the emperor’s new clothes

luka

Well-known member
Jim Beam has done notably well in offering unique variations on their traditional bourbon at a price point that even the likes of a whiskey reviewer can afford. In particular, their Black Extra Aged (née Double Aged) bottling was a welcome addition to the lower shelves of your liquor store’s bourbon display. So it was with great anticipation that, earlier this year, The Whiskey Wash announced that Beam would soon introduce a twice barreled bourbon—and, sure enough, a bottle of Jim Beam Double Oak is now in my hands.



Notice first that the label does not read “double wood,” which would indicate a more common process in which a spirit is aged in one sort of barrel and then matured in a different sort (usually an oak barrel and then a wine cask) to add another layer of complexity to the flavor profile. No, not this time—this is “double oak.”


The idea is simple: age nascent bourbon distillate in charred white oak as usual, then rinse and repeat in a new, freshly charred oak barrel. Without the rinsing, of course. In other words, the standard Jim Beam Kentucky Straight Bourbon—same mash bill, same four-ish years in oak—takes a second barrel-ride for an undisclosed period of time. Maker’s and Woodford have utilized similar techniques to great effect.


You’d expect very intense oak flavors—it is, after all, a rather puerile experiment, like those corn chips with “extreme” flavor additives or, I don’t know, a young gearhead who thinks that if six cylinders are good, twelve must be twice as good. But there is—perhaps thankfully—an issue of diminishing returns. Yes, this bourbon is full of oaky goodness, but not twice as much oak flavor. It’s a lumber slugger for sure, but don’t expect it to taste like the syrupy distilled wood you cooked up in middle school science lab.


Tasting Notes: Jim Beam Double Oak


Vital Stats: 86 proof. Aged more than four years. Roughly 77% corn, 13% rye, and 10% malted barley. Around $25.


Appearance: Copper. Unmistakably darker and rustier than the white label.


Nose: Leather, firewood, cinnamon, hay. Lovely mustiness.


Palate: Dry enough to suck the moisture out of your mouth. Vanilla and anise mid-palate. Dehydrated cherry is the closest thing it offers to fruitiness. Very woody, as expected, with notes of char and licorice. Long, papery finish.


Final Thoughts & Score/Buy A Bottle:


Score: 80/100​


Buy Now A drop of water reveals corn and maple syrup flavors, sweetening the deal—and that comes as a relief. I tend to kvetch that so many bourbons are too sweet, but in my best Goldilocks impression, I find this one too dry. It’s unique and certainly not bad, but rather one-dimensional. Then again, it might be just the thing around a fire pit on a chilly autumn night.
 

WashYourHands

Cat Malogen
I use this for tinctures, 95% or 190 proof


A rectified spirit from Poland bottled at the extreme ABV of 95%. This is often used as a base for liqueurs and other infusions, and we highly recommend that it is never drunk neat.

Please note​

  • This is a high-strength product and we recommend not drinking it neat – please enjoy this diluted or with a mixer of your choice.
 

WashYourHands

Cat Malogen
Haaaa

I don’t drink these days. Maybe a pint here n there. Terrible outcomes for everyone. You can have top craic with an alcohol distiller, ie remove everything and leave yourself with pure ethanol


Another route, run cheap bourbon through it. Reclaim ethanol, save bourbon leftovers and reinfuse in cheap vodka. Peaches into brandy is too nice
 

sus

Moderator
Getting back to mvuent's original point...

It's alarming how important framing is; a good book can be tainted by a bad cover. I've talked on here before about how I suspect you could take a release off Beatport, start referring to the tracks as 'studies' or something similar, slap some tasteful artwork on it and it would instantly go from Beatport to Boomkat material.

I sometimes wonder how the reception and legacy of Gravity's Rainbow would have turned out had Pynchon kept the original title, Mindless Pleasures. It seems trivial, but at the same time I feel like it would have hampered the book somewhat. It's so bland.

It’s tempting to consider My Teenage Dream Ended alongside other reality TV star vanity albums, like Paris Hilton’s excellent (and unfairly derided) dance-pop album Paris from 2006 or projects by Heidi Montag, Brooke Hogan, and Kim Kardashian that range from uneven to inept.

But the album also begs comparisons to a different set of niche celebrities— “outsider” artists.

On the I Love Music message board, music obsessives imagined the album as outsider art in the mold of cult favorite Jandek or indie press darling Ariel Pink. Other curious listeners noted similarities to briefly trendy “witch house” music, a self-consciously lo-fi subgenre of electronic dance music. In the Village Voice, music editor Maura Johnston compared Abraham to witch-house group Salem:”If [‘Rock Bottom’] had been serviced to certain music outlets under a different artist name and by a particularly influential publicist, you’d probably be reading bland praise of its ‘electro influences’ right now.”

Phil Freeman wrote about the album as a “brilliantly baffling and alienating” experimental work in his io9 review. Freeman hedged his references to Peaches, Laurie Anderson, and Le Tigre with a disclaimer that his loftiest claim was sarcastic: “Abraham has taken a form — the therapeutic/confessional pop song-seemingly inextricably bound by cliché and, through the imaginative use of technology, broken it free and dragged it into the future.”
 

WashYourHands

Cat Malogen
I read this quickly and thought at first your were advising us to take all our clothes off and drink pure ethanol. And I was at least half way to thinking this was a good idea

If you bought one of these you could grip a few bottles of crap like Famous Grouse, run the distiller and end up with 200proof food grade ethanol which you could then use as with mixers. Save you loads of money in the long run. Technically illegal but this is what happens when you grow up around blokes who made poitin in their sheds

A distiller also allows you to turn a cannabis tincture into full spectrum cannabis oil. No isopropyl denatured (wtf) like Rick Simpson or double boilers, or pour your tincture into some shot glasses, cover with paper, wait 2 weeks and bosh
 

mvuent

Void Dweller
Jim Beam has done notably well in offering unique variations on their traditional bourbon at a price point that even the likes of a whiskey reviewer can afford. In particular, their Black Extra Aged (née Double Aged) bottling was a welcome addition to the lower shelves of your liquor store’s bourbon display. So it was with great anticipation that, earlier this year, The Whiskey Wash announced that Beam would soon introduce a twice barreled bourbon—and, sure enough, a bottle of Jim Beam Double Oak is now in my hands.



Notice first that the label does not read “double wood,” which would indicate a more common process in which a spirit is aged in one sort of barrel and then matured in a different sort (usually an oak barrel and then a wine cask) to add another layer of complexity to the flavor profile. No, not this time—this is “double oak.”


The idea is simple: age nascent bourbon distillate in charred white oak as usual, then rinse and repeat in a new, freshly charred oak barrel. Without the rinsing, of course. In other words, the standard Jim Beam Kentucky Straight Bourbon—same mash bill, same four-ish years in oak—takes a second barrel-ride for an undisclosed period of time. Maker’s and Woodford have utilized similar techniques to great effect.


You’d expect very intense oak flavors—it is, after all, a rather puerile experiment, like those corn chips with “extreme” flavor additives or, I don’t know, a young gearhead who thinks that if six cylinders are good, twelve must be twice as good. But there is—perhaps thankfully—an issue of diminishing returns. Yes, this bourbon is full of oaky goodness, but not twice as much oak flavor. It’s a lumber slugger for sure, but don’t expect it to taste like the syrupy distilled wood you cooked up in middle school science lab.


Tasting Notes: Jim Beam Double Oak


Vital Stats: 86 proof. Aged more than four years. Roughly 77% corn, 13% rye, and 10% malted barley. Around $25.


Appearance: Copper. Unmistakably darker and rustier than the white label.


Nose: Leather, firewood, cinnamon, hay. Lovely mustiness.


Palate: Dry enough to suck the moisture out of your mouth. Vanilla and anise mid-palate. Dehydrated cherry is the closest thing it offers to fruitiness. Very woody, as expected, with notes of char and licorice. Long, papery finish.


Final Thoughts & Score/Buy A Bottle:


Score: 80/100​


Buy Now A drop of water reveals corn and maple syrup flavors, sweetening the deal—and that comes as a relief. I tend to kvetch that so many bourbons are too sweet, but in my best Goldilocks impression, I find this one too dry. It’s unique and certainly not bad, but rather one-dimensional. Then again, it might be just the thing around a fire pit on a chilly autumn night.
jesus. was this really necessary lol
 

Mr. Tea

Let's Talk About Ceps
I sometimes wonder how the reception and legacy of Gravity's Rainbow would have turned out had Pynchon kept the original title, Mindless Pleasures. It seems trivial, but at the same time I feel like it would have hampered the book somewhat. It's so bland.
Isn't there a story - possibly apocryphal, who knows - that Naked Lunch was originally supposed to be titled "Naked Lust", only WSB had mentioned it to a mate while he was writing it and said mate misheard it as "Naked Lunch", and he thought, oh yeah, that's loads better.

Which is just as well, I mean "Naked Lust" sounds like some Jackie Collins airport-bookshop bonk-buster, doesn't it?
 

mvuent

Void Dweller
And also that things (artists, works) play different "games"—they have different priorities, different audiences, different scoring systems, different traditions and "game states" that make moves "mean" differently in the game.
exactly! so when you're confronted with art you can't make sense of, the question becomes: is this a game i haven't learned yet... or it is Calvinball?

this distinction corresponds with two contrasting personality types in the arts. the first being the roger scrutons, the people who want art to conform to clearly defined rules. this is art and this is not. this is Good Art, the unassailable canon, and this is not. we must maintain the lobster hierarchy. the second is the calvins, people who feel stifled under these conditions and want to escape into the unknown frontier, or at least muddle the boundaries. it’s probably obvious from those descriptions where my sympathies are. pic related.

calvin-energy.jpg

ironically, as i've immersed myself in "the deep end of electroacoustics" i've come to appreciate the first perspective more. if you want to experience something miraculous, you have to know what normal looks like. i don't think this is a controversial point. so the best art arises when there are rules (and specifically, good rules, ones that work) but also artists who can compellingly bend/break them.

to return to the original question of what we can learn from these emperor's new clothes incidents, i think there are two possible takeaways. one is that the supposed experts aren't really experts, and if you want to learn about the "game" in question you should look elsewhere. the second is that cases like pierre brassau indicate that a correction of course is needed: the game needs more of a shared ruleset, common ground for communication needs to be established. if you've ever actually played Calvinball, you know it gets boring after a while.
 

sus

Moderator
if you want to experience something miraculous, you have to know what normal looks like. i don't think this is a controversial point. so the best art arises when there are rules (and specifically, good rules, ones that work) but also artists who can compellingly bend/break them.
Yeah, this is an important point. It's bit like the way many gay men look nostalgically on times before the normalization of homosexuality, when it was still deviant, dissenting, different—"something's lost and something's gained / in living everyday." It's also part of how I've learned to "appreciate film"—watching e.g. a movie like Clockwork Orange at 18, it just struck me as amorphously meh; watching it at 26, I can be wowed by the weirdness of so many shots, the rules he's breaking and skirting, the expectations he's exploiting.

re: Calvinball, 100%, this is a great comparison. Moves cease to "mean" anything when any move goes. Have you read James Carse's Finite and Infinite Games? It's about a lot of these ideas but for life more broadly—social games, romantic games, theological games, social status etc
 

luka

Well-known member
it makes you seem way cooler than you are i like it too. whereas corsepy is determned to make himself seem hideous fred west freak. one vote for version aka 'bass apokalips'
 
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