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

Petit Trois

The Place
Petit Trois
718 North Highland Avenue
Los Angeles, CA 90038

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I was talking to my friend Peter last week about Petit Trois.  He went there with his wife recently, and ordered the omelette.  I’m not sure Peter is an omelette connoisseur, but he certainly is an educated enthusiast.  Anyway after a few bites of their omelette – a facially pedestrian offering with nothing more Boursin (yes, from the box) pepper cheese and a dusting of chives  – his wife asked if it was the best omelette he’s ever had.  “No,” he replied, “it’s the first omelette I’ve ever had.”

That’s what makes Ludo Lefebvre special.  His strength is not so much in wildly innovative concepts (though one trip to Trois Mec will show you he’s no slouch in that regard), but rather in expression.  Whatever the concept, from veal belly with crispy artichoke on down to a double cheeseburger, Lefebvre cannot be matched in execution.  Each dish is prepared with such skill and care, that his food has the potential to transcend quality and establish itself in your mind as an archetype of what a certain dish should be like.

Ludo Lefebvre is the rare chef who can make a simple dish feel definitional.  Not every dish achieves it, but when one does, you feel it, and to describe it is really just to speak normatively about how every dish of that kind ought to taste.  I’ll stop short of saying that his best offerings are infused with the intent of the divine, but the thought occurred to me.

The Order: Big Mec

The Price: $18

The Burger
Even if the name Petit Trois isn’t immediately familiar to you, you likely know more about it than you realize.  It’s the daughter restaurant of Trois Mec, at which reservations are famously difficult to secure, but which offers among the finest tasting menus in the city.  Petit Trois, then is an approximately Le Comptoir-sized appendage to its venerable – albeit only marginally larger – parent.  Though the restaurants have markedly different personalities, they share more than a wall; they have a common creative nucleus: Ludo Lefebvre teams with Los Angeles culinary power pair Jon Shook and Vinny Dotolo (the minds behind Animal, Son of a Gun, and Jon & Vinny’s) on these two gems tucked away in a strip mall behind a gas station.  Don’t let the understated location fool you, though – this part of mid-city is a culinary hotspot.  Just across the street is the mighty, higher-profile Mozzaplex, where Nancy Silverton et. al. have been slinging really important food for decades.

Roughly speaking, Petit Trois is a French lunch counter.  Reservations are not accepted, and the menu is a cheesy, framed and laminated piece of printer paper.  They serve comfort food which oozes with nostalgic sentimentality (for instance, every Sunday, Ludo Lefebvre – continuing a family tradition – does a chicken roast, where a half chicken is offered atop mirepoix, a bed of rough-cut vegetables redolent of a French country table).  The dishes are, in concept, often childishly simple.  Confit-fried chicken with bitter-cool frisée.  The aforementioned omelette has a flavor profile simple enough not to overwhelm my five year-old niece, but a subtle, buttery complexity that would floor just about anyone.

The cheeseburger is similar.  The name is a tip of the cap to an iconic – though hardly estimable – progenitor, and the inspiration, weirdly enough, is discernible.  The Big Mec is a double cheeseburger featuring two patties, Tillamook cheddar, all utterly drenched in Russian mayonnaise and house-made bordelaise sauce jammed between two brioche buns.  This burger is a study in messy decadence.  It bleeds sauce over its edges like a fountain.  The bottom bun is coated with the two sauces but somehow not soggy, and incredibly, never even threatens disintegration.

The concept here is to unify simplicity and excess.  At first blush, that might seem paradoxical, but it works in practice.  This burger is decadent without being overwrought.  It takes simple ideas and presents them in a maximalist fashion.  It is the culinary equivalent of “Untitled,” the first song off Interpol’s debut, Turn On the Bright Lights.  In that song, Paul Banks repeatedly intones the promissory phrase, “I will surprise you sometime, I’ll come around,” amid a swirling, sparkling, ever-rising torrent of Stratocaster.  There isn’t much to it; but it’s arresting because the same idea, the same brief, haunting, beautiful motif, is pounded into your head so many times.  That approach informs this dish as well.  Of course, the concept would be nothing without execution.  The Big Mec is executed masterfully.

The cheese is perfectly melted but still decidedly solid – it has heft and mass.  And it’s Tillamook, so it’s approachable: sharp and flavorful without being too overpowering.  The patties are stellar, massive things.  Charred on the outside, pink on the inside, irrepressibly juicy and thick.  They absorb only some of the ocean of sauce, but it’s enough to subtly change the flavor of the meat.

At bottom, this burger is about the sauces.  And really, it’s about the bordelaise.  The Russian mayonnaise is piquant, fresh, and just creamy enough, but it is utterly overshadowed by its companion.  The bordelaise at Petit Trois is made with red wine and veal stock and mounted with foie gras (usually, the mount is butter).  It is astounding.  It teeters on the boundary between boozy and acidic, like wine a few atoms away from oxidation.  But it is given shape, depth, and balance by the foie gras mount.  In the end, everything about it feels decadently intentional.  It is the most challenging, but also the most comforting, bordelaise you’ll likely ever taste.  It is smooth but also sharp, mellow but also bright.  It is also just about omnipresent in this burger…and you’ll still want more.  It also creates a beautiful, natural mash-up with the Russian mayonnaise – so natural, in fact, that the sauces feel more coextensive than cooperative.

You’ll ravenously devour this plate of food.  Your hands and teeth will drip with oxblood bordelaise and Russian mayonnaise the color of cooked salmon.  You will do violence to this burger.  The taste of the sauces will linger in your mouth long after you finish.  You will be exhausted, you will be panting.  You will look down at the plate, full to the gills, and you will ache for more.  You’ll see the pool of what’s left of the two sauces, intermixed, looking like a Woolnaugh endpaper, and you’ll wish it wasn’t over.

This is a cheeseburger.  Other things we previously might have known as cheeseburgers do not deserve the privilege of sharing a categorical identity with this dish.  It is the archetypal burger:  comforting, rich, indulgent, decadent, massive, messy, meaty, subtle, warming, unpretentious but refined, accessible, filling, and utterly delicious.

Make no mistake: This is as indispensable an eating experience as the critically acclaimed tasting menu across the wall.  If you have not yet eaten this cheeseburger, it may well be argued that you have never eaten a cheeseburger at all.  The Big Mec at Petit Trois is nothing short of a masterpiece.  Drive quickly, order quickly, but eat slowly.  After all, this will be your first cheeseburger – you should savor it.

The Ratings
Flavor: 10.00 / 10.00
Freshness/Quality: 10.00 / 10.00
Value: 8.40 / 10.00
Efficiency: 9.80 / 10.00
Creativity/Style: 8.90 / 10.00
Bun: 9.90 / 10.00
Patty: 10.00 / 10.00
Toppings: 8.70 / 10.00
Sauce: 10.00 / 10.00
Balance: 10.00 / 10.00

Total: 95.70 / 100.00

Sunny Spot

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The 405 freeway is maybe best described as a piece of hell that Los Angeles chose to annex in 1964.  It (along with bananas-high taxes) is the price we pay for living in a sun-soaked paradise: a throbbing vein of gridlock, on which – at the best of hours – brake lights pulse rhythmically.  Quite often though, it’s worse, and the string of red lights in front of you looks like a fluorescent snake if you squint.

For those who live in Los Angeles, the 405 is a conversation piece.  When I meet friends for a meal in Santa Monica or Venice, inevitably I will describe to them either a) what a tragedy the 405 is today, or b) how I skillfully, creatively managed to circumvent the 405.  These topics are staples of the conversational diet in this town.  And they make us an easy target.

I recently spent a Saturday morning – and part of the afternoon – on the 405, driving to brunch at Sunny Spot.  My interminable journey through the gridlock (which, in familiarly epic largesse, spilled indulgently back onto the 101) found me listening to Loveless on repeat and texting my friend Bret with my car in park (and just to completely embody the stereotype, I’ll share that I was between Getty Center and Sunset – nightmare).

Unless you live on the west side, you’ll have to endure some version of this drive to get to Sunny Spot.  When you arrive, you’ll find a classically Venice exercise: peeling turquoise paint on which the name of the restaurant boldly is emblazoned in coral-colored cursive (think the colors of the key at the San Antonio Spurs’ arena circa 2000), a meticulously curated shabby-chic beachside dive aesthetic.  It tries hard not to try hard.

You’ll likely have lost your reservation by the time you arrive (assuming you had the foresight and misplaced optimism to make one).  So you’ll have to wait among aspirant screenwriters and armchair critics; almost impressively basic young women with protein powder-dusted boyfriends following close behind; post-surf stoners, desperately hungry and wondering why they hath forsaken Taco Bell.

It goes without saying that a tiny proportion of guests will be talking to one another.  After all, to our generation, a meal with friends merely means sitting at a table with other people who are also glued to their Instagram feed.  True to form, you’ll see the patrons of the restaurant being alone together, side-by-side but absorbed in Pokémon Go or composing sarcastic YouTube comments or adding this “memory” to their Snapchat story or whatever the intimacy-killer du jour is.

You’ll try and push this depressing portrait of collaborative loneliness out of your head.  You’ll get a greyhound from one of the surprisingly attentive bartenders (you won’t get a Bloody Mary, because they aren’t fantastic here, and you won’t get a mimosa because mimosas are sort of silly).  You’ll steep in the charming, faux-rustic atmosphere of the place, the loose and warm summer shade.  If you’re the type, you’ll lovingly muss your hair and frame a selfie or two.  You’ll wait longer than you should for a table, and do your best not to wonder if it would be easier to get a table at Providence than here.  Then you’ll remember that you should relax; it’s the weekend, and the weekend was made for wasting time.

The Order: Double Cheeseburger

The Price: $15

The Burger
The reason I bring up the 405 and the whole look of Sunny Spot is because I have to talk about them to talk about this burger.

The 405 is not just a freeway.  Well, on the surface it is.  It’s a few lanes arranged in a predetermined path, peppered by ramps every few miles.  But dig deeper, think harder, and you might be surprised with what you realize.  The 405 forces us to confront the ironic truth that, to get somewhere, we have to accept going nowhere for a while.  It wrenches us from the stupefying, swipe-right torrent of instant and meaningless gratification that occupies so much of our time and thought.  It pulls us away from the relentlessly interconnected world and makes us confront our own thoughts.  It demands the one thing so many in this generation lack: patience.

My point is that the 405 isn’t what it seems on the surface, and if you think about it in the right way, you can understand how sitting in traffic actually is a blessing, an opportunity for growth and reflection that has become vanishingly rare as our world becomes a giant touchscreen.  At the very least, it can show you that often times, there’s more to things than what you might see from a cursory look.

Sunny Spot is sort of like the 405 in that way.  If you weren’t looking all that hard, you’d see a beachy Venice restaurant with a gregarious color scheme.  You might miss the subtleties at play here.  Their brunch menu features standard items with haute tweaks.  Grana Padano in an otherwise unremarkable chop salad.  Crisp chicharron on the Cuban pork sandwich.  A sunny egg on the BLTA.

This is a place that quite clearly is trying to give you what you want in a way that’s better than you wanted.  They want to blend the familiar with the high-level.  It’s not just a beachside shack; it’s a place that is dedicated to the marked – if incremental – heightening of tastes.  This is admirable, and an especially tall order when your target audience is so often obsessed with the banal and unchallenging.

What I’m trying to get at here is the (weird, semantic) distinction between being complicated and being complex.  The 405 is complicated because it introduces logistical uncertainty in my life.  Because there are so many damn cars on it, I’m late for any plans that involve me taking the 405.  But the 405 is complex because it makes me feel something every time I’m on it, and exploring those feelings makes me think more deeply and more critically about the world around me and my interaction with it.

Sunny Spot itself is uncomplicated – it’s a simple enough formula of beautiful, precisely disheveled people and a milieu to match; but it’s complex because it seems to be at least attempting to subvert and refine the unsophisticated impulses of the very clientele to which the place – at least aesthetically – caters by subtly altering the familiar.

How does this distinction apply to burgers?  Well, it’s easy to make a burger complicated by fettering it with a slew of features.  But complexity isn’t about the number of variables in play; it’s about the depth of interaction between those variables, and it’s really about the way the thing makes you feel, what it arouses in you when you take a bite.  Sunny Spot rejects being complicated in hopes that it might achieve subtle complexity.

In eschewing all the traditional trappings, Sunny Spot is trying to challenge your preconceptions of what is indispensable on a burger.  Lettuce, tomato, ketchup: these are distractions.  Sunny Spot presents a burger with a spare flavor profile.  By reducing the number of ingredients, the goal seems to be to heighten subtle interactions rather than presenting an amalgam of various flavors.

This burger places two hefty patties smeared with American cheese front and center.  This centerpiece is rounded out with dijonnaise, pickles, and caramelized onions, all of which is sandwiched between two brioche buns.  Note that this hits every one of the basic taste triggers: sour (pickles), sweet (dijonnaise and onions), bitter (onions), salty (beef), and umami (beef and cheese).  This burger touches all the bases without giving too much of anything.

The good news is that this burger is efficiently conceived and executed.  It’s a competent exercise in lean construction.  But that’s all it is: just craft.  This burger clearly wants the diner to do the work of figuring out how these flavors are put together.  That doesn’t stop it from being good.  But it precludes greatness.

A great burger will give you a window into the mind of the person who made it.  It might even arouse memories, feelings, thoughts.  It will show you something or make you feel something.  The best food isn’t that which you can appreciate as a well-formed study in culinary craft.  It’s the food that enriches you somehow, connects with you individually, feels like it was made for you.  This burger will mean the same thing to everyone who eats it.  Few will abhor it, none will yearn for it once it’s gone.  It’s a pleasant, but eminently duplicable, experience.  As far as it goes, it’s great.  The problem is that it just doesn’t go all that far.

In this case, the distinction between complicated and complex is purely academic.  This burger is neither.  Relatively few ingredients interact in predictable, uninspired ways.  The beef and cheese overwhelm the flavor profile.  The brioche is a touch dry.  The dijonnaise and pickles are barely perceptible, so any subtle interaction between them is a whisper in a thunderstorm.  The onions are unevenly distributed on the patty, providing pockets of soupy bittersweetness.  None of this is offensive – in fact, the toppings themselves (especially the dijonnaise, oddly enough) are all quite good – but the ingredients simply stand side by side without ever cohering.  This is an orchestra tuning, not playing a symphony: the talent may be there, but the real show hasn’t started yet.

This burger was not made for you.  It was made for everyone.  It is always correct but never remarkable.  It will be good to everyone and great to no one.  Fairly, you may not care about the fine-grain distinctions between complicated and complex.  In that case, know this: you will neither regret ordering this burger nor crave it again.  But it won’t make you feel anything.  And it certainly won’t make you forget that drive.

The Ratings
Flavor: 8.20 / 10.00
Freshness/Quality: 9.20 / 10.00
Value: 7.10 / 10.00
Efficiency: 5.20 / 10.00
Creatvity/Style: 7.80 / 10.00
Bun: 7.80 / 10.00
Patty: 8.90 / 10.00
Toppings: 8.70 / 10.00
Sauce: 9.00 / 10.00
Balance: 7.30 / 10.00

Total: 79.20 / 100.00

1212

The Place
1212
1212 Third Street Promenade
Santa Monica, CA 90401imageSanta Monica on a summer weekend truly is an incredible thing.  The beautiful, sun-bronzed masses take to the streets in outfits carefully chosen to reveal the fruits of a winter spent in pilates classes, or of the paleo diet, or of thousands of dollars in Equinox membership fees or CrossFit classes, or of the latest juice cleanse.

 

When Andy Warhol – speaking about Los Angeles – said, “Everybody’s plastic, but I love plastic. I want to be plastic,”  he might have been talking about Santa Monica.  “Plastic” doesn’t have to mean surgically enhanced.  It just means beautiful in a very banal sort of way.  There is an inhuman kind of beauty, a sort of perfection of the human craft, that you see a lot in Santa Monica (as opposed to, say, the intentional, contrived anti-beauty of Silver Lake).  The people there are, for lack of a better term, impossible looking.  Santa Monica is a simple enough cocktail: one part Free People shabby-chic; three parts Stepford; two parts Abercrombie & Fitch catalogue; a dash of pornish, self-aware sexiness; topped with a magnetic superciliousness.

The men want you to think their biceps and abs just happen to look like that.  They don’t want you to know it was Bumble & Bumble that gave them that hair, not catching waves as the sun rose.  The women want to convince you that they don’t think their Chloe is that big a deal – and in some cases, unbenknownst to them, it’s not – when in point of fact, it’s the centerpiece of their whole outfit.  It’s all about appearances.  Style trumps substance.  Sizzle trumps steak.

Another invective against poor Santa Monica.  But in my defense, my path to getting the burger at 1212 (a new-ish, trendy-ish, rustic but also modern, accessible but also fancy – aspirationally on both counts, by the way – small plates kinda, presentation-first installation on the Third Street Promenade) was blocked by hordes of these saunteringly basic sort.  They cross the street with such languid entitlement that, when the light changes and they become jaywalkers, their pace seems actually so slow.

So, if you decide to go to 1212, be warned: it may take you forty minutes to round one block to make a right turn into a parking lot (the left turn lane was blocked off without explanation by the Santa Monica Police Department, which spends most of its time making operating a motor vehicle in the city slightly less palatable than listening to him read this aloud, while you are made to watch the last forty-five minutes of this with no sound).  And if that was not enough, you then must navigate crowds of people so basic their pH is 15.

After all that – finally – you’ll get to 1212, and hope that the burger – for which you endured such tribulations – will be worth it.  You hope so hard.  I met Kelsey and Kate there.  After the ladies were done declining to dance with a gentleman who looked like a housing-insecure Colonel Mustard, we shared a meal.

The Order: The Burger

The Price: $15.00

The Burger
They certainly don’t want for effort at 1212.  This burger comes topped with black truffle gouda (really), bacon jam (really), a sunny side up egg on a sad ciabatta.  The patty is…well, who knows what kind of beef.  It doesn’t matter, right?  See how much other fancy stuff is on there?  Seriously, the beef is the weakest point of the burger.  The server recommended it cooked medium, which as a general matter, puts me on notice that the flavor of the beef is nothing to write home about.  This held true here.  The patty was bland and gritty, with only the stinging bitterness of char on the front end to confer any personality at all.

The “black truffle” gouda was similarly disappointing.  I put black truffle in quotations earlier because you’ll have to take their word for there being any black truffle at all in that cheese.  If you’re into this kind of thing, you know black truffles are in season, and you might be getting excited at the prospect of some sort of infusion or suspension or what have you.  Get over that.  This is gouda cheese.  There is no truffle to speak of.  There is not even the suggestion of truffle.  The cheese itself tastes fine, but it’s just gouda; the representation of it as something more is mendacious culinary clickbait, and it’s mildly infuriating.  What you’ll get is pedestrian, relatively blunt, pleasantly nutty and reasonably buttery gouda.  Nothing less, but definitely nothing more.

Beneath the bubbling blanket of gouda lies the bacon jam.  It’s more of a chutney than a jam – it’s too tangy to be a jam.  It’s got a strange ragu-like consistency.  It’s oddly sharp and almost sour, and is a reasonably unpleasant add-on.  It clashes with every other ingredient, especially the cheese, and ultimately feels like a try-hard feature that should have been excluded.

Then, there’s the sunny egg.  The egg itself is good enough, runny, smooth and soothing both in taste and texture.  It somehow manages to be the best thing about this burger and feel like surplusage at the same time.  Amid all the flavor noise, the textural complexity the egg adds another layer of confusion to each bite, which the burger lacks the theoretical or actual vitality to support.

The Burger at 1212 is a product of its environment.  It cares more about sounding good and looking good than it does about actually being good.  It’s ingredients are all fine, but none are particularly thoughtful.  It seems like a burger the chef imagines other chefs dream of serving (you know, a Cultured but Familiar Spin on a Classic), but it’s delicious in the same way the Beautiful People in Santa Monica are beautiful.  Each feature is well-appointed (I guess), but there’s an artificiality to the whole, a lack of genuineness that is facially annoying, but ultimately unsatisfying (at best) or downright repulsive (at worst).  Much like driving in Santa Monica on a Saturday, this burger is best avoided.

Oh, but the kale chips were pretty good.

The Ratings
Flavor: 5.90 / 10.00
Freshness / Quality: 7.00 / 10.00
Efficiency: 6.70 / 10.00
Value: 4.00 / 10.00
Creativity / Style: 5.10 / 10.00
Bun: 5.30 / 10.00
Patty: 5.20 / 10.00
Toppings: 5.10 / 10.00
Sauce: 5.00 / 10.00
Balance: 3.80 / 10.00

Total: 53.10 / 100.00

Belcampo Meat Co. II

The Place
Belcampo Meat Co. at Grand Central Market
317 South Broadway
Los Angeles, CA 90013

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On some day during your life in Los Angeles, you will experience a moment of being utterly overwhelmed by Grand Central Market.  In that ever-trendier, neon-lit, culinary sprawl you will find yourself staring off into space.  Your eyes will start to glaze over as you bathe in the crowded fluorescence and the pan-ethnic gamut of scents and the heat of stove and sun.  You will equivocate, vacillate, hesitate, and calculate.  You will consider – and this time, really consider – whether braving the line at Eggslut is worth it.  (Hint: It’s never worth it.)  You will think, “If only DTLA Cheese wasn’t out of that burrata toast.”  (Hint: They’re always out of the burrata toast).  You will quietly entertain the notion that today is the day you put aside your existential objection to vegan ramen (Hint: You’ll never put aside your existential objection to vegan ramen – and that’s okay; Vegan Ramenism is the lone form of bigotry that is socially desirable).

I’ve had a few days like that.  On those days, I usually wind up at Belcampo.  In the midst of that kind of uncertainty, I take comfort in the fact that even the worst case scenario includes me eating very, very high quality meat.  Now, admittedly, I didn’t find myself particularly overwhelmed by Grand Central Market today.  I just found myself in the mood for a burger.  So I stopped in at Belcampo and ordered the Double Fast Burger.

The Order: Double Fast burger

The Price: $9.00

The Burger
The nice thing about Belcampo, which has shown up on the Project before, is that you can always count on extremely high quality meat.  When they tell you that the Fast Burger is their homage to the drive-thru burger, you should only believe them so far.  In the main, I can think of no drive-thru slinging burgers made from beef this luxe.  More subtly, this burger is not an homage to the drive-thru writ large; it’s an homage to In-N-Out.

Both of my regular readers will know that I am not opposed to doling out high praise to Double-Double rip-offs.  But imitating the greatest burger chain on the planet is a high-risk, unforgiving enterprise.  And Belcampo’s attempt, while estimable, falls noticeably short in several respects.

In the first place, the patties, while certainly flavorful and of the utmost quality, are not well packed, and too flimsy.  They never quite fell apart while I was eating, but threatened to on several occasions.  And while it’s admirable to use such excellent meat, Belcampo’s purism means the beef is barely seasoned at all.  That, coupled with the fact that this beef actually is just the trimmings of the beef from everything else they use, means you won’t be able to pin down precisely what you’re eating, and it may even vary from bite to bite.  One bite may ring out with marbled echoes of Porterhouse, while in the next, gritty chuck will elbow its way to the forefront.  The quality of the meat is there, but the initial momentary thrill of variety quickly gives way to frustration at a patty that is unfocused and incoherent.

The toppings, in the aggregate, are fine.  Like its cousin the Belcampo Burger, the double fast burger features lettuce that is a bit too wilted and sad not to notice.  The tomato does not offend, despite being a bit slippery and lacking in that sunny juiciness that you hope for.  The cheese is a standout – housemade American that is creamy and unfussy.  It oozes about the patty like sap on a tree stump.

It’s hard to argue this is a better buy than In-N-Out.  The beef is the centerpiece of the burger, but the patties are not as carefully composed, and the toppings are nowhere near as fresh-tasting.  The bun, too, is a pale imitation of a pale imitation of In-N-Out’s standard setter.  The lack of sauce is the final insult: an incomprehensible choice that seriously undermines the balance of the burger (you’ll appreciate In-N-Out’s dressing that much more after eating this).*  And at $9.00, while it’s still quite a bargain, it’s vastly more expensive than In-N-Out (or Burgerlords).

It occurs to me that this review reads pretty negatively up to this point.  Belcampo does a lot of things right.  They offer ingredients-first burgers that don’t attempt to hide behind gimmicky ingredients or high-cuisine shenanigans.  To the extent this offering falls flat, it does so relative to its industry-topping comparables, In-N-Out and Burgerlords.  In its own right, it’s a good burger.  Inconveniently, though, it has some stiff competition, and that’s hard to forget.

It may be that the Fast Burger is the “worst case scenario” for Belcampo to which I alluded above.  Indeed, the very concept of a drive-thru inspired burger seems anathema to the Belcampo’s whole schtick.  And that’s really the big problem here: Belcampo isn’t a burger stand.  It’s not a fast food restaurant.  It shouldn’t pretend to be one.

*Because this burger did not have sauce, I haven’t included sauce in my ten-point scale.  However, the lack of sauce affects the quality of the burger, which I’ve reflected in a lower score in the Balance rating.  The overall score – without the sauce category – is out of 90.00, which I then normalized to 100.00 by doing cross-multiplication.  Be impressed.

The Ratings:
Flavor: 8.00 / 10.00
Freshness/Quality: 9.00 / 10.00
Efficiency: 9.00 / 10.00
Value: 9.00 / 10.00
Creativity/Style: 7.50 / 10.00
Bun: 7.20 / 10.00
Patty: 8.10 / 10.00
Toppings: 7.80 / 10.00
Sauce: N/A
Balance: 7.40 / 10.00

Total: 73.00 / 90.00 = 81.11 / 100.00

Redbird

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I think about judgment day a lot.  Call it the end of the world, or the apocalypse, or whatever you want.  I think about it.  I think about when fire and brimstone rain down heavy and hot from skies that split like the seam of a too-small blazer.  When it turns out the Old Testament was right.  When God gets sick of all our shit and exacts vengeance on us for our innumerable sins.  When we all find out that we were fools to be cynical and supercilious.  When the joke, as it happens, was on us all along.  When it doesn’t matter whether we’ve found God, because he finds us.  When it doesn’t matter what we believe.  When nothing matters but the lives we’ve led.

When that day of reckoning comes, I hope I’m sitting at Redbird with the tar-black summer sky above me, a meal settling, the cold sting of a scotch and sherry cocktail lingering on my lips, waiting for my pavlova to arrive.  That’s not because Redbird is the best restaurant in this city, or even the fanciest.  It’s not because Neal Fraser is the best chef in the city (though he must be in any conversation on the topic).  But I can’t think of a better place to face the apocalypse (leaving aside the delicious irony of being condemned to an eternity alongside Dante’s most wanted while sitting in a repurposed rectory).

See, when it all ends, I want to be somewhere beautiful, and I want to be doing something delightful.  Redbird is the most beautiful place to eat in Los Angeles.  Bar none.  It also is one of the ten best restaurants in this city.  Its décor is as eclectic as its menu, which in turn is as eclectic as Los Angeles.  Fraser presents crudo with bright wedges of citrus and an adobe-red dusting of peppery togarashi; delicate, crisped slabs of Wyoming trout; a symphonic barbecued tofu (which, by the way, is dream-hauntingly good – better even than Sang Yoon’s resplendent chicory-coffee barbecue sauce-bathed Kurobuta pork ribs at Lukshon – whether or not you like tofu).  And he presents them all with such easy familiarity that you’ll forget how weird it is to find them all on the same menu.  Just like Los Angeles, in which so many different cultures and kinds live side by side.  It’s curated chaos, but to those of us who have been fortunate enough to really come to know it, its splendor is difficult to match.  The perfect place to watch it all end.

Wednesday was not the apocalypse, so Bret and I settled for lunch at Redbird.  It’s a perfect option for those who ache for a longer intermissio from the raw grind of the work day.  Fraser offers a slightly abbreviated version of his menu, including a prix fixe for the indecisive and slightly profligate, and a burger for … well, not least for the man who writes about burgers.

The Order: Prime Burger

The Price: $18

The Burger
This might be the burger for the end times.  See, if you happen to be jonesing for a burger when the fabric of the earth falls away and reveals the roiling inferno that lies behind it all, you won’t have time to let the marrow melt, or caramelize the onions, or pull any other high-cuisine moves.  You’ll have time to throw together a few ingredients – whatever is at hand – into the last burger you’ll ever eat.  Now, having said that, it’s the last burger you’ll ever eat.  And you’ll be damned if you’ll let it be pedestrian.  Even at the end of the world, you’ll have to compromise, to balance countervailing interests.

The Prime Burger at Redbird manages that. It is spartan in an indulgent kind of way, deceptively complex, intensely flavorful but stripped of pretense and unnecessary ornamentation.  This feels like the burger chefs will make when there is no one left to cook for.  If Howard Roark spent his life behind a grill instead of a drafting table, he would have aspired to create this burger.  It is the product of passion and craft.  Every ingredient serves a purpose.  Nothing is out of place.  The fact that it’s a crowd-pleaser?  That’s merely an externality.

The patty is pure Fraser: massive, marbled, loosely packed, pink and bloody.  It might be overwhelming, I guess, were it executed with anything less than perfect mastery.  But this is Neal Fraser, so it’s executed with nothing less than perfect mastery.  The remoulade is piquant, tart, and generously portioned (and why not?  You’ll want an extra scoop of sauce when the apocalypse is impending).  This sauce is a beautiful, rich, indulgent complement to the sumptuous, almost buttery, beef.  Aged cheddar drips like sap, so slowly that it forms an amorphous tendon that seems to connect patty to plate.  It’s creamy and thick, with a distant whispering sharpness.  There is a chile relish that adds a smoky sweetness (but almost no heat), and extra pickles to add more zip if you want them.

The bun is the burger’s weakest part.  A too-dry, too-thick brioche, it tasted a day old and was a bit too imposing for this burger.  The dryness of the thing wasn’t helped by the fact that it was flaked with sea salt.  It’s a noticeable imperfection, but the rest of the flavors are bold enough to compensate for it.  In the end, the burger hangs together impressively well in spite of a disappointing bun.  Besides, when judgment day comes, you probably won’t be too picky about the bun on your burger.

In case it isn’t abundantly clear, I liked this burger very much.  It’s big and brash, but is ultimately memorable for its relative simplicity.  It’s a really well-prepared, thoughtful offering.  It manages to achieve simultaneously simplicity and complexity, boldness and subtlety, immediacy and depth.  It’s a great burger.  Don’t wait until the end of the world to try it.

The Ratings
Flavor: 9.30 / 10.00
Freshness/Quality: 10.00 / 10.00
Value: 7.90 / 10.00
Efficiency: 8.70 / 10.00
Creativity/Style: 8.30 / 10.00
Bun: 6.80 / 10.00
Patty: 10.00 / 10.00
Toppings: 9.00 / 10.00
Sauce: 8.90 / 10.00
Balance: 9.30 / 10.00

Total: 88.20 / 100.00

Tyler’s Burgers

The Place

Tyler’s Burgers
149 South Indian Canyon Drive
Palm Springs, CA 92262

No reservations
Bar: Beer and wine
Cash only

You’re eight years old, maybe nine.  It’s the height of summer—say, early July?  You’ve settled comfortably into your vacation, and your dreaded return to school is not yet on the radar.  You can’t really tell the days apart; they blend together into an undifferentiated mass of weekdays and weekends and friends and sunburns and beach days and day trips and sun-warmed pools.  You bask in the delicious swelter of the long summer days.  You feel invincible, ageless.

On one of those days, a day quite literally like every other early July day, your parents take you to a cookout at a friend’s house.  You walk into your friend’s backyard, grass brushing against the sides of your feet left bare by your sandals.  You hear laughter and beer cans opening.  You smell freshly-cut grass soaked in lemonade spills and sprinkler spray, the delicate cloud of sweet summer sweat, chlorinated water, and—above all—the smell of smoke, charcoal, and crackling grilled meat.

Hold that picture for a moment.

Diana Diamico started a restaurant based on that kind of picture.  Two decades ago, she set up shop in a sixty year-old building on the main drag in Palm Springs.  It used to be a Greyhound Bus depot.  Her goal was to recreate a burger that her mother used to sling way back when at a burger stand on the boardwalk in Venice Beach.  That burger, so firmly rooted in Diamico’s memories of childhood, “became the foundation of knowing the difference between mediocrity and the best.”  It also became the foundation stone of her business.

Diamico’s burger, then, is a nod to the past, to a time when things felt—were?—simpler.  Maybe that’s an excessively romantic way to think about a burger (especially if you’re one of those cynical millennial types), but nostalgia is a powerful emotion.  It affects not only what we like, but also—not least in the case of Diamico—what we do.  Tyler’s is a business built on memories.  It’s also been held that you can’t get a better burger in Palm Springs.  Well, Kelsey and I were out there for the long weekend, so we went to give it a try.

The Order: Cheeseburger, bacon cheeseburger

The Price: $8 (cheeseburger), $9.50 (bacon cheeseburger)

The Burgers
It might seem odd that I’m reviewing two burgers at once—and it’s true; usually I don’t do that.  But these two offerings weren’t different enough to merit separate reviews.  If you’re like me, your instincts would guide you towards ordering the bacon cheeseburger, because bacon.  Now, while it’s hard to say that ordering the bacon cheeseburger is flat out misguided (especially if you’re into that sort of thing), I can’t endorse it.  To my mind, the bacon is more of a distraction than a complement here—albeit a delicious, delicious distraction (especially if you’re into that sort of thing).  But that isn’t an indictment of the bacon cheeseburger so much as it is a veneration of the standard cheeseburger.  I think the order is the regular cheeseburger with American cheese and grilled onions.  Hold the tomato for bonus points (I had it on the bacon cheeseburger, and it didn’t add much).

Go back to that picture in your head.  You’re at the barbecue and you’re handed a hastily arranged burger.  The garnishes are simple: an oozing sheet of American cheeese, crisp lettuce, bright pickles, succulent tomato, maybe some sweet, charmingly flaccid rings of grilled onion.  The sauces are conventional, unfussy: ketchup, yellow mustard, and a thin glaze of mayonnaise mixing into some unnamed but familiar metacondiment the color of a sunset.

Tyler’s has done a pretty good job of recreating that burger.  It’s not necessarily this burger that’s memorable.  It’s that it evokes really fond memories.  If you’re like me, this burger will around feelings of nostalgia in you. It’s the taste of a summer barbecue.  It’s the taste of being told to wait a half hour before swimming.  The patty is substantial – seven ounces at least.  Were I to complain that it was a touch overcooked, that would only be a matter of taste.  The outside of the patty is deliciously crackled by the flat top, the inside juicy and savory enough.  The sponge bun is the stuff of In-N-Out dreams, but slightly thicker.  That’s okay, given the thickness and heft of the patty.

The toppings are all solid, but the cheese is the standout.  It completely covers the patty in a thick, dripping sheet.  Swiss is an option, but I can’t imagine it topping the American I chose.  I’ll readily stipulate that American is perhaps the most sophomoric of all the cheeses, but my gracious, it was indulgent, rich, and creamy.  And for as unfussy an expression as this burger is, it was the ideal complement.  The grilled onions were a fabulous addition too, sweet and grill-burnt.  They sank into the quicksand-like cheese until the two almost infused one another.  Stellar stuff.

As I ate the cheeseburger (which, to bring it full circle, probably deserves the mantle of best burger in Palm Springs), I glanced over to the bar and saw a family sitting together, presumably on a Memorial Day vacation.  Their young son couldn’t have been older than ten.  He was holding his cheeseburger aloft when I looked, to eat a hanging disc of pickle.  He had ketchup on his face.  His hands were a mess.  His too-big blue t-shirt had escaped stains for the moment, but I found myself doubting that would last as I watched him attack his burger with the gleeful abandon that summer engenders in everyone of that age.  And as I bit back into my own burger with the neat and proper sobriety of adulthood, that age felt a little closer.

The Ratings
Flavor: 9.50 / 10.00
Freshness/Quality: 8.60 / 10.00
Value: 9.40 / 10.00
Efficiency: 8.00 / 10.00
Creativity/Style: 7.00 / 10.00
Bun: 9.00 / 10.00
Patty: 8.90 / 10.00
Toppings: 8.80 / 10.00
Sauce: 8.00 / 10.00
Balance: 9.50 / 10.00 

Total: 86.70 / 100.00

Miro

The Place
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Miro

888 Wilshire Boulevard
Los Angeles, CA 90017

Reservations: 213.988.8880
Bar: Full bar (plus this…gracious)

The weird thing about modern urban renaissances – well, one of the weird things – is that they all have an inflection point.  Before that point, things are cheap, and gems are hard to find.  And while it’s never entirely clear precisely when a given neighborhood reaches that point, after it is reached it matters less how good your chilaquiles or fatty tuna or octopus salad or burger or whatever is, and more how good your relationship with your investors is.  Take Ari Taymor’s iconic and beloved Alma: shuttered in spite of fawning praise from critics and customers alike.

I don’t mean to hate on rich folks funding restaurants (to the contrary – keep them coming), but even the most successful restaurateurs have their ups and downs.  What’s more, when investors define a restaurant’s identity, sometimes the focus can shift from the meat to marketing.  When image starts to trump the product on the plate, places run into trouble.  This tends to happen more as neighborhoods gentrify and it becomes harder for people to open restaurants without investor backing.  Tricky business.

Which brings us to Miro, an aggressively trendy new restaurant, which seems to cater to downtown power brokers who yearn to be farm-to-table foodies.  Reclaimed wood abounds, the servers have hair and vests pulled straight from the roaring 20s, and the menu is a sprawling exploration of current food scene obsessions.  Don’t have time to get the crudo at Wolf and the house-cured charcuterie at Chi Spacca?  Can’t pencil in time for craft cocktails at The Fiscal Agent and garganelli at Union?  Not a moment to spare for biscuits at the Hart and the Hunter and the pork chop at Salt’s Cure?  No problem – come to Miro and get it all.  To call it the refuge of the dilettante might be a little harsh (especially in light of the fact that it has the best whiskey bar in California, which is a connoisseur’s paradise), but it wouldn’t be entirely inaccurate either.

Anyway, one entry on Miro’s – ahem – *diverse* menu was a burger.  Johnny and I took some summer associates for lunch, and I tried it on the firm’s dime.  Is Miro the first sign that Downtown Los Angeles has passed its inflection point?

The Order: Grass-fed burger

The Price: $15

The Burger
The burger really embodies what Miro is trying to do – for better and worse.  Onion jam and bacon (made in-house!) are ostensible pride points, but they are lost in the shuffle.  You may detect a whisper of one or the other amid the bitter, charred swirl of the flavor profile, but only just a whisper, and it will not overwhelm you.  The bacon was cut thick into slabs, fatty and without taste.  The onion jam was so difficult to detect that I’m not even certain it was there at all.  Same with the aioli and cheese, while we’re on the topic.  Much of what is on this burger is swallowed by two ingredients: the arugula and the beef.

The grass-fed patty is well-intentioned but overcooked.  It’s big enough; easily a third of a pound, and with a promising, estimably charred crust.  But it is cooked well past medium until brittle and bland.  There is some residual juice left to keep things from getting too dry, but unfortunately, the final product is even less flavorful than the grass on which the poor cow subsisted.  To cook a patty that much, you have to justify it with a blend of meats.  Miro failed to do so, leaving us with little more than fancied up chuck, which doesn’t forgive overcooking.

Grass-fed though the patty may have been, the fine folks in the kitchen at Miro seem to have felt it was starved for roughage.  At least, that’s the most plausible explanation for the Chugach-worth of arugula (one supposes, a ham-fisted tip of the cap to Father’s Office) asymmetrically heaped atop the patty.  It spills out of one end of the bun like a Kardashian out of an Herve Leger dress that’s one size too small, and is barely present at all on the other end.  If all it did was add a (too-heavy) dose of  fresh bitterness to the burger, it wouldn’t be so bad.  But in this case, it masked the remainder of the flavors at work, obfuscating an otherwise intriguing suite of ingredients.

So you won’t taste the subtle interplay between still-melting cheese and bacon drippings.  You won’t taste the sweet matrix of onion jam flirting with the creamy aioli.  You won’t even get to enjoy how the delicious – if slightly dry – bun holds it all together.  You’ll get overcooked meat and an impenetrable thicket of arugula.  For all this burger’s ambitions, it winds up being a poorly executed, unbalanced affair, where the two most pedestrian ingredients outshine the more interesting – though, admittedly, a bit try-hard – additions.

The burger reflects the restaurant that serves it.  A lot of sizzle without much steak.  Miro is swanky, modern, eclectic, and has all the features you’d expect to find in a trendy, delicious restaurant.  Similarly, the burger looks great and features a slew of really of-the-moment ingredients.  Ultimately, though, it just doesn’t deliver.  It looks better than it is.  It’s too trendy for its own good.  It puts image above execution. Is this a portent of things to come in Downtown? Hopefully and probably not.  But it’s hardly encouraging.

The Ratings:
Flavor: 6.20 / 10.00
Freshness/Quality: 8.50 / 10.00
Value: 5.10 / 10.00
Efficiency: 7.90 / 10.00
Creativity/Style: 8.40 / 10.00
Bun: 9.00 / 10.00
Patty: 6.80 / 10.00
Sauce: 7.00 / 10.00
Toppings: 6.00 / 10.00
Balance: 6.00 / 10.00

Total: 70.90 / 100.00 

Kogi BBQ

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It’s hard to not love Roy Choi.  Kogi BBQ, his brainchild, set the stage for chefs to gain prominence without navigating venture capital weirdness (and the attendant sacrifices in culinary integrity) to secure the immense resources needed to open a brick and mortar restaurant.  Food trucks allow chefs to serve you the food they want to serve you, rather than having to spar with the deep pockets that keep the lights on.

From the trunk of a truck plastered with more stickers than a graying hippie’s Volkswagen, Roy Choi started slinging whatever the hell he wanted.  Most loved it.  Some didn’t.  But even his detractors will admit (some more grudgingly than others) that his food is — if nothing else — interesting, honest, and original.

Some complain that food trucks are like the Internet in that they remove the talent filter that previously existed in the culinary world, which (apparently) ensured a certain level of quality.  It was bad enough that any asshole with a laptop and a hunger pang can pretend to be a food critic.  Now we have to suffer dilettante chefs too?

On balance, though, that view is as wrong with respect to food as it is as applied to information.  It’s nice that food fell from the ivory tower and landed in a strip mall.  Sure, caveat emptor is a much more current creed now that there are literally thousands of places that no reputable outlet will have written about.  You’ve got to dig through a lot of trash to find treasure.  But that’s not such a bad thing; nothing worth having ever came easily.

I’m digressing.  This isn’t a meditation on the merits vel non of food trucks.  It’s about Kogi BBQ.  Roy Choi’s relentless creativity led him to expand the menu at Kogi (the kimchi quesadilla is a revelation, but also a full-frontal gastrointestinal assault).  Eventually, the menu expanded to include a burger, and my interest was piqued.  I went on a solo venture and checked it out.

The Place
Kogi BBQ
Location varies — see website for details.

The Order: “Pacman” Burger

The Price: $8

The Burger
First things first.  Don’t call it a burger.

The Pacman Burger is named after Manny Pacquiao, and that’s fitting.  Manny Pacquiao doesn’t look like a boxer.  In fact, if I hadn’t seen him punch people in the face with such precision, skill, and dogged determination, I wouldn’t believe he was  a boxer just by looking at him (that might be racist and size-ist, but I’m a small brown man too, and nobody mistakes me for the second coming of Sugar Ray Leonard).

Similarly, the Pacman Burger isn’t really a burger at all.  It’s a self-styled “mashup,” a sandwich consisting of a gallimaufry of fiercely flavorful ingredients.  Front and center, a trio of meats: the outlet’s signature short rib, spicy pork, and spicy citrus chicken.  Rather than being alloyed and compressed into a patty, chunks of each meat sit nestled in a mélange of sauces (salsa roja, salsa verde, sesame mayo, and cilantro onion lime relish) along with cheese and chicharrones, all of this between two (sadly throwaway) sesame buns.

Each bite is a different experience.  The various components of the frenetic assortment of ingredients exist in different proportions throughout the sandwich.  Every square inch, then, features its own unique balance.  That keeps things interesting, but robs the burger of coherence.  It’s hard to come away with a strong impression about what you ate.

What’s more, these various ingredients don’t always balance one another well.  It’s like the Wild West.  The relish and the chicken duplicate the citrus, overloading the palate with acid when they are front and center.  The meats are all distinctive, but compete with one another.  The salsa roja and salsa verde are mostly redundant.  The jack and cheddar cheese mix would be a nice touch, but for the fact that any subtlety it might otherwise impart is impossible to discern in the gustatory monsoon.

Trying to isolate one of these ingredients and assess its impact on the burger is like trying to slow dance at a rave.  And maybe comparing this burger to a rave is apt: some will enjoy the frenzy and the disorientation.  Others will not be taken by the bright lights, loud noises, and disparate elements in close contact.  I wouldn’t say anything is out of place here.  It probably is closer to the mark to say that this burger lacks a sense of place altogether.

All of Choi’s passions collide in a messy, imperfect, chaotic, innovative, oppressively flavorful, challenging, and sometimes frustrating meal.  It really is a “mashup.”  It unites recognizable but arguably disparate and incompatible elements — each a technically worthy creation in its own respective right — and forces them to coexist.  It also forces us to accept that coexistence, even if it doesn’t align with our preferences.

It certainly isn’t arbitrary.  Like a mashup, there’s a harmony beneath all the noise, and it isn’t there by accident.  Even so, there are a few inconveniently inescapable facts about mashups.  First, sometimes the dissonance crowds out the harmony.  Second, sometimes the component parts get in each others’ way instead of working together to make something more.  And third, even if the synergy works, it doesn’t follow that the synthesis is better than its components were on their own.

In this case, the burger falls prey to those first two problems.  There’s just too much going on here to give the burger a consistent taste.  With so many ingredients filling the same role (three meats, four sauces, two cheese), none of them get a chance to interact meaningfully.  To paraphrase the bard, if the burger’s a stage and all the ingredients are merely players, then here, we have like more than one actor playing the same role, and everyone is screaming their lines at the same time.

That said, it isn’t surprising that Roy Choi would make a burger like this; it’s a giant middle finger in the face of convention, and it emanates from the same fundamental principles – truth, abundance, innovation, chaos – that make Kogi so successful.  Choi is, as always, selling what he wants to sell.  It’s less clear that what he’s selling is worth buying, but that’s our choice to make (I’d advise you to redirect your funds to Kogi’s other, worthier offerings), and I doubt he would have it any other way.

The Ratings
Flavor: 8.00 / 10.00
Freshness/Quality: 7.10 / 10.00
Value: 8.00 / 10.00
Efficiency: 7.00 / 10.00
Creativity/Style: 9.50 / 10.00
Bun: 6.00 / 10.00
Patty: 5.80 / 10.00
Toppings: 6.70 / 10.00
Sauce: 6.30 / 10.00
Balance: 5.00 / 10.00

Total: 69.40 / 100.00