Founders Breakfast Stout

The first time I had Founders Breakfast Stout was at Smith's Billiards, Springfield MA, fall 2009. I was at the very beginning of my craft beer intrigue but it had already caught my eye on a few occasions while exploring BeerAdvocate: it was (still is) a top-rated imperial stout, the amusing (iconic) label, the fact that it was called Breakfast Stout. Aside from being excited to try this sought after wonder brew, I also knew it as a somewhat limited seasonal release, so I was also grateful to just have stumbled upon it.

The bartender poured my cousin and I each a sample from the tap. Black and viscous, brown head, we took our sips. "This tastes like espresso!", my cousin proclaimed as I was finishing. I stared into my empty glass for a moment, then off into the distance. "Yes, it does", I responded. "Yes, it does."

The label describes it as a 'double chocolate coffee oatmeal stout' - it is indeed brewed with flaked oats, bitter and sweetened imported chocolates, and of course, Sumatra and Kona coffee. It sounds like a mouthful (literally), but they really do make it all come through wonderfully in the nose and the taste, with coffee getting the slight upper hand over it all. There are touches of molasses and smokiness throughout, along with some grassy hop bitterness. An overall superb balance of long-lingering flavors. The mouthfeel is silky smooth and well-carbonated, showing just a bit of alcohol warmth from its 8.3% ABV. 

From that fateful day on, Founders Breakfast Stout had set a high bar for my first coffee stout. Few of the probably hundred different ones I've tried have lived up to this one, specifically in the areas of balance, pure-fresh-coffee-goodness, consistency and drinkability. Classic fall beer, classic imperial coffee stout, and for some, even a classic breakfast beer.

now songs

Helmet "Bad Mood"

from Strap it On

A misprint that is on many copies of this album (including mine) titles this song as "Bad Moon" which I find pretty funny for some reason. "Bad Mood" is a much more sensical name for a Helmet song I think. This one's a classic and definitely sets itself apart from the rest of the tracks. It's fast, heavy, angry, short and to the point; the relentlessly chugging stop n go riff is instantly memorable. The "solo" is great and ups the energy for the end. I love the almost-mechanical feel to it - just helps imbed the image of these dudes as just a well-oiled alt/metal machine, circa 1990, just grinding away.

Link

Wilco "That's Not the Issue"

from A.M.

I'd say this is a moment during the album that might polarize listeners a bit. Whereas during the first 6 tracks there is a noticeable country influence being softened by polite alternative rock, here they let banjo-strumming madness do most of the talking. Is it safe to assume Conor Oberst was probably listening to this stuff? This to me is the ultimate driving-through-rural-Vermont song.

Link

Alice in Chains "Whale & Wasp"

from Jar of Flies

Awesome instrumental track using just guitars and violin I believe. I love the guitar tone, the 'howl' is especially haunting, just an overall very creepy, sad, epic feel to it. Kinda reminds me of some of those old Black Sabbath instrumentals ("Fluff", "Orchid", "Laguna Sunrise"). Goes great with an autumn hike at sunrise.

Link

Pere Ubu "Dub Housing"

from Dub Housing

Honestly any of the tracks from Dub Housing could be in this spot, each one of them has so much resonance and unique charm. The title track is fittingly excellent though - a simple and goofy hook ("We know-ohh") carries it, typical crazed vocals that sound like they're coming through the wall, sax-gone-haywire, randomly uttered syllables, mystery noises. 1:38-2:42 is a stunning musical break that starts off like an aimless shamble only to stumble upon a twisted culmination.

Link

Kendrick Lamar "Money Trees"

from good kid, m.A.A.d city

From the candidate-for-possible-overnight-sensation repetition of "ya bish" to a spittle-soaked and stressed out Jay Rock verse, an exceptional highlight from an album where you get your choice of them.

Link

resurgence

In the weeks leading up to Halloween this year, it was pretty common to see a classic horror movie playing in the living room. Though my horror obsession mostly lay in my high school years, there will always be a special place in my weathered heart for them. Any chance I get to sit down and watch one of my old favorites - a rare thing nowadays - I still always come away not only entertained as ever, but pleasantly surprised just how much most of them have held up for me. Friends and I went through some great standbys this year (Halloween, Dawn of the Dead, Friday the 13th, The Shining, etc.) but one that really caught me by surprise was Day of the Dead. It had probably been at least 10 years I'd seen it. I'd say it is the most slow-moving of the trilogy, but I love the dark and gritty feel of this one. It is very psychological and claustrophobic, and though the gory scenes are few and far between, when they do arise they deliver nicely. I could see why I might not have enjoyed this as much in high school, perhaps a lack of patience - this is not the wild mall-romp that is Dawn of the Dead. But while it lacks in fun, it does succeed at painting a frightening picture of humanity nearing the end of its rope.

In September 2008 I lived in Worcester, MA temporarily; and a great memory of that era is skateboarding and exploring the city. I spent a good amount of my pre-employment time there doing just that - there is nothing quite like having an unfamiliar and sprawling city at your disposal when you have a skateboard, willpower, and free time. These 2 Nate Keegan parts, which were still somewhat recent at the time, were pretty much my exploratory guides. Both are almost exclusively filmed in Worcester, and while it was awesome to see some familiar spots get slaughtered (Clark University, DCU Center, Vocational High) what was really memorable was hunting down and/or stumbling upon some of those unknown spots. These parts still very much hold up for me especially as my interest in East Coast skating grows and grows. Big trick selection and style for days, skating harsh spots and making it look easy. 3 classic tricks that come to mind:

1. Bs nosegrind at a snowy DCU Center.

2. Downhill line outside the parking garage: switch 180 up the curb, crooked grind tall-as-fuck ledge, ollie street gap.

3. Shoveit nose manual fs big spin out on the long ledge at the DCU Center. First off, no one skates that part, it's long, narrow, has big ol cracks in it, etc. and also, it's just done perfectly.

album shorts

Swell Maps - A Trip to Marineville (1979)

Artsy punk that starts to transform into punky art around track 8, and by track 12 it delves into some sort of other undeclared realm of sound. A post-punk album that collects all that is chaotic, noisy, humorous and dark; where slammed piano keys, popping balloons, blowing bubbles and vacuum cleaners are all welcome.

Earl Sweatshirt - EARL (2010)

If nothing else, this makes me remember high-schoolers CAN matter. Matter of fact, this makes me even MISS high school. It perfectly captures that feeling of weirdo-homemade-Eminem worship, with tons of original character and standout lyrics that are equal parts complex, smart, 'uber-offensive' and memorable. Given their age groups, all that 'uber-offensive' stuff is most likely just natural instinct.

Sunny Day Real Estate - LP2 (1995)

This album has this big, mysterious, whatever/nonchalant thing going for it - the songs, the song titles, the (lack of) album title, the artwork, the liner notes - especially noticeable when compared to their more focused first album, Diary. It works both good and bad - while it may not be the big gamechanger that is their first album, it's obviously not supposed to be - LP2 does a good job showing the band being looser, but not slacking.

Ancient Chinese Secret - Caveat Emptor (1999)

Sounds like the culmination of a woman who, fed up after a long day at a customer service-oriented job, comes home and makes music with a couple powerviolence legends. A little oddball project with innocent/inexperienced female vocalist charm and an instrumental limitation of bass/drums/keyboards, refreshingly unique for the genre. For those who sometimes like their thrash domestic and experimental.

Yes - The Yes Album (1971)

Proudly boasts the essence of the era like a badge of honor, and it certainly adds charm here - the long, proggy songs with multiple sections, out of nowhere transitions, production somewhere between shoddy and trippy - but above all, this is simply a very fun, enjoyable listen.