Week 20

Thanks to everyone who came out for Toast Lab last weekend! Special shout out to my friends Aya and Richard who helped out all weekend. We sold a lot of toast and bread and people seemed to like it - what more could I ask for? We’re still getting used to the new space and each week brings new challenges and improvements, but it definitely feels like the trend is up up up.

This week will be a little more relaxed, but I’m still going to keep pushing.

Saturday starting at ~11AM there will be bread but also bagel sandwiches. I’ll have cream cheese, butter, our vegan apple chutney, and there will be a limited number of very very special bagels in honor of St Patrick's day (Think Brick Lane Beigel Bake).

This week’s loaf: Semolina Sesame + Mini Miche


As I ease into the new space, forgive me if I’m resting on my laurels a bit. Even though I’ve done it a bunch, Semolina is definitely still my favorite loaf to bake. I am excited to be able to do these now with organic Semolina flour from Milanese in Quebec. This is one of the most white loaf’s that I do, but also still has a ton of flavor and pairs well with a dollop of ricotta and a glass of red wine.

Our Mini Miche is our tribute to the great rustic french whole wheat bread, though on a slightly smaller scale. Classic Miche (like at Polaine in Paris) are often 3kg in weight and bake to the size of a small person torso. Mine is a little more reasonable in size, but I try to capture that same flavor of a mix of different whole grain flours (red wheat, spelt, rye) and long fermentation. I’ll actually be baking these on Friday night as they have to be rested for a least half a day before being consumed (because of the relatively large amount of rye flour, which needs time to fully set or else it has a gummy texture). Serve this with a good french cheese or copious amounts of good butter.

Now Playing: Ayalew Mesfin - Hasabe Spotify


Like last week, this is another ‘lost album’, this time songs of social change with deep afro-funk from Ethiopia. The liner notes say it best: “while the trappings of ’70s Ethiopian music carry some aspects that those in the West will easily identify with—trap drum kits, jazz big-band styled horn sections, guitars played through wah wah and fuzz pedals—the Ethiopian style of singing, and the modes in which the musicians move, may confound.” Confound in a good way, though.

Aaron Quint