Gorse flower pancakes

Gorse flowers – those small yellow blooms you find on prickly bushes on scrub and moorland – are ripe for picking most of the year. Rosie Hazleton, founder of Wild Rose Escapes in the Highlands, shares a recipe that makes full use of their coconut and almond flavour

Gorse flower pancakes make a hearty breakfast, especially after a night under the stars

Gorse flower pancakes make a hearty breakfast, especially after a night under the stars

Gorse (Ulex europaeus) is a fast-growing shrub that was traditionally used as fuel for fires and kilns before the Industrial Revolution. The coconut aroma of its vivid yellow flowers always lures me in, and I like to infuse its flavour in salads and ice-cream. I once tried making gorse flower wine but my uncle, who is a bit of a wine-making expert, says it’s one of the hardest to get right. Are you up to the challenge?

But one of my favourite things to make with this wild ingredient is gorse flower pancakes, which my children love warm with butter and blackberry jam. We cook them on a griddle over the fire, but a pan over embers works well, too.

Photos: Chris Blott

Photos: Chris Blott

Ingredients

1 cup of spelt flour
1 egg
1 dessert spoon of honey
1/4 pint of milk
A handful of gorse flowers (or other edible flowers, such as violets or red clover)

Method

To make the batter, mix the flour and egg, add the honey (as much or as little as you like depending on how sweet your tooth is). Stir in the gorse flowers, then add a little milk at a time – you may not need it all – you want it to be the consistency of thick cream. Grease the griddle with a little oil and then put on 4 or 5 small ladlefuls of batter. Get ready to turn as they cook pretty quickly. They’ll only need a couple of minutes on each side. Eat them hot with butter and whatever else you fancy.

*Always take expert advice when picking wild food; only eat what you’re sure is edible!

For more prehistoric cooking techniques – pit cooking, pot boiling and clay baking –pick up a copy of print issue three.

Issue 3
Sale Price: £5.00 Original Price: £10.00


Make mine a Woodland Martini

Infusing the pine flavour of Douglas Fir and the smokiness of charred sage, this cocktail recipe by Lottie Muir will transport you to the heart of an alpine forest

Photo: Kim Lightbody

Photo: Kim Lightbody

The idea of this cocktail is for it to taste and smell like a walk in the woods. The clean, lemony pine scent and flavour of the Douglas Fir Vodka shines through, accompanied by just a hint of smoky sweetness from the Charred Sage Syrup. The vermouth and lemon juice balance out all the flavours to leave the cocktail on the dry side.

Woodland Martini

2oz (60ml) Douglas Fir Vodka (see below)
½ oz (15ml) Charred Sage Syrup (see below)
½ oz (15ml) Wild Vermouth
2 tsp (10ml) freshly squeezed lemon juice

Tools: Cocktail shaker with strainer
Glass: Martini
Ice: Cubes
Garnish: Young Douglas Fir (Pseudotsuga menziesii) tip

Serves 1

Pour all the ingredients into the cocktail shaker and fill it two-thirds of the way up with ice. Cover and shake hard for 20 seconds. Strain the contents of the shaker into the glass. Garnish with a young Douglas Fir tip.

Douglas Fir Vodka

3 handfuls of young Douglas fir needles
2 x 2-in (5-cm) lengths of very thin, woody Douglas fir stems
700 or 750ml bottle of vodka, 80 proof/40% ABV
1-litre wide-mouthed, sealable jar, sterilised
Sealable presentation bottle(s), sterilised

Makes approximately 1½ pints (750ml)

Place the Douglas fir needles and woody stems in a blender, adding enough vodka to cover, and blend for at least 30 seconds on a high speed.

Pour the bright green mix into the jar and add the remaining vodka. Seal, upend gently a couple of times, and store in a cool, dark place. Upend daily and start tasting after the second day. This infusion should take no longer than four days to work its magic — you want the lemon and pine notes of woodland, not a bathroom cleaner. Strain the infusion into a wide-mouthed pitcher when you think you’re there, then funnel into the sterilised presentation bottle(s) and seal. Store in a cool, dark place and consume within six months.

Charred Sage Syrup

1 cup (340g) dark wildflower honey
1 cup (250ml) water
10 large sage leaves on a stem
Sealable presentation bottle, sterilised

Makes approximately ½ pint (250ml)

Combine the honey and water in a nonreactive pan over a medium heat and stir to help the honey dissolve into the sugar. Meanwhile, hold the sage leaves by the end of their stalks and singe their tips with a long lighter until you see red cinders, the odd flame, and charred leaves.

Snip off the bitter stalks of the sage and drop the charred leaves into the pan with the honey syrup. Bring the syrup to a boil, then simmer for about 8 minutes. Turn off the heat and let cool.

Pour the liquid through a strainer lined with layers of cheesecloth or muslin into a wide-mouthed pitcher, then funnel into the sterilised presentation bottle and seal. Store in the refrigerator and consume within three months.

This is an extract from Lottie Muir's new book Wild Cocktails from the Midnight Apothecary, published by CICO Books (£16.99). Call 01256 302699 quoting 'CQ1' to purchase a copy at the special price of £11.99, including free P&P.

You can sample Lottie's unique cocktails at the Midnight Apothecary in Brunel Museum's rooftop garden in Rotherhithe, London. Open Saturdays 5.30pm-10.30pm.

The craft apron: butchery

7th Rise set a simple brief: a comfortable, durable and wipeable butchery apron, with a heritage aesthetic. Francli knew what to do

Together, as part of Francli's Live Projects, Francli and 7th Rise – off-grid outdoor adventure and wild food specialists – have created a multi-functional butchery apron, hard-wearing enough for when gutting, skinning and filleting meat and fish. It needed to be comfortable and versatile to lend protection for other activities such as wood chopping and indoor cooking.

Francli had this to say about their work:

"Our Live Projects are purely explorative and collaborative works fuelled by our fascination and respect for other creatives and outdoor enthusiasts. 

Each project works closely with a creative professional to make bespoke workwear for their chosen craft. This collaborative process of designing, sampling, testing and developing such specific pieces gives us the opportunity to expand our design knowledge and skills. These projects keep us constantly challenged and inspired so that we stay creatively fresh for other areas of our brand, such as our studio design service and craft-wear shop."

The Francli studio is made up of purely explorative, creative and collaborative projects fuelled by their fascination and respect for other creatives and outdoor enthusiasts. francli.co.uk

Home brew

With this nifty bit of kit, which wouldn't look out of place in a Victorian chemistry lab, you could be sipping bottles of homemade beer within two weeks

Microbrewer one gallon kit, Box Brew Kits, £98

Microbrewer one gallon kit, Box Brew Kits, £98

Last time Ernest brewed his own beer he found himself with enough condiment to scatter over his chips for three months. Perhaps he needed one of these splendid kits from Box Brew Kits duo Mike Langone and Matt Gorman. This one gallon kit is the smallest of their range and comes with everything you need, including a recipe book with over 25 recipes, to brew 8-10 bottles of hopefully awesome-tasting beer that will impress your friends/partner/father/chippy.

Microbrewer one gallon kit, Box Brew Kits, £98

Dans Le Noir

There is a restaurant in East London where mobile phones are outlawed, non-fussy eaters are welcome and trust in your waiter is key, as Abigail Whyte discovered

Dans Le Noir means ‘in the dark’. Put simply; a restaurant with no natural or artificial light, where you eat in pitch blackness, served by waiters who are blind or visually impaired. The idea is to intensify your other senses through limiting the sense of sight, to gain a new perspective of the food you eat while also raising awareness of visual impairment. This concept of ‘dark dining’ or ‘blind dining’ was founded in Paris in 2004, and since then other Dans Le Noirs have popped up in London, Barcelona, New York, St Petersberg and Kiev.

After hearing it praised by the illustrious Stephen Fry on an episode of QI (a source of most of my knowledge and trivia), I took a friend along one winter’s eve, excited and anxious at the prospect of entering a pitch dark room full of strangers and cutlery. We were greeted in the (lit) reception area by our blind waiter and guide Darren Paskell. We chose from four secret set menus – Surprise, Meat, Fish or Vegetarian – which gave no other indication of what we were going to be served later. I opted for the Surprise menu.

We were asked to put all bags, coats and other trip-up-ables in a locker along with our mobile phones and luminous watches. “It’s amazing how many diners are reluctant to give up their phone, “Darren told me. “But that’s the beauty of Dans Le Noir; you sit and eat with your friend or partner with absolutely no distractions, just each other.”

Darren then placed my hand on his shoulder; instructed my friend to do the same on my shoulder, then he led us from the lit world through two black curtains into the dark world.

“Has anyone ever freaked out at this bit?” I asked him as we passed through the first curtain.   “Yes, my mum,” he replied. “She’s very claustrophobic. We got past this first set of curtains and my mum just said “No, I can’t go any further.” I had to take her back to the lounge where she was kept happy with wine. My dad went in and had his meal, though.”

Into the darkness

After the second curtain, that was it – I couldn’t see. I waved my hand in front of my face. Nothing. The first thing that struck me was the noise. It was like walking into the London Stock Exchange with the lights turned off. I don’t know whether losing the power of sight instantly makes you elevate your voice but it was certainly the case in Dans Le Noir’s dining room, laid out before me like a black and noisy void. As we were led to our table I felt the draft off waiters walking past, heard the clattering of cutlery and exclamations of “Cous cous – that’s definitely cous cous”, “I’ve just spilled my water!” and “Sorry, that was my leg”.

Darren seated us at what felt like a marble table, and gently guided our hands to show us where our cutlery, wine glasses and other dining paraphernalia was. I asked him about the layout of the restaurant. “The restaurant seats 60 people altogether and the layout of the tables never changes, otherwise things could get very confusing,” Darren’s voice, just above my head, sounded louder and deeper, almost of a late-night radio DJ quality. “Each waiter carries a walkie-talkie so we’re all in constant contact with each other and the kitchen.”

He then explained some of the slick and efficient procedures put in place to ensure each diner is given the correct plate of food. “Most of the food is served on square plates but any special dietary requirements are served on round plates so the waiter doesn’t accidentally give it to someone else.”

A guessing game

My first plate of food arrived and I gingerly gave it a prod with my fingers. Some sort of raw fish on a mound of something herby and grainy. “Salmon,” I declared triumphantly, after a mouthful. “No, it’s tuna,” a voice piped up next to me. We were sat next to a couple on a blind date (a common thing for diners to try at Dans Le Noir), one of whom was eating the same starter as me. Before I knew it, a conversation about taste and texture and other madcap dining experiences was struck up with these faceless strangers, which I doubt would have happened so freely and easily if we were eating in a normal lit restaurant obstructed by social barriers and conventions.

My main course was the most puzzling to fathom – I couldn’t work out what meat I was chewing. It was beefy, so I left my guess at that. I discovered later, when our menus were revealed to us back in the lit lounge area, I was very wrong. I won’t tell you what the meat was as I don’t want to spoil the surprise. Let’s just say it’s a stripy animal often found on the savannahs of Africa.

Darren joined us for a drink after the meal and apologised for tripping over a chair next to me when he was serving my dessert course earlier. I hadn’t noticed at the time. “I think my spatial awareness is pretty outstanding, if you don’t mind me blowing my own trumpet. I’ve only ever spilled something over someone once, which wasn’t my fault or theirs. They unwittingly put a glass of water smack bang in the middle of the table.”

I asked him what he enjoyed most about working here. “The interaction. Having fully sighted people putting their faith and trust in you. In most restaurants the waiter is there to be seen and not heard – they’re expected to deliver the correct meal to the correct person and that’s about it. Here, we’re guides, not waiters. People open up and want to know more about us. In a normal situation you might come across a blind person walking along the pavement and that’s it – there’s no time or call for interaction.”

Stripping it back

While the food wasn’t exactly boundary pushing (although my main course was certainly a surprise), the experience of sightlessly pouring myself a glass of water and sharing a meal with an old friend with nothing but the sound of our voices was stripping social interaction back to its bare essentials. No phone. No visual distractions. No judging on appearance. Dans Le Noir is the perfect place to shed your skin and just be yourself, or perhaps even be someone else for the night if you wish.

As we were leaving, I spotted a couple sat at a candlelit table in the corner, looking rather engrossed with each other. I wondered if they were the blind date people I’d chatted to in the dark earlier. Maybe. I thought it best to leave it a mystery. 

Dans Le Noir, 30-31 Clerkenwell Green, London EC1R 0DU
london.danslenoir.com

This featured in our fifth digital edition of Ernest Journal, available to download now.