My “Interview” with The Thermals
As mentioned before, I have a little side project over at The CoMo Collective where I cover the local music scene. I’ve tried my best to parlay that into opportunities to interview national acts. So far, I received a half-hearted reply from The Walkmen and no answer from The New Pornographers and Yo La Tengo. I won’t quit as the follow interview (done over email) demonstrates just how fun this little gig can be. Hutch Harris was super cool in taking time from his busy touring schedule to not only answer my lame questions, but he also responded to the follow-ups. I just wish I was in town to see them play…
Which brings me to the next topic. For the first two weeks of June, I will be in Spain. I’m not taking a computer. So, the posting around these parts should be scarce. I’ll try to update when possible, but I’m not promising anything. In the meantime, search through my archives. I’m sure there’s something embarrassing there you can call me out on.
Poster by Justin Nardy
The Thermals are touring and said tour makes a stop at Mojo’s this Wednesday. The tour is in support of the threesome’s latest release, last year’s Personal Life, the rare punk rock record about relationships. While the band has taken a bit of a break from the somewhat political messages typically associated with their previous work, fans are still sure to find vintage Thermals pop-punk that will induce pogoing for an entire hour-long set.
Recently, The Thermals’ Hutch Harris and I sat down (in front of our laptops) and chatted (via email) about touring, records, and dating. Take a moment and read what he had to say about these topics. Then, be sure to catch The Thermals Wednesday at Mojo’s.
TCC: For people with non-rock ‘n roll jobs, we often have to explain what we do for a living in a short, concise manner. I call this the “elevator talk.” You have to explain what it is you do in the time it takes for the elevator to reach your floor. So, how would The Thermals’ elevator talk go?
HH: we play in a rock band for a living. we make money playing shows and putting out records. (now we’ll just stand here in silence uncomfortably until we reach our floor.)
TCC: The Thermals hail from Portland. What’s that like? Do you bump into indie rock royalty (other than yourselves) every time you go to the grocery store or library? Does every Portlandian survive on craft beer-only diets?
HH: portland is the best. we’ve lived here for thirteen years now. yes, indie-rock royalty is everywhere. but you won’t find them at the library because it’s not cool. and yes, we survive on craft beer, as long as it’s organic and gluten-free. which isn’t cool either.
TCC: Is someone in the band gluten intolerant? That sucks. How do you make that work on the road?
HH: no, none of us are gluten-free. it’s just very popular in portland.
TCC: Speaking of Portland, have you seen *Portlandia*? What do you think of it?
HH: of course we’ve seen it. we played the premiere in NYC, it was awesome! we love the show – fred and carrie are both friends of ours, we’ve done a lot of shows with both of them over the years.
TCC: 2006’s The Body, the Blood, the Machine was a breakthrough for the band in a lot of ways. It received a fair amount of critical acclaim and was a pretty charged political statement in some uncertain times. How did that record and the response it received from critics and fans change or support how you felt about this band? Can you see another political album like The Body… in the band’s future?
HH: TBTBTM was the first record that kathy and i made just the two of us. we were very proud of it but had no idea what people would think of it. the response it received was amazing! it was great that so many people understood what i was trying to say, and responded so positively. that’s really the most you can hope for as an artist. most records we’ve made have been political in one way or another. i’m not sure we’ll ever make a record quite like TBTBTM. But we may try.
TCC: With the follow-up to The Body…, Now We Can See demonstrates a newfound maturity, an ability to see more clearly. From where did that perceived maturity come? Was it just a case of not wanting to do the same album over? Did anything really change? Was it related to your move from Sub Pop in any way?
HH: we are getting older and wiser, we can’t help it! we definitely did not want to make the same record twice. we wanted to make a record with no religion or politics, although both subjects did manage to sneak in there. it was totally unrelated to the label change.
TCC: Personal Life is your relationship record. (I know this because Pitchfork told me so.) What brought that on? Was there intent to make a record about love and love lost?
HH: every time i sit down to start lyrics for a record, i try not to have a theme in mind. i like to just start and see what comes out. although i did want to make a record that was more simple and down to earth than the last few records we had made.
TCC: The last time you played Columbia, Mojo’s was about half empty despite all the critical acclaim and media attention the band was getting at the time. Is it hard to get up to play for a crummy turnout on a weeknight in a midwestern town (although, I danced my ass off that night) or is it invigorating to play in such an intimate setting?
HH: i’m most concerned about how well we play. if we put on a good show, i’m satisfied. it doesn’t bother us so much if the turnout is small. although that hasn’t been a problem for a long time.
TCC: Do you remember where you ate last time in Columbia? Any other fond memories of Columbia?
HH: um, indian food i think? was this the show where we supported mates of state? you’ll have to remind me.
TCC: First, I apologize if you ate at India’s House. No one should ever have to eat there. No, you were the headliner that night. It was in Mojo’s, a weeknight, I believe. I actually almost approached you all, but you looked like you were on your way out, possibly to eat. So, I chatted up the girl selling your merch. She was studying for the GRE. Either way, your answer suggests that the stop in Columbia wasn’t all that memorable, but that’s understandable. What do you find to be the most challenging to stops in small, midwestern towns? Or is it a nice respite from the hustle and bustle of the big city?
HH: oh yeah it was 2007. it’s coming back now. we play hundreds of shows each year so it gets hard to remember! any town can be fun, as long as the vibe is good and the people are friendly. there are few towns in the US we don’t like.
TCC: What’s next for The Thermals?
HH: we are supporting matt and kim for six weeks in june and july, then heading back to europe (we are touring here now) in august for festivals.
TCC: Finally, in reference to my earlier question concerning Personal Life‘s status as a relationship album, would you fill out the following (theoretical) dating site profile for The Thermals?
- Relationship Status: Looking for… HOTT men and women.
- Kids? we promise we will try to not knock you up.
- Religious Views: nope.
- Political Views: pro-fascism, as long as it’s done right.
- Tattoos and/or Piercings: no cherries or birds please.
- What do you like to do for fun? fuck you all night.
- What would be your ideal date? yr bed.
- If you were an animal, what would you be? kesha.
I don’t know about you, dear readers, but that was hot. So hot that I expect you to make it out to Mojo’s this Wednesday for The Thermals set. The openers are Morning Teleportation. Doors open at 8:00 and it’ll cost you twelve bucks to get in.
New Slang Saison, pt. 2
Here’s a quick update on the beer…
As suggested by Jamie in the comments, I didn’t provide enough yeast for the beer. Luckily, friends Jeff and Brian had some slurry laying around. For the non-brewer, slurry is just the yeast leftover from a batch of beer. We made a starter and pitched a second round. This worked and the final gravity hit somewhere just under 1.015, which is what I was looking for.
Thao and Mirah Kill Rock Stars
Women in rock rarely get their due, unless it’s for a special issue of Rolling Stone[1]. It’s perceived they’re in the band to provide an aesthetic, visual and/or musical. And when they’re the primary artist, they’re rarely taken seriously.
Just this past weekend, a show was put on in honor of some of the best bands of the 80’s underground. Despite the decidedly male-dominated nature of that scene, several women took center stage, playing the part of the 80’s underground punk rocker. Unfortunately, according to Brooklyn Vegan, even these accomplished, talented women were subjected to catcalls.
Still, underneath the ignorance and sexism, women create some of the most dynamic music there is, comparable to their male counterparts. We often just have to give it the time and attention the music deserves[2], especially when two prolific women in (indie) rock team up as Thao and Mirah have.
I’m not sure why this is the issue on which I’ve chosen to focus. It could be that I recently finished the Patti Smith memoir Just Kids and the idea that a dynamic, creative rock star is virtually ignored in the rock ‘n roll canon because she happens to be female. It probably didn’t help her legacy[3] that the love of her life was a gay S&M artist. Still, Patti Smith doesn’t get the respect she deserves. She was/is uncompromising, hard to define. Much of the same can be said of Thao and Mirah[4].
Thao & Mirah is one those rare records that’s ambitious without being sprawling. It’s textured without being overdone. There’s some pretty thoughtful and creative work in there musically. Lyrically, it’s aggressive and witty. Thao and Mirah are two of the more unique voices in indie rock and those voices meld together perfectly.
This is not your typical rock record and – fair or not – these are not the typical rock stars. Will this be recognized as a rock record or something folkier? Well, it’s a rock record, almost avant garde at times. It’s percussion forward, demonstrating some real balls-to-the-walls attitude. It’s not the stereotypical female duo record by any means. And the album should be judged on these merits.
The songs are varied throughout. The first six or seven tracks move between styles, vocalists, effects, dynamics. “Eleven” is as much an attention-grabber as any opening track should be with its organically electronic beats a la tUnE-YarDS[5]. “Folks,” “Little Cup,” and “Teeth” are speedy, folky tracks that are more thanks to inventive vocal performances by both singers and some interesting and varied percussion. Mirah’s minimalist soul comes through in “Rubies and Rocks.”
The album’s best shot at a pop anthem exists in “Spaced Out Orbit” Ironically, this track’s poetic style most reminds me of Patti Smith’s writing. This suggests that mainstream pop stardom probably won’t happen with here…that is, until Lady Gaga decides to cover it[6].”How Dare You” is the duet for which baby dykes everywhere will scream. “Likeable Man” comes off hot with its driving rhythm and directives, but it’s certainly a feminist rant[7].
After the Frente!-like[8] “Hallelujah,” the record closes with the stomp “Squareneck.” What’s interesting is that this last song leaves the listener with the an impression this is more of a rock act than previously thought. However, Thao and Mirah are killing rock star myths with each track. I guess it makes sense the record came out on Kill Rock Stars[9].
Thao & Mirah is one of the more interesting collabs I’ve heard in a while. It’s been on repeat over the past few days and that’s saying something with the last couple of records I’ve received and reviewed. For this record, the women in (indie) rock should get their due. And it’s not just because it’s a good record by women; it’s just a good record.
Notes:
1And even after that, they follow it up with a scantily-clad singer on the next cover.
2I recognize that by calling attention to the gender issue that I’m no better than those who ignore women in rock by making gender a part of the appeal for the record I’m about to review. That said, I find it interesting the attention this record has received compared to some all-male projects with musicians of similar status.
3OK. She is in the hall of fame and generally those who really understand rock history recognize Smith’s importance and her influence on music and art. However, the general public doesn’t recognize Smith for anything, really.
4This is where I probably should just tell you about the music.
5WTF? Right? This ridiculousness might be the biggest reason I’ll never completely succumb to tUn…ah, fuck it…Tune-Yards’ wiles.
6I’m serious. I say Gaga as she seems like the most willing pop star to take on something like this. Maybe Beyonce’s sister who pretends to be alt, but probably not.
7“Rant” is not meant to be derogatory. Both artists seem to have some feminist threads throughout. This was the track that sorta got me hot, then I read the lyrics.
8Yes, I made a Frente! reference. It felt cheap and lazy, but it was exactly what I thought as soon as I played this track. I liked Frente! back in the day, but the song is strikingly out of place on this album. Luckily, the final track salvages the album.
9See what I did there? Honestly, I’ve had no time to finish this post with single-parenting and all that. So, this is what you get. The next paragraph is even worse. I just ran out of ideas.
The Weekend that Was
Since starting this blog, I’ve tried to limit the number of posts that just tell you what I did. Well, I’ve been a single parent for most of the last week and will continue for all of this week. So, I have time for nothing more than share a few images from my weekend.
The weekend started with this…
Stone’s Cali-Belgique IPA started off the weekend (and would be enjoyed on Sunday as well). The Hopry’s review got me to thinking that I needed to give this beer another try. The first and last time I tried it was the big Stone night here in town and I was not that impressed. Of course, I was following up several beers that are all a load on their own. So, making this my first of the weekend allowed me to enjoy this beer unscathed. Upon further review, the Cali-Belgique is what its name suggests: a California-style hopbomb with the delicate presence of a Belgian yeast strain. What a great summer beer this is going to be with it’s tartness only balanced by the fruity bitterness of west coast hop bills.
Later on Friday, I obtained the services of a sitter and caught what I hoped to be the lineup of the summer. Believers put on their typical jive-inducing set. Richard the Lionhearted (sorry, no pics turned out),played a tight set of new and old songs. Jerusalem and the Starbaskets brought home their dirty, drunken version of rock music before I had to sneak out to relieve and pay said sitter. It was a nice night to catch up with some friends and release a bit from my week as a single parent.
My kid’s first rock show happened. It was Sunday evening at an ice cream parlor. We sat down with our ice cream and watched Dubb Nubb and Cory Taylor Cox play folk music as it stormed outside. As you can see from the picture, my kid and her friend from her Montessori school rocked out, mostly pogoing the night away.
My busy weekend finally ended the way most weekends should end: with a beer. Boulevard’s Tank 7 is easily one of my five favorite/go-to beers.
Hopefully, there will be more full-fledged posts this week as next week will be a bit thin with a long-awaited vacation on the horizon. Bare with me. I have ideas for some good posts in the coming months.
Friday non-Post
My wife is out of town and I’m single-parenting it this week and next. So, there’s little to no time to blog (especially for three blogs). I have two posts started, but no time to finish. One is about the necessity for indie rock and craft beer to better appreciate one another. That one you will see eventually. The second was a post about the end of the world. Since it’s ending Saturday, you won’t see that one. Also, Jamie was right and the yeast was not enough for my beer to fully ferment. Luckily, I have friends with slurry and I will pitch more yeast tonight.
In the meantime, read about what I plan to see tonight.
…
Returning to Mojo’s from parts unknown (or Memphis) is CoMo’s forgotten son and daughter tandem, better known as Jerusalem and the Starbaskets. Frontman Jeremy Freeze and drummer Kim Sherman bring the pain – metaphorically and literally with their raucous live set. Sometimes it’s a shambled mess and other times it’s pure brilliance. you want to be there for both.
As a two-piece, Jerusalem will cause you to recall other acts such as The White Stripes or The Black Keys, but those are lazy comparisons. I prefer rolling out Swearing at Motorist or The Kills when describing what they do. Expect plenty of heartbreak and woe, but be prepared to rock Friday night.
Jerusalem and the Starbaskets are supporting their recently released and well-received full-length as released by Minneapolis label De Stijl. The record is doing so well, that the first single, “First Cigarette in the Rain,” recently topped the NYU charts. So, be sure to make it out to Mojo’s tonight to welcome the duo back.
Also playing are CoMusic favorites Believers and Richard the Lionhearted.
Believers are warning their legions of followers that this might be the last time to see them for a while. Hopefully, that means more writing and recording…or it could just mean more float trips for the band. Either way, it will be nice to see Believers on stage again as they put on one of the most engaging live shows in town.
Rumor has it that CoMusic compilation contributor Richard the Lionhearted will be debuting some new songs tonight as well. This news should only be welcomed with cheers, beers, and undergarments flung on stage as these boys know how to write a song. The prolific band will open what promises to be the best one-night lineup of the summer.
The doors at Mojo’s opens at 8:30. There is a $5 cover, but it’s totally worth it.
In the meantime, check the following video and track to hold you over.
http://player.soundcloud.com/player.swf?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F10093969 Jerusalem and the Starbaskets : Walkin across your Grave by destijlrecs
Stillwater Existent
There are trends in craft beer like any other industry. Typically, anything that’s labeled “imperial” or “oak-aged” garners a lot of attention. Some have been pushing for “sessionable” beers to be a trend. Lately, turning something pale into something dark is a hip trend in beer styles. That and gypsy brewing are two trends I’m enjoying immensely for pushing the definition of a beer and its brewer.
The dark Saison or farmhouse ale is the ugly step-child of the Cascadian dark ale/black IPA in much the same way the Saison has been treated in comparison to the IPA/DIPA. However, as tastes grow to become more sophisticated, the Saison is gaining attention. It doesn’t hurt when brewers like Boulevard sour their Saisons with Brettanomyces or infected tanks to add character that bitter India pale ales just can’t obtain. Now, the black Saison is gaining ground on the black IPA in much the same way.
One brewery that does the Saison better than almost any is Stillwater Artisanal Ales. The Baltimore-based brewery recreates the farmhouse like few clans of Amish ever wished or hoped to raise on a Saturday afternoon. Wet horse blankets and all fill 750mL bottles topped with home-winery PVC caps and stickered labels that draw the envy of many an artist.
Besides the great beer and label artwork, the other aspect that sets Stillwater apart from most breweries is their status as a “gypsy brewery.” Much like the Coalition’s favorite Mikkeller, Stillwater pays breweries to use their facilities in creating their artisanal ales. The gypsy brewery is the nomad of the nano set, the free spirit of craft beer. And the results are pretty amazing.
Last night, I cracked open Stillwater’s Existent, a dark, almost black farmhouse ale that defines/defies the style like few others could. The only other black Saison I’ve had capitalized on the sweetness of the dark malt, but this beer brings the roastiness like Starbuck’s tenfold. Coffee and chocolate dominate the tongue, but that familiar pungency of the Belgian Saison fills your nasal passages with floridness that is pure farmhouse. Some of the reviews I read didn’t sense the Saison characters, but you have to breath in deep on this one and when you catch it, it takes over. The combination is all raisins and roasted chicken, possibly even coq au vin.
As with my last straight-up beer review, I have focused on a beer that defies convention brewed by a brewer who also defies convention. It’s hard to figure out a beer who’s style is supposed to be fruity, earthy, but is corrupted with roasted malt. Additionally, it’s hard to figure out brewers who don’t have a street address. The challenge lies in getting past this unconventional approach to the conventional and just judging the beer on its own merits. It’s roasty like the finest porter, but the floral aroma says nothing but French/Belgian countryside. This makes Existent a triumph at best and a good beer to have with your roasted chicken at worst.
Nice Package
Although some are discovering the beer can and others obsess over it, the bottle is still the primary way we get our craft beer. Beer typically comes in 12 oz, 22 oz, 750 mL, and even the rare 7 oz bottle. Occasionally, one will encounter the seasonal release in a magnum bottle, but only if you plan on sharing it with a host of friends and family.
The biggest characteristic of every beer bottle is the size. Basically, how much beer do you want to drink? The traditional serving is 12 ounces, but sometimes we are faced with a 22 oz or 750 mL bomber. This either means you have a commitment to make (especially with a beer in the 9+% ABV range) or you need a friend or two. The sixer of 12 oz bottles requires another kind of commitment, one that can be spread out over time. So, there are decisions to be made when choosing a bottle size.
Take the Maharaja I opted to open the other night. I’ve been cutting back on the weeknight beer lately, but we ordered out and rented a movie on Thursday, so I figured what the hay. My sandwich included some blue cheese, meaning that I needed a big DIPA that bordered on barley wine territory to stand up to the blue cheese. Avery’s Maharaja did the trick with its mouthful of bitter and booze. However, 22 oz was more than I intended to drink. Luckily, there are tricks. I would have used a European flip-top bottle that holds 11.2 oz, but I delivered a friend some Hopslam and haven’t been able to get my bottle back. The other option I like to use is the champaign stopper. It holds in much of the carbonation and keeps enough air out to avoid oxidation. The key is to finish the beer soon, particularly an IPA/DIPA. These beers need to be consumed fresh, no matter what some think. I did so at the end of the following day.
I don’t like to do this with a bomber of beer. I’d rather open and drink a bomber in one night. Again, a fresh beer is a beer at its peak, aside from a few notable exceptions. To do this, most beer nerds know that sharing is caring. The bomber encourages this even better than a six-pack of 12 oz bottles. Sure, it’s easy to hand your buddy a 12 oz bottle from your pack, but there’s no thought put into that share. A bomber requires a careful pour. One either pours out a sampling as to allow others to try the sweet nectar inside or there is the careful aligning of glasses when there’s two or three of you. Either way, the bomber pour demonstrates a true willingness and intention to share your beer.
Besides the bottle (and the beer itself), a large part of the experience is actually the label art. Some view labels with an artistic eye. Home brewers (myself included), put their own creativity to work with their own labels. A label can entice you to try a beer or completely turn you off, even with a poor font choice. A lot of care in creating a label that grabs the consumer’s attention, paints a picture of the experience within, and promoting a brewery’s brand is taken in the design process. Sometimes, when done well enough, the label can influence opinion about what the drinker is consuming. Even the prose on a label can create a brand’s image that lasts long past a beer’s influence.
So, packaging matters.
Then, there’s the packaging in which our music comes. Granted, one should not judge a book, beer, or record by its cover, but sometimes that’s a factor. This is especially true for record covers as they often reflect the artistic vision within or are even an extended work by the artists making the music. Sadly, this is becoming less and less of a factor as uglier record covers are produced every year, possibly due to the rash of kids downloading their music and completely forgoing the package all together.
Being that I’m in my mid-thirties, I still buy records for the the purpose of owning an artifact. Ever since someone brilliantly decided to attach MP3 downloads (and even CD’s) to vinyl releases, I buy all vinyl for my collection these days. I have purchased one or two CD’s since 2009. Since then, it’s been all vinyl.
The format is for lounging, sharing. There’s the soft tones not found on tinny digital recordings. There’s a slight crackle to lend some authenticity. You have to get up and flip the record, making you physically involved in the playing process. For what it lacks in transportability, records more than make up with the more tactile aspects of music listening. It’s the full experience, not just music.
Beer offers the same in its various formats, but it generally works in the consumer’s favor whichever format is chosen. Having a beer on tap or from a cask is usually preferable, but bottle conditioning has come a long way since craft beer went extreme and home brewers became a dime a dozen. However, I’d argue the 22 ounce bomber is the vinyl of beer packaging as it promotes sharing without encouraging you to get shit-faced (too quickly)…
And this is where I lose momentum from trying to write this over a three week period. I should have left space to address specific packages I like, but I just didn’t as I got a little long-winded with this one. Surely, it’s a topic which I will explore some more in the future, but today is not my day. Any thoughts on the subject are welcome. Keep in mind that this is an unfinished post I’m trying to get out of the way so that I can write more important things about beer and Pavement.
So, for Monday, you get two lame posts in exchange for no real post. Your ignored workload thanks me.
Bottled Up
Sample, ale pail, OSU shot glass, Brewer's Whiskey by New Holland, caps, capper, etc.
Sorry. I bottled my Harnessed in Slums IPA last night instead of writing a post. The beer hit exactly where I needed it to final gravity-wise. Thursday’s New Slang Saison started bubbling late morning on Friday and has gone steadily all weekend. I’m thinking there’s enough yeast in there to get me through.
There’s one post that’s like 1/3 done (1/2 written, footnotes left to write), but I just didn’t have the energy for it. So, just gander at another Hipstamatic photo above (because I’m not a real photog with a real camera) and watch the video made especially for this beer below.
New Slang Saison, pt. 1
I had a post started almost a week ago that I just haven’t had time to finish. Then, I decided to brew last night, leaving me with no time to write a proper post. So, what you get instead is part 1 of my brewing process. It’s only extract, so nothing super professional-looking will happen. Also, it’s a style that’s nothing like I’ve done before. I’ve gotten pretty good at the extract brew, but a Saison with herbs and whatnot is something new.
The recipe is here and what happened is below…
First, I assembled the ingredients: 0.5 lbs. Briess Caramel 20L (specialty grain), 7 lbs. light dry malt extract, 1 oz. Amarillo hop pellets, 1 oz. Sorachi Ace hop pellets, zest of one lemon, a sprig of rosemary, Wyeast Biere De Garde 3725 yeast
I steeped the specialty grain for about 20 minutes. It was actually when the water reached 170 degrees Farenheit. This usually adds some character – particularly in terms of color – to the beer.
Once the specialty grains were removed, I brought the water to a boil, threw in the extract, removed it from the heat (so as not to boil over), stirred until the extract was dissolved, and returned it to boil. Once the boil started up again, I added the Amarillo. While waiting, I put some cold water in the carboy and made sure the rest of my equipment was properly sanitized.
With 15 minutes to go, I added the Sorachi Ace hops. These hops are pretty new. They were developed by Sapporo and produce a lemony sent and flavor. I’ve had a beer by Brooklyn Brewery once that used the hop exclusively. It was a good beer and thought that this might add something unique to my Saison. Between that hop addition and the end of the boil, I prepped some honey by putting the bottle in warm water so as to liquify the stuff before dumping it into the wort. At the end of the boil, I tossed in the lemon zest and Rosemary, baby.
Now, comes the worst part of my process: cooling the wort. Since it was storming out, I didn’t have my typical option of chilling it outside, in this giant laundry tub, with cold water running constantly from my hose outside the pot. Instead, I had to resort to the old way of sticking it in an ice bath in the sink. Luckily, this doesn’t take that long if you consider that the ice bath is only part of the cooling process. After the ice bath, I add the wort to cold water in the carboy. That usually puts it over the top if the aeration doesn’t.
Now, the real wait begins. My hope is that the beer ferments in a week. That way I can rack it to the secondary for four or so weeks. Part of that time, we’ll be out of town. The beer will be ready to bottle shortly after I return from my travels. I’ll let you know how the rest goes in future posts.
So far, preliminary smells suggest the lemon will be pretty prominent. In fact, before I pitched the yeast, the wort smelled like an Arnold Palmer. The drink. Arnold Palmer the golfer smelled of cigarettes, sweaty polyester, and women’s perfume. The wort smelled like the drink made out of lemonade and iced tea. Herbally, lemony goodness. However, I know a little Rosemary goes a long way. So, that may come out as things settle. It will be fun to see.
Update: There’s a little action going on. I’ve never used this yeast, but I seem to remember that everyone I’ve known who’s used Belgian strains have had slow starts. I should see more bubbling by tomorrow.
Update 2: Despite what I thought and some have suggested, fermentation has been active throughout the day. I’m thinking we’re in the clear, but I’ll wait for a final gravity in the 1.012 to 1.015 range before I make any bold predictions.
Update 3: So far, so good. The beer fermented all weekend long. It’s supposed to be done in a week. Since getting a proper hydrometer (long story), I will be able to take an accurate final gravity reading. If it comes up short, I might have to hunt down some champaign yeast to finish it off. I’ll post a part 3 to this story either Friday or Monday the 23rd.
Beer and Pavement 
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