I'm going through a bit of a black beer phase at the moment. Stout and porter, when done properly, offer a highly complex texture and flavour experience. The way the different
elements work in harmony is quite similar, I think, to how a piece of music works. Since this month's Session is on
beer and music I'm wondering what it would be like if the international stouts and porters I've had recently were bands.
To England first, and Wychwood's
Black Wych. I'm never quite sure what to expect with Wychwood, having had very good and very bad experiences. Despite the name, this is a good wych. It pours to a thick, tight head and gives off a disquieting sweet estery aroma, like cheap and nasty chocolate. There's very little trace of it in the taste, however. Instead there's a sharp dry tang of roasted barley followed by a lasting aftertaste of mild and milky coffee. Best of all is the silky smooth mouthfeel, nearly worth the price of admission alone. If it were a band, Black Wych would be one of those hard-working groups who are head-noddingly good live, that you are always glad to see as a support act, but you're not likely to own any of their records.
Beer does flow and men chunder in the home of the next candidate:
Cooper's Best Extra Stout. Like the Sparkling Ale from the same brewery, this stout is full of yeasty floaters, occasionally visible in the deep gloom of the beer. Texture is the strong point here: a lovely creamy mouthfeel and amazing head retention, with a centimetre of parchment-coloured foam lasting for all of a slow tasting. Alas, this beer doesn't come through on the flavour. It's incredibly dry and unsurprisingly yeasty. It's not bitter, however, and without some sort of hops or roasted grain element I can't warm to it. In the music industry it would be a very well-equipped band capable of an amazing sound, but utterly lacking in talent.
The US is next on the hitlist:
Sierra Nevada Porter, to be precise. Again the head is thin but resilient and the beer has a promising malty nose. Typical of an American, however, it's inappropriately over-carbonated giving a prickly mouthfeel instead of smoothness. And it tastes of bugger all. It's half-heartedly dry and has these metallic off-notes at the end. As a band, I'd expect it to be a motley assembly of teenage buskers demonstrating little-to-no understanding of tempo, melody and harmony.
The Basque country's
Pagoa Zunbeltz brings us back to Europe. This is quite an undemanding stout: light and fizzy with coffee notes in the ascendant. It's a high quality craft beer but I can't imagine growing to love it. That elegant lady singing standards to a light jazz backing is what it is.
We finish back in England with a bottle of
Fuller's London Porter, a beer of very great repute. Dark brown in colour, it's smooth yet sparkly, but without much by way of head, relatively speaking. The aroma carries the rich promise of malt and chocolate. It's not overly flavoursome, but letting it sit on the tongue for a while brings forth milk chocolate with a bitter hoppy twang at the end. I was expecting Hendrix on the Isle of Wight, but got present-day Springsteen instead. I can live with that.
(Incidentally, if you were expecting a post about Irish music, all you need to know is in
this short film.)
We do very badly for Aussie beer over here. I'm told that some of the Little Creatures range have been spotted in Dublin off licences, but other than that it's the usual yellow muck from the House of Foster, Toohey's, and the like. In general, the Cooper's range is the best we can manage, though I'm not keen on their stout and find their famous Sparkling Ale highly overrated. The last of their beers that we see in these parts is the Original Pale Ale.
