Oct 122020
 

Every now and then you come across a rum in its nascent stages which you just itch to write abouteven if it’s not (yet) for sale. The Mim from Ghana was one such, an aged St. Aubin was another, and last year, Reuben Virasami (currently tending bar in Toronto) passed on a new Vietnamese rhum that I felt really deserved rather more attention than it got (even from those who made it).

In brief, two expat Frenchmen, Jérémy Marcillaud and Nicolas Plesse, seeing all that lovely cane growing in Vietnam, were looking around for something to do with it and decidedwithout a lick of experience or any concept of the difficultiesto start a small distillery and make some juice. Perhaps they were inspired by the new Asians like Mia, Vientiane, Laodi, Issan, Chalong Bay or Sampanwho can tell? — and got their little outfit L’Arrangé off the ground; designed and had an inox stainless steel pot still built locally (they call it “The Beast”); contracted local farmers to supply cane, and proceeded through trial and error and many attempts over 6-8 months, to finally get some cane-juice agricole-style rhum that was actually worth bottling, and drinking (in December 2016).

Their aim was always to make a white rhum but they found rather more immediate success using the spirit for fruit infusions and arrangés (hence the name), and, as Jeremy told me when I contacted him, to export a good white requires a rather more scaled-up enterprise (and better economies of scale) than they were capable of doing at that time. As such, they sold their spiced rhums and arrangés to local bars and tried to raise visibility via the Saigon Rum Club and the city’s rum festivalbut for my money, it’s that base white rhum they made that captures my interest and hopefully one day can be a commercially successful endeavour for these guys.

L’Arrange Company Logo

So, no fancy label or bottle pic to go with the article this timeas I said, it’s not for sale. That said, these are the basics: it’s a cane juice rhum, pot still, rested for four months (sorry, ye detail-mongers, I forgot to ask about the yeast, though it seems to be a combination of locally available and wild yeast), squeezed off the still at 70% ABV then diluted to 55%. After that it goes into whatever products they’re playing with that day. Me, I tried my sample neat.

The smell is definitely suggestive of pale pot still rumstink: salt, wax, glue, olives and a trace of peeling rubber on a hot day on the highway. It turns sweet later, though it remains rough and sharp, and provides aromas of watermelons, papayas, ripe mangoes, and just a touch of passion fruit. While it’s not quite as civilized to sniff as some of the other Asian whites mentioned above, it isn’t far behind them either.

The same thing goes for the palate. It’s rough and jagged on the tongue, but has a delicious and oily thick sweet tang to it: papaya, pineapple, mangoes, sugar water, strawberries, more watermelons. There is a sort of crisp snap to it, combining sugar, flowers,citrus peel, brineeven some very faint hints of vegetable soup. Finish was short, intense, sharp and redolent of flowers, citrusd, sugar water and thyme.

Overall, this rhum is not one you would, on balance, rate as highly as others with more market presence. You would likely try it blind, shrug and remark as you walked away “Mehit’s just another white rhum. I’ve had better” And that makes sense, for its shortcomings haven’t all been ironed out yetit’s rough and sharp, the balance is a bit off (tilts rather more to the sour and salt than co-existing harmoniously with the sweet and umami). But I feel that might simply be inexperience at making a pure single white rhum and their being okay with producing one made for adding fruit and spices to, not to drink by itself.

Myself I don’t drink spiced rums or arrangés. I don’t have to, with all the other juice out there. Under normal circumstances, I’d just walk away from this one. But that whiteit was pungently original, yes, rough and unpolished, sureit lacks some of the polish and sure confidence that marked, say, Mhoba (after their years of tinkering), and yet it stayed with me. Underneath was a real potential for something even better, and that’s why I am drawing attention to this little company that few outside Asia have ever heard of. Jérémy and Nicolas might one day be successful enough to market a white, maybe even export a bit around Asia, attend a rumfest to show it off. I can hope, I guess. And all I’m saying is that if you ever see them demonstrating their work, and one of their bottles is an unaged 55% white, you could do a whole lot worse than giving it a try, because I honestly believe it’ll be one of the most interesting things in the neighborhood that day.

(#769)(79/100)


Other notes

  • I drew on the very interesting 2018 Saigoneer interview (timestamp 00:25:14) for some of the supplementary details, and the company kindly filled in the remainder.
  • It may be just my imagination, but the company logo reminds me of the jungle scenes of the French artist Henri Rousseau. I quite like it.
Sep 142020
 

It’s perhaps unfair that only with the emergence of the 2016 HERR 10 YO and the LMDW 60th Anniversary white in the same year, that the distillery of Savanna on Reunion began to pick up some serious street cred. I think it’s one of those under-the-radar distilleries that produces some of the best rums in the world, but it always and only seems to be some special limited edition like the Cuvee Maison Blanche, or a “serious” third party bottling (e.g. from Habitation Velier, Rum Nation or Wild Parrot) that gets people’s ears to prick up. And it’s then that you hear the stealthy movement of wallets in pockets as people slink into a shop, furtively fork over their cash, and never speak of their purchase for fear the prices might go ape before they get a chance to buy everything in sight.

Such focus on seemingly special bottlings ignores a lot of what Savanna actually produces. Starting around 2013 or so, in line with the emerging trend of own-distillery bottlings (as opposed to bulk sales abroad) done by well-known Caribbean island distilleries, they took the unheralded and almost unacknowledged lead in constantly producing all sorts of small not-quite-limited batches, for years and years (the 5 year old and 7 year old “Intense” rums were examples of that). And, as I’ve observed before, it’s good to remember that Savanna’s rums span an enormous stylistic range of both cane juice rhums and molasses based ones, single barrel and blends, standard strength and full proof, and underneath all of those are rums like the seemingly basic Lontan White 40% rum we’re looking at today.

The word “Lontan” is difficult to pin downin Haitian Creole, it means “long” and “long ago” while in old French it was “lointain” and meant “distant” and “far off”, and neither explains why Savanna picked it (though many establishments around the island use it in their names as well, so perhaps it’s an analogue to the english “Ye Olde…”). Anyway, aside from the traditional, creol, Intense and Metis ranges of rums (to which have now been added several others) there is this Lontan seriesthese are all variations of Grand Arôme rums, finished or not, aged or not, full-proof or not, which are distinguished by a longer fermentation period and a higher ester count than usual, making them enormously flavourful.

Does that work, here? Not as much as I’d likethe strength is partly responsible for that, making it seem somewhat one-dimensional. The nose gentle and clean, some brine and olives, pineapple, watermelon, green apples and a touch of herbs, yet overall the smell of it lacks something of an agricole rhum’s crispness, or an unaged molasses rum’s complexity, and if there are more esters than normal here, they’re doing a good job of remaining undercover. It actually reminds me more of a slightly aged cachaca than anything else.

It’s an easy rum to drink neat, by the way, because the 40% does not savage your tonsils the way a full proof would. On that level, it works quite nicely. But that same weakness makes flavours faint and hard to come to grips with. So while there are some subtle notes of sugar water, anise, vanilla, mint, coffee (a dulce de leche, if you will) and cumin, they lack spark and verve, and you have to strain hard to pick them up….hardly the point of a drink like this. Since the finish just follows on from therefaint, breathy and <poof> it’s goneabout the best one can say is that at least it’s not a bland nothing. You retain the soft memory of fruits, pineapple, cumin, vanilla, and then the whole thing is done.

Ultimately then, this is almost a starter or (at best) a mid-tier rum, clocking in at €35 or so in Europe. I have often bugled my liking for brutish whites that channel the primitive licks of full strength rums made in the old style for generations without caring about modern technology, but this isn’t one of them. That said, it has more in its jock than the bland anonymous filtered whites that are the staple of bars the world over, howeverso if you eschew full-proof ester-squirting whites and prefer something a bit more toned down and easy on both the palate and the wallet, then this one is definitely one you couldand probably shouldtake a longer look at than I did.

(#760)(77/100)


Other Notes

  • Column still rum, deriving from molasses (hence theTraditonnelon the label)
  • For a more in depth discussion of “Grand Arôme” see the Wonk’s article.
  • As before, many thanks and a hat tip to Nico Rumlover for the sample
Jul 222020
 

By now most will be aware of my admiration for unshaven, uncouth and unbathed white rums that reek and stink up the joint and are about as unforgettable as Mike Tyson’s first fights. They move well away from the elegant and carefully-nurtured long-aged offerings that command high prices and elicit reverent murmurs of genteel appreciation: that’s simply not on the program for these, which seek to hammer your taste buds into the ground without apology. I drink ‘em neat whenever possible, and while no great cocktail shaker myself, I know they make some mixed drinks that ludicrously tasty.

So let’s spare some time to look at this rather unique white rum released by Habitation Velier, one whose brown bottle is bolted to a near-dyslexia-inducing name only a rum geek or still-maker could possibly love. And let me tell you, unaged or not, it really is a monster truck of tastes and flavours and issued at precisely the right strength for what it attempts to do.

The opening movements of the rum immediately reveal something of its originalityit smells intensely and simultaneously salty and sweet and estery, like a fresh fruit salad doused with sugar water and vinegar at the same time. It combines mangoes, guavas, watermelons, green apples, unripe apricots and papayas in equal measure, and reminds me somewhat of the Barik white rum from Haiti I tried some time before. There’s also a briny aroma to it, of olives, bell peppers, sour apple cider, sweet soya sauce, with additional crisp and sharp (and plentiful) fruity notes being added as it opens up. And right there in the background is a sly tinge of rottenness, something meaty going off, a kind of rumstink action that fortunately never quite overwhelms of gains the upper hand.

When tasted it presents a rather more traditional view of an unaged white agricole rhum, being sharp, sweet, light, crisp. Herbs take over heremint, dill, fresh-mown grass and cane peel for the most part. There’s a lovely sweet and fruity tang to the rhum at this point, and you can easily taste sugar water, light white fruits (guavas, apples, cashews, pears, papayas), plus a delicate hint of flowers and citrus peel, all commingling nicely. As you drink it more it gets warmer and easier and some of that crisp clarity is lostbut I think that overall that’s to its benefit, and the 59% ABV makes it even more palatable as a neat pour and sip. Certainly it goes down without pain or spite, and while there is less here than on other parts of the drink, you can still get closing notes of watermelon, citrus, pears, sugar water, and a last lemony touch that’s just right.

Evaluating a rum like this requires some thinking, because there are both familiar and odd elements to the entire experience. It reminds me of clairins, but also of the Paranubes, even a mezcal or two, all mixed up with a good cachaca and a nice layer of light sweet. The smells are good, if occasionally too energetic, and tumble over each other in their haste to get out, but the the tastes are spot on and there’s never too much of any one of them and I was reminded a little of the quality of that TCRL Fiji 2009 I could never quite put my finger onthis rhum was equally unforgettable.

The rum grew on me in a most peculiar way. At first, not entirely sure what to make of it, and not satisfied with its overall balance, I felt it shouldn’t do better than 82. A day later, I tried it again, unable to get it out of my mind, and rated it a more positive 84 because now I could see more clearly where it was going. But in the end, a week later and with four more tries under my belt, I had to admit how well assembled the rum truly was, and settled on my final score. Any rum which grows in the mind like that, getting better each time, is the sure mark of one that deserves a lot more attention. In this case it remains one of my happy discoveries of the entire Habitation Velier line, and is a great advertisement for both agricoles and the more unappreciated and overlooked white rums of no particular age.

(#746)(85/100)


Other notes

  • The name refers to the German still used to make the rhum
  • This 1st edition of this rhum had a brown bottle. The 2nd edition uses a clear one. Both editions derive from a 2015 harvest.
  • From Bielle distillery on Marie Galante
  • It’s a little early for the Rumaniacs series but two of the members have reviewed it, here, neither as positively as I have. My sample came from the same source as theirs.
Mar 122020
 

The Cor Cor “Green”, cousin to the molasses-based “Red” (both are actually whitethe colours refer to their labelshues) is an order of magnitude more expensive than its scarlet labelled relative, largely because it is made from cane juice, not molasses, and therefore rather more seasonal in production. The question is, how does the cane juice white compare when run up against its intriguing (if off-beat) molasses-based white. Both are, after all, made by the same master blender who wanted to apply an awamori sensibility to making rum.

Tasting the Red and Green side by side, then, is an instructive experience, akin to doing a flight of white Habitation Veliers. Given that everything else is constantsugar cane, the pot still distillation apparatus, the resting in steel tanks (neither is “aged” in the classical sense), the lack of any additives or filtrationthen the only thing that should make a difference in the taste is the molasses versus cane juice, and the length and method of the fermentation cycle.

But even that is quite enough to make a clear difference, I assure you. The Green is most definitely not the Red, and is discernibly an agricole style cane juice rum with all this implies, filtered through the mind of the Japanese culture and love for their own spirits. However, let it also be noted that it is not a standard agricole by any meansand therein lies both its attraction to the curious, and potentially its downfall to the masses.

To illustrate the point, consider how it noses: it’s intriguing and pleasantly flinty, and has the initial tang of mineral water into which have been dunked some salt and olives, a sort of poor man’s martini. There is a background of sweet and light florals and white fruit, and if you stick with it, also something more maritimeseaweed and iodine, I suggest. It’s mild, which is a function of the living room strength at which it’s issued (40% ABV), and the memory you’ll carry away from smelling it, is of the sea: brine and iodine and herbaceousness, only partially balanced off by sweeter and lighter components.

The taste is where the resemblance to a French island agricole comes more clearly into focus. Sweet sugar water, fresh-cut grass, citrus peel, some eucalyptus and gherkins in pimento vinegar, and a very nicely balanced series of light fruit notespapaya, guavas, pears, watermelon. As I said above, it’s different from the Red (to be expectedthe sources are Montague and Capulet, after all) yet some minor family resemblance is noticeable; and although the rum tastes a little watery, the finish lasts so long and it coats the mouth and tongue so well, it allows it to skate past such concerns, leaving behind the fond memories of miso soup, pimento, apple cider and some citrusand, of course, an olive or two.

Even though the Green was offbeat in its own way, I liked it more than the Red. It’s not really a true agricole (comes off a pot still, for example, produced with a different distillation philosophy) and lacks something of that feral nature of those whites bottled in the Caribbean that have spoiled me. Clairins and blancs are a take-no-prisoners bunch of badass 50% rowdies, and I like them precisely for that air of untamed wild joy with which they gallop and spur across the palateand the Green is not at that level.

So, it’s unusual, and decent, and complies with some of the notes we want and look for in a cane juice rum. It’ll excite some interest in the regular rum world for sure. But to my mind it’s not yet aggressive enough, strong enough, good enough, in a way that would make a bitchindaiquiri or a ti-punch, or cause a drinker to wake up, sit up, and say wtf in Japanese. Not yet. Though admittedly, if they stick with it and continue developing juice like this, then they’re getting close to making a rum that does precisely that.

(#710)(82/100)


Other Notes

The label is a stylized map of South Borodino island (the Russians named it so in the 19th century after the ship Borodino surveyed itthe Japanese name is Minamidaito) where the distillery is, overlaid with a poem I’ll quote here without comment:

Bats, dancing in the night sky
Suspended magic, falling in drops
These are the things
That make men and women covet love
This is the magic of rum,
a sugarcane love potion

Mar 052020
 

Given Japan has several rums which have made these pages (Ryoma, Ogasawara, Nine Leaves, Helios, Seven Seas), by now most should be aware that just about all of them source their molasses out of the southern islands of Okinawa, if not actually based there themselves. The Grace distillery, who make the Cor Cor line of rums, conforms to that informal rule, yet is unusual in two waysfirst, it is still very much a manual operation, somewhat surprising for a nation with a massive technological infrastructure; and it produces rums from both molasses (the red labelled rum we’re looking at today) and cane juice (the green labelled one).

Cor Cor as a title has no deep transliterative meaningit is derived from English (the opposite is true for games maker Atari, as a counter-example) and uses the first letters of the words “coral” (the island where it’s made is formed from a coral reef) and “corona” (which the island resembles). Grace Distillery itself was formed in 2004 in a building that used to be a small airport terminal, on the tiny Okinawan island of Minamidaito, and use a steel pot still, and do not practice ageinganother point of departure. Instead, their rum is rested in inert tanks and after a suitable period determined by their master blender, it’s bottled at 40%, as-is, unfiltered, uncoloured, un-added-to.

Some of my research shed some interesting light on the profile of the rum, but I think I’ll leave that for the end: suffice it to say that this was both normal with respect to other Japanese rums, and abnormal with respect to what we in the west are used to. The nose was sweet, light and faintly briny, with a metallic medicinal hint to it. I knew there was more to come, and so set it aside and came back to it over time, and picked out black pepper, vegetable soup, biryani spices, seaweed. And, later, also dry cereal, butter, olives and flowers. Frankly, I found it a little confusingit was nice and a ways better than the rank meatiness of the Seven Seas which had shuddered and put awaybut nosed at a tangent from the norm of “regular” rums I’ve had more often.

Palateoh, much nicer. Dry dusty citrus-infused sugar water, peas, salty cashews. There was a dusting of salt and cooking spices and miso soup, with lemon grass and sour cream somewhere in there. I liked the development better, because what had been confusing about the nose gelled into a better harmony. Still a little off-base, mind youbut in a nice way. I particularly enjoyed the herbal and iodine background (not overdone, more a hint than a bludgeon) which set off the light fruit and brine in a way that complemented, not distracted. Finish was long and dry, sugary and watery, redolent of delicate flowers and fruit. It was surprisingly durable, for a rum at 40%.

The Cor Cor Red was more generous on the palate than the nose, and as with many Japanese rums I’ve tried, it’s quite distinctive. The tastes were somewhat offbase when smelled, yet came together nicely when tasted. Most of what we might deem “traditional notes”like nougat, or toffee, caramel, molasses, wine, dark fruits, that kind of thingwere absent; and while their (now closed) website rather honestly remarked back in 2017 that it was not for everyone, I would merely suggest that this real enjoyment is probably more for someone (a) interested in Asian rums (b) looking for something new and (c) who is cognizant of local cuisine and spirits profiles, which infuse the makers’ designs here. One of the reasons the rum tastes as it does, is because the master blender used to work for one of the awamori makers on Okinawa (it is a spirit akin to Shochu), and wanted to apply the methods of make to rum as well. No doubt some of the taste profile he preferred bled over into the final product as well.

The Cor Cor duo raised its head in the 2017 and 2018 rum festival circuit, and aside from a quick review by Wes in the UKhe commented that it was a pair of rums that engendered quite some discussionit has since sunk almost completely from public consciousness. I have to give it a cautious endorsement just because it’s so damned interesting, even if I couldn’t entirely find it in my heart to love it. Years from now Japan may colonize the rumisphere, the same way they have made themselves space in the whisky world. For now, this probably won’t get them there, however intriguing it might be to me personally.

(#708)(80/100)


Other Notes

  • I reached to to several friends in Japan for background: thanks in particular to Yoshi-san, who managed to get in touch with Grace directly on the question of the still and the master blender.
  • Grace also releases a Cor Cor Premium and Koruroru 25 rum variations, but I have never seen them for purchase.
  • Yuko Kinjo is the CEO and founder of Grace Rum. She was introduced to rum whilst sitting in a friend’s bar in the early 2000s, and asked herselfWhy not make rum right here, a unique spirit made completely of local ingredients?” Cor Cor Rum is made only of sustainable local sugarcane and is a joint effort between Kinjo-san and the Minamidaito Island Chamber of Commerce.
Jan 132020
 

Photo (c) ModernBarCart.com

“White cane spirits are having a moment,” wrote Josh Miller of Inu a Kena in naming the Saint Benevolence clairin one of his top rums of 2019. He was spot on about that and I’ve felt the same way about white rums in general and clairins in particular ever since I had the good fortune to try the Sajous in Paris back in 2014 and had my hair blown back and into next weekso much so that I didn’t just make one list of 21 good white rums, but a second one for good measure (and am gathering material for a third).

Given that Velier’s involvement has raised the profile of clairins so much, it’s surprising that one with the avowed intention of ploughing back all its profits into the community where it is made (see “other notes”, below) does not have more of a mental footprint in people’s minds. That might be because for the most part it seems to be marketed in the USA (home of far too few rum blogs), whence its founders Chase and Calvin Babcock hailand indeed, the first online write ups (from Josh himself, and Paul Senft on Got Rum), also stemmed from there. Still, it is moving across to Europe as well, and Indy and Jazz Singh of the UK-based Skylark Spirits, couldn’t contain their glee at providing something to a ‘Caner Party in 2019 which we had not seen before and threatening dire violence if it was not tried right then and there.

They could well smile, because the pale yellow 50% “white” rum was an aromatic beefcake that melded a barroom brawler with a civilized Martinique white in a way that we had not seen before. It started rough and ready, true, with fierce and pungent aromas of wax, brine, acetones, and olives biffing the schnozz, and it flexed its unaged nature quite clearly and unapologetically. There was a sprightly line of citrus/white sugar running through it that was pleasing, and after a while I could sense the sharpness of green apples, wasabi, unripe bananas, soursop mixing it up with softer scents of guavas and vanilla. Every now and then the salty, earthy notes popped back up as if to say “I exist!” and overall, the nose was excellent.

Unlike the overpowering strut of the Velier clairins, the taste here was quite restrained and less elemental, even at 50% ABV. In fact, it almost seemed light, initially presenting a nice crisp series of sugar-water and lemon notes, interspersed with salted cucumber slices in sweet apple vinegar (and a pimento or two thrown in for kick). Mostly it was crisp fruits from theregreen grapes, red currants, soursop, unripe pears, and it reminded me of nothing so much as the laid back easiness of the Cabo Verde grogues, yet without ever losing a bit of its bad boy character, the way you can always spot a thug even if he’s in a tux, know what I mean? Finish handled itself wellsalt and sweet, some tomatoes (!!), a little cigarette tar, but mostly it was sugar water and pears and light fruits, a soft and easy landing after some of the aggro it presented earlier.

All in all, really interesting, though perhaps not to everyone’s tasteit is, admittedly, something of a challenge to sample if one is not prepared for its rough and ready charms. It may best be used as a mixer, and indeed, Josh did remark it would work best in a ‘Ti Punch or Daiquiri. He said it would make “for a fresh take on an old favorite”, and I can’t think of a better phrase to describe not just the cocktails one could make with it, but the rum as a whole. It lends richness and variety to the scope of what Haitian clairins can be.

(#692)(84/100)


Other Notes

  • The source of the clairin is the area around Saint Michel de l’Attalaye, which is the second largest city in Haiti, and located in the central north of the country. There, sugar cane fields surround and supply the Dorcinvil Distillery, a third-generation family operation employing organic agricultural practices free from herbicides, pesticides and other chemicals. The cane itself is a blend of several different varieties: Cristalline, Madame Meuze, Farine France and 24/14. After harvesting and crushing, the juice is fermented with wild yeasts for five to seven days, then run through a handmade Creole copper pot still, and bottled as is (I suspect there may be minor filtration to remove sediments or occlusions). It is unclear whether it is left to stand and rest for a bit, but my bottle wasn’t pure white but a very faint yellow, so the supposition is not an entirely idle one.
  • The company also produces a blended pot-column still Caribbean five year old rum I have not tried, made from from Barbados molasses and cane juice syrup from the Dominican republic
  • Charity Work: [adapted from Inu A Kena and the company website] Saint Benevolence rum is made by Calvin Babcock, who co-founded Living Hope Haiti, a charity providing educational, medical, and economic services in St Michel de Attalaye in Northern Haiti. He works with his son Chase, the other half of the team. Along with their partners on the ground in St Michel de Attalaye, Living Hope Haiti (LHH) has built five elementary schools, four churches, an orphanage, a medical clinic, and funded other critically necessary infrastructure including bridges and water wells. They also provide three million meals per year to those in need. The work of LHH is almost entirely funded by the Babcock family, but with the introduction of Saint Benevolence, a new funding stream has come online. Besides LHH, Saint Benevolence funds two additional charities: Innovating Health International (IHI) and Ti Kay. IHI is focused on treating chronic diseases and addressing women’s health issues in Haiti and other developing countries, while Ti Kay is focused on providing ongoing TB and HIV care. Since 100% of the profits of the rum go straight back to the community of origin, this is certainly a rum worth buying to support such efforts, though of course you’re also getting quite a good and unique white rum for the price.
Nov 282019
 

It must be something about the Frenchthey’re opening micro distilleries all over the place (Chalong Bay, Sampan, Whisper, Issan and Toucan are examples) and almost all of them are channelling the agricole ethos of the French West Indies, working with pure cane juice and bringing some seriously interesting unaged blancs to the attention of the world. Any time I get bored with the regular parade of rums from the lands of the pantheon, all I have to do is reach for one of them to get jazzed up about rum, all over again. í

The latest of these little companies is from Vietnam, which is rife with sugar cane juice (“Nuoc Mia”) as well as locally made bottom-house rice- or molasses-originating artisanal spirits calledrượu” (ruou); these operate in the shadows of any Government regulation, registration or oversightmany are simple moonshineries. But Saigon Liquorists is not one of these, being the formally incorporated enterprise of two expatriate Frenchmen Clément Jarlier and Clément Daigre, who saw the cane juice liquor being sold on the streets in Ho Chi Minh City and smelled a business opportunity. The fact that one was involved in spirits distribution in Vietnam while the other had both broker experience and knew about the distillation of cognac didn’t hurt witheralready they had a background in the industry.

Photo (c) Saigon Liquorists, from FB

Sourcing a 200-liter single column still in 2017 from China, they obtained fresh cane, then the juice, experimented for three months with fermentation, distillation, cutting, finally got the profile they were after, and rolled out the first Rhum Mia in October that year at a local charity gala. In their current production system, the sugarcane comes from Tien Giang in the Mekong Delta, just south of Ho Chi Minh City, via a supplier who collects it from farmers in the area and does the initial processing. The sugarcane is peeled, and pressed once to get the first juice. That is then vacuum-packed in 5L bags and loaded into refrigerated trucks (this slows down fermentation), which transport the bags the 70km to the distillery. There fermentation is begun and lasts about five days, before being run through the stillwhat comes out the other end is around 77% ABV. The rum is rested in inert, locally-made traditional clay vessels called chums (used in rice liquor fermentation in Vietnam) for eight months and then slowly diluted with water over the final two months to 45% – a strength chosen to appeal to the local market where Mia’s initial sales were made.

The strength might prove key to broader acceptance in foreign markets where 50-55% ABV is more common for juice-based unaged rhums (Toucan had a similar issue with the No.4, as you may recall). When I nosed this 45% rhum, its initial smells took me abackthere was a deep grassy kind of aroma, mixed in with a whole lot of glue, book bindings, wax, old papers, varnish and furniture polish, that kind of thing. It reminded me of my high school studies done in GT’s National Library, complete with the mustiness and dry dust of an old chesterfield gone to mothballs, under which are stacked long unopened suitcases from Edwardian times. And after all that, there came the real rum stuffgrass, dill, sweet gherkins, sugar water, white guavas and watermelon, plus a nice clear citrus hint. Quite a combo.

The rhum distanced itself from the luggage, furniture and old tomes when I tasted it. The attack was crisp and clean on the tongue, sharp and spicy, an unambiguous blade of pure herbal and grassy flavourssweet sugar cane sap, dill, crushed lime leaves, brine, olives, with just a touch of fingernail polish and turpentine at the back end, as fleeting as a roué’s sly wink. After about half an hourlonger than most will ever have this thing gestating in their glassesfaint musty dry earth smells returned, but were mixed in with sugar water, cucumbers and pimentos, cumin, and lemongrass, so that was all good. The finish was weak and somewhat quick, quite aromatic and dry, with nice hints of flowers, lemongrass, and tart fruits.

Ultimately, it’s a reasonably tasty tropical drink that would do fine in (and may even have been expressly designed for) a ti-punch, but as a rhum to have on its own, it needs some torqueing up, since the flavours are there, but too difficult to tease out and come to grips with. Based on the experience I’ve had with other micro-distilleries’ blancs (all of which are stronger), the Mia is damned intriguing though. It’s different and unusual, and in my correspondence with him, Clement suggested that this difference comes from the fact that the sugar cane peel is discarded before pressing which makes for a more grassy taste, and he takes more ‘heads’ away than most, which reduces flavour somewhatbut also the hangover, which, he remarked, is a selling point in Vietnam.

These days I don’t drink enough to get seriously wasted any more (it interferes with my ability to taste more rums), but if this easy-on-the-head agricole-style rhum really does combine both taste and a hangover-free morning after, and if the current fascination with grass-to-glass rums continues in the exclusive bars of the worldwell, I’m not sure how you could stop the sales from exploding. Next time I’m in the Real World, I’ll keep an eye out for it myself.

(#680)(76/100)


Other Notes

  • All bottles, labels and corks are sourced in Vietnam and efforts are underway to begin exporting to Asia and Europe.
  • Production was around 9000 bottles a year back in 2018, so it might have increased since then.
  • This batch was from 2018
  • Plans are in play to distill both gins and vodkas in the future.
  • Hat tip to Reuben Virasami, who spotted me the sample and alerted me to the company. Also to Tom Walton, who explained what “chums” were. And many thanks to Clément Daigre of SL, who patiently ran me through the history of the company, and its production methods.
Nov 112019
 

In case you’re wondering, in the parlance of the Francophone West Indies the term “cabresse” (or “chabine”) refers to a light skinned mulatto, what Guyanese would call a dougla gyalnot altogether politically correct these days, but French Caribbean folks have always been somewhat more casual about such terms (witness the “Negrita” series of rums, for example) so perhaps for them it’s less of a big deal. The rum in question comes from French Guiana in this case, made there by the same distillery of St. Maurice which also provides the stock for the rhums of that little indie out of Toulouse, Toucan. It is now the only distillery in the country, though back in the 1930s there were about twenty others.

The blanc is the standard white rum of the company and the brand name of La Cabresseother brands they make are La Cayennaise and La Coeur de Chauffe, none of which I’ve tried thus far. Like all their rums, its a column still product based on a 48-hour fermentation cycle of the fresh cane juice harvested from their own fields, and it’s bottled at what could almost be seen as a standard for whites, 50% ABV. And that’s sufficient to give it some heft while not being too milquetoast for a hard charging bar cocktail.

Certainly it gives the flavours ample room to emerge. It’s self-evidently a cane juice rhum, redolent of fresh wet grass, sugar cane sap, swank, and white fruits like ripe pears and guavas, and without any tart tang or bite. There’s a touch of avocados, brine and olives mixed up with lime leaves, and a clear hint of anise in the background.

The rhum presents as warm rather than hot or sharp, so relatively tame to sniff, and this continues on to the palate. There a certain sweetness, light and clear, that is more pronounced in the initial sips, and the citrus notes are more noticeable, as are the brine and slight rottenness. What’s most distinct is the emergent strain of ouzo, of licorice (mostly absent from the nose until after it opens up a bit) … but fortunately this doesn’t take over, integrating reasonably well with tastes of clear bubble gum and strawberry soda pop that round out the crisp profile. Finish is medium long, dry, sweet, warm Guavas and white fruits and watery pears mingle with oranges and citrus peel and a slight dusting of salt, and that’s just about the whole story.

When it comes to French island rums, agricoles or otherwise, my attention tends to be attracted more by the whites than the majority of the aged rhums. It’s not that the older rhums are bad by any stretchquite the reverse, in factjust that I find the whites fascinating and original and occasionally just plain weird. There’s usually something interesting about them, even when they are perfectly normal products. Perhaps it’s because I was raised on whites that were too often bland, lightly-flavoured and inoffensive and just served their purpose of providing a jolt of alcohol to a mix, that I appreciate rums willing to take a chance here and there.

Not all whites conform to that, of course, and this one isn’t going to break the mould, or the bank, or your tonsils. It’s a perfectly serviceable mid-level white rum, nothing extra special, nothing extra bad. It’s not a crazy screaming face-melter, nor a boring, take-one-sip-and-fall-asleep yawn-through. I’d suggest it’s a little too rough to take neat, while also lacking that element of crazy that makes you want to try it that way just to prove you could; and at the same time it is sprightly enough to boost a cocktail like a Ti’Punch real well. At the end, then, you could with justification state that La Belle Cabresse remains one of those all-round rhums which doesn’t excel at anything in particular, but provides solid support for just about everything you want it for.

(#674)(82/100)

Oct 142019
 

At the opposite end of the scale from the elegant and complex mid-range rum of the Appleton 12 year olda Key Rum in its own rightlies that long-standing rum favourite of proles and puritans, princes and peasantsthe rough ‘n’ tough, cheerfully cussin’ and eight-pack powerful rippedness of the J. Wray & Nephew White overproof, an unaged white rum bottled at a barely bearable 63%, and whose screaming yellow and green label is a fixture in just about every bar around the world I’ve ever been in and escorted out of, head held high and feet held higher.

This is a rum that was one of the first I ever wrote about back in the day when I wasn’t handing out scores, a regular fixture on the cocktail circuit, and an enormously popular rum even after all these years. It sells like crazy both locally and in foreign lands, is bought by poor and rich alike, and no-one who’s ever penned a rum review could dare ignore it (nor should they). I don’t know what its sales numbers are like, but I honestly believe that if one goes just by word of mouth, online mentions and perusal of any bar’s rumshelf, then this must be one of the most well regarded Jamaican (or even West Indian) rums on the planet, as well as one of the most versatile.

Even in its home country the rum has enormous street cred. Like the Guyanese Superior High Wine, it’s a local staple of the drinking scene and supposedly accounts for more than three quarters of all rum sold in Jamaica, and it is tightly woven into the entire cultural fabric of the island. It’s to be found at every bottom-house lime, jump-up or get-together. Every household – expatriate or homeboys – has a bottle taking up shelf space, for pleasure, for business, for friends or for medicinal purposes. It has all sorts of social traditions: crack a bottle and immediately you pour a capful on the ground to return some to those who aren’t with you. Have a housewarming, and grace the floor with a drop or two; touch of the rheumatiz? – rub dem joints with a shot; mek a pickney…put a dab ‘pon he forehead if he sick; got a cold…tek a shot and rub a shot. And so on.

This is not even counting its extraordinary market penetration in the tiki and bar scene (Martin Cate remarked that the White with Ting is the greatest highball in the world). There aren’t many rums in the world which have such high brand awareness, or this kind of enduring popularity across all strata of society. Like the Appleton 12, it almost stands in for all of Jamaica in a way all of its competitors, old and new, seek to emulate. What’s behind it? Is it the way it smells, the way it tastes? Is it the affordable price, the strength? The marketing? Because sure as hell, it ranks high in all the metrics that make a rum visible and appreciated, and that’s even with the New Jamaicans from Worthy park and Hampden snapping at its heels.

Coming back to it after so many years made me remember something of its fierce and uncompromising nature which so startled me back in 2010. It’s a pot and column still blend (and always has been), yet one could be forgiven for thinking that here, the raw and rank pot-still hooligan took over and kicked column’s battie. It reeked of glue and acetones mixed up with a bit of gasoline good only for 1950s-era Land Rovers. What was interesting about it was the pungent herbal and grassy background, the rotting fruits and funky pineapple and black bananas, flowers, sugar water, smoke, cinnamon, dill, all sharp and delivered with serious aggro.

Taste wise, it was clear that the thing was a mixing agent, far too sharp and flavourful to have by itself, though I know most Islanders would take it with ice and coconut water, or in a more conventional mix. It presented rough and raw and joyous and sweaty and was definitely not for the meek and mild of disposition, wherein lay its attractionbecause in that fierce uniqueness of profile lay the character which we look for in rums we remember forever. Here, that was conveyed by a sharp and powerful series of tastesrotten fruit (especially bananas), orange peel, pineapples, soursop and creamy tart unsweetened fresh yoghurt. There was something of the fuel-reek of a smoky kerosene stove floating around, cloves, licorice, peanut, mint, bitter chocolate. It was a little dry, and had no shortage of funk yet remained clearly separable from Hampden and Worthy Park rums, and reminded me more of a Smith & Cross or Rum Fire, especially when considering the long, dry, sharp finish with its citrus and pineapple and wood-chip notes that took the whole experience to its long and rather violent (if tasty) conclusion.

So maybe it’s all of these things I wrote abouttaste, price, marketing, strength, visibility, reputation. But unlike many of the key rums in this series, it remains fresh and vibrant year in and year out. I would not say it’s a gateway rum like the Pusser’s 15 or the Diplo Res Ex or the El Dorado 21, those semi-civilized drinks which introduce us to the sippers and which we one day move beyond. It exists at the intersection of price and quality and funk and taste, and skates that delicate line between too much and too little, too rough and almost-refined. You can equally have it in a high-class bar in Manhattan, or from cheap plastic tumblers with Ting while bangin’ down de dominos in the sweltering heat of a Trenchtown yard. In its appeal to all the classes of society that choose it, you can see a Key Rum in action: and for all these reasons, it remains, even after all the years it’s been available, one of the most populareven one of the bestrums of its kind ever made, in Jamaica, in the West Indies, or, for that matter, anywhere else.

(#665)(83/100)


Other notes

  • Unaged pot and column still blend
  • The colours on the label channel the colours of the Jamaican flag
Sep 232019
 

If you doubt the interconnectedness of the modern world, let me relate this circular story. About three or four years ago Gregers Nielsen (now of the Danish company 1423 and someone I enjoy heckling in every rumfest I see him at) introduced me to Richland Rum from Georgia, which I thought was nice, if perhaps not a world beating standout. Fast forward a couple of years and I’m doing research on rums of Africa and in looking at Liberia I come across Sangar rums, made by an expatriate American who was consulting withRichland Rum. Another year passes, and at the 2019 Berlin rumfest the very first stand I’m told to go to is a new rum from LiberiaSangar. And who told me this and pointed in their direction? Gregerswho then ended up working two booths over. I rest my case.

That amusing if irrelevant tale aside, here is some of the background of Sangar. My initial research a year or so back created some confusionthe application for equity investment called it Sehzue Distillers; the contact email at the time said Nimba Valley Rum and the official site referred to Miseh Distilling even though the website is for Sangar rumbut in all cases the principal force behind it is Mike Sehzue, an American West Point graduate with an MBA whose father was born in Liberia.

Mr. Sehzue had no idea how to make rum, but on a visit to Liberia in 2010, he became more aware of the local cane juice alcohol with its long grass-roots history and, realizing that expertise and raw materials were on hand, he decided to open a medium sized distillery both to encourage industry in a country now recovering from a protracted and bitter civil war, and to showcase the potential of locally made rum. A chance meeting led to an introduction (in 2014) to Erik and Karin Vonk of Richland Rum distinction and they provided him with the encouragement and technical advice which permitted him to open his distillery for business a few years later. The result is the only rum they make at the moment, the 40% Sangar White, sold primarily in Liberia, with the festival circuit raising awareness for export plans to the USA, EU and UK in later 2019 and 2020.

The rum is pot-still produced and derives from cane juice, not molasses. Sangar has no cane fields of its own, and contracts with seventeen or so local farmers in the surrounding area to source its cane, which is brought to the distillery and crushed within eight hours of cutting, with the juice put to ferment for five days. Then it’s run through their copper pot still, and bar filtration for sediment, is bottled pretty much as it is, unaged, clear, at a relatively demure 40% (which I suspect is so that it can more easily be appreciated by the target audience in the USA).

For the hardcore rum junkie, 40% would not normally excite serious interest (although the prospect of trying a new and relatively unknown African rum absolutely should), but trust me, the combination of a rum incorporating magic words like “pot still” and “unaged” and “clear” was and is well worth seeking out when it comes to the festival near you because the aromas and tastes are barely held in check even by those softer standards. The nose, for example announced its potential badassery with an initial tantara of salt, wax, gherkins in vinegar and just enough bite to make one wonder if a red chili wasn’t hiding in there someplace. Brine and olives were at the fore, followed by crisp green apples, lemon zest, cinnamon, and cumin.

Tastewise, I would have preferred something released at a higher proof, because the profile was mild instead of forceful, slightly muddled instead of really crispand while that will allow anyone to drink it neat without an issue, it also muted the flavours, almost losing some, that could have used a little beefing up. Clearly discernible were citrus, light fruit (papaya, white guavas, pears), sugar water, watermelons, sweet green peas (!!), and the rum retained just enough of the attitude to permit a good interaction with the brine and olives with the lighter components. Unsurprisingly the finish was short and wispy, mostly a mix of sweet and salt, soya, light fruits and a dash of cumin to close up the show.

So let’s sum up, then. The balance was excellent, the interplay of flavours spot on, and I was quietly impressed that so much could be packed into a package with so little aggro. Choosing my words carefully, I can say that this is a near perfect 40% white homunculus of a rumlet, and there will be an audience for it, no questionbut it won’t be those who cut their teeth on agricole blancs north of 50%, for whom this will be an interesting diversion without replacing their pet loves. That said, there’s nothing at all wrong with itit delivers at its proof point for those who appreciate that, and for those looking for an interestingly taste-filled mild white sipper, it delivers there as well.

Sangar points to several developing themes in today’s rumworld, which I‘ve almost inadvertently been following through my reviews and only become clearer in hindsight. First there’s the gradually increasing amount of micro-distilleries who aren’t seeking to make whisky or gin or vodka (or everything at once, as much as they can), but rum, full stop. Bar the United States, these micros are in remote areas of the world far from the Caribbean, like Africa and the Far East. And they seem to have a near-unnatural love for issuing unaged white rums at higher proofs, which is a subset of rums drawing more attention in recent years, especially in the cocktail circuit

With respect to that last remark, Sangar is something of an outlier, since the white reviewed here is bottled at standard. And the agricole blancs from the old and proud houses of the French West Indies are not in danger of losing their pride of place any time soon, not to the Far Eastern micros, or to Sangar. But as I noted above, with the interconnectedness of the world and transmigration of skills to any place with enough desire and smarts to make a good rum, it’s possibly just a matter of time before Sangar becomes a rum producer who really does earn the use of both the words “artisanal” and “craft” … without turning the words into the meaningless marketing twaddle that afflicts so many others.

(#659)(82/100)


Other notes

Sangar has small quantities of rum ageing away in port casks in Liberia: it’s unknown when these will be released as aged rums to the market, but it does point to their long term development strategy.

Sep 092019
 

Usually, I don’t worry about not acquiring all those aged, rare or otherwise amazing rums that make the social headlines, since I know that most exceed the reach of my scrawny purse, my ability to beg, or the extent of my nonexistent wheedling skills. Too, after ten years of this, I’ve been fortunate enough to try so many rums that many of my personal unicorns have been tried and written about. Therefore I know it will strike many as rather peculiar that for the last two years I’ve been hunting for two very special rums issued by Tristan Prodhommeand this one was the one I wanted most

Why? Because L’Esprit, in making the great white shark of the Diamond 2017, did Velier one step better, creating a rum whose stats would make just about every writer reflexively haul out the word “beast” and be correct to use it, whose profile not just encourages but demands adverbial densityand which I’m convinced will stand the test of time to become a baseline for all the makes-no-sense-but-by-God-we’re-glad-to-have-tried-it white rums that will be issued from now until the Rapture. It’s nobody’s unicorn but my own, and I’ve been looking for it since the day it got issued.

The Diamond white was confirmed to me as being a Port Mourant unaged pot still rum; it sat there, dissolving a stainless steel tank between 2017 and 2018, until Tristan, in a fit of madness, joy, bravery or unbridled enthusiasm (maybe all these at once) engendered by the birth of his son Edgar in 2017, decided to commemorate the event by releasing 276 bottles at 85% (this is actually a second editionthere is a first one, with similar specifications) – and I don’t know what happened, but they seemed to sink without a trace. But with the rise of white rums as taste-stuffed forces in their own right, I certainly hope others will get a chance to try something as torqued-to-the-max as this one is.

I’ll get straight to it, then, and merely mention that at 85% ABV, care was takenI poured, covered the glass, waited, removed the cover, and prudently stepped way back.

Which was the right thing to do because a rapidly expanding blast wave of rumstink assailed me without hesitation. An enormously pungent cloud of wax and brine and tequila notes hit me broadside, so hot and fierce that somewhere in the basement I heard the Sajous weep. It was a massively powerful, sharp and meaty nose, squirting aromas with the cheerful abandon of a construction haul truck which knows nobody is likely to argue with it for the command of the road. Brine, olives, dates and figs and some sort of faintly rank meat was what I got straight off, batted aside by the smells of licorice, light molasses, sugar water and flowers, before bags and bags of fruit took over. Ripe yellow guavas, mangoes, papaya, avocado, overripe oranges, pears…the rum just wouldn’t stop spitting out more and more as time went on.

As for the taste, well, wow. My tongue was battered hard and fast with the sheer range of what was on display here. Being unaged and issued as a white didn’t hurt it or diminish it in the slightest, I assure you, because the integration was so well done that it actually tasted twenty proof points lower. It was redolent of brine. Of salt fish with Guyanese chilis (ask Gregers about those, I dare ya). Of wax, floor polish, olives. Of licorice. Of fresh scallions in a vegetable soup (I know, right?). Only when these dissipated did more regular flavours timidly come out to let me know they existedflowers, fruits, lemon meringue pie, raisins, pears, oranges, bitter chocolate, cucumbers and watermelon. I had this glass going for two hours and it was every bit as pungent at the end as it had been at the beginning, and the finishepic, long-lasting, hot, spicywas similarly strong, diminished itself not one bit, and provided closing memories of sweet soya, brine, swank, pears and other light fruits. It was almost a disappointment when the experience was finally over. And lest you think my own experience is a little over-enthusiastic, Jazz Singh from Skylark got poured a shot of this thing at 4pm, and was still tasting, mumbling and drooling rapturously about the profile five hours later when we shoehorned him into an Uber. It’s that kind of rum.

The best thing about it may well be that it reminds us of the sheer range of what rums are, how over-the-top and off-the-scale they can be, even as so many rum makers try to inhabit the inoffensive centre. There are few indies or producers out there who would dare bottle something this feral as single mindedly as Tristan has done hereonly the Habitation Velier whites immediately spring to mind. It’s an unaged white badass that boasts an impeccable pedigree from one of the most famous stills in the world, it has a proof nearly off the scale, and is not for the meek, the beginner, or the careful. One either dives in and takes the entire shot, or not at allbecause the Diamond white is a stunner, a slayer, a majestically vulgar shot of pure canecutter sweat, proofed and jacked to the max, and if it’s not one of the best rums I’ve had all year, I can absolutely assure you it will always rank among the most memorable.

(#655)(85/100)


Other notes

I keep score, and the Diamond takes its place among the growliest overproofs ever issued. I’ve tasted the following:

Note: if you are interested in a list of some of the strongest rums in the world, here’s one for you. All of the above rums are on it.

Jul 222019
 

South Africa has been making wine for centuries, backyard bathtub liquors are a local staple, and rums and rotgut of some kind (and quality) have always been made. Still, we may want to pay more attention to those rums going forward because in the last decade there have been quite a few small local companies starting up operations there, making small batch rums with little-stills-that-could and quietly garnering kudos for themselves for some interesting products, none of which I’ve tried (which is my loss). Companies like Copeland, Inverroche, Tapanga, Whistler, 25° South, DeVry, Distillery 031, Brickmakers, and the list goes on.

Another one of these is Mhoba, which Steve James of the Rum Diaries Blog brilliantly detailed a couple of months ago. Mhoba has been experimenting and playing around with making rums as far back as 2012, when the founder Robert Greaves thought of making a South African version of cachacabut he changed his mind after a seminal 2013 encounter in a hotel bar in Mauritius introduced him to all the variety global rums possessed. This led to two years of trial and error, attempting to improve the quality of his spirit on a self-constructed pot still (he has a mechanical engineering background, which undoubtedly helpedin that way he’s a lot like Mike Moscoso of Barik in Haiti), as well as applying for a Liquor License, which all finally came together in 2015. Samples went out the door in 2016 to the Miami Rum Festival which resulted in feedback and more tweaking, and 2017 at the UK provided an opportunity for a more serious intro of the company’s work to the public. It was successful enough that by 2019 it was being distributed in Europe and gained a lot of interest and word of mouth by being probably the only cane-juice derived rum in South Africa.

I’ll leave you to peruse Steve’s enormously informative company profile for production details (it’s really worth reading just to see what it takes to start something like a craft distillery), and just mention that the rum is pot still distilled from juice which is initially fermented naturally before boosting it with a strain of commercial yeast. The company makes three different kinds of white rumspot still white, high ester white and a blended white, all unaged. I tried what is probably the tamest of the three, the Select, which the last one, blended from several cuts taken from batches processed between October to December of 2018 and bottled at 58%. All of this is clearly marked on the onsite-produced label (self-engraved, self-printed, manually-applied), which is one of the most informative on the market: it details batch number, date, strength, variety of cane, still, number of bottles in the runit’s really impressive work.

Ah, but how does it taste, you ask. What does it smell like? Well, it’s not a sharp as 58% might lead you to believe, but man, that pot still action is very nice indeed. The briny notes of a humid day at the seaside, combined with olives, acetones and sour fruit, showing that the still was alive and well, and that the esters retained their influence. There was something nice and tart about it too, like macerated gooseberries mixed up with some soursop and then dropped into a can of paint or furniture polish, and the odd thing is, it gets sweeter and saltier the longer it sits in the glass, which is quite a trick for any rum to pull off. It relaxes after some time, and adds some lemon zest, cucumbers and pimentos to the mix, after which there isn’t much more to be foundbut what there was was plenty, let me assure you. The blending doesn’t entirely take the edge off the rum, which retains a sort of youthful raw intensity to the aromas.

It tastes somewhat sharper than it nosed, which is fine, something to be expected. Again, salt, brine, olives to begin with, plus the sour fruit, acetones, nail polish. I enjoyed the background hints of lemon zest and cinnamon and the overall crispness of the profile, which was not an amalgam of melded tastes, but a procession of crisp, high-steppin’ flavour notes that were sharp and distinct as a bayonet. What is of interest is the overall herbal, grassy aspect to it which wasn’t quite as evident on the nose: in other words it tasted something like an agricole. Too, there was some earth, musky spices in there lending a nice balance to the experience: tumeric, I’d say, and some masala. The finish was short and dry, but nicely balanced, sweet, salty and crisp, and summed up most of the action here: salty notes, some sweet, some spices, some earth.

Overall, my general opinion is that it resembled Neisson’s agricoles more than most, or maybe a civilized clairin (if the comparison needs to be made at all, and it doesn’t, really). It wasn’t exactly a furiously complex hurricane of a jillion different things all wanting to get your attention at once: what it did do was focus on what it had, and crisply emphasized the notes it did play, without straying too far from its strengths. I didn’t get a chance to try the pot still or the high ester whites as comparators to this white rum, but I have to admit, the sheer rough quality of this one makes me wish I had. This juice is quietly badass, and I want me some more.

(#644)(82/100)

Jun 202019
 

The “M&G” in the rhum’s title is not, as you might expect, the initials of the two founders of this small operation in Cabo Verde. In a lyrical twist, the letters actually stand for Musica e Grogue: Music and Grog. Which is original, if nothing else, because artistic touches are not all that common in our world, and such touches are often dismissed as mere frippery meant to distract from a substandard product.

In this case, however Jean-Pierre Engelbach, who founded the company with local Cabo Verde grogue producer and music-lover Simão Évora, has an interesting background in the dramatic and musical arts, and was a singer, comedian and director on the French scene for decadesone can only wonder what drove him to amend his career at this late stage by taking a sharp U turn and heading into the undiscovered country of grogues, but for my money, we should not quibble, but be grateful that another fascinating branch of the Great Rum Tree has come to our attention. For what it’s worth, he told me he fell in love with Cabo Verde music a long time ago, leading to visits and a growing appreciation and love for the local rhums and eventually the two men chose to entwine their passions in the name of the company.

Anyway, this particular product is an unaged white, a grogue by the islands’ definitions (the only one that counts), derived from sugar cane in the Tarrafal village just south of Monte Trigo on the island of Santo Antão, the most north-westerly of the series of islands making up Cabo Verde..

Fire-fed pot still in Tarrafal. Photo (c) Musica e Grogue FB page

This one small village has five small artisanal distilleries (!!) that produce grogue in small quantitiesabout 20,000 liters annuallyand M&G’s founders believe that the cane varietals there, combined with the climate and soil, produce a juice of exceptional quality. However, they only use a single preferred grogue-distiller for their juice, unlike Vulcão, also from here, which is a blend of three.

The production methods are straightforward: the cane, grown pesticide- and fertilizer-free, is crushed within 48 hours of harvesting, and fermentation is open air with natural from wild yeast for 10-15 days. The wash is then run through a fire-heated pot still, taken off at around 45% and is left to rest for a few weeks in 20 liter demi-johns known as aLady Jeanne” (also referred to as a Mama Juana or Dame Jeanne in Spanish and French speaking countries respectively). The peculiarity of this rest is that the large squat bottle in question is also stoppered with banana leaves, which “[] allows the air to pass during the rest period of the grogue, necessary after the distillation,” said Jean-Pierre Engelbach, when I asked him.

Banana-leaf-stoppered demi-johns in which the grogue rests after distillation for 3-4 weeks. Photo (c) Musica e Grogue FB Page

That out of the way, what we had here, then, was a rhum made to many of the same general specifications as a French island agricole, while preserving its own unique production methodology and, hopefully, drinking profile. Did it succeed?

Oh yes. On smelling it for the first time, my initial notes read “subtly different” and within its strictures, it was. It initially seemed like a crisp-yet-gentle agricole, smelling cleanly of sweet sugar cane sap, vanilla, dill, green grapes and freshly mown grass, with a teasing note of brine and olives and a whiff of watered down vegetable soup fed to a jailbird in solitary. It was delicate and clear and different enough to hold the attention of anyone, nasal newbie or jaded rumdork, and the nice thing is, after five minutes it still was purring out aromas: flowers, cherries and pears, with a firm citrus line holding things together

While stronger and more individualistic drinks might be my personal preference these days, there was no denying that the Grogue Natural was a very pleasant drink, and I have a feeling I’ll be getting more of these things, as they provide a lovely counterpoint to agricoles in general. It tasted light, grassy, herbal, sweetish (without actually being sweet, if you catch my drift), with hints of watery sap, cane juice, cucumbers, an olive or two, and lots of light fruitsguavas, pears, soursop, ginnip, that kind of thing, and again, that lemon zest providing a clothesline on which to hang the lot. Finish was long and silky, surprising for something bottled at a modest 44%, but you don’t hear me complainingit was just fine.

It’s become a sort of personal hobby for me to try unaged white rums of late, because while I love the uber-aged stuff, they do take flavours from the barrel and lose something of their original character, becoming delicious but changed spirits. On the other hand, unaged blancs or blancoswhite rumswhen not filtered to nothingness for the clueless, are about as close to pure and authentic rums as anyone’s going to get these days, and Cabo Verde’s stuff is among the most authentic of the lot.

The Cap-Vert Grogue Natural that M. Jean-Pierre and Sr. Simão are making is one of these that need to be tried for that reason alone, quite aside from its overall drinkability. Sure it lacks the meticulous clarity of the French agricoles, and you’d never mistake it for a cachaca or a clairin or a Paranubes, but the relative isolation and old-style production methods of these music-loving Cabo Verde producers have assured us of a really interesting juice here, which deserves to become much more well known than it yet is. And drunk, of course. Yes. Preferably after a hard day’s work, as the sun goes down, while relaxing to the sounds of some really good island music.

(#634)(83/100)


Additional background

The company was formed in 2017 by the two gentlemen named above, who were drawn together by their mutual love of music and local rhum. But it was not until 2018 that they received the formal licenses permitting them to export grogues and started shipping some to Europe. This delay may have to do with the fact that hundreds of small moonshineries and primitive stillsnearly four hundred by one estimateare scattered across Cabo Verde islands, with wildly varying quality of output. Indeed, according to one news report by the Expresso das Ilhas (Island Express), some 10 million liters of spirit calling it self “grogue” was marketed in 2017, but less than half of that could legitimately term itself so, since it was not made from sugar cane, and there were issues of hygiene and quality control to consider.

Be that as it may, M&G were able to navigate the new bureaucratic, quality and legal hurdles, obtain the requisite licenses and permits, and produced two grogues for the export market: the lightly-aged Velha we’ll be looking at soon, and the Natural.


Other Notes

  • M&G and Vulcão are among the frist brands to export grogue from Cabo Verde
  • M&G also makes some flavoured punches at a lower 18% strength
  • Maison Ferroni, which is the brand owner for the Vulcão, is the distributor for M&G
  • This bottle is part of the first release, and is something of a pilot project for the company’s export plans….hence the limited edition of 639 bottles. It’s not special per se, just part of a batch of the first four hundred liters or so which they exported.
  • Back label translation:

This white rum comes from the Tarrafal terroir of Monte Trigo on the island of Santa Antao (Cape Verde). Our local producers, with their trapiches, continue the artisanal tradition of making grogue. It is distilled from fresh cane juice, cultivated on volcanic soil in the middle of fruit trees, without any fertilizer or pesticide. It benefits from a dry tropical climate and the exceptional irrigation of the village. Made in 2018 with the harvest of the year, it is a fair trade product.

In this natural grogue, with its amazing flavor, we can discover the many flavors of cane fruits and spices.

A first release limited to 639 bottles

Jun 092019
 

“Could grogue be the next clairin?” asked Dwayne Stewart in a facebook post the other day, when he and Richard Blesgraaf were discussing the Vulcão, and his respondent (you could almost see him smile) replied with a sort of yoda-like zen calm, “Clairin is clairin.” Which is true. Because beyond the superficial similarities of the two island nationsthe relative isolation of the islands, the artisanal nature of their juice, the mom-and-pop rural distillation of the spirit far away from modern developments or technological interferencethe truth is that you could not mistake one for the other. At least, not those that I’ve tried.

Take, for example, the subject of today’s review, the Vulcão grogue, which is nowhere near as ominous as its name suggests. If you have previously tried one of the four main Velier-distributed Haitian clarins (the Sajous, Vaval, Casimir and Le Rocher), marvelled at their in-your-snoot, take-no-prisoners ferocity and taste, and took Dwayne’s question to heart, you might be expecting some kind of long-gestated uber-strong clear xenomorph hammered out of Vulcan’s forge, that threatened to melt your tonsils. But it’s not. In fact, it’s closer to an off-beat agricole than anything else, and a particularly good one at that.

Even at 45% – which is practically tame for a clear rhum these daysthe Vulcão smelled lovely, and started off with brine, thyme-infused water and lemon sherbet poured over a meringue cake. After five minutes or so, it also gave off scents that were creamy, salty, olive-y, with a dusting of white chocolate and vanilla, and as if impatient to continue, belched out some additional fruity whiffswatermelon, pears, white guavas and bananas. There were also some odd minerals and ashes and iodine (not quite medicinal, but close), with overtones of sugar-water.

Short versiona yummy nose, and fortunately, it didn’t falter on the palate either. It was strong, and quite dry, unusual for a cane-juice based rhum (last time I had something so sere was years ago, with the Flor de Cana Extra Dry white). The brine and olives really came out and made an initial statement here, and combined with the sweeter elements with impressive control and in well-nigh perfect balance, making for a worthy sipping rum by anyone’s standards. With a drop or two of water came white fruits, flowers and sugar water, all of which were the slightest bit tart. And as if all that wasn’t enough, there was a light creaminess of butter pastry, Danish cookies and anise hanging about in the background, reminding me of the freshly baked croissants Mrs. Caner so loves to have in Paris. The finish is rather subdued, even faintperhaps we should not expect too much of 45% but after that nose and that taste I sort of was, sorry, and even though I noted almonds, toblerone, sugar water, nougat, pears, ripe apples, it seemed a bit less than what had come before. Not shabby, not badjust not up to the same standard.

Anyway, finish aside, the development and movement the rhum displays on the tongue is excellent, first salt, then sweet, then creamy, well-balanced and overall a remarkable drink by any standard. It remembers its antecedents, being both a fierce and forceful rhumbut is also a nicely integrated and tasty sipping drink, crisp and clear, displaying a smorgasbord of contrasting, even competing, yet at all times well-melded series of sweet and sour and salt flavours in delicious harmony. Sip or mix, it’ll do well in either case.

So, to answer Dwayne’s perhaps rhetorical question with respect to taste and production details, my own response would be “Not really.” While grogues are a fascinating subset of rums, an intriguing branch on Yggdrasil (The Great Rum Tree), they are too differenttoo elegant, maybeto really be classed with or as clairins. They do share some of the same DNA: fresh cut cane juice and wild yeast fermentation (for ten days) and no ageing, for example, but also go in their own direction by using pot stills (as here) not columnar ones. What comes out the other end, then, are terroire-driven white rums with a character all their own, with this one, one of the best I tried in Paris, absolutely worth trying, and close to being an undiscovered steal. In the sense of that last statement, now that I think about it, I’d answer Dwayne differentlyand tell him that they’re exactly like clairins.

(#631)(85/100)


Other notes

  • I’ve put some feelers out regarding the company that makes it, and if/when/once this is received the post will be updated with some more factual background info.
  • Made in in the Tarrafal village just south of Monte Trigo on the island of Santo Antão, the most north-westerly of the series of islands making up Cabo Verde. I was told five smalldistilleriesexist in this tiny place, and three of them supply the grogue which is blended into the Vulcão.
  • Back label translation: The island of Santo Antao in Cabo Verde is undoubtedly one of the first cradles of cane spirits. Before rum or cachaca, it has been unchanging for hundreds of years. Distilled in ancient pot-stills made from pure cane juice, this rum ancestor is an extraordinary witness of the past.
Jun 032019
 

The Kiyomi white rum is made by the Helios Distillery, the same outfit in Japan that makes the very tasty five year old Teeda rum we looked at before. Formed by Tadashi Matsuda in the postwar years (1961) at a time of economic hardship and food privation for Okinawa , the decision was made to distill rum because (a) it could easily be sold to American soldiers stationed there (b) Okinawan sugar was readily available and (c) rice, which normally would have been used to make the more popular local sake, was needed as a food source and could not be spared for alcohol production.

That the company succeeded is evidenced by the fact that it is still in existence, has expanded its operations and is still making rums. The two most popular are the Teeda 5 YO and the Kiyomi Unaged White, which do not share the same production process: while both source Okinawa sugar cane which is crushed to juice, the Kiyomi rum is fermented for longer (30 days instead of two weeks) and run through a double column still (not the pot). It is then left to rest (and not aged) in steel tanks for six months and gradually reduced from 60% ABV off the still, to the 40% at which it is bottled.

I’ve never been completely clear as to what effect a resting period in neutral-impact tanks would actually have on a rumperhaps smoothen it out a bit and take the edge off the rough and sharp straight-off-the-still heart cuts. What is clear is that here, both the time and the reduction gentle the spirit down without completely losing what makes an unaged white worth checking out. Take the nose: it was relatively mild at 40%, but retained a brief memory of its original ferocity, reeking of wet soot, iodine, brine, black olives and cornbread. A few additional nosings spread out over time reveal more delicate notes of thyme, mint, cinnamon mingling nicely with a background of sugar water, sliced cucumbers in salt and vinegar, and watermelon juice. It sure started like it was out to lunch, but developed very nicely over time, and the initial sniff should not make one throw it out just because it seems a bit off.

It was much more traditional to tastesoft, gentle, quite easy to sip, the proof helping out there. After the adventurousness of the nose which careened left and right and up and down like your head was a pinball machine, this was actually quite surprising (and somewhat disappointing as well). Anyway it lacked any kind of aggressiveness, and tasted initially of glue, brine, olives, gherkins and cucumbersthe ashes and iodine I had sniffed earlier disappeared completely. It developed with the sweet (sugar water, light white fruits, watermelon juice) and salt (olives, brine, vegetable soup) coming together pleasantly with light florals and spices (cinnamon, cardamom, dill), finishing off with a sort of quick and subdued exit that left some biscuits, salt crackers, fruits and rapidly disappearing spices on the tongue and fading rapidly from memory.

This is a rum that started with a flourish but finishedwell, not in first place. Though its initial notes were distinct and shown off with firm emphasis, it didn’t hold to that line when tasted, but turned faint, and ended up taming much of what made it come off as an exciting drink at the inception. That said, it wasn’t a bad one either: the integration of the various notes was well done, I liked most of what I did taste, and it could as easily be a sipping drink as a mixer of some kind. What makes it noteworthy in this respect is that it doesn’t entirely become some sort of anonymously cute and light Cuban blanco wannabe you forget five minutes after putting down the glass, but retains a small spark of individuality and interest for the diligent. A shame then, that all this makes you think of, is that you’re holding an unfulfilled and unfinished promisea castrated clairin if you willin your hand. And that’s a crying shame for something that’s otherwise so well made.

(#630)(82/100)

May 262019
 

The Sampan Vietnamese Rhum is made by the Distillerie d’Indochine: and Antoine Pourcuitte, a long haired Frenchman who seems to be channelling Fabio and who lives in Vietnam, is the man who bootstrapped his desire to make good rums into a business that combines a small hotel and bar close to the beach with a distillery he pretty much built himself (officially it opened for business in late 2018). This newly constructed establishment, which produces one of those excellent white rhums which must be causing the French islands conniption fits, is his brainchildand it can take its place proudly in the league of small and new fast moving ops who are taking a pure rhum approach to distillation in Asia.

Vietnam’s common tipple of choice is rượu (ruou), a local artisanal spirit somewhat akin to arrack of Indonesia, made from fermented rice or molasses or cane juice and run through backroad, backwoods or back-alley alembics and home-made stills that puff and fart and produce some low grade (but very palatable) moonshine. Like in other rural regions of the world which have a long history of indigenous small-scale spirits manufactureAfrica, Haiti and Mexico come to mindthese are largely individual enterprises not regulated or even acknowledged by any authority.

Mr. Poircuitte, who came to rum via wine and not whisky (something like Florent of the Compagnie) put a bit more professionalism into his company, and production cycle is not too different from the Caribbean islands, all in all. The cane is all organic, pesticide free, grown in the area around Hội An, in the Qu lang Nam province, harvested by hand and then transported within 24 hours to the distillery, which is 40km away from the fields, for crushing. The resultant juice is fermented for 3 to 4 days, resulting in an initial wash of about 11% ABV, which is then run through their 11-plate single-column copper still that torques things up to around 70% ABV. Three varieties of this rhum are produced, at various strengths: 45% standard, 54% overproof and the 65% full proof.

What’s interesting here is that Sampan does not bottle it straight off the still, but lets it rest for something under one year in inert inox tanks, and this gives the resultant rumwhich is not filtered except for sedimentsa taste of serious fresh-off-the-still juice.

Consider first the nose of this blanc, which is stuffed into the bottle at a beefy 54% ABV. It’s musty, redolent of freshly turned sod and grass. I could say it smells dirty and not mean it in a bad way, and that is not all: it also smells briny, olive-y, balanced off with clear, fresh, 7-Up and lemon juice and sugar cane sap, plus a smorgasbord of light fruits like pears, ripe apples, and white guavas, a little vanilla and cookies. The strength doesn’t hurt it at all, it’s strong and firm without every being too sharp to enjoy as it is.

Thankfully, it doesn’t sink on the taste, but follows smoothly on from what had been discerned on the nose. Here, we didn’t just have a few olives, but what seemed like a whole grove of them. Again it tasted dirty, loamy, and also pungent, with initially clear notes of sweet sugar cane juice and sweet yellow corn, to which are added some lemon sherbet, vanilla and aromatic light fruits (pears, watermelon, strawberries) plus herbsdill and basil. Soft and lightly sweet, and there’s a background hint of anise as well, or licorice, really nice. Throughout the tasting it stays firm and assertive on the tongue, with a near silky mouthfeel leading to an exit that is pleasantly long lasting and with closing notes of fruits, vanilla, coconut water, and breakfast spices.

This is a really nice white rhumit married the freshness of an agricole with the slight complexity of an entry level vieux and the balance between the various elements was very nicely handled. That pungent opening clearly makes the case that even with the resting period, it was an unaged rhum, something like the Sajous, the Paranubes, A1710, Toucan, Barbosa Grogue, HSE Parcellaire or others of that kindI liked it a lot, and if it didn’t win any medals, I firmly believe it should at least win a few wallets.

Many of the older Asian rhums which have sold gangbusters in their countries of origin for decades, catered to indigenous tastes, and cared little for western styles of rum. They were (and are) sometimes made in different ways, using different materials in the process, are sometimes spiced up and almost always light column-still blends issued at standard strength. We are seeing a gradual change here, as a wave of small distilleries are setting up shop in Asia and producing small quantities of some really interesting juice. This one from Vietnam is now on my radar, and I look forward to seeing not only what they come up with in the future, but what that Overproof 65% of theirs tastes likeand if it blows my hair back and my socks off, well, then I’ll consider it money well spentas I did with this one.

(#627)(84/100)


Other Notes

  • The company is named after the slow moving boats similar to Chinese junks, which ply the Mekhong River and the coastal areas around South East Asia.
  • My intial review noted that it was aged for 8 months in ex-French-oak casks, based on my conversation and scribbled notes at the Paris rhumfest (not with Mr. Poircuitte but with his pretty assistant, in the maelstrom of the first day’s crowds) – I was later contacted directly to be advised this was a miscommunication, that the rum rested for 8 months in steel tanks, and so I have amended the post for the correction.
May 202019
 

The word agricole is nowadays used indiscriminately to refer to any cane juice distillate, no matter where it is made, and by consumer and producers both. Discussions have recently popped up on FB arguing that appropriating the term under such circumstances was (and is) theft of reputation and quality, which the French Island rum makers had garnered for themselves over long decades (if not centuries) of quality rhum-making, and was therefore being ripped off by any producer not from those islands who used the term. And here comes a rum company from the Far East, Laodi, seeming to have found an admirable way of getting around that issue, by referring to their hooch as “Pure Sugar Cane Rhum,” which I think is just missing the word “juice” to be completely accurate.

Laodi, whose parent company is Lao Agro Organic Industries, was formed in 2006 by Ikuzo Inoue, a then-52 year-old Japanese engineer, who, with a local Lao partner, acquired a distillery located in the village of Naxone in Laos, just north of the Thailand borderit’s actually just a short drive away from the Issan Distillery (which is south of the border). The distillery previously made local spirits like lao-lao (based on fermented rice) but the new owner decided to switch to rum, utilizing sugar cane from one of two 10 hectare plots of land (one always remains fallow and they are rotated), and going determinedly with juice rather than molasses.

The cane is cut and transported to the factory where it is crushed (1 tonne cane = ~400 liters juice) and set to ferment in steel vats using dehydrated wine yeast, for between 3-4 days. The resultant wine is about 9% ABV and is then run through a vacuum distillation machineusing this apparatus reduces the boiling point of the liquid by lowering the pressure within the apparatus, supposedly leading to less degradation of the wine in a shorter timeframe; the separation of heads and tails and extraction of the heart remains the same as for traditional methods.

Initially the resultant spirit came out the other end at 47% and early versions of the Laodi / Vientiane rums were bottled at 42% – the white rum was rested for two years in stainless steel tanks and slowly reduced to that strengthclearly they’ve done some upgrading since then, as by the time one of them walked through my door and into my glass, they already were beefing it up. That rum (or rhum if you like), was the 56% Vientiane Agricole rhum I looked at two years ago, which seems to be discontinued now (or replaced by this onenote the strength which is the same, and the loss of the word “agricole”somebody is clearly paying attention).

How does this iteration smell? Very pungent and very powerfulit’s unclear whether their vacuum distillation method is bolted on to a pot or column still, but for my money, based on the profile, it’s column (query to the company is pending). It smells simply massivesalty, dusty and lemon-grassy all at once, quite herbal and earthy, of musty loam, rain on hot clay bricks. This was just the opening salvo, and it was followed swiftly by other notes of acetones, polish, cinnamon, anise, sugar water, cucumber and some watermelons, papayas and white guavas. I thought I sensed some vanilla in there somewhere, but could have been wrongoverall, for that strength, it behaved remarkably well.

The taste was excellent too: it glided across the tongue with controlled force and without trying to scrape it raw. It tasted initially dry and pungent, of glue and furniture polish, linseed oil (the sort I used to oil my cricket bat with, back in the days when I dared to lift one), and also of brine and olives and coconut water, cider and vinegar, cucumbers in a mild pimento sauce, and behind it, the citrus zest. And on top of all that, there was a peculiar creaminess to the experience, like a snow cone with syrup and condensed milk drizzled over the shaved ice. This all led up to a very pleasant finish, crisp and citrus-like, redolent of more brine, cider, guavas, mangoes, nicely spicy, nicely tasty and an all round excellent close, which stuck around as long as regular guests at a Caner Afterparty.

Dredging back through my memories of the original Laodi Vientiane and what I thought of it back then, I think that even though the strength was the same, this was and is a different rhum, an evolution in the quest to raise the bar, up the game. It controls its strength well, yet loses none of the force of its ABV, and isn’t trying to be bitchy or sharp or uncomfortable. We may not call it an agricole, yet its antecedents are clearit’s a cane juice rhum, strong, well made, properly delicious, with just enough edge to keep you hopping. And made in a part of the world we should seriously start to look at, in the constant search for quality artisanal rums that fly under our western radar..

(#625)(83/100)


Other notes

  • Laodi comes from the two words“Lao” for the country and “Di” meaning “good”
  • The company also makes a lightly-aged brown-coloured rum (with an interesting variation on the ageing process), as well as a set of “married” rums which are infused or spiced and released at lower proof.
  • Rumporter magazine has an excellent 2017 article by Damien Sagnier on the company and its production techniques, which I drew on for the more technical aspectsthe assumption is that these have not changed since then, of course.
  • The label is a masterpiece of minimalism, but the counterpoint to that is that it doesn’t actually provide much in the way of informationmost of what I’m telling you comes from brochures, webpages and a meandering conversation at the booth at the 2019 Paris Rhumfest where I filched a hefty sample.
Mar 262019
 

Rumaniacs Review # 095 | 0611

As noted in the biography of the Domaine de Séverin, what we’re getting now from the new owners is not what we were getting before. The company’s distillery changed hands in 2014 and such rums as were made back in the day immediately became “old”, and more obsolete with very passing year. From the old style design of the labels, I’d hazard that this one came from the 1990s, or at the very latest, the early 2000s, and I have no background on ageing or lack thereofI would imagine that if it slept at all, it was a year or less. Over and beyond that, it’s a decent blanc, if not particularly earth shattering.

ColourWhite

Strength – 50% ABV

NoseStarts off with plastic, rubber and acetones, which speak to its (supposed) unaged nature; then it flexes its cane-juice-glutes and coughs up a line of sweet water, bright notes of grass, sugar cane sap, brine and sweetish red olives. It’s oily, smooth and pungent, with delicate background notes of dill and cilantro lurking in the background. And some soda pop.

PalateThe rhum does something of a right turn from expectations. Dry and dusty, briny and sweet. Vegetable soup and maggie cubes mixes up with herbal / fruity notes of cucumber, dill, watermelon juice and sugar water. Somehow this crazy mish-mash sort of works. Even the vague hint of caramel, molasses and lime leaves at the back end add to the pungency, with the dustiness of old cardboard being the only off note that doesn’t belong.

FinishWarm, smooth, light, oily, a mix of sugar water and 7-up which is the faintest bit dry.

ThoughtsGuadeloupe is free to mess around with molasses or cane juice, not subscribing to the AOC that governs so much of Martinique, and the bottle states it is a rhum agricole, implying cane juice origins. Maybe, though those odd commingling tastes do make me wonder about that. It’s tasty enough and at 50% almost exactly strong enough. But somehow, through some odd alchemy of taste and preference, the odd and uncoordinated way the sweet and salt run apart from each other instead of providing mutual support, it’s not really my glass of juice.

(82/100)

 

Feb 112019
 

Rumaniacs Review #091 | 0598

Overproof rums started out as killer cocktail ingredients, meant to boost anything they were put into by, I dunno, a lot. For many years they were pretty much the bruisers of the barflieslow-life, lightly-aged mixers (or occasionally unaged whites) which only islanders drank neat, largely because they had the least amount of time to waste getting hammered. Still, as time passed and cask strength rums became more fashionable (and appreciated), the gap between the strength of a cool aged casker and an overproof shrank, to the point where a 75% bottling of a “regular” rum that’s not labelled as an overproof is not out of the realms of possibilityI know several that stop just a bit short of that.

One of the old style overproofs is this rum from the Takamaka Bay rum company located on Mahe, the main island of the 115-island archipelago comprising the Seychelles, in the Indian Ocean off East Africa. The company is of relatively recent vintage, being formed in 2002 by the d’Offay brothers, Richard and Bernard d’Offay, and sourcing sugar cane from around the islandthey are, according to their website’s blog, one of the few distilleries in the world that make rum from both juice and molasses. They have two copper pot stills and a columnnar one, and this white rum, now discontinued and replaced with the 69 Rhum Blanc, is an unaged, unfiltered column still distillate with possibly a touch of high ester rum from the pot still. I’ve read on a Czech site that the rum is triple distilled from cane juice and then diluted, which was later confirmed by Bernard d’Offay.

ColourWhite

Strength – 72% ABV

NoseSweet and light soda pop, like a 7-Upwith fangs. Tons of herbs here, grass, thyme, mint, light lemon zest. Sugar water. Light fruity esters. Bananas, nutmeg, cardamom.

PalateFruit juice poured into my glass, clean and light. There’s the crispness of green apples, cane juice and red cashews, melding well with the tart creamy sweetness of ginips and soursop. Herbs remainedparsley, dill and mint. It was hot and delicately sweet, presenting with force, yet it also reminded me somewhat of a tequila, what with a background of brine and olives and a faint oily texture on the tongue

FinishQuite good. Long, dry, spicy, fruity, redolent of bananas, red currants, blackberries, watermelon and sugar water.

ThoughtsIt’s really quite a good rum, and I’m sorry to see it’s no longer being made. Before I got a response from Takamaka Bay, I thought the column still produced this from cane juice spirit (this proved to be the case). It’s a mixer for sure, though anyone who finds it and tries it neat won’t be entirely disappointed. It’s a fiery, flavourful white which may now no longer be made, but lives on in its slightly lesser-proofed brotherwhich I have a feeling I’ll be looking for quite soon.

(84/100)

Feb 042019
 

Last October, I ran into Pete Holland of the Floating Rum Shack at the Berlin Rum Fest (literallyI tripped and nearly fell into his shelf of rums, and he saved them by interposing himself so they would not be damaged, even if I was). Although we, as long-existing rum bloggers, knew of each otherall of us know each other in the Oasiswe had only met once before, so I bee-lined over to see what he was doing. It turned out he was stewarding the line of rums from the cheekily named “That Boutique-y Rum Company” (hereinafter referred to as TBRC) a division of Atom Brands, which in turn runs the Master of Malt online spirits shop (and which also self releases and self reviews the Cornelius Ampleforth rum, if you recall). Pete steadied me, indicated the whole range on display, and asked what I wanted to try.

I looked at all the familiar countries, ignoring most, looking for the unusual, not the standardsomething the brand has done that takes us into new territory to awe and enthuse (the way Foursquare has done with the ECS, L’Espirt is doing with its 2019 whites, Rum Nation did with the Supreme Lords, and Velier did withwell, just about everything). These days, I want something weird, off-kilter, new, exciting, differentand still tasty.

Alongside the Bajan, Mudland, Jamaican and other suspects (all of which had arresting and brightly-drawn, brightly-coloured labels that took Bristol Spirits’ colour scheme out back and whupped it), there was one from Travellers (Belize) and Bellevue (Guadeloupe)this looked promising. But after five minutes of chatting, I was having difficulty making a decision so, I asked him: “If you had one rum out of this entire selection you’d want me to try, which one would it be?

Now you could tell that Pete, who is a consultant for the company, not an ambassador, really liked pretty much everything, which is why he kept his glass on the go the entire time from different bottles (under the pretext of helping out the bright-eyed but inexperienced rum chums swirling around the booth). “Yes mon, me drinkin’ de same rum dat me showin’ you, so it gotta be good, you could easily imagining him saying as he avoided braining passers-by with his tasting glass using graceful moves of the arm, never spilling a drop. So I was curious what his own favourite was, shorn of the need to sell anything to me.

He hesitated, seeing the trap, but then grinned, sipped again, and then pointed at a bottle off to the side, sharing the same colour scheme as the Enmore and the Bellevue. It was from O Reizinho, a Madeiran outfit of which I knew nothing except that it was from Madeira (which, as an aside, is an EU-recognized agricole producer). “That one.” And without losing his glass in the one hand, he proceeded to pour me a shot with the other, hefty enough to render me catatonic, then stood back to observe the results (much the way The Sage had done years back when I had tried my first clairin, the Sajous).

Strictly speaking, the rum is not that strong“only” 49.7%, which is a couple of whiskers away from standard. It was made in Madeira, which intrigued me, as I really enjoyed the Engenho Novo rums made by Hinton and Rum Nation; and it was a pot still rum, an unaged rum, and a “white,” all pluses in my book. And anyway, how could you not want to sample a rum named “The Kinglet”? I know I did, and not just because of his recommendation.

It didn’t disappoint, starting out with a firm aroma of salt and wax, very powerful. Earth mustiness, cardboard, loam, olives, bags of salt. Like a clairin, but softer. Fresh and deep, edging “crisp” by a whisker, and while the herbal notes of dill and grass and fresh sugar cane sap were there, they were not so much dominant as coexistent with the other notes mentioned before. A really outstanding set of aromas, I thought, with an excellent balancing act carried off in fine style.

And the taste, the mouthfeelwow, really nice. Warm, sweet, dry and fruity, with raspberries, bananas, pineapple, papaya, salt olives all dancing their way across the tongue, without any sharp nastiness to spoil the enjoyment: I like rums north of 60%, of course, but there was no fault to be found in the strength that was chosen here because even at that low power, it thrummed across the palate and still managed to provide a clear demo of all the proper notes. Excellent sipping dram as long as you’re okay with a not-so-furious amalgamation of sweet-brine-soya-miso-soup admixture. If it faltered some, it was on the finishand for the same reason the nose and palate were so good, i.e., the muted strength. That didn’t invalidate it (to me), and it was pleasant, sweet, soft, warm, firm and fruity, with just a little edge carrying over to complete the experience.

O Reizinho means “Little King” or “Kinglet” depending on whose translator you use, and is a small distillery perched on a hillside on Madeira’s east coast by Santa Cruz. It is run by Joao Pedro Ferreira, who returned from a sojourn in South Africa some years back to go into the rum business with his father. They source cane locally, crushing it in one pass only (no messing around with a 2nd pass or adding water) and then let it stand in a week-long fermentation period. Then it’s run through a wood-fired steam-injected pot still, which on a good day can provide a dozen runs. So French island nomenclature notwithstanding, this is an agricole spirit, and it adheres to all the markers of the cane juice rhums, while providing its own special filip to the style.

Initially, to get things going for the first release, TBRC bought some of those rums from a broker (Main Rum) the way so many new and old independents did and do. But this one was bought direct from O Reizinho, and the intention in the future is to continue to do so, and to go with both aged and unaged products from this tiny distillery. If they keep bottlingand TBRC keeps issuingjuice as fine as this, then all I can say is that the future is a bright one for them both, and I look forward to trying as much as I can from TBRC’s extended range of rums generally, and O Reizinho specifically. They’ve enthused me that much with just this one rum.

(#596)(86/100)


Other notes

  • Batch 1 of this rum is 487 bottles
  • Just for the record, I really enjoyed the brightly coloured, lighthearted design of the labels, which are a nice counterpoint to the minimalistfacts-onlylabels currently in vogue. The artist is from the outfit Jim’ll Paint It (FB Link)(Website)- ATOM brands came up with the brief, then Jim brought it to life. In his work he reminds me somewhat of Jeff Carlisle, who didAnother Night at the Warp Core Cafe.