a lamp like that once and I’m 99% it was also purchased in a garage sale. On their way out, the man turned to the screen door from where some loud music was coming on the side of the house and hollered “Goodbye, Kim” or some farewell message.

Kim Gordon was not actively supervising her own garage sale directly. However, I suspected that she might have been watching from her kitchen between packing boxes. Instead, a couple of dudes who were either in bands, owned record stores, or both managed some of the merchandise and took money from customers. The French woman wore a long, flowery dress and oversized sunglasses, encouraging people to look around and try things out.

This is when I started to shop. The racks were mainly filled with women’s clothing. I am terrible at shopping for women’s clothes, so I moved on. There were some nice shelves another couple was studying, but we just moved in and I didn’t know where we would put such shelves. Some card tables and boxes at typical garage sale junk. There was a box of framed art, but nothing hip of fancy. I grabbed a bicycle pump with a gauge. (However, in my haste, the pump was missing a nozzle necessary to actually pump up a bicycle tire.)

After browsing the bookshelves, I sauntered into the garage – one of those old, wooden, barn-like garages which probably got little to no use except to store some junk. The junk was there, but so were some Sonic Youth stacks or at least that’s what the masking tape labels claimed. Fifty bucks but you had to take the pair. I deliberated over this for a bit. I have a guitar with a pickup, but this seemed a silly thought as it’s an acoustic and I barely play. I then considered if the stacks would work for stereo speakers. Again, that’s ridiculous. Besides, we just moved into a smaller house and it was largely unpacked. I passed.

I clutched my bike pump and grabbed a bunch of kids books for my daughter. Kim’s daughter Coco was either an avid reader or she just had a lot of books. And they had all the right books from the last 15-20 years of children’s lit. I wanted some science books for my upcoming gig as a 4th grade math and science teacher, but it was mostly literature.

As I wrapped up my shopping, I still hadn’t found anything personal that screamed “SONIC YOUTH” or “this was Kim Gordon’s personal whatever.” Then I found a blank book or journal in the stacks. The cover was an Andy Warhol piece, one of those blank books you buy at Barnes & Nobles to use as a diary of journal. I opened it to see if it was still blank. However, inside the front cover was a collection postcards, newspaper clippings, ticket stubs, etc. On the first page it read “Remember that Katie gave this to me.” I continued to flip through the pages. There were some crude drawings and comics, but most of it was blank.

There was a rush of blood to my head at this point. I had stumbled onto a tiny piece of Coco Gordon Moore’s childhood, but even worse, it was her private journal. Sure, it was unfinished and forgotten, but this was more than I bargained for. I am not a stalker. I do not need to be inside Kim Gordon’s or her daughter’s life. Despite selling her things on her driveway, she and her family didn’t deserve my snooping even if it was accidental.

I quickly shoved the book back into the shelf and went to pay for my items.

One of the aging hipsters came up with a price and I agreed to pay. (I don’t haggle.) The stack of books were a little unwieldy, so they offered me a tote bag from a bin of assorted tote bags. The French lady (not totally sure she was French, but it makes for a better story) grabbed me this “jazz in Paris” tote and I was on my way.

As I walked back to my car, I thought about Kim Gordan’s junk. I only use the word “junk” because that’s what everyone sells in a garage sale. There was an expectation of cool items that would connect to Kim’s celebrity, but that was unrealistic. Kim Gordon has junk in her garage sale like the rest of us.

And that’s when it hit me. The thing I like about the musicians I like is that they are all working stiffs like the rest of us. Sure, there are exceptions. There indie bands who have become insanely rich or down-to-earth megastars, but most indie rockers are often only a few months separated from a 9-5.

I’ve come to this conclusion on many occasions despite my near-worship of bands on indie labels playing the same shitty clubs my friends play. I remember chatting with a friend who was talking about his chance encounter with Tori Amos and how magical that moment was. As he searched for the words to describe his experience, he finally just turned to me and said, “You know how you feel when you meet one of your people.”

I didn’t know how he felt. My “people” are like me. They have to work really hard for a living – on the road or in a steady job to make ends meet. They have families. They have student loans. They have car payments. And they sell junk in their garage sales.

Yeah, there is the celebrity and often there’s a bunch of money they have from doing some rock festivals overseas or having one hit song. I looked for some clues online as to where J Mascis lives. I assumed he lived in a neighborhood like mine or closer to downtown, but it turns out his mansion with recording studio burnt down a few years ago. He doesn’t live in my neighborhood, needless to say. Kim Gordon’s house was listed as selling for 1.5 million dollars online. I don’t know how accurate that is, but she doesn’t live in my neighborhood either.

Still, there are all these moments where one rock hero or another demonstrated some bit of humanity that’s made me check my hero worship. There was that time when the guys from Archers of Loaf reminisced a raucous show they cut short because the crowd was too rowdy, stating that “they needed to be beat down with yard sticks or something.” There was that time Bob Pollard drunkenly talked my brother’s ear off about the importance of the teaching profession. There was just the other day when I was listening to the last Walkmen record and on the back cover was a portrait of the band members and their children. There are so many other moments, but the point remains that no matter the fame (or perceived fame), they’re all a bunch of working stiffs like you and me.

Kim Gordon sold her house and a load of her junk because she’s leaving the Pioneer Valley. She has to do all of this because her husband had a midlife crisis and hooked up with a much younger woman. They divorced and suddenly look as vulnerable as the rest of us. She played her last show in town and packed her car. Most of this move is documented on Instagram, much like the way I recorded my own move.

There’s some saying about how we all eat, shit, and fuck like everyone else or something to that effect. We have to remember this about our heroes now and again. I am the worst about getting wrapped up in celebrity. Luckily, people’s humanity shines through and I’m reminded they are people who are no better than I am. Conversely, I am no better than they are and I don’t deserve a piece of them, even if I pay for their junk at a garage sale.

Additional note about the book: Kim Gordon has a straightforward writing style that shows her story to be an interesting in worthy read. If I’ve learned anything, it’s that we should have been hearing more from her over the years than her ex Thurston Moore. Gordon is sharp, politically aware, open-minded, and in-touch with reality. This memoir – although I’m not done reading it – is right up there with the Patti Smith book, Just Kids. You don’t have to be a fan of Sonic Youth to enjoy this book, but you should be a lover of the arts and a leftist.

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Early Favorites Records of 2015

Posted in Records, Review by SM on July 31, 2015

A hiatus means that one misses a lot of opportunities to write about all kinds of things. For me, beer is one and records are the other. With the epic bender to empty my cellar, I don’t know that I have the time to tell you all the beers I missed blogging about. (Really, I’m a little embarrassed how much high-ABV I’ve consumed recently.) So, I’ll stick with my favorite records of this year so far. Some may still be there when I inevitably do a year-end list, but I’m not there yet. Be sure to scroll to the bottom for the Spotify playlist.

Sleater-Kinney – No Cities to Love

I actually reviewed this record in this calendar year, proving that I was alive as late as late January. Additionally, we took our older kid (6.5 years at the time) to her first real concert when S-K hit middle Missouri. (I really should have returned to blogging then as there were so many Carrie sightings by my family and friends. Alas, I was not feeling it.) And nothing has changed how I feel about this band or their latest album.

While it is up to debate whether or not this is S-K’s best effort (I prefer different S-K releases for different contexts), it is hard to argue that this isn’t their most complete album. From the first fat notes (“Price Tag”) to the anthemic ending (“Fade”), this record never lets up. Riding themes of feminism and activism (“New Wave”, “Surface Envy”), the rush from performing (“Fade” again), the evils of capitalism and debt (“Price Tag” again), life on the road (“No Cities”), and being an aging rock star (“No Anthems”, “Bury Our Friends), etc., No Cities does the whole “personal as political” as well as or better than any other S-K record. And the instrumentation (guitars, drums, vocals – gawd, the vocals) are just a whole other level hinted at in The Woods but never quite realized. No Cities to Love hits all the notes…no, more like pummels all the notes only to build them back again into something new and inspiring.

Viet Cong – S/T

Viet Cong are this year’s Joy Division, but that somehow seems limiting. Nah, this band is this year’s Joy Division as blended with a bunch of other Canadian bands. Take the raw power and energy of Japandroids, the anthemic dissonance of Godspeed You Black Emperor, the acidic take on modern life a la Ought, and maybe the awareness of Broken Social Scene and then toss in some lazy Joy Division bits and you’ve got yourself a review for Spin!

Twerps – Range Anxiety

I feel like Twerps just sounds like every band I liked from the 90’s as played through a filter of The Sundays. There’s lazy afternoons and meeting strange, exotic love interests, and even a bit about getting married. This is a nice, easy record to like. It’s pleasant, has a good pace, and hits all the right spots. I want every summer drive to have this album as the background music.

Krill – A Distant Fist Unclenching

Ever had a dream that goes at a persistently fast pace and no matter how you wish to take the controls and change the direction it’s going, it continues to move in a direction you’re not completely comfortable with. Then, you realize that’s how your day is actually going and it’s no dream. To me, that’s what Krill sounds like. It’s bluntly honest and downright immature at times, but it gets at that helplessness when your life is a runaway train and somehow you just reside yourself to sit back and enjoy accept the ride.

Yowler – The Offer

This year’s quiet, earnest, female singer-songwriter seems to be Yowler. It doesn’t hurt that Maryn Jones is from my old stomping grounds in Columbus, OH of course, but this little solo record (Jones is in Saintseneca) was a pleasant surprise. Quiet and haunting, Jones knows what contemplative first-year college students want to listen to alone in their dorm rooms. Or so I’ve heard. Anyway, the production is stripped down but not exactly lo-fi. It feels less experienced than Cat Power did 17 or so years ago. It’s quieter than, well pretty much everything. The only drawback is that Yowler is not yet available on vinyl. So, it’s all Spotify for me until someone imprints this on a black circular piece of plastic with crackles in between laments.

Radical Dads – Universal Coolers

Steve Keene covers (multiple!) don’t hurt, but this band fills my need for jangly 90’s guitar rawk to a t. Like many of the bands on this list, Radical Dads would have easily fit on a bill in the mid-90’s. What can I say? I’m a one-trick pony. The band continues its egnagingly feedbacked guitar onslaught I first discovered in 2013’s Rapid Reality. Additionally, it’s yet another example of the effect women in rock bands of the 90’s have had on modern performers. There’s just a better, richer space for women to occupy and I believe (well, probably a lot of people believe) this is directly due to the bands and performers of that era. Where am I going with this? I mean, Rad Dads just happen to have a woman fronting the band, but they are a powerful, 90’s indie-esque rock band and now I’ve pigeon-holed them. Whatever, the band works and Universal Coolers is a fun romp through my college years. (I feel a little cheap for that description. Just know that if you like what I like – 90’s indie rock – you’ll appreciate Radical Dads who will surely not quote any of this on their Facebook page. Of course, they just became actual rad dads and a mom or something. So, the bump they are certainly going to get from this awful write up is for nothing.)

Courtney Barnett – Sometimes I Sit and Sometimes I Just Sit

It’s Courtney Barnett’s world and we just live in it. Somehow, after two impressive EP’s, Barnett has followed up with a record that should be on many, many year-end lists. She’s somehow Evan Dando, Bob Dylan (yeah, you read that right), Curt Cobain, Ben Lee, and Sheryl Crow (you also read that right) all rolled into one. Look, she’s fun and hits all the right notes while maintaining some personality. The record is solid from beginning to end. This is your album of the year. Next.

Sufjan Stevens – Carrie & Lowell

Or this is your album of the year. It feels as if Sufjan Stevens is back to doing Sufjan Stevens type things. Don’t get me wrong. I liked Age of Adz, but it wasn’t about a state and it wasn’t all whisper-y and/or whimsical with the most gut-wrenching lyrics about Jesus. This is record is that and maybe Stevens’ most personal record. There’s some things one would only expect to hear as Sujan Stevens’ therapist, not anyone with an iTunes account. As usual, the record is immaculately arranged and recorded. There are so many stories so personal, I’m almost surprised he released this album. I get the sense SS has been sitting on this album for years, waiting for the moment he was ready to put these songs to tape. And if you don’t feel it when listening to Carrie & Lowell, you are soulless or a cynic.

Waxahatchee – Ivy Tripp

Another female-fronted band that sounds like 1995, but this one is different than the others and this record is really good (as well). Katie Crutchfield nails that indie, cowpunk, thing that kept slipping into rock music and she lets on the feedback and heart-on-sleeve lyrics to boot. Crutchfield continues with that formula as perfected on the excellent Cerulean Salt with a few interesting interludes (in particular, opening track “Breathless” and “La Loose”). All that said, “Summer of Love” is the obvious choice for song of the summer.

Built to Spill – Untethered Moon

I bought Built to Spill’s latest on Record Store Day when it was released out of a sense of loyalty. When you buy a Built to Spill record, you know what you’re getting. And that’s fine. I loved early Built to Spill gems like There’s Nothing Wrong with Love and Perfect from Now On, but everything since has been hit or miss – certainly more hit, just not what those early records meant to me. That said, Untethered Moon is a look back at those years in a way in terms of both subject matter and music. This record is more than just the same old from a cherished band. It’s a reward for sticking around and buying yet another release.

Alabama Shakes – Sound & Color


All I read about is how Alabama Shakes don’t sound as good on record as they do live. Well, if that’s truly the case, their live show must kill every single night. There’s so much range on this album yet it’s so precise in its delivery. I don’t get what people want Alabama Shakes to be. Do they want more blues, punk, jam band, throwback, southern, etc.? Well, those people are wrong. There’s nothing wrong with this record and there’s nothing wrong with Alabama Shakes.

Don’t believe me? I encourage you to buy all these records or go see these bands when they hit your locale.

I’ll write something about beer soon enough, but this needed to be posted.

Amherst, Mass

Posted in Life, Massachusetts, Meta by SM on July 25, 2015

(The Pixies are not my neighbors. Although, Frank Black does live in Hadley.)

I no longer live in Middle Missouri. After ten long years of enduring its unforgiving heat and humoring the masses needing to be shown everything, I have left the Cave State for Amherst, Massachusetts. I don’t normally write about my distaste for the state in which I lived on this blog, but it was a tough time for me.

Sure. I met some amazing people and had some amazing experiences, but it was time to go.

So, what does one do when one moves 1300 miles to a region he knows pretty much nothing about? I guess I’ll kick this blog off again for one and tell you what else I am trying to do to get acclimated.

Before that, I had to decide what could be moved and what couldn’t. Since this is a blog that has focused on beer and music, I’ll start (and probably end) there. The beer from my cellar had to be consumed. So, for the past few months, I have been drinking through all the stuff I was trying to age. This wasn’t a big deal as most of these beers were over a year old, meaning they were aged to perfection. In my opinion, 1-2 years is plenty of time to age a beer (made for aging). Additionally, the homebrewing I didn’t really have time for since my son’s birth last year came to a standstill. I did manage one batch of a blueberry lambic. Even that didn’t have the time it really required to age perfectly.

The records were a different story. After some extensive Googling, I found that the standard, small boxes from Uhaul were ideal. The trick is to pack them in tightly so that there’s no room for bending, breaking, or warping. So far, all the records have played well. So, you can release your collected breaths. FTR, the records were the first things I packed but not the first things I unpacked. Once I could get agreement for the placement of the Expedit shelving, I was able to unpack my collection. It’s not a huge record collection, but it more than makes up what it lacks in quantity with quality.

At this point, we’re pretty settled. I have done minimal exploring and have a lot to learn. There are a few good vignettes I’d like to share, but I may have to share them over the course of several posts. I’d really like to get back to longer posts that explore subjects and not just reports or updates on what I am doing.

That said, I can at least give you a preview of a few of these topics. There was the day I drove over to Northampton to buy some of Kim Gordon’s old stuff at her garage sale. It’s not an exciting story and it’s really kinda sad that she’s leaving the area, but it presents an opportunity for an interesting blog post. There are the breweries and beer retailers I’ve discovered not to mention the rich craft beer scene here. So, there will be plenty of beer-related posts. (This is important as more of you read this blog for the beer stuff than the indie rock rants.) I also have a completely new music scene to sort out. There are some interesting leads and still record stores to explore, but that will take me some time. Also, there’s a generally cool area of DIY and local craft economies to suss out. I have a lot to process.

Sorry for the hiatus I seem to go through every few months. I think I have the motivation to make this blog work again. Either way, thanks for sticking with me. If you are new, please look back through Beer and Pavement’s history. There’s some stuff in there I’m quite proud of (and some I’m not).

(Also note the change in username. I have taken on a job that I don’t want to jeopardize with a beer blog in which I curse now and again or profess controversial ideas. So, consider me somewhat anonymous.)


I’m Back

Posted in Meta by SM on July 23, 2015


It looks like I couldn’t give this up. Stay tuned…

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Where am I with Hopslam in 2015?

Posted in Beer, Hopslam, Meta, Uncategorized by SM on January 20, 2015
Not Hopslam

This is not Hopslam.


I often talk about my craft beer epiphany as happening the first time I cracked open a bomber of Stone Ruination IPA. Sure, that’s technically when it happened, but I didn’t realize how far my own insanity could carry me until I discovered Hopslam. Bells of Kalamazoo, Michigan makes some nice beers, but Hopslam has a reputation all its own.

Let’s review.

I started this blog with the intention of focusing on the intersections of craft beer and indie rock. The first post was about that intersection and how release days had become so important to both cultures. In this case, Tuesdays were the main release days. This is common in the music industry, but Tuesday became a day when most big beer releases hit our burg in the middle of Missouri.

The annual posts about the grapefruity one continued. I marked a year at the blog with a more sensible opinion and mature perspective of the brew only to follow that with gratuitous pictures with stories of social networking actually paying off. And even more that same year, I tried the infamous Hopslam vertical.

It used to be fairly common to see me participate in this thing called “The Session” where beer bloggers from all over wrote on the same topic. That same year (2011), I wrote fondly of Hopslam’s iconic artwork. What can I say? I was obsessed.

The following year is basically missing. I’m sure I drank some Hopslam, but there’s little-to-no proof here. I was in the midst of this whole Royal Rye Wine thing. (FTR, there is some proof.) And I assume I had some in 2013 as well. Of course, maybe I wasn’t blogging much at the time. Man, I’ve been doing this for a while.

Anyway, I know I had some last year. In fact, I wrote how I was beginning to temper my expectations. If I remember correctly, the hassle of finding the stuff was beginning to not be worth it. And that’s kinda where I am today.

In fact, I don’t have any Hopslam at this moment. Rumors suggest it will be out tomorrow or later in the week. The many beer joints we’ve accumulated over the last few years are somewhat hush on their official tappings. There are whispers we’re getting way less than ever and I’m sorta meh about it.

Don’t get me wrong. I’ll drink me some Hopslam. My name’s in at a place and I’m supposed to be at some event on Friday where it will be on tap. Plus, I may sneak out one other night for a pint (or probably not – babies). However, even that reservation’s only going to be like 1-2 bottles and Friday’s event will probably amount to one glass as there will be some other tasty beers on tap. So, whatever.

I don’t know whether I’m tired of the craft beer geek game as it’s embodied by Hopslam or if I’m just tired. I can’t get the latest and greatest releases anymore. I can’t maintain a huge collection in my cellar (now beer fridge). My liver and checkbook can’t really handle it. So, I guess you could say that I’m HopslammedTM. Well, not really. It just has a better ring than “craft beer slammed.”

Now, this is not the moment when I swear off drinking beer. I have just tempered my enthusiasm. I still buy a couple of new beers every week. I make it out to events and beer releases when parenting two small children allows me. I still plan to brew again. Craft beer is still a part of me and it will be written about ad nauseam in this blog. However, my lifestyle isn’t one of the obsessive beer geek, they guy who’s ticking every beer and spending all of his resources on increasing his Untappd numbers.

In fact, I hope to write soon about the glorious new Craft Beer Cellar downtown. It’s a dangerous place for me, but it’s akin to a quality record store only with beer instead of records. More on that later and I’ll also let you know when I finally sip on this year’s Hopslam.

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Reviewing Early 2015 Releases: Sleater-Kinney, Viet Cong, and Belle & Sebastian

Posted in Records, Review by SM on January 20, 2015

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Yeah, I’m still here. I’m drinking all the beer and listening to all the records, but how are you to know this? Time to share what I know.

Sleater-Kinney – No Cities to Love

No Cities to Love might be the most anticipated album I have… er… anticipated in a long, long time. That’s why it was a little disappointing it didn’t strike me upside the head on the first listen. What is this? I thought. I didn’t know what to make of it. There was already the commitment of a preorder to the deluxe version, so I needed to give it a chance. Thank god for streaming.

After maybe five or six listens, this record is starting to make sense to me. It opens fat and heavy with “Price Tag”, but this is also where I first had questions about the keyboards/organ. But those riffs and the development of the vocals from their screaming in the nineties… I came to realize that this just happens to be the most ambitious album of the band’s 20+ year run. The songs are fleshed out with the aforementioned keys and add the dance thing they were doing on All Hands and the power they instituted on One Beat and The Woods. Throw in side projects with Quasi, The Jicks, Wild Flag, and a solo gig and what you have is a band with history and chops to make a pretty great rock record. That sharp bite that was always part of Sleater-Kinney remains, but now there’s some distance and perspective and some kind of reverence for an arena rock anthem. Sleater-Kinney can still kick some ass.

I mentioned the first track as a great opener, but the album doesn’t let up from there. All of these songs are big and full of attitude. Sleater-Kinney doesn’t record bad or timid music. What they have done is accumulated all kinds of depth over the years without losing any of the angst or urgency they had as young riot grrrls. They sing better. They play better. They write better. They are actually better than what I once considered one of the 3-5 best rock bands of the nineties.

“Fangless” follows “Price Tag” and I’m now ready to dance. The control Corin Tucker has over his voice is really evident and the back-and-forth with Carrie Brownstein’s voice is classic Sleater-Kinney. The only difference is that both women know how to use their voices, complimenting contrasting aesthetics like few others can. This is what hardcore and riot grrrl co-screamers wish they could do with their tired, ragged vocal chords.

Then there’s “Surface Envy” with its steady drive and beat, leading to one of the better S-K choruses in their catalog. “We win/We lose/Only together do we make the rules!” The infectious title track follows with its own catchy chorus. “A New Wave” sounds like it could have been pulled from the never-happening Wild Flag follow-up. My god. Is there a bad song on this record? What was I thinking on those first few listens?

“Burry Friends” is a hit if the title track doesn’t catch on. (I say this with tongue planted in cheek. I mean, what’s an indie hit, really?) Again, there’s another solid chorus and some ambitious, big-sounding production. “Hey Darling” is almost as straight-up a classic rock song as I’ve ever heard from the band. It really reminds me of a Pearl Jam song I can’t place. Weird, but Tucker’s vocal performance carries it. The record closes with a slow, heavy rocker appropriately named “Fade.” I think this last sonically matches the majesty of The Woods.

There’s so much more I could tell you. For one, I’ve mostly written about the vocal prowess, but all instruments are as polished as ever. Janet Weiss is as amazing as ever on the skins. She can pound and subtly keep the beat like few others. I would differentiate between Brownstein’s and Tucker’s guitars, but that’s pointless. They are both amazingly aggressive and loud players. The production as with the remastered albums in the box set bring all this to life. I don’t know how much staying power the songs will have, but this record as a whole just sounds great.

Viet Cong – S/T (video is NSFW for a second, but mostly okay)

So, I stumbled upon this band and knew I had to buy their… cassette tape. Wait. I don’t own a working cassette player anymore. Luckily, I knew this album was coming out in more consumable formats and that day has finally arrived.

Viet Cong is a band for me that sort of takes over and fills my speakers constantly with urgency and feeling. There was that year I discovered Japandroids and last year was Ought’s year. Viet Cong is different by repeating what’s been done before from distant drones, lo-fi production, and a youthful energy I only see in my children, not adults playing music.

The opener is all messy and amateurish, but it promises something cohesive and purposeful. I hate underground and lo-fi acts that just fuck around. Sure, the sound and execution don’t have to be perfect, but I just forked over some cash for this here record. At least act like you care. And to be clear, there’s the definite impression Viet Cong are not fucking around and maybe care a little bit about what they’re doing.

Those tinny drums come back and a groove sets in with “Pointless Experience.” At this point, I feel like this must have been what Joy Division sounded like in their bedrooms on 4-track. “March of Progress” is all over the place and you feel as if you’re off to the races. “Bunker Buster” does a stripped-down rocker thing and “Continental Shelf” is all 80’s/John Hughes anthemic. The pace picks up again with “Silhouettes” before “Death” ends the LP too soon with some jangle.

This was the record Interpol should have recorded instead of going all polished after their masterful Turn on the Bright Lights. Lou Barlow should have produced their follow-up and this record would have happened 15 years ago. Don’t leave the room or you’ll miss the meat of these seven, beautiful recordings. This record will be somewhere in my top-3 for sure. It’s that good and that much fun.

Belle & Sebastian – Girls in Peacetime Want to Dance

I don’t know if we’re in peacetime, but this might be the most danceable album of the Belle & Sebastian oeuvre. That’s good and bad. Still, of the three albums here, this is the one I’m most ambivalent about. On one hand, it’s much better than the previous 2-3 records. On the other hand, I don’t think B&S will ever recapture the magic they had pre-Storytelling.

(Side note: I often debate whether or not U2 went downhill with the release of The Joshua Tree or after it. Could Storytelling be Belle & Sebastian’s Joshua Tree?)

To be honest, this album is split into thirds with all the tracks sticking fairly close to the idea of girls dancing through peacetime. If I had time, I’d piece together the imagery and themes, but this review is done on the quick, but I digress.

I’ll start with the third that gives me hope for B&S. I loved, loved those first four albums. They are full of old-school folk wonder and some stripped-down, recorded in a church kind of shit. The songs were smart and as forlorn as anything Joy Division ever attempted to vocalize. “The Cat with the Cream” is a bit more embellished with strings than these early records, but the muffled vocals and sad lyrics scream early Belle & Sebastian all the way. “Ever Had a Little Faith” is classic even with a tiny nod to Velvet Underground. (I love it when B&S go into Velvet mode even when it’s brief.)

A third of these songs certainly fit the 80’s dance vibe B&S seem to be going for. Tracks like “The Party Line”, “Enter Syvia Plath”, “The Power of Three”, etc. are fairly synth-heavy and really danceable. Of course, some of the best B&S moments are danceable (see “Women’s Realm”) but they rarely venture into New Order territory.

Another third represent the pristine pop Stuart Murdoch has been striving for over the last few records (post-Storytelling). I’m not gonna lie. I don’t normally like this part of the B&S oeuvre, but tracks like “Nobody’s Empire” and “The Book of You” (a little T Rex-y with female vocals) combine some of the witty songwriting of those early albums with the band’s sonic expansion.

Overall, I like this record, but I don’t know if I love it or not. I might have to Spotify it for a week or two before breaking down and just buying it.

Reviewing 2014: Tracks

Posted in Records, Review by SM on December 29, 2014

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I will skip the pleasantries and get to what is typically the easiest of easy blog posts: lists of videos. These videos are of the 20 best tracks of the year according to me. Most are found in my favorite albums, but a few outliers are there as well. Also, keep in-mind that I typically like to keep these lists to one-per-artist/band. So, here are 20 separate efforts by 20 separate entities.

Taylor Swift “Shake It Off”

Let’s just get this one out of the way right now. Look, that beat is killer and my daughter loves her some Taylor Swift. Plus, it’s a good message for my kid. So, I stand by it.

Viet Cong “Continental Shelf” (Warning: video NSFW)

Mark these dudes as my most anticipated full-length debut of 2015. It’s dark, dank, foreboding… Reminds me of a ridiculous black IPA. Man, I’m thirsty.

Ought “Today More Than Any Other Day”

I could have chosen so many songs from my band of the year, but I went with the one that has everything. There’s the stripped-down, slow build. Metacognition. Disillusionment with modern society and commercialism. A rousing chorus. Danceability. Da-da-da’s. Entropy. Everything.

Parquet Courts “Instant Disassembly”

A sloppy rocker – almost Pavement-esque – with a touch of faux Britishness, “Instant Disassembly” is the best kind of ear worm. Not only does the melody stick, but the singer’s problems aren’t too far from the listener’s own.

Your Friend “Tame One”

I almost went with “Bangs” for this one, but I don’t think I could go wrong with either. The voice, the drone, the build all make Your Friend a band/solo artist to watch this coming year.

Alvvays “Archie, Marry Me”

I like Belle and Sebastian and Camera Obscura, but while the former messes around with pop music and that latter has somehow fallen off my radar, Alvvays will have to do. “Archie Marry Me” is all kinds of John Hughes angst and is a standout for the year.

Angel Olsen “Forgive/Forgotten”

SO MANY SONGS. I could list all the songs off Angel Olsen’s excellent Burn Your Fire for no Witness, but I will stick with my arbitrary rule to only list one song per artist/band. For this list, you get a rocker.

The War on Drugs “Red Eyes”

I honestly did not like the direction The War on Drugs took this year. It’s way more Springsteen than Vile, but they’re still a pretty good band as evidenced by the moving “Red Eyes.” That Springsteen-esque “woo” is pretty nice, but I sorta wished there was more of this on the entire record.

Sharon Van Etten “Your Love Is Killing Me”

I sort of lost touch with Sharon Van Etten this year until the above video for “Your Love Is Killing Me” crossed my path last month. It’s sprawling and Van Etten’s voice holds up as a powerful accomplice.

Ex Hex “Don’t Wanna Lose”

When an album kicks you in the teeth, it should do it from the first moments of the first track. Congratulations, Ex Hex. This album rawked like we all rawked in 1984 at a drunken high school party in a corn field. Thank god for Mary Timony finding her muse.

Sun Kil Moon “War on Drugs Suck My Cock” (NSFW)

The most interesting thing Sun Kil Moon and The War on Drugs did this year was to have a pseudo-feud. I actually appreciate Mark Kozelek’s crankiness as we are misunderstood curmudgeons. The song is actually quite funny despite its dark tone.

Caribou “Can’t Do Without You”

I know all the words to this song and they just repeat over and over in my head. Hit play and you’ll understand. It will cause you to either love or hate me.

Future Islands “Seasons (Waiting on You)”

One of the moments of the year for indie music was when Future Islands debuted this song on Letterman. The official video is good as well, but you needed to see why Future Islands broke this year and “Seasons (Waiting on You)” will land on many, many year end lists, often at the top.

New Tongues “El Condor Pasa”

The best covers are usually covers of misappropriated songs. I have no other evidence of this fact outside of this track. New Tongues flat-0ut destroy Art Garfunkel’s afro and strip the blood diamonds from the soles of Paul Simon’s tiny shoes.

Stephen Malkmus and the Jicks “Lariat”

“We grew up listening to the music from the best decade ever. Talkin’ ’bout the 80’s!” All kinds of nostalgia in this one and it perfectly summarizes Mirror Traffic.

Swearing at Motorists “Academy Award for Best Actor in a Supporting Role”

Love, regret, drugs, faking it are all common themes Swearing at Motorists squeeze into every 2-minute anthem.

Tweedy “Please Don’t Let Me Be So Misunderstood”

I could have pulled several tracks from the Tweedy record, but I liked how this one encapsulated the project’s effect on the elder Tweedy. It’s not quite a punk rock banger, but it’s certainly a step back toward the cow punk of his past. Spencer’s work on the skins is pretty impressive as well.

Peter Matthew Bauer “Latin American Ficciones”

I like a good stripped-down rocker now and again. I had no idea that the dude playing keys and bass for the Walkmen had this sort of frontman, guitar-licking persona inside him. This track alone made the record a must-buy for me.

The Afghan Whigs “Algiers”

A nice take on the “Be My Baby” drum beat opens The Afghan Whigs return. I don’t even mind the auto-tune.

Hospitality “Inauguration” (Merge 25 version)

Trust me. The version they released via the Merge 25 Or Thousands of Prizes is superior IMHO to the LP version. I couldn’t find it online, so I give you the version above.

Reviewing 2014: Music

Posted in Records, Review by SM on December 28, 2014

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Crap. Where did the year go?

All I have done is taken several hiatuses in between some fairly mediocre blog posts. I would like to tell you 2015 will be different, but why lie? It won’t. I’ll be a sporadic blogger as it seems to be my ultimate destiny. So, you’ll forgive my momentary lapse in judgement when I thought a PhD was a good idea. You won’t mind when I prioritize my job and career over my hobbies. And you’ll give me a pass for being a parent of two who rarely gets a full night’s sleep.

That said, I still found a way to consume and as you well know, consuming indie rock records and craft beer are what I do best when I’m not parenting or working. I didn’t listen to nearly as much music as year’s past, but I did drink a shit-ton of beer as my waist will attest. So, I have something to say about both topics.

The format will be a bit different than years past. Usually, I write a list of records and/or beers. Last year I opted not to rank my choices for the year. This year I will simply name some arbitrary categories to fill with some sort of commentary. Do with this list what you will. However, I hope you can find the time to comment and even throw some money at the good people I’m about to praise.

The 2014 Beer and Pavement Recognitions and Such – Indie Rock Division

“The Next Sharon Van Etten or Courtney Barnett of 2014”

Well, this could have been Sharon Van Etten as her Are We There is yet another stellar album from the songstress, or it could have been Courtney Barnett’s as I listened to The Double EP: A Sea of Split Peas on repeat after discovering it a year too late. Hell, I didn’t even get my hands on Barnett’s physical artifact until this year.

Still, there was one woman I listened to more than any other this year or at least that’s according to Spotify. Angel Olsen dominated this year with her Burn Your Fire For No Witness. This is one of the few albums on my personal list I am finding all over year-end lists. It’s an incredibly haunting, Patsy Cline-esque, fucking great record. Had I not been so busy this year, I would have written ad nauseam about this singer who could channel a lo-fi Roy Orbison on one track and turn around with something more akin to a Kristin Hersh rocker the next. She’s a phenomenal talent and from right here in Missouri. Who woulda thunk it?

“Best Reissues (Multiple Categories)”

I didn’t know that I had missed Life Without Buildings the first time around and needed their über-rare Record Store Day until I discovered them in the “Best New Music” category on Pitchfork’s Spotify page. Well, one listen was enough to send me out to my local supplier for a preview of there RSD releases only to find out they had not ordered it. I waited a week or two and tried eBay. It was costly, but nothing obscene and I scored my record. LWB’s Any Other City was a forgotten/unheard of treasure with a danceable no wave sound that would have also fit well in mid-90’s Chicago, but what set this band apart was front woman Sue Tompkins erratic spoken-word lyrics. Although 14 years old, the record was maybe the freshest thing I heard all year. Too bad they only released this record, a handful of singles, and a live album.

The other reissue wins the box set division as Sleater-Kinney is doing this whole comeback thing right. Not only were all their albums reissued on glorious 180-gram vinyl on Sub Pop, but the band put all these albums into one box complete with a book of never-before-seen photos and a surprise 7″ of new material. Now that’s a way to announce a reunion. The best part of this box and the individual reissues is that all the music was remastered, giving them the treatment they all deserved, especially those early records recorded on a budget.

Oh, and that open letter I wrote worked.

“Favorite EP’s – short and long formats”

Funny thing about my two favorite EP’s is that both are from this region of the world. How does that happen? An overwhelming sense of depression caused from living in the middle of racists and corn fields? Yeah, that’s probably what it is. The first is really just a short LP – sorta missing the idea of an “extended play” format – and the other is a more traditional supplement to and earlier full-length effort.

Your Friend’s Jekyll/Hyde is a nearly perfect example of the form capturing atmospherics, chilly femme vocals, and some silly-good theatrics surrounding stories of sisters and awkward thirteen year olds living in Kansas. Rarely do EP’s feel like LP’s but this one does. The songs can come off as quiet and pretty, but the intensity comes through in a live setting as I was lucky to witness last spring. Look for this EP to launch Your Friend in the coming year.

My friends in New Tongues put out a short-form EP that kills, nay destroys. Three originals lead off before a cover of a Simon and Garfunkel cover completely floors you. Following up last year’s We Are the Ones We Have Been Waiting For, this EP does what the format is meant to do which is extend what work has been done and in the best cases expanding said work. the production on this 4-song EP explodes from the speakers with all the post-hardcore clichés one can muster. (The music is not clichéd, just the reviews.) To add insult to injury, that aforementioned Simon and Garfunkel cover is maybe the cover of the year.

I also considered an E.P. by some other friends in Enemy Airship, but the hard copy has yet to arrive. Additionally, there was Ought’s E.P., but I have more to say on that later…

“Best Dad Rock”

I am a dad twice over. In fact, our little release this year might be is my favorite. His name is Theo and he should know that dads can rock. Right now, Theo’s favorite song is “Bird Is the Word.” We’ll have to work on that.

Dad rock can best be defined as the music by bands who dads probably listened to back in college. Bonus points go to bands and musicians who are actually dads themselves. This year, there were three releases that I think exemplified my own version of Dad Rock.

First and foremost, there’s Stephen Malkmus and the Jicks. I crossed paths with Malk on his way to the venue where he was playing. I wanted to talk to him about fatherhood and his new record, but he didn’t have time to chat. I suspect he had to Skype with his kids from the tour van. Anyway, Wig Out at Jagbags is return to form after 2011’s Beck-esque Mirror Traffic. In Wig Out…, Malk and the Jicks get all nostalgic for the Grateful Dead and Lilith Fair-era Lesbians. It’s as goofy as they have been on a record which is quintessential dad behavior.

Then, there’s the Kickstarted project from Swearing at Motorists. S@M’s Dave Doughman is also a dad. This comes out in some heartbreaking-yet-sweet moments throughout While Laughing, the Joker Tells the Truth. Intermingled with laments and celebrations of parenthood is an obsession with acting and drama, escapes from the daily grind of being someone’s dad. It’s maybe Doughman’s most mature release yet, one I didn’t know or care if he could make. Still, it deserves a proper release once the Kickstarter money runs out.

The third Dad Rock honoree is the most obvious of the bunch. Jeff and Spencer Tweedy’s Sukierae under the band name Tweedy. This project comes from the heart as Jeff Tweedy’s creative juices seem to come alive after some so-so Wilco efforts. Honestly, I had written off Tweedy. I figured he was going to make the same Wilco record over and over and tour until his knees or liver gave out. And as a fellow dad with mouths to feed, I’m okay with selling out. However, that’s not what he’s done here. Spencer who is a gifted drummer has inspired something in his dad that I hope continues. Sukierae was a pleasant surprise and has made me look at my own life as a father and how I can rejuvinate my own creativity.

“Best Album by a Former Member of the Walkmen”

Three records were released this year by former Walkmen. There was Walter Martin’s We’re All Young Together which is a kids album and probably should have made the Dad Rock list above as it’s the most dad-like thing ever. Then there was Hamilton Leithauser’s Black Hours and Peter Matthew Bauer’s Liberation! which also came out this year. Kids music only goes so far with me. So, I figured Leithauser’s record would shine as he was the voice of the Walkmen and sort of personified their cool aesthetic. However, it was Bauer who impressed with his solo debut, a cacophony of religion, mysticism, and chic. The album is so good you wonder if maybe Bauer had more say in the Walkmen’s image than was typically let on. Either way, he put out a solid record that remained on heavy rotation throughout the year.

“Speaking of Nostalgia…”

The Afghan Whigs got back together. Well, two of them did, but those two put together a pretty tight group of musicians. Then the Whigs did the unthinkable in 90’s reunion etiquette and actually recorded an album. Do the Beast would have fit nicely after Black Love with its thematic leanings and dynamics. Plus, those old guys can still rawk.

“The One Album upon which the Critics and I Tend to Agree”

Ex Hex’s Rips is a swift kick to the gut. In much the same way Jeff Tweedy seemed to be recharged by working with his son, Mary Timony’s inner-guitar god rose from the ashes of 90’s indie rock anonymity when she joined Wild Flag, a one-off, super group who released one of the best records of 2011 and put on ridiculously great live shows. This record comes at you from the word go and it never lets up until you’re stunned to find it’s over. Mary Timony has quietly made great music for years, I’m just glad others are beginning to realize it as Rips finds a place on many year-end lists.

“The One Album upon which the Critics and I Tend to Disagree”

Well, that isn’t exactly fair. Trouble by Hospitality generally received good reviews everywhere. However, it didn’t make many (or possibly any) year-end lists. And I’m not really sure why. While it lacks the punch the Ex Hex record delivers, it certainly has its share of dynamics as well as subtle nods to that 80’s thing everyone is doing. This album might be the equivalent of Future Islands’ Singles which is getting all kinds of attention these days. However, Trouble lacks a career-making appearance on Letterman to put it over the hump. Still, the band did what bands with promising debuts are supposed to do with their sophomore efforts: expand and improve on said promise. The trouble is that most bands falter with their second release, not Hospitality. Synth, Belle & Sebastian sensibility, a bit of an edge… It’s all there and I’m not sure why no one else has noticed.

“Artist/Band of the Year”

I opted not to pick just one album as I have played the shit out of those praised above. I do plan to do a singles list if I get a chance, but I digress. I have a band of the year and it might not be who you think.

Let’s get a few of the normal artists up for this kind of consideration out of the way. The War on Drugs and Sun Kil Moon don’t make the list as the most interesting things they did was get in a non-feud. And since we’re on boring, white dude music, I’m not bothering with Real Estate, Spoon, or Mac DeMarco.

Oh, there’s more. I don’t care for dance music. So, most of that stuff doesn’t get much of a listen from me, even in a year when Caribou released an album, but I haven’t enjoyed them since 2007’s Andorra. Same goes for most rap and hip-hop. While I have an appreciation for them, I just haven’t been able to get into Vince Staples or Run the Jewels. Grouper’s record was nice, but a bit too quiet for me. (And if you like that sort of thing, check out my friend C. Vadi’s latest here.) Please don’t get me started on Ariel Pink, Todd Terje, or Taylor Swift.

There were records who probably deserved more of my attention. St. Vincent, Perfume Genius, Parquet Courts, Cloud Nothings, or Ty Segall. I’m okay with this. I have limited time and whatever art you make has to grab my attention. The bands and records I’m recognizing here did that, but none more than Montreal’s Ought.

And Ought hit my trifecta for 2014. They blew me away with an album I did not see coming. Impressed onstage in front of way too few people. Plus, they released an EP that just made me want more. This was done while sounding like a fresher, more meaningful reincarnation of the Feelies and Talking Heads. They look like Joy Division and sound like Television and the Violent Femmes. And I don’t even think they’ve scratched the surface of what they can do.

I’m not sure what else I could tell you about them. The songs are written and performed with feeling every time. They unloaded More Than Any Other Day with its critiques of the mundane and commercialism. Sonically it called back to those New and No Wave days of NYC. The live show could happen in front of 10 people or 10,000. It’s captivating and raw. They drone and jam on only to break it with sudden impulses of noise and general disruption. The EP, Once More with Feeling, supplements the LP’s material but introduces something new. “Pill” is a song I’ve obsessed over as it suits their ages better, but the simple chord structure is an ear worm by itself. The EP provides promise that this band has more to offer and I can’t wait to see what it is.

Reviewing 2014: Beer

Posted in Beer, Eats, Mikkeller, Review by SM on December 27, 2014


Crap. Where did the year go?

All I have done is taken several hiatuses in between some fairly mediocre blog posts. I would like to tell you 2015 will be different, but why lie? It won’t. I’ll be a sporadic blogger as it seems to be my ultimate destiny. So, you’ll forgive my momentary lapse in judgement when I thought a PhD was a good idea. You won’t mind when I prioritize my job and career over my hobbies. And you’ll give me a pass for being a parent of two who rarely gets a full night’s sleep.

That said, I still found a way to consume and as you well know, consuming indie rock records and craft beer are what I do best when I’m not parenting or working. I didn’t listen to nearly as much music as year’s past, but I did drink a shit-ton of beer as my waist will attest. So, I have something to say about both topics.

The format will be a bit different than years past. Usually, I write a list of records and/or beers. Last year I opted not to rank my choices for the year. This year I will simply name some arbitrary categories to fill with some sort of commentary. Do with this list what you will. However, I hope you can find the time to comment and even throw some money at the good people I’m about to praise.

The 2014 Beer and Pavement Recognitions and Such – Craft Beer Division

“My New Favorite Series of Special Release Beers”


A year and a quarter ago, I made my the voyage to Mikkeller’s home base(s) in Copenhagen. While there, I discovered that my favorite brewer can do lambics. And they don’t just do your ordinary lambic. Nope. The “Spontaneous Series” from Mikkeller features tart beers flavored with not your average additives like the evasive species such as buckthorn or the elderflower which comes from the potentially toxic elder plant. There are more typical fruits such as peach and raspberries, but you shouldn’t forget your root vegetables like beets(!). Mikkeller is known for pushing boundaries and styles, but with this series the boundaries are both stretched and strengthened like few brewers can do. I am not a completist, so I have yet to try all of these beers as they are pretty expensive and hard to find in this part of the country, but I buy one when I can and have enjoyed each immensely.

Close second: Stone’s Enjoy By Series is the freshest DIPA’s you’ll find as long as you enjoy them by the date on the bottle. 4/20 was particularly good this year. Rumor has it there’s an Enjoy After Series on the way which should be fun.

“Beer Style I Was Almost Over. Almost.”

Bourbon barrel imperial stouts are a bit played out. I mean, bourbon is great. Imperial stouts are great. So, you can’t possibly mix the two too often, can you? Guess again.

I grew so tired of anything bourbon-barrel aged and I like bourbon. A lot. However, aging every imperial stout in bourbon barrels gets old. The flavor is rich and often too sweet. It’s an easy way to make a beer everybody wants, but I’m moving on.

Well, sort of. Tonight with roast beef, I cracked open Avery’s Tweak. This is the bourbon barrel aged imperial stouts of bourbon barrel aged imperial stouts at 17% ABV and actual chunks of bourbon barrels in every bottle. Still, I don’t know how much more bourbon barrel imperial stouts I can take.

“The Beer I Like With Food”

I once discovered the wonders of a Dogfish Head India Brown Ale and a Booches burger. Oh, the wonders of hops and malts with a greasy burger… Well, I found my new favorite beer with comfort food: Broadway Brewery‘s Backyard BBQPA. Yes, a smoked pale ale is not everyone’s favorite, but Broadway brewed a beer that works with most of their menu, particularly anything smoked or meaty. I’ve had it with their burgers, pulled pork, and meatloaf sandwich. The mixture of malty sweetness and the bitterness of hops and smoke make for a nice beer to pair with fatty meats. I honestly don’t know that I’d like this beer on its own, but it is fantastic with Broadway’s excellent menu of locally-grown comfort foods.

“That Said, This Is My New Favorite Food-Beer Pairing”


Imperial stouts should be the only beer you ever serve with pie, especially a pie filled with berries. And don’t even bother with the a la mode bullshit. An imp stout has your creamy sweetness covered. I recently rediscovered the wonders of this pairing when a friend baked us some pie with blackberries and I showed up with a 2013 Deschutes Abyss nine months past its best after date. Whoa. What a brilliant pairing if I do say so myself. The glorious things going on in my mouth that night were enhanced by some killer Spiegelau Stout glasses.

A close second: The curried chicken pot pie we had before this pie was paired with Against the Grain’s Citra Ass Down DIPA and/or Stone’s Best By 12/26/14 DIPA. It’s hard to beat a perfectly balanced DIPA and spicy food. This isn’t a case of I got really drunk recently and wanted to include the experience in my blog. No. It’s an instance when perfect foods get matched with perfect beers and you all should know about it.

“2014’s Mikkeller – I.E. My New Favorite Brewery”


I nearly chose Texas’ Jester King Brewery, but I’ve followed them for a while and have always felt they were kindred spirits with the likes of Mikkeller, Evil Twin, Stillwater, The Bruery, etc. I was lucky enough to try quite a few of their beers at the SECraft Beer festival here in town where I sampled Snörkel, Detritivore, and Atrial Rubicite to name just a few of their excellent brews. They are now one of my top 3-4 breweries to gather while traveling to other beer markets.

That said, my new favorite brewery for this year goes to Prairie Artisan Ales, Sure, they are know for their various versions of Bomb!, yet another barrel-aged imperial stout, but I love their take on the saison as if it’s the new “ale.” Yes, I realize a saison is an ale by definition, but they like Stillwater treat the saison like it’s a centerpiece yeast strain and not just a side-project. There’s the Cherry Funk which is, well, funky. And there’s the Birra Farmhouse Ale, Prairie Standard, Prairie Hop, Prairie Ale, Puncheon, and a silly number of other saisons. All of these beers are grassy and pair well with any white meat or salad.

“Best Session Beer”

We got ourselves a brand-new spanking brewery this year by the name of Logboat. They do some nice beers and throw some good parties. However, they do provide the parenting/driving beer enthusiast some nice options such as their (GABF silver-medal winner) Mamoot Mild Ale and Bear Hair Belgian Blonde. These beers come in just under 5% ABV, but the beer that I love is just over that mark. It’s a wheat beer which are not always my favorite (except when they are hopped to hell). This beer features loads of ginger to help settle the stomach and awaken the tongue. Shiphead Ginger Wheat is the best session beer I’ve had this year. Sure, I enjoyed the IPA’s put out by Stone and others, but this beer’s gingery bite sets it apart from the rest.

“My Favorite Beer of 2014”

I could name so many new favorites from this past year like the ones above as well as Four Hands Alter Ego Black IPA, 3 Floyds War Mullet DIPA, Logboat/Four Hands Loghands Saison, Four Hands Cash Money, Founders Dissenter, Prairie’s Bomb!, Crooked Stave Vieille Artisanal Saison, Three Taverns’ White Hops, my own Aaawrange IPA and Smoke without Fire, Stone Go To IPA, Cigar City Marshal Zhukov’s Imperial Stout (2013), Jackie O’s Pub & Brewery Oil of Aphrodite, etc. I could also consider some old favorites that showed well again this year like Boulevard Saison Brett, Boulevard Love Child #4, Boulevard Rye on Rye, Bells Dark Note, Deschutes Hop Henge DIPA, Bells Hopslam, Mikkeller Citra, etc.

However, this year’s favorite beer has to be the one I predicted almost three years ago. I wrote the following:

Dogfish Head Guided By Voices Heavy Lager – I once heard Bob Pollard proclaim on stage that he drinks “Bud Heavy” and not Bud Light. So, I think Dogfish Head needs to produce a “heavy” lager, maybe an imperial pilsner or high ABV bock of some sort and dedicate it to the reunited classic GBV lineup. I chose Dogfish Head because they’ve done this sort of thing before and there’s a picture of Sam Calagione wearing a GBV t-shirt out there somewhere.

I was pretty close in my prediction and although I didn’t correctly predict the name of the beer, I did name a two-episode web series the same as my beer of the year. This beer wasn’t necessarily the best or even my favorite for taste, aroma, etc. This beer captured the connection between craft beer and indie rock I have been preaching about here when I actually find time to post.

That beer, of course, is Beer Thousand, the imperial lager Dogfish Head brewed in commemoration of the 20th anniversary of Guided By Voices’ Bee Thousand. Never has a beer more perfectly deserved recognition on this blog than now. And somehow with the help of my brother (who happens to live in Dayton), I was able to score a 4-pack. The beer is excellent. It hides the booze well and defies the style. While it may not rank high in tartness or hoppiness, it certainly tastes like Bee Thousand sounds: gloriously lo-fi and bound to get you drunk.



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