Dec 092020
 

In commenting on the two-country blend of the Veneragua, Dwayne Stewart, a long time correspondent of mine, asked rather tartly whether another such blend by the Compagnie could be named Jamados.  It was a funny, if apropos remark, and then my thought went in another direction, and I commented that “I think [such a] blend’s finer aspects will be lost on [most]. They could dissect the Veritas down to the ground, but not this one.”

It’s a measure of the rise of Barbados and the New Jamaicans that nobody reading that will ask what I’m talking about or what “Veritas” is. Three near-hallowed points of the rumcompass intersected to make it: Barbados’s renowned Foursquare distillery, which provided a blend of unaged Coffey still and 2 YO pot still rums for their part; and Hampden out of Jamaica chipped in with some unaged OWH pot still juice to provide some kick.  Since those two distilleries were involved, it will come as even less of a surprise that Luca Gargano who is associated privately and commercially with both, probably had a hand with the conceptual thinking behind it, and Velier, his company, is the European importer.

To be honest, I’ve never been entirely won over by multi-country blends which seek to bring out the best of more than one terroire by mixing things up.  Ocean’s rum took that to extremes and fell rather flat (I thought), the Compagnie des Indes’s blends are not always to my taste (though they sell gangbusters), the SBS Brazil-Barbados was meh – my feeling is that blends work better when they concentrate on one aspect of their home, not try to have several international citizens cohabitate under one cork. Veritas – it is known as Probitas in the USA for copyright / trademark reasons – may just be an exception that proves the rule (and true Navy rums are another).

Because, nosing it, it is clear that it is quite an interesting rum, even though it’s not really made for the sipping cognoscenti but for the cocktail crowd. The Hampden aromas of pot still funk dominate the initial nose — with glue, furniture polish, wax, acetone and ummm, oversweet garbage (which is not as bad as it sounds believe me) — it’s just that they don’t hit you over the head, and remain nicely restrained. They give way to crackers, cereals and a fruity mix of pineapples, strawberries, bubble gum, and then, like a violent storm passing by, the whole thing relaxes into vanilla, creme brulee, caramel, lemon meringue pie and some nice pine tarts. 

The balance on the tongue underscores this zen of these six different aspects: aged and unaged, pot and column, Barbados and Jamaican, and the flavours come like that gent in Hemingway’s The Sun Also Rises went broke: gradually, then suddenly, all at once. It’s sweet with funk and fruits and bubble gum, has a crisp sort of snap to it, not too much, and moves around the tasting wheel from creamy tartness of yoghurt, salara and sweet pastries, to a delicate citrus line of lemon peel, and then to caramel and vanilla, coconut shavings, bananas. The finish is a bit short and in contrast to the assertive scents and tastes, somewhat weak (ginger, tart fruits, some vanilla), but I think that’s okay: the rum is assembled to be a serious – even premium – cocktail mix, to make a bitchin’ daiquiri.  It’s not for the sipper, though for my money, it does pretty okay there too.

In fine, it’s a really good “in the middle” rum, one of the better ones I’ve had. The strength of 47% is near perfect for what it is: stronger might have been too sharp and overpowering, while a weaker proof would have allowed the notes to dissipate too quickly.  It’s hard to miss the Jamaican influence, and indeed it is a low-ester rum as dampened down by the Bajan component at the back end, and it works well for that.

When it really comes down to it, the only thing I didn’t care for is the name.  It’s not that I wanted to see “Jamados” or “Bamaica” on a label (one shudders at the mere idea) but I thought “Veritas” was just being a little too hamfisted with respect to taking a jab at Plantation in the ongoing feud with Maison Ferrand (the statement of “unsullied by sophistic dosage” pointed there).  As it turned out, my opinion was not entirely justified, as Richard Seale noted in a comment to to me that… “It was intended to reflect the simple nature of the rum – free of (added) colour, sugar or anything else including at that time even addition from wood. The original idea was for it to be 100% unaged. In the end, when I swapped in aged pot for unaged, it was just markedly better and just ‘worked’ for me in the way the 100% unaged did not.” So for sure there was more than I thought at the back of this title.

Still – “Truth” is what the word translates into, just as the US name “Probitas” signifies honesty, and uprightness. And the truth is that the distilleries involved in the making of this bartender’s delight are so famed for these standards that they don’t need to even make a point of it any longer – their own names echo with the stern eloquence of their quality already. The rum exists. It’s good, it speaks for itself, it’s popular.  And that’s really all it needs to do. Everything else follows from there.

(#784)(84/100)


Other notes

  • Part of the blend is lightly aged, hence the colour. I’m okay with calling it a white.
  • The barrel-and-shield on the label represents the organization known as “The Guardians of Rum” which is a loose confederation of producers and influencers who promote honesty in production, labelling and disclosure of and about rums.
Nov 262020
 

The Naga double-cask aged rum is part of the company’s standard lineup without any fancy whistles and bells, and when you nose it, you get a sensory impression both hauntingly familiar and obscurely strange. Even dialled-down and wispy as it is, it reminds one of chocolate, very ripe dark cherries, Fanta, sweet caramel, bonbons, and delicate perfumed flowers; and it’s the extras beneath all that which add piquancy and puzzlement: white pepper, a foamy Guinness stout, and a gamey, meaty smell which is fortunately quite faint. 

The rum, bottled at 40%, exists outside the comforting confines of the Caribbean and gently charts its own course, which may account for its subtle oddity.  Part of that is how it’s made: from molasses, yes, but fermented using yeast made from malted Javanese red rice. And while the rum is a blend of both pot and column still distillates made in all the usual ways, it is aged for a period in casks made from type of teak called jatti, and the remainder in bourbon casks – but alas, at this point I don’t know how much ageing in either or in total.

This process provides a tasting profile that reminds me of nothing so much than a slightly addled wooden still-rum from El Dorado: it’s sweet, feels the slightest bit sticky, and has strong notes of dark fruits, red licorice, plums, raisins and an almond chocolate bar gone soft in the heat. There’s other stuff in there as well – some caramel, vanilla, pepper again, light orange peel, but overall the whole thing is not particularly complex, and it ambles easily towards a short and gentle finish of no particular distinction that pretty much displays some dark fruit, caramel, anise and molasses, and that’s about it.

Naga is a rum company from Indonesia that was formed around 2016 by (you guessed it) another one of those roving French spirits-loving entrepreneurs, and from the lack of distillation facilities on its FB page, the constant switching around of labels and names for its rums on its website, I think it probably works a bit like Rhum island, sourcing its distillate from another company, and adjusts swiftly to the market to tweak blends and titles to be more attractive to customers.  I have queries outstanding to them about their production details and historical background so there’s not much to go on right now, and this rum may already be called something else, since it is not on their web listing.

So, until we know more, focus on the rum itself.  It’s quiet and gentle and some cask strength lovers might say – not without justification – that it’s insipid. It has some good tastes, simple but okay, and hews to a profile with which we’re not entirely unfamiliar. It has a few off notes and a peculiar substrate of something different, which is a good thing.  So in the end, recognizably a product you know, a rum, but…not not entirely. That doesn’t make it bad, just its own drink. “It’s a rum,” you write in your notebook, and then words run out; so you try some more to help yourself out, and you’ll likely still be searching for words to describe it properly by the time you realize with some surprise that the glass is empty. It’s weird how that happens. 

(#780)(77/100)


Other notes

  • The rum has its antecedents in arrack, a proto-rum from Indonesia where it was first identified by the Dutch and Portuguese in the town of Batavia, the former name for Jakarta. It has a fair similarity to By The Dutch’s Batavia Arrack, but is not as good. I thought the older version, Naga’s Java Reserve, was a touch better too. 
  • I am unsure about the age, but it feels quite young, under five years I’d say. 
  • Naga is a Sanskrit-based word referring to the mythical creature of Asia, a dragon or large snake, that guards the treasures of the earth, and is also a symbol of prosperity and protection.
Nov 232020
 

Sooner or later in these reviews, I always end up circling back to Velier, and for preference, it’s usually the rums from the Age of the Demeraras.  It’s not that I have anything against the Caronis in their near-infinite variations, the Habitation’s pot still range, or the series of the New Hampdens, Villa Paradisetto or 70th anniversary. And I have a soft spot for even the smaller and more exactingly selected outturns of one-offs like the Courcelles or the Basseterre rums. It’s just that the Demeraras speak to me more, and remind me of the impact a then-relatively-unknown indie bottler had when it rearranged the rum landscape and worldviews of many rum aficionados back in the day. 

By the time this rum was released in 2014, things were already slowing down for Velier in its ability to select original, unusual and amazing rums from DDLs warehouses, and of course it’s common knowledge now that 2014 was in fact the last year they did so.  The previous chairman, Yesu Persaud, had retired that year and the arrangement with Velier was discontinued as DDL’s new Rare Collection was issued (in early 2016) to supplant them.

While this rum was hyped as being “Very Rare” and something special, I am more of the impression it was an experiment on the order of the four “coloured” edition rums DDL put out in 2019, something they had had on the go in their skunkworks, that Luca Gargano spotted and asked to be allowed to bottle.  It was one of four he released that year, and perhaps illustrates that the rabbit was getting progressively harder to pull out of the hat.

Still, the stats on the as-usual nicely informative label were pretty good: two barrels of serious distillates – the Versailles single wooden pot still and the Diamond metal coffey still (proportions unknown, alas) — yielding 570 bottles. A hefty strength of 57.9%; 18 years of tropical ageing while the two profiles married and learned how to live together without a divorce, and an angel’s share of about 78%.

How then, did such an unusual amalgam of a coffey still and a wooden pot still come out smelling and tasting like after so long? Like a Demerara rum is the short answer. A powerful one. This was a Demerara wooden still profile to out-Demerara all other wooden-still Demeraras (well…at least it tried to be). There was the characteristic licorice of the wooden stills, of course.  Aromatic tobacco, coffee grounds, strong and unsweetened black tea; and after a while a parade of dark fruits – raisins, prunes, black dates – set off by a thin citrus line pf lemon zest, and cumin.  Ah but that was not all, for this was followed some time later when I returned to the glass, by sawdust, rotting leaves after a rain, acetones, furniture polish and some pencil shavings, cinnamon and vanilla…quit a lot to unpack. It was fortunate I was trying it at home and not somewhere were time was at a premium, and could take my time with the tasting.

The nose had been so stuffed with stuff (so to speak) that the palate had a hard time keeping up.  The strength was excellent for what it was, powerful without sharpness, firm without bite. But the whole presented as somewhat more bitter than expected, with the taste of oak chips, of cinchona bark, or the antimalarial pills I had dosed on for my working years in the bush.  Thankfully this receded, and gave ground to cumin, coffee, dark chocolate, coca cola, bags of licorice (of course), prunes and burnt sugar (and I mean “burnt”). It felt thick and heavy and had a nice touch of creme brulee and whupped cream bringing up the rear, all of which segued into a lovely long finish of coffee grounds, minty chocolate and oranges, licorice again, and a few more overripe fruits.

Overall, not lacking or particularly shabby. Completely solid rum. The tastes were strong and it went well by itself as a solo drink. That said, although it was supposed to be a blend, the lighter column still tastes never really managed to take over from the powerful Versailles profile – but what it did do was change it, because my initial thinking was that if I had not known what it was, I would have said Port Mourant for sure. In some of the crisper, lighter fruity notes the column distillate could be sensed, and it stayed in the background all the way, when perhaps a bit more aggression there would have balanced the whole drink a bit more. 

Nowadays (at the close of 2020), the rum fetches around £500 / US$800 or so at auction or on specialty spirits sites, which is in line with other non-specific Velier rums from the Late Age clocking in at under two decades’ ageing. Does that make it undervalued, something to pounce on?  I don’t think so.  It lacks a certain clear definition of what it is and may be too stern and uncompromising for many who prefer a more clear-cut Port Mourant or Enmore rum, than one of these experimentals. If after all this time its reputation has not made it a must-have, then we must accept that it is not one of the Legendary Bottles that will one day exceed five grand – simply an interesting variation of a well known series of rums, a complete decent sipping rum, yet not really a top-tier product of the time, or the line.

(#779)(85/100)


Other notes

  • The four 2014 Velier “blended-in-the-barrel” experimentals were:
    • Port Mourant / Enmore Experimental 1998 16YO (1998 – 2014), 62.2%
    • Port Mourant / Diamond Experimental 1995 19YO (1995 – 2014), 62.1%
    • Port Mourant / Diamond Experimental 1999 15 YO (1999 – 2014), 52.3.%
    • Diamond / Versailles Experimental 1996 18 YO (1996 – 2014), 57.9%
  • DDL’s own four rums of the 2019 “coloured” series referred to above were 
    • PM/Uitvlugt/Diamond 2010 9YO at 49.6% (violet),
    • Port Mourant/Uitvlugt 2010 9YO at 51% (orange),
    • Uitvlugt/Enmore 2008 11YO 47.4% (blue)
    • Diamond/Port Mourant 2010 9YO at 49.1% (teal).

The jury is still out on how good (or not) the DDL versions are. So far I have not seen many raves about them and they seem to have dropped out of sight rather rapidly.

Oct 152020
 

The Reddit /r/rum forum gets far too little attention and kudos for what it accomplishes.  It acts as a useful backup for (and provides a deeper well of knowledge than) the fleeting one-sentence commentary on Facebook from which I have gradually withdrawn more and more.  Most of the really intelligent and literary rum discussions take place here, and that’s not even counting the witty short-form text-only reviews of T8ke and Tarquin_Underspoon, LIFO_Accountant and all the others who post here. 

In 2018 one of the moderators suggested to the redditors that perhaps we all, as a collective, get a cask and bottle it as a “Reddit-only” edition, to be sold at a minimal markup. He would look after cask purchase, bottling and labelling and then put it up for sale on FineDrams for us – our involvement would be in the selection of which casks.  Redditors were also asked to put some names in a hat to form a small tasting committee and, full disclosure, I was asked to be one of them – to my disappointment, I had to decline due to my geographical difficulties (I was pissed, let me tell you). Samples from barrels of rum from several countries (Jamaica, Barbados, Guyana) which matched the price criteria were sent around, blind, and eventually the tasting committee picked this one from Foursquare, a nice sharply chubby little 13 year old. Unsurprisingly, I sprung for a bottle (as I have for all subsequent editions — the reddit rum forum seems to have turned into a tiny indie all by itself) which was around €75 or so.

Briefly, it’s a pot-column blend, continentally aged, single cask, 266 bottles, not chill-filtered, no fancy finishing as far as I’m aware, red gold, and a muscular 63% ABV.  I particularly liked the label, which the designers (yet other redditors) put together with a sort of stark simplicity that clearly suggested they thought Velier was far too overdecorated with fripperies of baroque ostentation and should be shown what “minimalism” really meant.  Not sure what was behind the XXX (hush, ye snickerers) but whatever, and the “One” was a neat touch, suggesting other editions to come much like the Danish indie Ekte, and it’s No. 1 and No. 2 and so on.  It’s a cool looking bottle, unlikely to be available any longer given its small outturn — if you can find it, it’s a decent addition to the canon, though it won’t supplant the ECS or 4S-V Collaborations in people’s affections any time soon, fans being who they are.

All right, so let’s dive right in. Nose first. Musty, dark and fruity notes right off the bat, sweet and tart, very intense (no surprise, given that strength). It had a touch of brine, balanced off by vanilla, coconut shavings and a nice creamy mocha, freshly ground coffee beans, plus brie with dark peasant bread.  Perhaps it was mean to be breakfast alternative, a sort of all-in-one experience: I mean, you were getting a real balanced start-your-morning diet here – fruit, toast, cheese, coffee. The aroma was very deep and intense, but also rather sharp initially, and it took time to calm down and open up the kitchen.

Tastewise, a 50-50 combo of salty elements (brine, olives, a maggi cube) and sweet ones – fruits (bananas, soft yellow mangoes, some overripe citrus), caramel, honey, fudge, plus a strong latte and bitter chocolate. More wood on the taste than had been sensed on the nose, and with the heat and sharpness carrying over, it made for a sip to have with caution, not abandon. This was one rum I would have preferred a little less powerful and indeed, with water it settled down and coughed up some raisins, dates, and pancake syrup notes. The finish was long on fruits, sweet, hot and aromatic, but added little to what had come before – mostly vanilla, chocolate, ripe sharpish bubble gum and pineapple that suggested (but did not speak loudly about) funk.

To be honest, I’m surprised it worked as well as it did. The vanilla was too dominant for me, the citrus peel note kicked in too late, and the flavours seemed somewhat uncoordinated, lacking a coherent through-line – it jumped haphazardly from one note to another in a sort of playfully chaotic jumble that somehow and pleasingly worked. In a way it reminded me of a low-rent ECS bottling (the 2004 or 2005 maybe, it shares some DNA with the former for sure), but at end, it must be judged on its own, for what it is. In that vein, not bad. It adheres to Foursquare’s blending philosophy, while daring to be occasionally different, haring off on a tangent like a not-quite-housebroken puppy let off the leash once or twice, before docilely returning to the profile that makes it recognizably a product of its famed distillery of origin.

(#761)(83/100)


Other notes

  • For the avoidance of all doubt, I am not advocating having this rum for breakfast for any who might inadvertently misinterpret my remarks above. Dinner for sure, though.
  • I would link to T8ke and Tarquin’s and others’ reddit profiles, but they post other stuff on other fora so that it’s not really feasible.  But trust me.  What they write is worth it.
  • After this went up, T8ke commented that the XXX was not meant to be salacious or speak to any kind of multiple distillation: “The ‘XXX’ was another exercise in stark simplicity. General zeitgeist and cartoons are loaded with ‘moonshine: XXX’ bottles to convey that “hey, this has alcohol in it”. Same idea with XXX bottlings. This is rum. It’s alcoholic. Here’s everything you need to know and nothing you don’t. Drink up.”
Oct 052020
 

Although just about every conversation about the Hamilton 151 remarks on its purpose to replicate the Lemon Hart 151 as a basic high proof bar-room mixer, this is a common misconception – in point of fact its stated objective was to be better than Lemon Hart. And if its reputation has been solidly entrenched as a staple of that aspect of the drinking world, then it is because it really is one of the few 151s to satisfy both rum drinkers and cocktail shakers with its quality in a way the LH did not always. 

Back in the late 2000s / early 2010s Lemon Hart — for whatever reason — was having real trouble releasing its signature 151, and it sporadically went on and off the market, popping back on the scene with a redesigned label in 2012 before going AWOL again a couple of years later. Aside from Bacardi’s own 151, it had long been a fixture of the bar scene, even preceding the tiki craze of the mid 1930s (some of this backstory is covered in the History of the 151s).  Into this breach came Ed Hamilton, the founder of the Ministry of Rum website and its associated discussion forum, author of Rums of the Eastern Caribbean and an acknowledged early rum guru from the dawn of the rum renaissance.  As he recounts in a 2018 interview (from around timestamp 00:41:50), he decided to create his own line of Demerara rums, both 86 and 151 proof and while barred from using the word “Demerara” for trademark reasons, he did manage to issue the new rums in 2015 and they have been on the market ever since. 

Whether Hamilton 151 has replaced or superseded the Lemon Hart is an open question best left to an individual’s personal experience, but to compare them directly is actually apples and oranges to some extent, because the LH version blends Guyanese, Jamaican and Barbados rums while Hamilton’s is Guyanese only – though likely a blend of more than one still.  But certainly there’s at least some significant element of the wooden stills in there, because the profile is unmistakable.

It is, in short, a powerful wooden fruit bomb, one which initially sits and broods in the glass, dark and menacing, and needs to sit and breathe for a while.  Fumes of prunes, plums, blackcurrants and raspberries rise as if from a grumbling and stuttering half-dormant volcano, moderated by tarter, sharper flavours of damp, sweet, wine-infused tobacco, bitter chocolate, ginger and anise. The aromas are so deep it’s hard to believe it’s so young — the distillate is aged around five years or less in Guyana as far as I know, then shipped in bulk to the USA for bottling. But aromatic it is, to a fault.

It’s also hard to see the Hamilton 151 as “only” a bar-based cocktail mixer when one tries it like I did, neat. The taste is very strong, very powerful — given the 75.5% ABV, caution is of course in order —  yet not sharp so much as firm, a flavoured cricket bat stroking the tongue, tasting thirty proof points lower. There’s the piquance of ginger, red wine, raisins, dark fruits, followed by vanilla, caramel, cloves, licorice, pencil shavings, and cedar planks, melding an initially simple-seeming rum profile with something more complex and providing a texture that can be both coked up or had by itself.  Me, I could as easily sip it as dunk it into a double espresso, and then pour that over a vanilla ice cream.  Even the long lasting finish gives up a few extra points, and it closes the experience with dark red cherries, plums and prunes again, as well as coriander, cumin, cloves and toffee. Pretty good in comparison to a lot of other 151s I’ve tried over the years.

Frankly, I found the rum revelatory, even kind of quietly amazing.  Sure, it hit on all the expected notes, and the quality didn’t ascend to completely new heights (though it scaled several rises of its own).  But neither did it collapse and fall like a rock. In its own way, the rum redefined a good 151, moving it away from being a back-alley palate-mugger, to more of a semi-civilized, tux-clad thug. It might not be as good as a high-proofed ultra-aged Velier from the Age….but it wasn’t entirely removed from that level either. Drinking it, standing on the foothill of its taste, you can see the mountaintop to which it could aspire.

(#767)(84/100)


Other Notes

  • You’ll note the careful use of the word “Demerara” on the label. This was to get around the trademark issue which prevented the use of the term “Demerara Rum.” The rum is trademarked…the river is not.
  • Thanks and a tip of the trilby to Cecil, old-school ex-QC squaddie, for sending me a more-than-generous sample.

 

Aug 302020
 

Rumaniacs Review #120 | 0757

Each of the 1931 series has some sort of tweak, a point of uniqueness or interest, to make it stand out. The first two, in my estimation at least, were fairly conservative pot-column blending experiments (but very well done). The Third Edition added some sugar to a blend of all four stills and upped the complexity some. By the time they got to 2014, it was clear there was a gleeful maniac running free and unsupervised in the blending area, and he used a bit of just about everything he had in the lab (including agricole rhum, the first made from sugar cane juice at SLD since the 1930s), in an effort to create the ultimate complex blend that only a 9-Dan Master Blender from some insanely intricate solera system could possibly unravel. But oh man, what he created was stunning for a rum bottled at such a quiet 43%.

Brief background: there are six releases of the 1931 rums, one per year between 2011 and 2016, each with its blend of aged pot and column still distillates. In 2017 the 1931 moniker was folded into the Chairman’s Reserve part of the portfolio and it effectively ceased production as a brand in its own right. For the historically minded, the “1931” refers to the year when the Barnard family’s Mabouya Distillery was founded near Dennery – it merged with the Geest family’s Roseau distillery in 1972 to create the modern St Lucia Distillers.

Once again, the St. Lucia distillers site gives zero info on the blend, but direct communication with them provided everything we might want. The blend breakdown is below the tasting notes, and I should note a smidgen of sugar (about 4-6 g/L according to Mike Speakman, who also provided the breakdown). 

Colour – Gold

Strength – 43%

Nose – Damn, but here, the brine and licorice notes are so distinct it’s almost sweaty. Brine and olives, salty caramel ice cream, some vanilla.  Honey, leather, some smoke, molasses-soaked brown sugar.  I particularly liked the light twist of lime and mint which offset thicker aromas of bananas and peaches. 

Palate – The balance of the various flavours permeating this thing s really very good.  The tart acidity of sour cream and fruit melds deliciously with softer, creamier flavours — think lemon meringue pie but with bags more apricots, peaches, green grapes, lime and apples. The salt caramel and molasses is present but unobtrusive, and while the agricole element remains faint, it is there, and maybe just shy. A flirt of vanilla and aromatic tobacco round off a very satisfying profile.

Finish – Shortish, mostly vanilla, lemon zest, light chocolate, and whipped cream.

Thoughts – Whoever made this blend is a genius.  Of the six St. Lucians I had on the go that day, only one eclipsed it (and not by much).  It’s admirable and amazing how much flavour got stuffed into a rum released at a strength that too often is seen as its own disqualifier. I can’t speak for the 1931 #5 and #6, but of the first four, this is, for me, undoubtedly the best.

(86/100)


The components of this blend are as follows:

89% molasses-based.

46% Column still, of which:

  • 6% Aged 11 years (Bourbon cask)
  • 9% Aged 9 years (Bourbon cask)
  • 9% Aged 7 years (Bourbon cask)
  • 9% Aged 9 years (Bourbon cask)
  • 7% Aged 7 years (Bourbon cask)
  • 3% Aged 9 years (Port cask)
  • 3% Aged 9 years (Port cask)

11% from a Pot/Column blend:

  • 50% from John Dore 1. Aged for 10 years (Bourbon cask)
  • 50% from a Column still. Aged for 10 years (Bourbon cask)

32% from a pot still of which:

  • 13% Aged for 15 years, from John Dore 1 (Bourbon cask)
  • 5% Aged for 9 years, from John Dore 2 (Bourbon cask)
  • 7% Aged for 10 years, from Vendome (Bourbon cask)
  • 7% Aged for 9 years, from John Dore 1 & Vendome (50% each) (Bourbon cask)

11% Sugar cane juice based (Agricultural rhum).

  • Aged for 6 years from John Dore pot still (Bourbon cask)

Summary of blend

  • 13% Aged for 15 years
  • 6% Aged for 11 years
  • 18% Aged for 10 years
  • 36% Aged for 9 years
  • 16% Aged for 7 years
  • 11% Aged for 6 years.
  • 94% aged in Bourbon casks
  • 6% aged in Port casks.
  • 51.5% Column Still
  • 33.0% Pot Still John Dore 1
  •   5.0% Pot Still John Dore 2
  • 10.5% Pot Still Vendome

The six editions of the range are colour coded and reviewed as follows:

  • 2011 1st edition – pale yellow [Rumshop Boy] [Fat Rum Pirate]
  • 2012 2nd edition – lavender [Rumshop Boy] [Fat Rum Pirate]
  • 2013 3rd edition – turquoise [Rumshop Boy] [Fat Rum Pirate]
  • 2014 4th edition – black [Rumshop Boy] [Fat Rum Pirate]
  • 2015 5th edition – magenta [Rumshop Boy] [Fat Rum Pirate]
  • 2016 6th edition – coral [Rumshop Boy] [Fat Rum Pirate]

A complete flight of all six at once was done and written about by Phil Kellow of the Australian blog Philthy Rum in 2018. 

Aug 262020
 

Rumaniacs Review #119 | 0756

It’s important that we keep in mind the characteristics and backstories of these St. Lucian rums, even if they were discontinued within the memory of just about everyone reading this.  And that’s because I feel that before we turn around twice, another ten years will have passed and it’ll be 2030, and sure as anything, someone new to rum will pipe up and ask “What were they?” And I don’t want us all to mourn and bewail, then, the fact that nobody ever took notes or wrote sh*t down just because “wuz jus’ de odder day, mon, so is why you tekkin’ worries?” That’s how things get lost and forgotten.

That said, no lengthy introduction is needed for the 1931 series of rums released by St. Lucia Distilleries. There are six releases, one per year between 2011 and 2016, each with its unique and complex blend of pot and column still distillate, and each with that blend and their ages tweaked a bit. In 2017 the 1931 moniker was folded into the Chairman’s Reserve part of the portfolio and it effectively ceased production as a brand in its own right. For the historically minded, the “1931” refers to the year when the Barnard family’s Mabouya Distillery was founded near Dennery – it merged with the Geest family’s Roseau distillery in 1972 to create the modern St Lucia Distillers.

A different level of information is available for the blend contained in this one versus others: in short, the St. Lucia distillers site gives us zero. Which is peculiar to say the least, since the 3rd Edition is quite interesting. For one, it’s a blend of rums from all the stills they have – the Vendome pot still, the two John Dore pot stills and the the continuous coffey still, all aged individually in American oak for 6-12 years. However, nowhere is the age mentioned, and that appears to be a deliberate choice, to focus attention on the drinking experience, and not get all caught up in numbers(so I’ve been told). And, in a one-off departure which was never repeated, they deliberately added 12g/L of sugar (or something) to the rum, probably in a “Let’s see how this plays” moment of weakness (or curiosity). 

Colour – Dark gold

Strength – 43%

Nose – Rather dry, briny with a sharp snap of cold ginger ale (like Canada Dry, perhaps).  Then a succession of fruits appear – oranges, kiwi fruits, black grapes – plus licorice and some molasses.  Reminds me somewhat of Silver Seal’s St. Lucia dennery Special Reserve. Some sawdust and wet wood chips, quite pungent and with a nice dark citrus though-line, like oranges on the edge of going off.

Palate – Ginger again, licorice, citrus peel, molasses, vanilla and a chocolate cake, yummy.  Fruits take a step back here – there’s some kiwi and grapes again, not strong, lemon meringue pie, bubble gum and tinned fruit syrup.  Also a trace of vegetable soup (or at least something spicily briny), bolted to an overall creamy mouthfeel that is quite pleasing.

Finish – Sums up the preceding.  Ginger cookies, cereal, fruits, rather short but very tasty

Thoughts – It’s better than the 2nd Edition, I’d say, and tasted blind it’s hard to even say they’re branches off the same tree. A completely well done, professionally made piece of work.

(83/100)


The six editions of the range are colour coded and reviewed as follows:

  • 2011 1st edition – pale yellow [Rumshop Boy] [Fat Rum Pirate]
  • 2012 2nd edition – lavender [Rumshop Boy] [Fat Rum Pirate]
  • 2013 3rd edition – turquoise [Rumshop Boy] [Fat Rum Pirate]
  • 2014 4th edition – black [Rumshop Boy] [Fat Rum Pirate]
  • 2015 5th edition – magenta [Rumshop Boy] [Fat Rum Pirate]
  • 2016 6th edition – coral [Rumshop Boy] [Fat Rum Pirate]

A complete flight of all six at once was done and written about by Phil Kellow of the Australian blog Philthy Rum in 2018.

Aug 232020
 

Rumaniacs Review #118 | 0755

It’s been years since I sipped at the well of a “1931” St. Lucian rum – at that time the 2011 First Edition was all that was available and I gave it a decent write up (I liked it) and moved on to the Admiral Rodney, Chairman’s Reserve and other products the company made. However, I never lost my interest in the range and over the years gradually picked up more here and there, with a view to one day adding them to the Key Rums of the World as a set: but since they are limited and no longer very available commercially (and may even be slowly forgotten), the Rumaniacs is where they will have to rest.

There are six releases of the “1931” series, one per year between 2011 and 2016, each with a different coloured label, each with its blend of pot and column still distillate, and their ages, tweaked a bit. In 2017 the 1931 moniker was folded into the Chairman’s Reserve part of the portfolio and it effectively ceased production as a brand in its own right. For the historically minded, the “1931” refers to the year when the Barnard family’s Mabouya Distillery was founded near Dennery – it merged with the Geest family’s Roseau distillery in 1972 to create the modern St Lucia Distillers.

The St. Lucia distillers site gives this information on what’s in here: casks from 2004, 2005 and 2006 were used (but not how many). These include

  • casks containing 100% coffey still distillates matured in a combination of American white oak casks and port casks
  • casks with 100% pot still distillates aged in American white oak
  • casks with 50/50 blends of pot/coffey still aged in American white oak. 

The blend was assembled and then placed back into American white oak casks for a period of three months for a final marriage before being bottled. It almost sounds ungrateful of me, after so many years of bitching I want more detail, to wonder what the proportions of each are, but what the hell, I remain pleased we get this much.

Colour – Mahogany

Strength – 43%

Nose – Salty, even briny, with an accompanying sweet crispness of a nice (but tamped down) Riesling. Fanta, sprite and citrus-forward soda pop. Some bad oranges, green grapes and apples, plus watery light fruits (pears, watermelons) and vanilla, a trace of chocolate.  Not much heavy aroma here, but a fair bit of light and sprightly fragrance.

Palate – Soft and easy to drink, just a bit of edge and barely any sharpness.  Rather tame. Sweet, floral and with lots of ripe white fruits bursting with juice.  Melons and mangoes, some background heavier notes, tobacco, chocolate, nutmeg – a nice combo, just lacking intensity and any serious pungency (which is a good thing for many).

Finish – Short, wispy, easy, not much more than what the palate gave.  Some citrus, cumin, soda, tobacco. 

Thoughts – Somehow it seems gentler than any of the other St. Lucia 1931 rums I’ve tried, less assertive, less rough, more tamed. It has a fair bit going on with the varied tastes and notes, but it comes off as not so much complex as “needlessly busy”.  That could just be nitpicking, though, for it is indeed quite a nice sipping rum and a good exemplar of the blender’s skill.

(82/100)


The six editions of the range are colour coded and reviewed as follows:

  • 2011 1st edition – pale yellow [Rumshop Boy] [Fat Rum Pirate]
  • 2012 2nd edition – lavender [Rumshop Boy] [Fat Rum Pirate]
  • 2013 3rd edition – turquoise [Rumshop Boy] [Fat Rum Pirate]
  • 2014 4th edition – black [Rumshop Boy] [Fat Rum Pirate]
  • 2015 5th edition – magenta [Rumshop Boy] [Fat Rum Pirate]
  • 2016 6th edition – coral [Rumshop Boy] [Fat Rum Pirate]

A complete flight of all six at once was done and written about by Phil Kellow of the Australian blog Philthy Rum in 2018.

May 242020
 

No one these days needs any introduction to the Real McCoy series of rums, which Bailey Pryor released in 2013 in conjunction with Foursquare Distillery (another name requiring no elaboration). He was inspired, so the founder’s myth goes, to try his hand at rum after making a documentary on the Prohibition rum runner of yore for whom the phrase “The Real McCoy” is named, since said gent gave pure value for money and didn’t try to gyp his customers.  You could almost say that this is the first instance of a Barbados rum being given a name that supposedly touts its attributes, which is now ascending to the heights of polysyllabically pretentious ridiculousness…but never mind. 

Although Mr. Pryor initially released a 3YO and a 5YO and a 12 YO McCoy rum, somehow the gap-filler of an 8 or 10 year old was not addressed until relatively recently when the 10 year old started to go on sale in the USA (around 2017), issued as a limited edition of 3000 bottles. It was a blend of pot and column still Foursquare distillates aged for between 10-12 years in charred ex-bourbon and virgin oak (the proportions of pot:column and 10:12 years remain unknown, though it’s noted that a rather larger pot still component is present) and bottled at 46%.

You’d think that with that kind of mix-and-match combination of several elements – char, age, oak casks, stills – you’re in for a flavour rollercoaster, but you’re not, not really.  The nose was simply….less (and that’s not because of the 46%, as I was trying it with a set of equal-or-lesser-proofed rums). Basically, there was too much bitter woody smells in the mix, which elbowed out – or at least dominated – the softer aromas for which Barbados is better known. So while I could sense some vanilla, fleshy fruits (ripe mangoes, cherries, papaya), bananas, honey and some light cumin, the real problem was how little of that managed to crawl out from the rock of the woody foreground.

On the palate, the slightly higher strength worked, up to a point.  It’s a lot better than 40%, and allowed a certain heft and firmness to brush across the tongue.  This then enhanced a melded mishmash of fruits – watermelon, bananas, papaya – plus cocoa butter, coconut shavings in a Bounty chocolate bar, honey and a pinch of salt and vanilla, all of which got shouldered aside by the tannic woodiness. I suspect the virgin oak is responsible for that surfeit, and it made the rum sharper and crisper than those McCoy and Foursquare rums we’re used to, not entirely to the rum’s advantage. The finish summed of most of this – it was dry, rather rough, sharp, and pretty much gave caramel, vanilla, light fruits, and some last tannins which were by now starting to fade.  (Subsequent sips and a re-checks over the next few days don’t appreciably change these notes).

Well, frankly, this is not a rum that turns my crank.  While respecting the proficiency and heritage of their long history of rum production, I’ve not cared overmuch for Barbados rums as a whole – too many are just “okay,” lacking unique individuality in too many instances, and it takes a rum like the Plenipotenziario or the 2006 10 Year Old or the Criterion or the Mount Gay Cask Strength to excite my interest…which isn’t much given how many rums are made on the island. 

There’s also the odd fixation with blends that remains puzzling to me since it would seem that in today’s climate of rum appreciation, more aged 100% pot still rums from Fousquare or Mount Gay or WIRD would lend lustre to the island and enhance its variety and terroire to a greater extent than a series of recurring and juggled-tweaked blends would — because right now it’s just the skill and rep of the master blenders that keeps bored yawns of “I’ve had this before” at bay (this is a cruel but true observation about human nature). Fortunately, there are indicators that this is changing – Mount Gay has pot still rum on its current lineup, Foursquare and WIRD both have some on the to-do list, and the Habitation Velier Foursquare pot still rum showed off the potential, so this sub-category is not being ignored completely. 

But for now, this rum doesn’t really work for me. It’s a lesser son of greater sires, a minor Foursquare rum in all ways that matter – nose, taste, finish, the works. It’s one of the few instances where, for all its greater-than-usual pot still makeup and ten years of ageing, I have to ask in some puzzlement What were they thinking? And if I were to give it one of those facile latin names that seem to be gaining traction these days, I’d call it Tantum Odiosis, because that’s really all it is. Now that’s a veritas for you.

(#729)(79/100)

Oct 222019
 

This is a rum that has become a grail for many: it just does not seem to be easily available, the price keeps going up (it’s listed around €300 in some online shops and I’ve seen it auctioned for twice that amount), and of course (drum roll, please) it’s released by Richard Seale.  Put this all together and you can see why it is pursued with such slack-jawed drooling relentlessness by all those who worship at the shrine of Foursquare and know all the releases by their date of birth and first names.

But what is it? Well, to go by the label, it’s the result of a selection of some of the 1985 rum barrels belonging to the Alleyne Arthur reserves; and for the curious, Alleyne, Arthur & Hunte were also once merchant bottlers in Barbados (they made the original Old Brigand and the Special Barbados Rum); they acquired Doorly’s in the 1970s and were themselves taken over by Foursquare in 1993. Now, in 1995 the source rum – a pot and column still blend – which had been aged for ten years by that point, was vatted, and three barrels were left over from that exercise.  These three barrels were aged for a further six years (Richard said that “they sat for a bit – [three barrels were] small enough to forget about”) and finally decanted in 2001, into about 400 bottles – at the time the idea was to create a premium release, but they just stood there gathering dust “for no more reason than we never came up with the premium packaging.” Finally, after seeing Velier’s releases, Richard realized that premium labelling and dressing up was not really required, that simplicity was its own cachet, and the audience preferred a simple bottle and clear explanation…and in 2015, the 16 year old rum hit the market at last.

Strictly speaking, this is a rum that could easily be mistaken for an earlier Exceptional Casks release (say, the 1998, or the 2004). The nose, warm and firm, is well tamed and really well rounded.  It smells of molasses, nuts and ripe orange peel. There are also flambeed bananas, Irish coffee, apricots, some smoke and a trace of wet wood coiling around in the background, but at 43% it is well tamed and quite easy, a real sipping drink with no qualifications.  

The nose is fine, but this is one of those occasions when the palate does more.  It’s as dry and silky rough as a cat’s raspy tongue, not sweet, just firm, with just enough edge to make you think of a tux-sporting East-end hood. The acidic and tart notes are held way back with softer and muskier tastes up front: oatmeal chocolate-chip cookies, biscuits, cereal, and crushed walnuts.  Again the sweet is kept under control, and spices like cumin and massala are hinted at, together with candied oranges, rosemary and a trace of fennel. The finish is also quite good, surprisingly durable for a rum bottled at such a tame strength, and again I am reminded of the Mark 1 or Mark II as a comparator.

So definitely a rum to try if you can get a hold of it. It opens a window on to the profile of rums made in Barbados in the 1980s before the rum renaissance, by a company no longer in existence and continued by their successors and inheritors.  When we discussed it, Richard remarked that he could never quite recreate it, because he didn’t know what was in the blend – it was leftovers from the vatting, the “recipe” never written down, created by a now-retired blender. And while he undoubtedly regrets that, his eyes are set on the horizon, to all the new rums he is working on creating now and in the future, and all those who love Barbados rums will undoubtedly follow him there. But for those lucky enough to get a bottle, a sample, or a sip of the 1985, I’m sure a fond memory will be spared for this one-of-a kind bottling too. However recent, it is still a part of history trapped in a bottle, and should perhaps be tried for that reason alone, quite aside from its tasty, languid and easy going charms.

(#668)(84/100)

www.sexxxotoy.com