Haché

The Place
Haché (pronounced ah-shay)
3319 Sunset Boulevard
Los Angeles, CA 90026
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Depending on your affinity for the classics, you may have heard about Desert Trip, a music festival at the Empire Polo Club in Indio (home also to the Coachella Valley Music & Arts Festival).  Unlike conventional festivals, Desert Trip offered a lean lineup of classic rock luminaries: The Rolling Stones, Bob Dylan, Paul McCartney, Neil Young, Roger Waters, and The Who.  No industry neophytes here to soundtrack day-drinking; this was a headliners-only affair.

Almost immediately, this festival drew the derision of sneering millennials, likely still coming down from a tour in the Sahara Tent at Coachella (you know, artistically discerning social critics like these).  They called Desert Trip “Oldchella,” an incisive, hyper-literate critique of the low-energy sort who enjoys music festivals that feature musical instruments instead of computers vomiting out spleen-rupturing bass.

It’s tempting to conclude that there is a youthful condescension among our generation toward anything we regard as a relic of the past, a sort of reflexive regard for modernity, a respect based on nothing but the fact that a thing emerged from the sea of narcissistic home recorders and YouTube amateurs to seize some measure of notoriety.  That view maximizes convenience, but we often fail to see its fundamental flaws, fail to recognize that not all good things go viral, and not all things that go viral are good.

I have neither the time nor mind to attempt to unpack what animates this elevation of new over old, but I’m no less convinced that it exists.  I also wonder if that’s the reason people feel the need to present Haché as something that it isn’t.  See, if you are inclined to poke around Google prior to going to Haché, you might be misled.  Internet commentators have woven a web of half-truths about this place, for whatever reason. It’s not a dive; it’s rustic, they say.  It’s a French-inspired and bistroesque, they say.  They serve steak sandwiches, they say.  Don’t call them burgers, they say.

You’ll note, once you arrive and have ordered, that the above statements range from “pretty” to “categorically” wrong.  It is a dive.  There is nearly nothing in the cramped patio and sticky high-tops that is redolent of the breezy bistro you might have imagined.  The mesh window at which you order,and the t-shirt clad hipster that brings you your burger don’t evoke a Parisian bistro where sighing poets scribble elegies as much as a Bostonian Irish pub where townies punch out graduate students.

By the looks of it, this is a place you’ve been a hundred times before.  This is your dad’s dive bar.  There is no real attempt at novelty here.  This is Desert Trip, not the Sahara Tent.  It is more Steve Miller than Steve Aoki.  You get the point.  Regardless, Haché has been on my radar for a while.  Finally after much cajoling – guilting? – from my dear friend Greg, I met him, Bret and Alex there to try a burger.  Or a haché.  Or a steak sandwich.  Or whatever you might want to call it.

 

 

The Order: Karma Burger

The Price: $5.95

The Burger
Whatever Haché isn’t, it is, in many ways, essentially Silver Lake.  There is a winsome haggardness to the place.  You walk in feeling as though you have stumbled into the middle of a carefully structured, meticulously curated collapse.  A middle-aged man in a quarter-zip fleece sits near the corner, his beer barely dented, half-heartedly watching the Seahawks lose.  A young man with an undercut checks his phone compulsively, casting the occasional furtive glance doorward to see if whoever is meeting him has arrived yet.

The thought might occur to you that this is the least affected crowd that has ever gathered on Sunset Boulevard.  And sure, that may have something to do with the fact that it’s a rainy Sunday in Los Angeles, but it felt appropriate for this place.  There’s an agelessly genuine quality to Haché.  It’s not a place out of time, it’s a place without a time.  That may not make sense, but it’s as clearly as I can state it.

Of course, you don’t come to Haché for the atmosphere (at least, I don’t know why you would, with both Café Stella and Winsome a stone’s throw away).  You come for the hachés.  They are billed as French-style steak sandwiches.  Haché, of course, doesn’t call them steak sandwiches.  Depending on what part of the menu your eye darts to first, you’ll see them called hachés or burgers.  In point of fact, they’re burgers with patties made of ground sirloin steak.

That ground Angus sirloin patty is swathed in a weblike loose-weave blanket of American cheese and topped a leaf or two of bracing lettuce, a couple discs of vermillion tomato, translucent halos of red onion, and a thin glaze of Karma sauce, which tastes like a mashup of Thousand Islands and harissa-spiked mayonnaise on a hearty, earthy cracked wheat bun.

While the sirloin patty is often framed as something new and different, it really is more an attempt to elevate a classical form.  It renders the patty less greasy, more inherently flavorful, cleaner than its brisket or chuck cousins.  It is noticeably fresh, albeit a shade overcooked.  The seasoning – on the outside of the patty only – cannot fully compensate for the fact that the patty is too well-done.  Since the meat on the inside of the patty remains unseasoned, once you’ve broken through the outer crust, there isn’t much beneath it in the way of flavor.

The other garnishes are fresh, well-proportioned, subtle.  The onions, though raw, are not too sharp, offering a gentle pinpricking sting.  The lettuce is parchment-delicate, not crisp, not wilted and chewy.  The tomato is bright and succulent, a burst of freshness to wash over the finish of each bite.  And the sauce has a whisper of heat amid the creamy cool of the stuff, leaving a lingering suggestion of slow spice.

This burger is a nod to the classics.  It is different, but it’s not revolutionary.  Not forced.  It’s organic, tried and true.  Some might think that is something for which to apologize.  They might try and frame this to highlight some gimmick that might capture your attention.  They might try and make this sound like something it’s not just to make it sound fresh.  They might be tempted to swap out the resplendent Telecaster for a Korg.  They should resist that temptation.  Drum machines have no soul.

The Ratings
Flavor: 8.70 / 10.00
Freshness / Quality: 9.20 / 10.00
Value: 10.00 / 10.00
Efficiency: 9.00 / 10.00
Creativity / Style: 7.00 / 10.00
Bun: 8.10 / 10.00
Patty: 8.50 / 10.00
Toppings: 8.00 / 10.00
Sauce: 8.20 / 10.00
Balance: 8.60 / 10.00

Total: 85.30 / 100.00

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Manuela

The Place
Manuela (at Hauser Wirth & Schimmel)
907 East 3rd Street
Los Angeles, CA 90013
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Having been a child at one point or another, you probably have at least a glancing familiarity with the indolence of the righteous.  Remember?  It would strike after you raked the leaves in the garden without being asked, you took out the trash sua sponte, you cleaned your plate and excused yourself to wash everyone else’s plates.  In that situation, if you were like a great many of us (I suppose I’m not speaking to the self-anointed paragons of virtue here, but then, I rarely am), you would perform that task with relish.  When your work was done and your good deed was discovered by an authority figure or other beneficiary, you would bask in the inevitable grateful praise was showered upon you.  What a thoughtful thing to have done!

But after that, if you were anything like me, a sense of self-satisfied complacency would set in.  You had done a good deed, and you realized that the performance of such a deed insulated you against criticism for a time.  So you might stretch the rules regarding bedtime, or the brushing of teeth, or the cleaning of one’s room, or one of the other chores or tasks which customarily were expected of you.  And if, say, your mother reminded of these other obligations, you might not say anything, but you would be stunned that more could be expected of you.  You might think, or even grumble under your breath, “That trash didn’t take itself out, you know.”

Sometimes, going above and beyond the call of duty breeds a sense in many children (and an alarmingly high proportion of adults, actually, come to think of it) that they’ve established a line of credit, that they’ve been given a measure of goodwill, which they can use to counterbalance a certain measure of nonfeasance (or even malfeasance, depending on the optimistic boldness of the child in question).  Not, I suppose, unlike the adult who justifies three slices of pizza and a milkshake with twenty minutes at the gym.

I’ll get back to that in a minute.  In the meantime, let’s talk about Manuela.

Manuela is an airy, indoor-outdoor space in the sprawling new Arts District gallery, Hauser Wirth & Schimmel, helmed by Soho House luminary Wes Whitsell.  Manuela’s cuisine is a curious blend of cuisines.  If you press me, I’ll tell you Manuela is fundamentally a southern restaurant (the presence of pimiento cheese, biscuits and gravy, grits, collard greens, black-eyed peas, and Carolina gold rice renders that conclusion inescapable), but with heavy touches of Tex-Mex (see, e.g., beet tostada and chilaquiles) and Californian influence (as evidenced by the general seasonally driven, farm-to-table vibe, and the food first / technique second simplicity of the dishes).

For a medium-term denizen of the American Southeast with a strong lingering affection therefor, I was drawn to the menu by its southern flair, which gave me a big-time kick of nostalgia.  But one of the most universally eye-catching items on the menu has got to be the deer burger.  It is that item that ultimately really commanded my attention.  Kelsey and I went to check it out.

The Order: Deer Burger, medium rare

The Price: $16.00

The Burger
The deer burger advertises itself as coming with “all the fixins” (seriously).  That means it’s an all-deer patty with strips of lettuce, beefy and deep-red tomato, and a healthy dollop of a sauce consisting of roughly equal parts mayonnaise and dijon mustard.  On the side are a couple rings of raw red onion and two pieces of pickle which aren’t long enough defensibly to be called “spears,” so think of them as “daggers.”  The burger is served on a milk bun (more on that later).

Right off the bat, there are two pretty remarkable – and unexpected – things in play here.  First, the patty is deer.  That gives it a gamey, richly marbled texture, and a musky, sweet roundness of flavor that beef could never provide.  They recommend it medium-rare, and for a patty of this size, that is the perfect recommendation.  This patty is substantial, pink, bloody enough, and genuinely complex and flavorful.  It is a stellar centerpiece.  I approached this dish with a suspicion that the deer patty may be a gimmick.  It may be, but it is a delicious one.

The second lovely oddity in play here is the bun.  A milk bun is a kind of roll native to Japan (Hokkaido, specifically).  Roux is used as a starter, and these things have the heft of brioche but consistency of cotton candy.  The poppyseed-dusted crust of the thing will look familiar enough, but the gossamer, cloudlike sweetness awaiting you after the first bite will surprise and delight you, I promise.

So, in giving us a succulent deer patty and a delicious and unique bun, Wes Whitsell took out the trash and washed the dishes without being asked.  Sadly, that’s where the virtue of this burger ends.  The sauce, an uninspired mustard-mayo combination, is pedestrian on the tongue.  The tomato is wilted and chewy, rather than fresh and juicy.  The lettuce is merely there, cut into wide strips and arranged thoughtlessly beneath the patty.

It is thus that Manuela’s burger, an offering with so much promise, falls victim to the indolence of the righteous.  By presenting a strong patty and an estimable bun, this burger expects us to forgive its shortcomings in every other respect.  Few would.  The garnishes don’t disappoint in a vacuum; they adversely affect the overall quality of the burger, giving the palate little in the way of evolution or longevity.  Each bite is a stagnant experience, failing to develop or provide the eater with any arc.  You’ll taste bun and meat, and then you’ll be left wondering what might have been if the garnishes were on par with the basics.

Manuela’s burger is a thing of almost staggering potential, but like so many promising but lazy children, it fails to live up to that potential.  Instead, it stands as a stark reminder that overachieving in some areas does not excuse shiftlessness in others.

The Ratings
Flavor: 8.10 / 10.00
Freshness / Quality: 8.90 / 10.00
Value: 7.80 / 10.00
Efficiency: 7.80 / 10.00
Creativity / Style: 7.30 / 10.00
Bun: 10.00 / 10.00
Patty: 10.00 / 10.00
Toppings: 6.30 / 10.00
Sauce: 5.90 / 10.00
Balance: 7.60 / 10.00

Total: 79.70 / 100.00

The York

The Place
The York
5018 York Boulevard
Los Angeles, CA 90042
img_0674It feels like October has been all about the Chicago Cubs and their date with destiny.  They’re the latest beneficiary (see also 2004 Red Sox, 2010 Giants, 1998 Jay-Z) of the special treatment we give to baseball teams that are awful for long enough.  After over a century of losing, the Cubs – finally – are good.  And like the Red Sox, the Giants, and Jay-Z before them, the entire nation (but for we select few who don’t share the impulse for alacritous bandwagoneering) will love them until they finally win.  Then we’ll revile them for doing the very thing we hoped they’d do all along.  To be a “lovable loser,” you have to keep losing.

I watched the final innings of Game 1 of the National League Championship Series at The York, which was a Highland Park mainstay long before Highland Park was cool.  It’s a vaulting industrial space, where Edison bulbs throw barely enough light on roughly erased chalkboards sporting the menu of the day, and onto the carmine bricks behind.  The one television is located inconveniently at the back end of the bar, obscured by something from almost any angle.  It was there that I watched Adrián González smack a game-tying single, and then shortly thereafter, Miguel Montero be spoon-fed a hanging slider with the bases loaded.

Much like the Cubs, the York has established itself as a good-natured neighborhood standard.  And much like the Cubs, it’s kind of hard to see what all the fuss is about.  Besides the cool (but imitable) vibe, the cocktails are weak, the food is fine, and the staff just mostly competent.  The clientele is a weird mashup of young fathers and old bachelors, thirty-somethings all.  It’s as if the York is the last place where those two demographics can meet and remember times not too many years ago, when their lives looked more alike.

Kristen, Tristan, Peter, Shahin, Kelsey and I took a trip to the York for dinner to catch the end of the baseball game before going to Creep LA, which – spoiler alert – was basically me paying $53.50 to be called “daddy” by an emo kid in lingerie and then locked in a closet the size of a moving box (with two other people, one of whom, blessedly, was Kelsey) by a small man in yoga pants.

The Order: Cheddar Burger, medium rare

The Price: $15

The Burger
The York’s burger is served on Bread Bar brioche, a heavily marbled sirloin and chuck hybrid patty, rocket (which, more or less, is hipster for “arugula,” which, more or less, is douchebag for “bitter spinach”), harissa aioli (harissa being a North/West-African chili paste that you may have run into at Moun-Of-Tunis, Koutoubia, or a similar spot), and pickled onion.  And cheddar, obviously.

Just by reading that list of ingredients, you may have the impression that there’s a lot – potentially too much – going on here.  That was my concern going in, too.  Imagine my surprise, then, when the burger actually wound up being strangely tame on the palette.  There was no pinching bitterness from the flaccid arugula, no astringent sourness from the too-soupy onions, no blunted bite from the aioli.  Everything got mixed together, reduced into some tasteless primordial ooze, the culinary equivalent of Cage’s 4’33”.  And to top it all off, there wasn’t even the buttery, eggy, cloudlike sweetness you would expect from the brioche (though this had more to do with the fact that it tasted a day old than any fault of poor Bread Bar’s) it was crumbly and Gobi-dry.

And that’s a shame, considering the patty was quite well-conceived.  Heavily marbled and a well-executed medium rare (evenly rouge-hued and barely bloody), the flavor was rich, the texture hardy and coarse.  It was crisped on the outside, but retained its juiciness exceptionally well.  Just like Charlize Theron in The Devil’s Advocate, it deserved a better supporting cast (instead, we got Shouty Al and dead-eyes Keanu; I’ll leave it to you to decide whether that’s a metaphor or not).

Were I predisposed to being snarky, I’d say the good news is that the burger York was only the third-most unpleasant thing that happened to me that night.  But since I am miles above snark and the solicitation of cheap laughs, I’ll leave it at this: Notwithstanding all the neighborhood affection, all the history, all the prescient neo-industrial decor, the York’s burger left a bad taste in my mouth.  Maybe not quite as bitter and caustic as Miguel Montero left, not quite as parched and salty as being locked in that closet, but the fact that those three things are part of the same conversation probably tells you all you need to know.

The Ratings
Flavor: 7.20 / 10.00
Freshness / Quality: 8.10 / 10.00
Value: 6.90 / 10.00
Efficiency: 7.00 / 10.00
Creativity / Style: 8.50 / 10.00
Bun: 4.80 / 10.00
Patty: 9.40 / 10.00
Toppings: 7.60 / 10.00
Sauce: 7.30 / 10.00
Balance: 7.00 / 10.00

Total: 73.80 / 100.00

Burgerlords x Otium: Burger Merger No. 1

The Place

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Burger Merger No. 1: Burgerlords x Otium
943 North Broadway
Los Angeles, CA 90012

When Otium opened in 2015, it surely was one of the most hotly anticipated restaurant openings Los Angeles had seen in some time.  Nestled in the crook of a grove of dust-green olive trees and the hivelike Broad Museum, this cantilevered structure of wood and glass – with its sinewy steel beams and vaulting ceilings – drew attention for its architecture before it every plated a dish.

When finally it did open, there was the requisite amount of buzz.  Some loved it, others hated it.  But regardless of where your allegiances may fall in the J-Gold / B(a)esha Rodell clash (in case you were wondering, Otium doesn’t crack my top ten (or twenty (or thirty)) restaurants in the city; I think it’s very good, ambitious but not indispensable), one thing was certain: through Otium, Timothy Hollingsworth sought to leave a footprint, to be among the most significant restaurants in the city.

Has Chef Hollingsworth achieved his goal?  That probably depends on who you ask.  Some say Hollingsworth is among the preeminent chefs in Los Angeles already.  That’s not an outrageous claim (to be sure, it’s impressive that after so brief a spell in the city, he can have so dedicated a following) but if we’re being honest, the plaudits probably are a little premature.  Like, Brandon Ingram has a smooth jump shot and can get to the rack in style, but he’s not the franchise yet, you know?

Weirdly enough, the clearest evidence of this has come when he stepped out of his open kitchen by the Broad and ventured east and north, into Chinatown, to Burgerlords, slinging special collaboration burgers, which will be available every Monday in October.  The so-called Burger Merger presented a more aw-shucks picture of Tim Hollingsworth.  Clad in skinny jeans and a t-shirt commemorating the collaboration, flax-blonde hair styled in a very in-style undercut, he navigated the gathered crowd with easy charm and familiarity.

In this inaugural Burger Murger, Hollingsworth put forth two offerings: a barbecued eel burger, which is the object of this review (and which Nikhil, Adam, and I ordered), and a vegan burger (ordered by Kelsey as part of what I can only conclude is a campaign to humiliate herself and discredit me), which is the object of nothing more than my pervasive and fundamental contempt.

The Order: Barbecued Eel Burger

The Price:

The Burger
If you’re like me, you’ll have questions as you approach this event.  What is the point of this collaboration?  What exactly is a barbecued eel burger?  Is it a ground eel patty?  Is it a slab of eel in lieu of a patty?  Is that vegan judging me?  Is the eel a topping?  Is this going to be disgusting?  Is this event moving the ball towards Timothy Hollingsworth being an L.A. food icon?  Did anyone order the vegan burger?  Did I leave my car lights on?

You might not come away with clear answers to those questions after eating this burger.  I can tell you this much: There is a beef patty.  The burger features shishito peppers, scallions, tomato, avocado, mayonnaise, and barbecued eel.

Here’s the problem: When you brand something as a barbecued eel burger, customers will fairly expect to know where the eel is, to be able to identify it visually and within the flavor profile of the burger.  That’s not possible here.  This burger was good, but it didn’t taste like a barbecued eel burger.  The eel, sliced into oblivion, did little besides add a little extra savor to every bite, a sort of fish-saucy roundness to the finish (it might have balanced better had there been an extra patty; the single patty was a bit paltry for my taste).  That’s fine, but let’s be clear: Calling this a barbecued eel burger was a branding choice made to offer the appearance of innovative sophistication.  It wasn’t a reflection of the actual flavor profile of the burger.

Besides that, it’s a relatively milquetoast offering, defined only by its internal conflict.  The toppings compete rather than cooperate.  The shishitos are masked by the overwhelming savor of the meats.  The traces of avocado within an overwhelming matrix of mayonnaise get lost like a ship in fog.  A thick slice of tomato, juicy and bright, is the highlight of the toppings, but simultaneously renders what otherwise might have been subtly cooling fronds of scallion little more than bitter whispers.

So sure, this burger will draw a lot of attention.  There will be lines across the courtyard and – probably – plaudits from Hollingsworth’s faithful (who, weirdly enough, can approach Beyhive/Belieber/Team Breezy levels of fervor).  In the end, though, this first Burger Merger feels like little more than an exercise public relations symbiosis.  I’ll stop short of saying it’s cynical, because the product isn’t bad.  But it’s a way to increase Burgerlords’ profile while making Timothy Hollingsworth seem a little more integrated into this city.  At that much – and probably not more than that much – it will be successful.

The Ratings:
Flavor: 8.10 / 10.00
Freshness/Quality: 10.00 / 10.00
Efficiency: 7.90 / 10.00
Value: 9.00 / 10.00
Creativity/Style: 9.50 / 10.00
Bun: 9.60 / 10.00
Patty: 7.40 / 10.00
Toppings: 6.40 / 10.00
Sauce: 6.10 / 10.00
Balance: 7.20 / 10.00

Total: 81.20 / 100.00

Shake Shack

The Place
Shake Shack
8520 Santa Monica Boulevard
West Hollywood, CA 90069

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If you never caught the new (like, that new new) Star Wars movie, then you missed out on Kylo Ren, the most angst-addled villain to grace the silver screen in quite some time (you may know him better as the darkest-skinned – but still white, of course – person on Girls).  See, Kylo Ren is angsty because he wants very badly to be compared favorably to Darth Vader.  He wants to be the next Darth Vader.  So he acts and talks the part.  He commands with unforgiving brutality.  He wears the mask that changes his voice, even though he doesn’t need it.  Think of his relationship with Darth Vader as being kind of like Rivers Cuomo’s relationship with Buddy Holly.

And much like Cuomo, he just isn’t quite as special as his idol.  Deep, withering suspicions – that he’s ultimately just a pale imitation of the thing he strives to be – roil in him.  They consume him.  And most of all, they make him hate the character in the film who he recognizes as truly special, truly significant.  She achieves everything he’s worked so hard for, and she doesn’t even have to try.

It’s a common trope in our world and our folklore: the figure who longs to be a feature of history, but really is just a footnote.  These are people with lofty aspirations to emulate and evoke truly monumental figures, but ultimately, they are undone by their inability to recognize that the mere imitation of an act or a sound may not – and probably will not – capture the subtleties and complexities that exist beneath it.  What I mean is, Kylo Ren choking a person out as part of his WWDVD? mentality is quite different from what animated Darth Vader – namely, living at the nexus between guilt and doubt and rage.

Similarly, putting together a burger that features some of the same ingredients as those featured on the best chain burger money can buy doesn’t guarantee that you’ll best In-N-Out.  And so, in a swaggering and expansive outpost on Santa Monica Boulevard, Shake Shack joins the ranks of these reductive imitators, clamoring for attention and plaudits, begging for favorable comparisons to a great institution.

Shake Shack is the latest in a long line of burger chains that demand to be compared to In-N-Out.  It is a chain that builds buzz via sophomoric articles like this.  Never mind that the two are in no way comparable.  The one is an international chain with an expansive menu (including three different burgers, seasonal/weekly/monthly/whateverly flavors of ice cream, bespoke craft beer, Abita root beer on tap, Cold Stone Creamery style concretes), the other is willfully limited.  The one is surprisingly expensive, the other almost guilt-inducingly cheap.

But the comparison is being made.  So if you drive by Shake Shack, you will see crowds of impossibly cool West Hollywood types: New York imports with trendy haircuts; t-shirts featuring a sneering slogan or maybe a reference they only almost understand; shadowed and lined eyes drooping under the weight of their contempt for the world, smiling with half their face as they post a link from a blog about an article they haven’t read about a study they haven’t read but which reinforces the fact that everyone who disagrees with their particular opinion on their particular cause celebre du jour (based on exhaustive review of numerous blog posts like this) is ill-informed and probably malicious.

These are people bound together by fibrous, almost extant strands of supercilious energy, people who are fueled not by the Krebs cycle like the rest of us, but by the knowledge of their superiority.  And even for these walking superlatives, the need to know if Shake Shack really is better than In-N-Out is so pressing, so dire, that it can wrest them from the urgent business of being better than you.

I went with my parents and Kelsey.  Because while I may not be cool, I am the purveyor of a publication about burgers in Los Angeles, so I’m drawn to trendy burger spots like a fly to a turd.

The Order: Shack Burger

The Price: $5.29 (not including fries or drink)

The Burger
Roughly speaking, I think there are two types of people who might argue that Shake Shack is better than In-N-Out: the first are the reflexively contrarian naysayers.  These are people who don’t have particularly strong or well-developed feelings about In-N-Out (or any alternative), but dislike its ubiquitous appeal and enjoy the idea that their opinion is challenging and controversial.  Then there are people who need New York to be better at everything (rather than just better at being bigger and smellier).  I’ve talked about this phenomenon at some length before.

The goal of this piece, though, is not to take up the issue with either group.  In point of fact, I prefer not to entertain the comparison at all.  As I mentioned before, these restaurants are different enough that the comparison itself is more than a little spurious.  Shake Shack is a peri-industrial hipster chic millennial iteration of a soda fountain, whereas In-N-Out begins and ends as a burger stand out of time, a relic of its founding age.  Another reason behind my rejection of a comparative discussion – and I smirk as I type this – is that these two products are not in the same league.

Shake Shack’s offering features an oversalted, overcooked patty, watery tomato, heat-wilted lettuce, and insipid Thousand Island (Shack sauce) between two feeble, infirm, too-doughy potato buns (this actually surprised me, because I remembered the buns being much better when I first tried Shake Shack in Washington, D.C.).  The entire presentation is a pittance, a burger so small it barely qualifies as a burger.  You will not savor every bite, and after you finish, you will wonder why you waited in line for so long with all those impossibly self-obsessed trendchasers and paid more than double the cost of a Double-Double for it.

If in Shake Shack you were hoping to find The Chirping Crickets, you’ll have to settle for Raditude.  If you were hoping for Luke’s father, you’ll have to settle for Leia’s emo brat.  Shake Shack talks the talk.  It’s high on swagger and hype, but it’s little more than a well-appointed disappointment.  This restaurant doesn’t deliver a product worth mentioning in the same sentence as In-N-Out, let alone comparing to it.

The Ratings
Flavor: 7.40 / 10.00
Freshness/Quality: 8.90 / 10.00
Value: 7.60 / 10.00
Efficiency: 6.90 / 10.o0
Creativity/Style: 7.50 / 10.00
Bun: 4.90 / 10.00
Patty: 7.20 / 10.00
Toppings: 6.50 / 10.00
Sauce: 6.50 / 10.00
Balance: 7.00 / 10.00

Total: 70.40 / 100.00

Winsome

The Place
Winsome
1115 Sunset Boulevard
Los Angeles, CA 90012

IMG_0580Winsome is not on Sunset Boulevard.  Head west down Sunset (away from Downtown) and as you pass Beaudry, you’ll see the Holy Community Church on your right.  Beyond that, you’ll see a new apartment building made of white stone and glass.  Just past the church, make a right on to White Knoll Drive.  That’s where Winsome is, in the ground floor of the aforementioned stone and glass building.  Just a public service announcement, lest you wind up wandering aimless and befuddled down Sunset like Kelsey, Erin, and I did (that is, until finally we gave up and called the restaurant to whimper a desperate request for directions).

I couldn’t help but wonder why they say they’re on Sunset if the restaurant demonstrably is not on Sunset?  Well, this is Los Angeles, which means it’s all about appearances.  It’s easier to brand yourself as a trendy new Los Angeles eatery if you’ve got an address on an iconic Los Angeles thoroughfare.  Per contra, it’s much harder to do it when you front some tributary with a name that sounds like a sleepy cul-de-sac.  And if people get confused or lost by this branding chicanery, all the better; being impossible to find in spite being on a major street is another mark of effortless cool.

Make no mistake, though.  This place is far more polished than Echo Park, a neighborhood renowned more for its unvarnished charm than for its sparkling new real estate developments.  It’s beautiful for being the situs of a cultural collision of sorts, where numerous ethnic and socioeconomic groups live side by side.  There’s something aspirational about that Echo Park.

Winsome represents the “new” (or, if you prefer, the “approaching”) Echo Park.  The building that houses it resembles one of those swanky new high rises over by L.A. Live.  It’s the kind of building that one suspects will be ubiquitous in a few years’ time.  It’s the kind of building that multiplies and slowly, inexorably drains the charm right out of a place, until all that’s left is a spiritually vacant enclave occupied by the seemingly inexhaustible supply of incalculably basic USC alumni.  It’s a nice enough building in itself, but as more of them crop up, before long, Echo Park will be a place where you only see soul if it’s immediately followed by the word “cycle.”

Right, anyway; the restaurant.

Winsome has developed a fair amount of buzz as a brunch-and-pastry spot.  Its light-wood, airy interior has the body of a diner but the heart of a case study house.  The long, dining room is flanked along one edge by a long, white oak bar and on the other by booths with windows for walls.  This breezy, midcentury space spills out onto an idyllic patio, on which strings of lights hang languidly above.  This charming outdoor area is loosely packed with amateur food photographers trying to no-filter their way to fame.

But it still bears markers of the old Echo Park.  Our laconic waiter was clad all in black but for old white Reeboks and an apron the color of pond scum (the latter of which was splattered inexplicably with persimmon-hued paint).  He oozed edgy and aloof Echo Park cool, and he did his job without all the fanfare of interpersonal warmth.

Atmosphere aside, the place is renowned for its brunch offerings.  The pastries are local celebrities and, in the aggregate, merit the acclaim they receive (the strawberry-vanilla brioche is especially superb).  The caramelized grapefruit is a novel idea, but largely ham-fisted in execution.  The slathering of honey provides a syrupy front end to the flavor profile, yielding a product that tastes like Taylor Swift’s personality: saccharine on the surface, but ultimately and fundamentally marred by a gothic – almost corporate, definitely innate – bitterness.

There is a burger on the menu, but no one really talks about it.  I went with Kelsey and Erin to find out if they ought to talk about it.

The Order: The Burger

The Price: $16

The Burger
There’s a scene in The Fountainhead where Ellsworth Toohey says to Howard Roark, “Mr. Roark, we’re alone here.  Why don’t you tell me what you think of me?  In any words you wish.  No one will hear us.”  Roark replies, “But I don’t think of you.”  That exchange flitted into my head as I tried to collect my thoughts in preparation for writing this; I just didn’t have that many thoughts to collect.

On the face of it, there’s nothing objectionable about this burger, and one might even think there is the potential for something quite good.  The bun is a seeded pan de mie sourced from Gjusta.  A bun from a different bakery is an odd choice for a restaurant that prides itself on its superlative baked goods, but I suppose Gjusta is an estimable choice if you’ve chosen to outsource your bun-making.  Delicately sweet and soft at its heart with perfectly toasted edges, this bun was the highlight of the burger.  The patty is about a third of a pound of grass-fed Sunfed Ranch beef, with a slice of milky white Hook’s aged cheddar melted on top.  It is rounded out by pickled shallots (allegedly) and a tall, tangled stack of mustard frills.

The server recommended I order the patty cooked medium.  That was an error; it was overcooked, dry, and charmless.  The patty scarcely deserved the exceptional cheese that was melted on top of it, a truly lovely Hook’s aged white.  It was distantly sweet, mild, perfectly melted, and utterly wasted by the lifeless piece of flesh it was meant to complement.

With a better cast around it, this cheese would have been a wonderful final touch.  But even ignoring the patty, the rest of the burger is rather a mess.  The mustard greens were flaccid, virally overabundant, and bland.  The pickled shallots so nearly approached absolute zero on the palate that I actually doubted their existence.  The sauces, served on the side, were ketchup (from a bottle) and an almost oppressively banal aioli, which essentially tasted like mayonnaise that had been left sitting out.  They weren’t much, but they were just about all I tasted every time I took a bite.

I rarely make overt mention of price unless it is a virtue.  In this case, though this is far from an offensive product, it does not even nearly approach being worth $16.  This price tag is wholly unjustifiable.  I couldn’t help feeling I was paying for the delicious inattention of our server and the string of patio lights more than I was paying for a good meal.  I very seldom feel as though I have wasted money eating a burger.  This was one such occasion.

This is a burger without personality; it is a lazily conceived pro forma offering that expresses nothing, demands nothing, gives nothing.  It smacks of brunch menu tokenism (which is a thing I made up just now, but essentially amounts to the creative minds behind this restaurant saying something like, “Ugh, we probably should put more lunch items on this menu, because otherwise it’ll be all ‘br’ and no ‘unch.'”).

Is this the folly of a young restaurant?  Probably not.  Most young restaurants err by trying too hard.  This just feels lazy.  There’s something respectable in a calculated, but ultimately botched, gamble.  There is little to respect – let alone consider or discuss – in paint-by-numbers concepts executed poorly.

So try as I might, it’s hard to articulate exactly what I think of it.  I just don’t think of it.  Nor should you.

The Ratings:
Flavor: 6.10 / 10.00
Freshness/Quality: 8.80 / 10.00
Value: 4.00 / 10.00
Efficiency: 8.80 / 10.00
Creativity/Style: 6.20 / 10.00
Bun: 9.10 / 10.00
Patty: 6.90 / 10.00
Toppings: 6.40 / 10.00
Sauce: 4.80 / 10.00
Balance: 6.30 / 10.00

Total: 67.40 / 100.00

Fritzi

The Place
Fritzi
814 Traction Avenue
Los Angeles, CA 90013

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I remember when Give Up by the Postal Service came out.  I was a sophomore in high school.  It was before winter formal.  That particular winter formal was to be a rare triumph for me in the romance department.  I took one of the prettiest and most popular girls in the freshman class.  Unfortunately, as it turned out 1) I wasn’t very attractive (please indulge my optimistic use of the past tense), 2) she was out of my league, 3) I’m inveterately and painfully awkward, and 4) teenagers are a heartless sort.

The result: she bolted as soon as we arrived, and spent the entire evening with confident, attractive junior alpha males who played sports and got bad grades.  Meanwhile, I, the archetypal beta male, sat on a bench staring into a swimming pool, waiting for high school to end, and playing various tracks from Give Up in my head to pass the time. This admittedly depressing scene was interrupted when I was rescued by my friend David and his date Sara (incidentally, about halfway through “Clark Gable”).

I still wonder why that album came into my head, especially considering my tortured relationship with it.  I hated to like Give Up.  See, some Death Cab for Cutie fans were nervous when Give Up dropped (these were the Sub Pop days, when Death Cab fans were less numerous and more proprietary than today’s breed).  Publicly, we worried side projects portend artistic restlessness, or worse, stagnation, that they threaten to reveal a beloved artist reduced to repackaging old ideas instead of presenting new ones.

Privately though, we’d admit that our real issue wasn’t artistic; it was that side projects have the whiff of infidelity.  Death Cab fans liked to envision Ben Gibbard poring over ragged spiral notebooks scribbling the lyrics to the next “A Lack Of Color,” not seeking new modes of expression.  Him having another band felt like a betrayal.

What an odd feeling. It’s not as if I didn’t love Ben Gibbard just because Give Up came out.  It’s just that the release of Give Up made me face all facets of that love, even the ugly ones: affection, loyalty, fear (of change and of loss), comfort, complacency, possessiveness, jealousy.  The only thing more frightening than watching someone you love change is the prospect of getting left behind somewhere along the way.  So I listened, with layered trepidation.

I find these feelings have survived in me, and they resurfaced again recently when Neal Fraser diverted his attention from Redbird to give Fritzi the full sit-down restaurant treatment.  When Fritzi became something more than a whimsical pop-up or a window at Arts District Brewing, that familiar proprietary jealousy, that envious dogma of mine, was impossible to escape, even though culinary side projects often work out just fine.

The Order: Fritzi Burger

The Price: $11.50

The Burger
Maybe you’ve never heard of Fritzi.  It would be hard to fault you, actually.  It first surfaced as a pop-up, then soft-opened as a practically nameless take-out window nestled in a corner of Arts District Brewing, where everyone from the merely buzzed to the blacked out could partake in some high-class, high-carb hangover prophylaxis.  The only signage to speak of was a large marquee above the window that glowingly admonished all passers-by: “DON’T FORGET TO EAT.”

By the time Fritzi actually opened a dining room directly next door to Arts District Brewing (serviced by the same kitchen as the take-out window; the two spaces are less adjacent than they are interlocked), it would have been easy to not notice.  There was almost no fanfare; besides, we’d been eating off that menu for months.

But Fritzi commands attention.  It is the brainchild of Neal Fraser, who ranks among the most deadly serious chefs in the city.  The fare is fast-food inspired and fundamentally uncomplicated.With quintessentially Arts District pretentiousness (i.e., trying far too hard to project a laid-back, industrial Bohemian charm), Fritzi will tell you they serve “artisanal nosh.”  That means no of-the-moment crudo, no robust and hearty braised goat gemelli, and – sadly – no peri-eponymous (I can’t resist making the epunymous joke) tray of veal.

Nothing here is a signature dish.  This is an off-duty project, a glimpse at what Neal Fraser might make at a cookout – nothing too high-minded…but, well, he’s still Neal Fraser.  As such, expect sophisticated, subtly reimagined classics.

The Fritzi Burger is, for lack of a better term, so Fraser.  Each component of the conventional burger is rethought, elevated.  This burger offers a hybrid patty (Nueske bacon and beef) that is given ample (viz., nine hours) sous vide time; a generous smear of Fontina fondue which offers a gooey, honeyed nuttiness; a sweet Calabrese relish with a whisperingly slow-hot finish; a fresh salve of mild thousand island; and iceberg lettuce to add cooling textural contrast.

The patty is a masterstroke, a subtle, intensely flavorful execution of an idea that sounds excellent in theory but often is butchered grotesquely in practice.  The Nueske bacon imparts a smoky, marbled dimension to the beef, evoking the faintest thoughts of a Texan barbecue pit.  The fondue creates a sumptuous, almost silken coating around the patty, mild and comforting.  Both sauces are excellent, and work well enough in concert with one another.  They offer a few redundant notes, but ultimately elevate the entire experience.  I was glad for the lettuce, if only because it offered a bit of complexity in a burger that otherwise verges on textural monotony.

While Fraser excels in reimagining individual ingredients, he sometimes almost loses sight of the forest for the trees.  It’s fine to reshape each piece of a puzzle, especially if you improve each one; but change them enough, and they won’t fit together.

In the case of the Fritzi Burger, that’s just a distant threat – this burger hangs together well, never veering into incoherence.  But it also is a mildly unsettling dish, because – as a whole – it doesn’t always feel completely intentional.  But existential niggling aside, this burger is stellar, not to be missed, and yet another shining example in a litany of Neal Fraser’s innovative genius.

Ultimately, no matter how rabid a Death Cab fan I was, I listened to Give Up.  I couldn’t help myself.  In my more honest moments, I recognize it as a superior product to solidly (maybe conservatively) 85% of Death Cab for Cutie’s oeuvre.  But even short of that admission, I know I put aside my feelings of betrayal on behalf of Gibbard’s bandmates because I wanted to understand what was compelling enough to divert his creative focus.  I didn’t really listen because I wanted to.  I listened because I had to.

So if you felt similar vicarious betrayal when Chef Fraser took time away from Redbird to launch Fritzi, you probably also feel a similar morbid curiosity regarding what Fritzi is all about.  Succumb to it.  This burger may not be better than 85% of the menu at Redbird, but it is too good to be missed owing to proprietary hipster envy.

The Ratings:
Flavor: 9.60 / 10.00
Freshness/Quality: 10.00 / 10.00
Value: 9.00 / 10.00
Efficiency: 8.40 / 10.00
Creativity/Style: 10.00 / 10.00
Bun: 8.40 / 10.00
Patty: 10.00 / 10.00
Toppings: 8.10 / 10.00
Sauce: 8.70 / 10.00
Balance: 8.90 / 10.00

Total: 91.10 / 100.00