Moody Brews

MOODY BREWS

In anticipation of his new book Seven Moods of Craft Beer, Adrian Tierney-Jones looks into the soul of beer

Are you in the mood for a beer? Of course you are. But what kind of mood are you in and what kind of mood is the beer that you fancy drinking in? Will there be a row when the two of you meet (and I’m not talking about the kind of tension that comes with badly made cask beer or under ripe keg), or will you get on famously and stay together for the next three glasses or so?

When I think about the mood of a beer, I like to try and guess what the beer in the glass is saying to me. Then I try and think about the kind of discourse I am having with the beer in my hand. What is this beer saying to me, what am I saying back to it? Or is this all a bit too fanciful, a conceit conjured after a few too many?

After all, many might sneer about the idea that a beer can have a soul, a mood, a way of influencing your life, an outlook even. After all, it is just a beer, an intoxicating liquid, coming along in different colours, aromatics and tastes, but it’s still a beer, to be drank and quickly forgotten.

On the other hand, I’ve always wondered about beer, always thought it could be something more than just an intoxicating liquid, a rhyme and a reason for talking to the person on the next table in the pub that you visit on a Sunday afternoon, or a clanking assemblage of carriages ready to take us through the journey we call life. I have always wanted it to be more; I have always wanted it to have its own life, its own personality — which takes me back to the mood of a beer.

So how do we define the mood of a beer, especially when this bottle or glass that you are admiring and trying to understand is just one of many from a single brew (and then there’s the next day’s brew of the same beer). I’m not interested in being pedantic, it’s a leap of faith, a imposition of the imagination, in the same way as you can believe a great meal has a soul or that a poem speaks directly to you. I’m suspending belief and believing in the mood of my beer.

Brief philosophical debate over, let’s move on to see how the beer can chime with our mood and act in harmony. If we are feeling contemplative, thoughtful, quiet almost, in need of some time spent alone, let’s look at the mood of a beer that might be best for this. There’s no need to pick a Czech-style Pilsner for instance, a blond, Saaz-ravished creature of light, chattering away in the glass, lively and loquacious, a great beer in its own right not in the right mood. This is a social beer.

Let’s not go for a saison either, angular and jazz-like in its free form on the palate, brisk and bustling in its mouth feel and sashaying across the tongue with its spice and fruit. That’s a beer for a different mood. Bucolic perhaps; this is a beer to make you think of a lonely Wallonian farmhouse with a history of brewing spanning generations and where the brewing kettle is still direct-fired (I’m looking at you Dupont!).

Instead, when we think about contemplation, maybe we think about stillness, about being in the eye of the storm, of being calm and collected and expecting a beer to possess those same virtues. It could be what Michael Jackson called a ‘book at bedtime’ beer, a slow-drinking barley wine to be enjoyed in a comfortable armchair while the weather does its worse outside. For that sort of contemplative beer I recall a glass of Duits & Lauret Winterstout on a wet night in a canalside bar in Amsterdam several years ago.

However, from my own personal experience, one of the more memorable contemplative beers in the past couple of years has been Alesmith’s Speedway Stout, a glass of which I enjoyed in the Pine Box in Seattle. Yes, the venue was lively and there was music playing, but I personally was thoughtful and contemplative and Speedway Stout was the very beer to mirror that mood. It was sombre in its darkness and its chocolate, coffee, roast grains and bitterness, alongside the heft and weight of its 12% alcohol, were calm and custom-made to be this beacon of tranquillity and contemplation within the noise of the bar (which incidentally used to be a funeral parlour and was where Bruce Lee was laid out — maybe this information helped with the mood).

The beer spoke to me, encouraged me to think about it, to think about its tastes, to enjoy and plug into every facet of its taste and aromatics. I was one with this beer, there was no other beer in the world that I’d rather have at that moment and I contemplated with it, communed with it, as deeply as if I was meditating or doing a session of yoga. This was the true meaning of the mood of a beer, a way of getting close to it, of enjoying without making a fetish of it.

I don’t always want contemplative beers. Sometimes I want social ones, like the Pilsner I mentioned; beers that ring like the finest lines of poetry or beers that are as adventurous as Errol Flynn playing Robin Hood. Beer has a mood, which if you allow yourself time and imagination can match your mood and add lustre and luminosity to your drinking life.

Adrian Tierney-Jones’ The Seven Moods of Craft Beer is out now and available here.


Review: 8 Wired, Tall Poppy

Tasting Notes: 8 Wired, TALL POPPY [7%]

New Zealand brewers have created a modern classic

When I was looking at starting Original Gravity% a couple of years ago, I had an enlightening trip to Aberdeen to research the idea. I toured BrewDog, and walking out of a brewery full of friendly young folk utterly obsessed by beer I made my mind up. I pondered the future while sat in BrewDog Aberdeen, and grabbed a take-out recommended by bar staff. Without hesitation, a bottle of Tall Poppy appeared. Back at the hotel, I popped it open, and it practically knocked me over. I laughed like a loon, jumped up and down on the bed, and took long wondrous gulps. It astonished me – its tropical swell and liquorice bite, its caramel sweetness – oh, enough from me. It’s beers like this why this magazine exists. DN / 8wired.co.nz

Buy it from Beer Hawk here.


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An unreport from a day at the Brewers’ Congress

AN UNREPORT FROM A DAY AT THE BREWERS’ CONGRESS

Adrian Tierney-Jones reflects on a day at the second Brewers’ Journal’s Brewers’ Congress.
Photos: Nic Crilly-Hargrave

How on earth do you write about a day-long conference, or in this case the Brewers’ Journal’s Brewers’ Congress (which was, as last year, held in the August and stirring surroundings of the Institute of Civil Engineers just around the corner from where Churchill stands, that’s the statue btw not the real thing, he’s been dead since 1965)? How on earth do you write about it without getting on a conveyor belt of who said what and who mumbled and who electrified the audience and who went home in tears?

How on earth do you pay justice to the essential eloquence of Garrett Oliver as he blew a metaphorical whistle on the day’s words by stating that craft beer ‘is a return to normality’, and then went on to use the plasticity and toll-booth cheapness of ‘American cheese’ as an example to highlight the way ‘American beer’ had travelled in the same direction since World War II? We’ve obviously talking big beer here. Garrett was, as ever, elegant, articulate and funny, a speaker who I first encountered in 2003 (a cheese and beer tasting at GBBF) and always love listening to. Good hat as well.

How on earth do you ‘review’ a day-long event like the Brewers’ Congress, which was rammed with engaging and light-sabre wielding speakers such as Ulrike Genz from Berliner Weiss brewery Scheeeule, who highlighted the role of Brett in the beer style; or what about Fuller’s head brewer Georgina Young on the joy of collaborating with other breweries, whether Sierra Nevada or the brewers who join in with Fuller’s and Friends; or Colin Stonge from Northern Monk elaborating on his journey through dark beer with a few words on how to make a pastry stout (ok I’m convinced now)?

Well, this is Original Gravity, and we’ll have a stab at anything apart from folk dancing and incest, so here goes.

Only in its second year the Brewers’ Congress has already become an essential part of the calendar, a Goodwood Races of people, information, education and great beer. Even though I have no intention of brewing, it’s an event that cements my allegiance and my sense of ceremony to beer and its satellites. It’s an event, that if I were a brewer, I would mark down in my diary as soon as it was announced, as soon as it was intended. If I had attended in my alter ego as a brewer this year (which will never happen, the alter ego that is), I have would learnt about best cleaning practices (Pete Lengyel, KCBC), cask beer (Andrew Leman, Timothy Taylor), consistency (Sophie de Ronde, Burnt Mill), barrel ageing beer (Chris Pilkington, Põhjala) alongside various panel discussions chaired with characteristic humour and wisdom by John Keeling (if you don’t know who he is please share your secret of space travel because you’ve obviously been on Mars for a while), who came up with another quote of the day, during a debate on whether breweries should focus on their core range or pursue the new: ‘with London Pride, you learn to love it through all the seasons of the year, while a new beer is like a snapshot of a moment in time.’

Your thoughts will be very welcome.

Adrian Tierney-Jones


Stokey Beer Fest returns in February 2019

STOKEY BEER FEST RETURNS IN FEBRUARY 2019

Following successful events in 2017 and 2018, Stokey Beer Fest is set to make a return to North London in the new year.

The festival will once again be held at Abney Hall, Stoke Newington Church Street, taking place on Friday February 8 and Saturday February 9. The festival focuses on championing small, emerging independent brewers and cider makers from around the UK, such as Liverpool’s Neptune Brewery and Boutillers of Faversham, Kent. There will also be some of craft beer’s most respected brewers in attendance, including Bermondsey brewery The Kernel.

“For the last two years now Stokey Beer Fest has distinguished itself as a chilled out and intimate event with excellent beer and 2019 will be no exception,” says Stokey Beer Fest organiser Christopher Martin, a Stoke Newington resident and founder of North London’s Seven Sisters.

Martin founded Seven Sisters Brewery in North London in 2015, along with business partner Tristan Bradley, before eventually being joined by fellow brewing enthusiast Julio Santoyo. Without a brewery of their own, they ‘cuckoo brew’ at facilities in Bermondsey, Highbury and Ilford. Stokey Beer Fest is a natural extension of Seven Sisters Brewery’s passion for beer and its surrounding community.

Early bird tickets are available for £15 (while stocks last) but will rise to the full price of £25 (plus booking fee) on January 1, 2019. Each ticket includes 1/3rd of beer from each of the 12 producers and retailers pouring at the event, plus a free can of beer from Seven Sisters Brewery. Additional tokens will be available for purchase at £1 each, with the majority of beers costing 2 to 3 tokens.

Sessions will run from 8pm to Midnight on Friday 8th, and 12pm to 5pm, then 6pm to 11pm on Saturday 9th of February. The full list of brewers and retailers attending is as follows:

Bianca Road, Boutilliers, Boxcar, Elusive, The Kernel, Hop Stuff, Little Earth Project, Neptune, Ora, Seven Sisters, Solvay Society and cider distributor The Fine Cider Company, which will be bringing a collection of ciders from its portfolio, including some from respected cider maker Tom Oliver.

Tickets for Stokey Beer Fest 2019 are available now via Eventbrite: https://www.eventbrite.co.uk/e/stokey-beer-fest-2019-tickets-51748930444


The best beer writers of 2018 announced

THE BEST BEER WRITERS OF 2018 ANNOUNCED

Emma Inch announced as Beer Writer of the Year, and other Original Gravity contributors among winners

Brighton-based beer writer and radio broadcaster Emma Inch has been named Beer Writer of the Year 2018 at the Guild of Beer Writers’ annual awards ceremony, staged on 22 November.

Beer Writer of the Year is the top award in the Guild’s annual competition for writing about beer and pubs, which this year received more than 140 entries across nine categories. Inch won two category awards – National Media and Online Communication – on her way to the top prize.

Inch is the creator and presenter of Fermentation Radio, the UK’s only regular beer and brewing show on FM radio. She has written for a number of national and international publications, including Original Gravity, judges regularly at beer competitions and this summer established the first Brighton & Hove Beer Week.

Adrian Tierney-Jones, chair of judges this year after taking the Beer Writer of the Year title in 2017, said, “All the judges found it exceptionally hard to choose the winners and runners up from the very strong field of entries received this year. As someone who has written about beer for 20 years, it is heartening to see the impressive levels of knowledge, energy and passion in beer and pub writing, and also to see the growing media interest in the subject.

“It’s always good to see new voices receiving recognition in our awards and tonight’s roll of honour includes writers who only joined the Guild this year, proving that our robust judging rewards talent, not time served. Everyone who received an award or a commendation should be extremely proud; they really are the cream of British beer writing in 2018 and we wish them all success in their future career communicating about beer and pubs.”

Tierney-Jones was joined on the judging panel by Amy Bryant, food editor at The Telegraph; James Cuthbertson, MD of Dark Star Brewery and founder of the Beer & Cider Marketing Awards; Stu McKinlay, co-founder of Yeastie Boys; Jenn Merrick, founder of Earth Station Brewery; Mark Taylor, Bristol-based food and drink writer, and Zoe Wood, retail correspondent at The Guardian.

The Guild’s Brewer of the Year title, presented at the same time as those for writing, was this year shared for the first time by two candidates who drew level in a poll of Guild members: John Keeling, recently retired from Fuller’s, and Jaega Wise, head brewer at Wild Card Brewery.

Presenting these Awards, Guild chairman Pete Brown said, “Both John and Jaega are worthy recipients. John’s contribution to brewing has been immense, from championing traditional cask ale to creating contemporary crowd pleasers with craft brewers, while also being an advocate for gender equality in the industry, appointing a woman head brewer to succeed him.

“Jaega has not only been producing outstanding beers but has also worked tirelessly to promote beer among the general public and built links with other drinks industries such as wine. Jaega has risen to become one of the most important voices of the industry, and a champion of increasing diversity and promoting equality within it.”

The winners were announced at the Guild’s annual dinner held at the Chelsea Harbour Hotel. Guests enjoyed a four-course dinner, with each dish accompanied by a specially selected beer: Chalky’s Bite from Sharp’s; Fourpure’s Oatmeal Stout; Hopopolata from Marble Brewery; Hogs Back Brewery’s OTT and Dark Island Reserve from Orkney Brewery. Beers from the Award’s sponsoring brewers – Adnams, Fuller’s, Greene King, Heineken and St Austell Brewery – were enjoyed before and after dinner.

AND THE WINNERS ARE…

Brewer of the Year:

John Keeling, recently retired from Fuller’s

Jaega Wise, Wild Card Brewery

 

Guild Award for Best Citizen Beer Communicator

Winner: Martin Oates

Commended: Oli Carter Esdale

 

Guild Award for Best Beer Writer – Corporate Communications

Winner: Roosters Brewery

 

Guild Award for Best Beer & Travel Writer

Winner: Jonny Garrett

Silver Award: Mark Dredge

Long Live the Local Award for Best Writer about Pubs

Winners: Jessica Boak & Ray Bailey

Commended: Bob Jeffrey

 

St Austell Brewery Award for Best Young Beer Writer of the Year

Winner: Eoghan Walsh

Silver Award: Katie Taylor

Commended: James Beeson

 

Heineken Award for Best Beer Communicator – Online

Winner: Emma Inch

Silver Award: Matthew Curtis

 

Fuller’s London Pride Award for Best Beer Writer – Trade Media

Winner: Will Hawkes

Silver Award: James Beeson

Commended: Matthew Curtis

 

Adnams Award for Best Beer Writer – Regional Media

Winner: Alastair Gilmour

Silver Award: Susan & Judith Boyle

 

Greene King Award for Best Beer Writer – National Media

Winner: Emma Inch

Silver Award: Melissa Cole

 

The Michael Jackson Gold Tankard for Beer Writer of the Year 2018

Emma Inch


How to age a bottle of beer

HOW TO AGE A BOTTLE OF BEER

“Yeah, I’m ageing some Orval at the moment.” It sounds quite technical, perhaps even daring. But ultimately, ageing beer is simply resisting the urge to drink them straight away.

All beers age if they aren’t drunk.

They oxidize, and most beers will start to taste stale and papery after their best before date. But some beers age in interesting ways, and even attributes like oxidation can come through positively if they’re in a beer that’s complex enough to work with them.

I WANT MY BEER TO AGE:

  • Choose strong styles such as barley wines, imperial stouts or Trappist ales. If they’re bottle conditioned this will help, as the slow production of carbon dioxide from the secondary fermentation will slow oxidation. But beers age in other ways too so any strong, complex beer is worth a go.
  • Store in a cool, dark place such as a cupboard, or, if you’re lucky enough, a cellar. Warm areas age beers faster.
  • Unlike wine, beer bottles should be stored upright, so the beer doesn’t come into contact with the cap.

I DONT WANT MY BEER TO AGE:

The first change in ageing beers is that the strong, hoppy character breaks down. If you want to drink a juicy IPA at its best, drink fresh and store chilled at all times.


Beer Traveller Guide: Chicago

CHICAGO

By Pete Brown, Like New York, Chicago has the power to make you marvel at its very existence.

When you walk its streets, they whisper of greatness. The soaring buildings make you feel special, privileged to be here. It’s not a coherent feeling – immediately you’re questioning its reality, remembering who you are and what your life is like, and there are always homeless people to remind you that any gilded city has its troubled underside.

But that doesn’t stop the cityscape pumping it out, a constant wave of awe and seduction, soundtracked by Gershwin within your head, and the constant peal of sirens without. It’s created by humans, but superhuman in scale: you see glimpses of Gotham around every corner, partly thanks to DC shooting its movies here while Marvel takes New York.

Chicago certainly has a heroic reputation for drink. People here have an easier attitude to alcohol and are proud of their drinking prowess. From dive bars to restaurants, the tables are always full.

But until recently, the Second City lagged behind most other major cities in the US when it comes to a thriving craft beer scene. A few years ago, Chicago noticed this. Now, if you sit at the bar in a legendary pub like the Map Room (1949 N. Hoyne Ave, www.maproom.com) you’ll soon be engaged in conversation by a local aficionado insisting that this is the best city for beer in North America, bar none.

While I can’t quite agree that it’s there yet, it’s great and inspiring fun exploring the case for the defence.

For nearly thirty years, Chicago has been synonymous with Goose Island, the craft brewing pioneer that was bought by Anheuser Busch in 2011, and is therefore, according to America’s official definition, no longer a craft brewer. More on that later.

But having such a brewing behemoth in town has a ripple effect. Some brewers who learn their draft with Goose Island go on to smaller things, and there’s now a thriving microbrewery and brewpub scene driven often by Goose alumni.

Beyond that impressive downtown core, Chicago sprawls north and south along the shore of Lake Michigan and inland, reaching for the plains of the Midwest. Pub-crawls are only really possible with Uber, or its more appealing new competitor, Lift. Each chosen destination seems to be ten minutes away from the last no matter how you plan it.

A good place to start is Logan Square, west of downtown. This is Chicago’s answer to Dalston in London, or Brooklyn’s Williamsburg – the formerly run-down, scuzzy bit that’s now gentrifying faster than the rest of the city and is currently synonymous with hipsters. Across the road from where the L-Train rumbles between the upper storeys, amid a flurry of Mexican restaurants and grimy bottle shops, stands Revolution (2323 N Milwaukee Ave https://revbrew.com/)founded by former Goose brewer Josh Deth in 2010. As well as the mandatory range of pale ales and IPAs, Revolution has a refreshing exploration of traditional styles such as Kolsch, English style golden ale and even mild. These show that ‘balance’ is not a dirty word, and that American brewers can create tasty beers below 5% ABV. The pizza is great too.

Further north is Half Acre (4257 N Lincoln Ave, www.halfacrebeer.com), just down the road from new cider bar the Northman (4337 N Lincoln Ave, www.thenorthman.com). Half Acre’s Gone Away IPA won silver at the Great American Beer Festival in 2014 and is revered as one of America’s best IPAs, but again, the full range is far more varied stylistically.

More experimental are Off Color (3925 W Dickens Ave, www.offcolorbrewing.com) founded by former Goose brewer John Laffler and his business partner Dave Bleitner, and Forbidden Root (1746 W Chicago Ave, www.forbiddenroot.com) a brewery and restaurant in which revered beer writer Randy Mosher is one of the partners.

Both these breweries have an experimental approach to ingredients – Randy’s title is ‘alchemist’ – and in each case you feel you’re in the presence of someone who really understands flavour on a deep level. Even the most unlikely sounding beers (Off Color does a beer with graham crackers and Forbidden Root one that uses the botanicals that create FernetBranca) are thoughtful and intriguing rather than brash and sensational.

But no beery tour of Chicago is complete without a visit to the new taproom at Goose Island (1800 W Fulton St, www.gooseisland.com). In a space carved from the heart of the brewery, beers as flavourful and experimental as any in town constantly rotate. The vast acreage of the barrel warehouse nearby, where stouts are aged in bourbon casks and fruit beers aged in wine barrels, proves that in this case at least, the big nasty corporate is heavily investing in good beer rather than compromising it or watering it down.

I’m sure they have their reasons, and if you’re just after good beer, it’s refreshing and inspiring to see how the big money is being spent. But if your definition of craft beer means you can’t drink anything owned by a macro brewer, well, they say a principle is worthless until it cost you something, and Chicago offers plenty of alternatives, on every scale. Finally, this larger-than-life drinking city has a beer scene that lives up to its needs.


How I made Magic Rock's Cannonball

HOW TO BREW A WORLD-BEATER

Magic Rock’s Head Brewer Stuart Ross tells the story of how he made the truly amazing Cannonball

When it came to brewing Cannonball, we wanted to brew a US West Coast style IPA because it was our (me and brewery founder Rich) favourite style and we had found that the imported beers had usually lost some of their hop character by the time they reached the UK. We wanted to make a modern IPA which would taste like the IPAs we had tasted fresh at the breweries over there.

We have been brewing Cannonball since day one! It was our first brew and the recipe has been perfected over time and we have got to a point where we are very happy with the way we brew the beer. We use British grown Golden Promise pale ale malt for the base with a small amount of Vienna malt, we want high attenuation from the mash so that we get a very dry light body in the beer so that hops are able to shine through. We use a hop back full of whole hops after the boil; the dry hopping is the most important part of the process in this beer. The hops are Centennial, Columbus,  Citra, Amarillo and Simcoe. As for inspiration, this came from Pliny the Elder, Ballast Point’s Sculpin and Port Brewing Mongo IIPA and Wipe Out IPA. One last thing: always drink Cannonball FRESH!!

Stuart Ross, Magic Rock


Fyne Ales reveals new look and first canned beers

 FYNE ALES REVEALS NEW LOOK AND FIRST CANNED BEERS

Independent Scottish brewery Fyne Ales has unveiled an updated brand identity and outlined plans to introduce new products to its core range, including two canned beers.

Fyne Ale’s new look, set to be rolled out in the coming weeks, draws inspiration from its farm brewery status and rural location on a 4500-acre estate at the head of Loch Fyne. Not only will the brewery’s current core range, including flagship pale ale Jarl, be updated, but three beers have been added to the Fyne Ales’ year-round brews.

From December 2018, the Argyll brewery’s Workbench, a 5.5% IPA, and Easy Trail, a 4.2% session IPA, will be available in 330ml cans, and North West, a New Zealand-hopped lager will join them as a permanent keg offering.

“Fyne Ales has always been recognised for the diversity and quality of our beers, but the look and feel of our brand put us at risk of falling behind in this fast-moving industry,” commented Fyne Ales managing director, Jamie Delap. “We set out to create a new identity that better tells the story of who we are and where we come from, but also reflects our ambitions as a modern, progressive brewery.”

Fyne Ales partnered with Glasgow brand and design consultants O Street for the project, working closely with them to create the new look – each beer features stylised textures created using photography from the brewery’s farm estate, chosen to help tell the story of the beer and brewery.

“We’re proud to be a farm brewery; being a working farm in such a historic, beautiful and isolated location is part of everyday life at Fyne Ales,” commented Fyne Ales marketing manager Iain Smith on the new designs. “O Street has created a unique, striking brand identity that celebrates our provenance and we can’t wait to showcase it across our core beers and introducing Workbench and Easy Trail cans.”

Fyne Ales, which launched its small-batch farmhouse and mixed fermentation brewing project, Origins Brewing, in 2017, believes the new, more rustic branding will appeal to its current followers and new drinkers alike. 

The brewery also revealed details of three bottled limited specials which will debut with the new branding – Remote Parts, a 7% West Coast IPA brewed in collaboration with Cigar City Brewery; Perfect Silence, a 6.9% red IPA and an 11.1% bourbon barrel-aged version of Brouwerij De Molen collaboration imperial stout, Mills & Hills. All three will be available in 330ml bottles later this month, with Remote Parts also available in keg and Perfect Silence in keg and cask.

The new beers and updated branding will be supported with an ongoing sales and marketing strategy designed to increase brand and product awareness and increase the availability of the brewery’s beers. Activity begins today, with the launch of a new Fyne Ales website.