Fryns Hasselt Haiti Old Rhum (1980s)

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Jan 042023
 

Rumaniacs Review #143 | R-0963

All sorts of little mysteries attend this rum. First of all, what we know: a Haitian rhum bottled by a Belgian outfit named Fryns Hasselt in the 1980s, at 40%. What we don’t know: cane juice or molasses, type of still, which estate or brand, where it was aged and in what kind of barrels – though I think it’s a fair bet it’s Barbancourt, it came from a column still, and the ageing was around five years, likely in Europe. A bottle – perhaps even the same one flipped several times – appeared on Whisky.Auction in February, March, April and May 2019 (which is, coincidentally, just around the time I scored the sample). It seems to be the only one ever released by the little company (see below for a short bio).

Colour – Light brown

Strength – 40% ABV

Nose – Not much going on here. Very very light. Grapes, green apples, a touch of vanilla and evidence of heavier fruit sensed but not really tasted. Bananas, whipped cream on top of a caramel macchiato. Takes some time to come to grips with this rum, and it opens up to strengthen the vanilla and caramel component, and add a sort of weak fruit salad vibe.

Palate – Actually quite a bit better than the nose leads one to believe, although conversely, it’s more a matter of intensity than anything new. Caramel, vanilla, nutty fudge, a hint of flambeed bananas, stewed apples and somewhere behind all that is a suggestion of very hot loose-leaf strong black tea cut with evaporated milk, plus just a whiff of citrus zest.

Finish – short, easy, light. Sherbet, vanilla, peaches…any more than that and I’d be guessing

Overall, for all its wispy nature, it was serviceable, and I found little beyond its weakness to dislike: but when this much time and effort is required for a sniff and a snort, it’s hardly worth the trouble. It’s simple, it’s near weightless and reasonably effective at saying it’s a light rum but beyond that, it’s thin pickings and not something that showcases itself effectively enough for a real recommendation. As for it being an actual Haitian rum, well, we’ll have to take that one on trust.

(75/100) ⭐⭐½

Other notes

  • Hydrometer showed 40% so the rum is as stated, and not added to
  • My thanks as always go to Nicolai Wachmann of Denmark for the sample.

Picture (c) Whisky.Auction

Historical Background

So who is Fryns Hasselt? An interesting little company, all in all, and they demonstrate that the French and Brits and Italians weren’t the only ones with liquor merchants who had a rep in the late 1800s and that there were small towns not called Flensburg that had several distilleries and bottlers that dabbled in rum.

Gin (or jenever) at that point was a cheap liquor for the masses made from sugar-beet molasses, but there is no record I was able to find that suggests rum was ever physically made in Hasselt. Belgium’s colonial adventures at that time were more in Africa than in the Caribbean, specifically the Belgian Congo. As the Brits found out in India, gin was known to be useful in that it disguised the bitter taste of the anti-malarial drug quinine – which may have accounted for its expanded production, quite aside from keeping the huddled masses toped up and out of mischievous activities like revolutions or communism or questioning the divine right of the king to have huge private properties in Africa while many Belgians of the time lived in misery.

The small town of Hasselt has an interesting history which I’ll leave you to discover for yourself: the key point is that for centuries it was known for its gin distilleries, to the extent that there is a now a jenever museum in the town, and an annual Jenever Fest to celebrate the spirit. In the 19th century, gin production was the most important industrial industry in the area, and most of the involved distilleries were located in Hasselt itself.

Fryns was a family company established in 1887 by the family patriarch Guillaume Fryns: he opened a distillery in a building called “In the Cloverleaf”, situated in a shopping street in downtown Hasselt, and indeed, the cloverleaf has become a logo for Fryns ever since (they trademarked it in 1908). The company passed to Guillaume’s sons Guillaume Jr. and Jules after his death in 1909, and they expanded production by adding a malt house and an ice factory to the premises, more branches in other cities and a fleet of trucks to service them all. They also spruced up the packaging and branched out into liqueurs, which were fashionable in the Roaring Twenties.

The WW2 years saw them shut down for lack of cooperation with the occupying forces so they started the rebuilding with the third generation of Fryns in 1945 and kept a steady business running; however, financial and familial problems forced a sale to external investors in 1979. The name and branding was kept, and in 1988 another large Hasselt-based distillery called Bruggeman bought it (along with a second company called Smeets). In 1995 Bruggeman moved the whole operation to Ghent, and so the involvement of Fryns in Hasselt came to a close.

This was not the end, however, because 2018 Michel Fryns (a fourth-generation scion of the family) reacquired the company and distillery from Bruggeman and promptly moved it back to Hasselt, where it remains to this day, making gins, liqueurs and pre-mixed drinks.

That’s all gin production and corporate history. With respect to rum, as far as I was able to discover, the company never actually made any. My informed supposition is simply that the the new owners post-1979 cast around for other sources of revenue and somehow got their hand on a few other distilled spirits. The only rum Fryns ever released was the old Haitian rum, and one can only suggest that it was an experiment that went nowhere, because aside from the (gin) distiller Smeets, who produced two rums called “Blacky” and “Castelgy” of uncertain provenance (they may have been verschnitts) and the Distillerie Theunissen who put out a single Jamaican rum, there is no record of any other rum ever made (which is to say, bottled) in the town. Certainly Bruggeman never appeared to have released any rums while they owned the company and the brand.

Logistics and a lack of interest probably defeated them, as there were better rums coming out of France, Britain, Italy and northern Germany. So they focused on their core competency and let the idea of branching out into rum wither on the vine, so to speak. That’s a fair bit of supposing and maybes and guesswork, but I think the chain of logic is reasonable.

 

Cadenhead’s Green Label Demerara 10 Year Old Rum (Late 1990s)

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Dec 082022
 

Rumaniacs Review #142 | 0957

As noted before (and repeated below for the curious), Cadenhead has three different bottle ranges, each of which has progressively less information than the one before it: the Dated Distillations, the Green Labels and the Caribbean blends.

The Green Label releases are always 46% and issued on no schedule; their labels and the company website provides so little information on past releases that one has to take some stuff on faith — in this case, my friend Sascha Junkert (the sample originator) noted it was a 10 YO bottled in 2000, although even the best resource on Cadenhead’s older bottlings, Marco Freyr, cannot verify the dates in his detailed post on the company and the accompanying bottle list, and Rum-X only mentions one distilled in 1998. There are only a handful of Green Label 10 YO rums from Guyana / Demerara at all, and the 2000 reported date doesn’t line up for any other published resource – when they bother, most mention 1998-2002 as distillation dates. So some caution is in order.

What’s particularly irritating about the label in this instance is that it lacks any information not only about the dates and the still(s), but also the casks – and so here one has to be careful, because there are two types of this 10YO Demerara: one “standard” release, and one matured in Laphroaig casks. How to tell the difference? The Laph aged version is much paler and has a strip taped vertically across the screw top like a tax strip. Hardly the epitome of elegant and complete information provision now, is it.

The Laphroaig aged expression. Note the identifying strip at top.

Colour – Pale yellow

Strength – 46%

Nose – Dry, dusty, with notes of anise and rotting fruits: one can only wonder what still this came off of. Salt butter, licorice, leather, tannins and smoke predominate, but there is little rich dark fruitiness in evidence. Some pencil shavings, sawdust, glue and acetone, and the bite of unsweetened tea that’s too strong.

Palate – Continues the action of the sweet bubble gum, acetones, nail polish and glue, plus some plasticine – not unpleasant, just not very rum-like. Also the pencil shavings, sawdust and varnish keep coming, and after a while, some green fruits: apples, soursop, grapes. At the last, one can sense candied oranges, caramel bon bons, and more very strong and barely-sweetened black tea teetering on the edge of bitterness.

Finish – Reasonably long, reasonably flavourful, quite thin. Mostly licorice, caramel, tannins and a touch of unidentifiable fruit.

Thoughts – It’s not often appreciated how much we pre-judge and line up our expectations for a rum based on what we are told about it, or what’s on the label. Here it’s frustrating to get so little, but it does focus the attention and allow an unblinking, cold-eyed view to be expressed. In fine, it’s an average product: quite drinkable, decent strength, enough flavours not to bore, too few to stand out in any way. It’s issued for the mid range, and there it resolutely stays, seeking not to rise above its station

(82/100) ⭐⭐⭐½

Other Notes

  • The three ranges of Cadenhead’s releases are:
    • The cask strength, single-barrel Dated Distillation series with a three- or four-letter identifier and lots of detail on source and age; I submit these are probably the best and rightly the most sought-after rums from the company (aside from a 1939-distilled Green Label from Ago). The only question usually remaining when you get one, is what the letters stand for.
    • The Green Label series; these are usually single-country blends, sometimes from multiple distilleries (or stills, or both), mostly from around the Caribbean and Central/South America; a few other countries have been added in the 2020s. Here you get less detail than the DDs, mostly just the country, the age and the strength, which is always 46% ABV. THey had puke yellow labels with green and red accents for a long time, but now they’re green for real, as they had been back in the beginning.
    • Classic Blended Rum; a blend of Caribbean rums, location never identified, age never stated (anywhere), usually bottled at around 50% ABV. You takes your chances with these, and just a single one ever crossed my path.
    • Strictly speaking there is a fourth type sometimes referred to as a “Living Cask” which is a kind of personalized shop-by-shop infinity bottle. I’ve only tried one of these, though several are supposedly in existence.
  • These older Cadenhead’s series with the puke yellow and green labels are a vanishing breed so I think the classification in the Rumaniacs is appropriate.
  • The pot-column still tagging / categorization is an assumption based on the way it tasted. I think it’s an Enmore and Versailles blend, but again, no hard evidence aside from my senses.

 

L’Esprit “A Jamaican Distillery” 2019 “Still Strength” White Rum – Review

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Nov 272022
 

I view L’Esprit’s unaged still-strength white rums the way I regard Mrs. Caner – with besotted love not unmixed with a little dread. Treat her right and there’s no end of the amazing wonders and complexities that will be provided; drink carelessly and you’ll be belted into next week. Seeing the stats, is clear to see why: the rum is distilled in 2019 in Jamaica, and taken at 85.6% as it dripped and smoked and frothed off the still, then released without any ageing into the wild, unfiltered and unadded-to, and completely, fiercely, joyously untamed. You get the nervous feeling that when you drink it, you can sense the Grim Reaper on your shoulder clearing his throat.

So you can understand both my awe and my trepidation. On the outside, as a white rum, it looks meek and demure (another similarity it shares with my better half), but hard experience with L’Esprit’s recent outturns of this kind have taught me some measure of caution. The initial sniff showed why this was a good idea: it was a wild storm of competing, fighting, angry tastes from all over the map, starting with coconut milk with a touch of gaminess, vanilla, and flambeed bananas drizzled with hot bitter caramel syrup. As if unsatisfied, it moved on to rubber and tar on a hot day. Glue, solvent, acetones, and behind it all, the rank meatiness of a midden heap, brine and hogo gone wild, into which somebody spilled a bucket of used engine oil. If there were any fruits around, they were blattened flat by this huge wave of rumstink, and yet, for all that this reads like some kind of crazy, it’s still somewhat better and more interestingly assembled than the Long Pond TECA.

And at that strength, when sipped, well, it provided all the acres of hurt one can expect from that huge pail of proof. It was hot, spicy, initially reeking of stripped out gears and a burnt clutch on an old Land Rover – this was brief and dissipated swiftly, being replaced by ethanol, medicinals, a tart sort of sweetness (yoghurt, citrus, green apples, grapes, strawberries) and sourness (miso soup, Thai sweet chili, soya)…and then it really got going. There was the bitter clarity of licking a copper penny. It tasted of hot and very strong unsweetened black tea, on the good side of being bitter. And then it got more creamy and spicy and warm at the back end, before relaxing into a finish that was long, sweet, salty, sour, bitter – as if all taste receptors got switched back on at once — coughing up citrus, juniper, quinine and mineral water to go with the pears and green apples that closed the show.

Damn, but this was one serious rum. It’s just this side of excessive, and is the sort of thing a resident of Trenchtown would splash on before heading to the local rum shop for a duck curry and a brawl. The tastes are completely off the scale, they’re all over the place like a half-drawn roadmap leading to an undiscovered country and it’s a small miracle that they work together as well as they do. And admittedly, it’s too fierce on the attack: the lips are numbed, the tongue paralyzed, the taste buds burnt out in a bright flash of heated sulphur and brimstone, and this will not be a rum that finds favour with many except Los Extremos who inhale this kind of thing with their morning wheaties.

And yet, and yet…it’s not entirely a bad product : once it settles down it’s a really quite interesting piece of work, in spite of its undiluted demon-piss vibe. What it does, better than most with similar specs, is unashamedly channel trashy 1980s Ahnuld, Sly, Chuck and Dolph Lundgren action movies of the sort we remember fondly today. It drops massive taste bombs, huge sharp congeners, sweat, harsh language and liquid gelignite left right and centre the way those stars dropped one liners and cool kills. I’m not sure that’s a description or a profile that’ll appeal to everyone, but for those who are willing to park their doubts, I think L’Esprit’s Jamaican white brawler is simply one to beware of, treat with respect…and maybe, once one adjusts to its fierce character, even to love.

(#954)(86/100) ⭐⭐⭐⭐

Other notes

  • It’s not stated but as far as I know, it’s Worthy Park distillate.
  • “Cuvée Daniel” refers to (L’Esprit’s owner and founder) Tristan Prodhomme’s second son; the Diamond “Cuvée Edgar” MPM unaged white referred to his first. He made these rums to commemorate them, which I think is a sweet gesture.
  • As always, I must commend the sleek little sample bottles L’Esprit favours, which fit nicely into a presentation box and are just cool as all get out.
  • Pot Still, 279-bottle outturn. Rested between July 2019 to October 2020 in inert tanks.

Barikenn “81.6” Rhum Agricole Blanc (Montebello) – Review

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Oct 032022
 

The full name of this rum is the “Barikenn ‘81.6’ Brut de Colonne Rhum Agricole Blanc de Guadeloupe (Montebello)”. I imagine that just trying to say the whole thing in one breath distracts somewhat from the fact that this is one of the most powerful rums of recent memory (yes, I know there are others that eclipse it – I made the list, after all), and if one loses focus and takes it too lightly then one might just find oneself being blasted into next week.

Most of us know something about Montebello, but who is Barikenn? At first I thought it was a lesser-known brand name from the small distillery on Guadeloupe from which the rhum hails – the principle is not unheard of, after all. I was then corrected by a gent on Instagram who pointed out very politely that it was a French indie bottler, namely himself, Nicholas Marx (no relation to Karl), and the company was named after an old spelling variant of barrique, or barrel, in Breton. He founded the Brittany-based independent bottling outfit in 2019 in order to share his passion for high quality full-proof rums, free from adulterants and completely transparent – and while he did not explicitly state it, I get the impression that until recently his market was primarily regional (much like Tristan Prodhomme of L’Esprit, which is also in Brittany, began his own operations).

If he felt that staying small was going to last, the reception of his bottlings soon disabused him of such notions. Starting out in 2019 with a pair of well regarded Foursquare and Worthy Park rums, he added a Guyanese 8 YO the following year which WhiskyFun rated 91 points … and people started to take notice. 2021 was when things got really interesting, because aside from a Mauritius and Fiji addition to the roster, he dabbled in water not many indies would dare to, so soon: unaged, white, column-still cane-juice rhum…at still strength (I amuse myself by wondering if he was taking a cue from Tristan’s high proofed South Pacific and Diamond whites). I bought a bottle in Berlin last year, and gingerly tasted it, feeling as nervous as on my first date all those years ago and with good reason – rums north of 80% can rearrange your insides, if not treated with care.

Nosing it makes the point quite clearly, because even a small and delicate sniff is like stuffing an oversalted maggi-cube up your nose, or snorting a spoonful of marmite seasoned with extra cayenne. I’m aware that this is a peculiar way for any rum reviews’s nose section to start but stay with me…it does develop. After a while one can sense lemon-infused sugar water, dish washing soap, tart pears, cranberries and red currants. A little rubber, a few acetones, a touch of vinegar (or sweet cider), and the notion one is left with after a few minutes, is one of commendable restraint in something so notionally powerful. Unlike, say, the Marienburg, the Wild Tiger or the Sunset Very Strong, the aromas on this Barikenn aren’t out to trample you flat (and then stomp on the pieces) but seem genuinely relaxed and easier than one might expect..

The taste is large, round and strong, for sure, but not, thankfully, harsh. Initial tastes are dirty, earthy, salty, yeasty, bread-y, quite pungently so, and the added marmite and vegetable soup flavours may not be to everyone’s taste. However, after some time these recede and give way to the fruit basket: bananas, red currants, strawberries, bubble gum, some pineapple slices, which leaves me wondering where this was hiding when I was smelling it. It does do somewhat better with some water, adding sweet and sour chicken, soya sauce, brine and a sort of sparkly and intense fruity note, plus plastic, brine and acetones, in a nice mix. It all leads to a long and sharp finish redolent of resin, plastic, unripe green fruits that’s really too thin and lacks heft…yet nothing I could genuinely warn you away from.

The whole thing just works. The whole experience is one of intensity, power and puissance which falters a bit at the end, yet the tastes are so pungent and deep that all I could think was that this is what the Marienburg could have aspired to, because the strength does not actually detract here as it did there: it just needs to be handled with some care and patience.

These days it seems there is some kind of obscure, unstated and never-acknowledged race to the top for these unaged white rums. Blending and filtration are lesser concerns, and it’s all about finding a rum that’s exceptional straight off the still – something raw and undiluted, a no-age ultra-proofed Sam Jackson style m*f*er that’s made to show it’s the meanest, the baddest and the tastiest, a rhum which can take out Mace Windu without busting a sweat or resorting to force lightning. The Barikenn Montebello is as serious and as tasty a white rum as you’ll have all year, proofed up and jacked up to a level of taste intensity that ensures you don’t just get the point…you get the whole kitchen sink as well.

(#940)(84/100) ⭐⭐⭐½

Other notes

  • 300 bottle outturn. The rhum was (column) distilled in 2019, rested in inert steel tanks, and bottled in 2021.
  • Source of the cane juice is single variety “red cane” which reputedly has exceptional taste qualities.
  • Barikenn has released another variation of this rhum in 2022, but at a milder 52º – it’s from the same 2019 batch.

1423 S.B.S. Antigua 2015 7 YO High Congener Rum – Review

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Sep 142022
 

Based on really really true events, which may or may not be factual….

“A column still can produce this!” smirked Indy as he poured me a generous dram of the seven year old SBS Antiguan hooch and handed it over, daring me to refuse and making sure my head was bowed and cap reverently doffed. I imagine he would not have been displeased with some genuflection, so chuffed was he – and others – with this rum.

I considered my glass carefully, pen poised over the famed Little Black Book of Tasting Notes, trying to focus yet also look everywhere at once, because I was in the basement bar of The Proofing Room in London, there was a lot going around me at the same time, a ton of rum chums were in attendance, and the rum was quite a handful to unpack at short notice.

I had landed in the UK a few hours before (two hours late), scampered to my fleabag hotel, dumped my stuff, ran over the road to TWE to get some tasting glasses (shout out to Kelvin who was super helpful and fun to hang with in the short time I had there), then back out to meet the my vagrant itinerant friend Richard Nicholson (of NZ Rum Society fame) at the Black Parrot rum bar, and then, after sampling five or six rums, we high-tailed it over to the ‘Room where Kris Von Stedingk was magisterially holding forth on the new 2022 range of rums released by the Danish outfit of 1423. I was out of breath even before sidling in.

The joint was peppered with Visiting Royalty of Rum Geekdom: Dan Greifer was tending bar, Andrew Nicolls was feverishly making daiquiris with rum from his own brand of William George, Kit Carruthers of Ninefold was soaking up info and a glass with equal gusto, Keegan Menezes was down at the back, Indy and Jazz Singh of Skylark Spirits darting around making sure everyone had a charged glass, Vicki Ilankovan of Sated Online was mingling with her trademarked vivacity and energy, while others were calling hellos and pressing the flesh from all corners of the bar. And as Kris was in fine form with his presentation and we were derailing his spiel, Richard and I guiltily avoided his disapproving glare and snuck down to the back where the hoods huddle, and set up shop there.

I was glad it was the Antigua I started with, because that island’s distillery has been making great strides in its own experimental small batch production, dating right back to the work they were doing with the sherry cask edition back in 2016. What I had here was a rum they sold to 1423 – that Danish outfit, you’ll recall, which is part owned by Josh Singh, the benevolent buddha of badass we left at Paris’s Maria Loca bar in 2019 but who went AWOL for this one. Antigua Distillers not only produced the subject of my very first review (the 1981 English Harbour 25YO) but has a new high-congener, full-proofed rum of its own that is supposedly off the scale and which I’ve been lusting after ever since it was released. This rum was one of its progeny.

I tried to listen to Kris rattle off the specs for the rum because he was an interesting and engaging speaker, but the serious rum convo (i.e., the “party”) in my corner was so loud (which was all Richard’s fault, I swear, the guy is just so noisy!) that I could barely hear him, and evidently Kris couldn’t either because he shouted at us to pipe down in best Ratzo style — “I’m workin’ here!” — so he could keep with the program and inform the populace and maybe sell some damned rum. We all flipped him the bird and shouted cheerfully ribald insults, then shut up. I started nosing, and then scribbling. Even at play, the ‘Caner has to work sometimes, alas.

The nose of this kinetically powered 64.9% ex-bourbon-barrel aged rum was aromatic to a fault, and demonstrated once again that well assembled column still rums can be the equal of any other kind (even if just one barrel’s outturn). It smelled of vanilla ice cream, bubble gum, strawberries and an amazingly pungent mix of both light and heavier fruits like watermelon, green apples, grapes, peaches, and plums. Into this was interspersed more neutral aromas of bananas, pears and papaya, and a sort of rich whipped cream that would drive a cat to ecstasy. Even with the distractions of more rums, more mixes and the loud hum of conversation, I was able to appreciate a real mastery of the craft with what came out of that bottle.

All this went into the Book with some haste, because things were moving fast, and the bar surface in front of me kept filling up with more and new glasses that had to be guarded from the potential depredations of light-and-sticky-fingered rum enthusiasts (we are not known for respecting the finer points of personal property when it comes to the good stuff). Andrew, enthusiastic as anything, kept making more William George daiquiris (which were really good — but even a tippler as practised at pilfering as Richard had trouble keeping up with the rollout), and because Kris was moving smartly along with his presentation, Jazz and Indy continued bringing more and more SBS rums to us back-bench louts. Brazil, Denmark, Jamaica, Venezuela, Guyana, French Antilles…we had a minor United Nations of Rum going on here. Every time they poured another sample — which joined its partners on the countertop in front of me in an ever-expanding lineup — they observed how slow I was going, and regarded me with the sorrowful disappointment of skilled guilt-trippers – “What, Lance, is what we’re doing here not good enough for you?” “You don’t like SBS any more or what?” and (more cuttingly) “Eh eh, bai, I thought you were a pro, man!” (that stung).

I hastily concentrated on moving on to the taste, and here I must simply observe how vibrant and alive the rum was. Sharp — of course it was — and hot, yet that dissipated quickly, and the tastes were at all times there, thrumming, compelling, well defined and completely solid. And there were lots of them. Tart fruits notes of soft yellow mangos, soursop, ripe gooseberries, strawberries, dark cherries and almost overripe pineapple started the party off. These were balanced by nutty flavours combined with unsweetened chocolate, caramel, vanilla, cinnamon, coffee grounds and even a touch of herbs and spices (dill and cumin). Under it all was bananas and the creaminess of a sweet caramel latte which segued beautifully into a finish of epic duration, redolent of the sweetness of sugar cane, the muskiness of caramel and molasses, and the slight bitterness of freshly sawn lumber and ground coffee beans.

What’s amazing about the rum is how well it sips, even at that dramatic proof point. There’s no straining for effect, no sense of extra ageing or esterification added for your edification, no vulgar “let’s whip this out shall we?” backdam bragaddocio of codpieces compared (this sort of thing is left to visiting rum chums in seedy rumbars). It’s an astounding, amazing, astonishing rum, one where the initial experiments I tasted all those years ago seem have come to a kind of glorious fruition. I know the distillery has its own branded rums, ramped up, beefed up, torqued up, squirting esters and proofage in all directions, and I’ve been after those for ages. Until I get one of them, however, this will be a more than adequate substitute.

It was with some regret that I moved to other rums in the SBS’s lineup for the year – yet for the remainder of my time at the bar I kept a glass of this thing running, and eventually considered it the best of the lot, when it was all over. We laughed and talked and discussed rums and had a whole load of fun dissing each other, and finally the whole thing devolved into a raucous party and jam session which was then relocated to Trailer Happiness after we got chased out of the Proofing Room. Yet I remember this rum so well, even without the tasting notes. It showed that English Harbour’s Catch of the Day rum from 2018 which I had also enjoyed and continue to regard as an underpriced steal, had been no accident.

So, to wrap up this overlong “review” let me sum up for those who like it brief. SBS’s 7 Year Old 2015 High Congener Antigua rum is frikken’ phenomenal and I’m just annoyed with myself for not grabbing the damned bottle out of Indy’s hands when I had the chance. He might have decked me, and maybe I would have left the bar with head held high and feet held higher…but man, it would have been worth it to get this thing.

(#937)(91/100) ⭐⭐⭐⭐½

Other Notes

  • Initially, based on the lack of disclosed detail on the label and the product sheet, I thought this was not a high congener rum but after the first posting, both Joshua and Kris came up to confirm that yes, it was. “There was no particular reason” for the oversight, Josh said, but my money is on simple forgetfulness, because no sane marketing guy would leave such a juicy tidbit out. So anyway, I went back and changed the post a little and amended the title to make mention of the fact.

Bristol Spirits Venezuela 2010 12 YO Rum – Review

 3 Responses »
Aug 082022
 

Long time readers of this site will know something of my movement away from softer Spanish/Latin style rons over the years. There’s nothing particularly deficient about many of them (only some), and I have a soft spot for quite a few. It’s just that I find most quite unadventurous, occasionally boring, sometimes added-to — though of course they all have their adherents and supporters who buy them and keep the distilleries humming. At most, one can cast aspersions on their escutcheon with matters having to do with disclosure and/or adulteration, something which companies like La Hechicera and Dictador out of Colombia, Malecon from Panama and Mombacho out of Nicaragua (there are several others) have often been the target of. That does not mean, however, that they’re all bad, and it would be a mistake to tar them all with the same brush of indifference and despite.

These thoughts occurred to me because I was forced to take an honest look at what these too-often mild-as-milkwater rums could do when done well, when I tried one that Bristol Spirits — one of the more venerable of the modern independents — had sourced from Venezuela. The exact distillery it comes from is something of a mystery (more on that below); and it is a column still, molasses-based spirit, aged 12 years in refill American oak (ex-bourbon and in both Venezuela and Europe), un-chill-filtered, unadded-to and released at a robust 47% ABV…which I suggest is somewhat uninspiring and which Bristol calls “just about right”.

They may be on to something there, because frankly, there is little to find fault with. The rum is crisp and tangy, with aromas jumping all over the map: initially quite fruity with scents of lemon meringue pie, pineapples, unsweetened yoghurt, bananas, it switches over after a few minutes and presents light caramel, vanilla, flowers and is light enough to present almost as an aged agricole-style rhum. It’s apparent simplicity belies an under-the-hood level of complexity I must confess to not expecting (which may be why John Barrett, Bristol’s owner, was smirking the entire time as I tried it).

Nose is one thing, though: and many rums of real olfactory promise falter and die on the palate. At 47% this is reasonable sipping territory, which is to say, it won’t try to defenestrate my tongue. Here, it must be conceded that the rum succeeds very nicely. It has a good mouthfeel; it’s tangy and a little sour, yet with a solid underpinning of caramel and chocolate oranges. Ripe Thai mangoes and peaches are in evidence, some light fruit, and here again, it feels like a firm and slightly deeper agricole rhum, musky, a bit tannic, slightly sweet. An interesting amalgam, all summed up by a shortish finish that showed off a last flirt of salt caramel ice cream with fruit bits sprinkled on top, a touch of light brine, some flowers, and it is over way too quickly.

So let’s talk a bit about Bristol, one of the stalwarts of the indie bottling ecosystem, a small company run by one man, John Barrett (he has recently brought in a young man, his son-in-law, to help run things). Bristol was established as far back as the 1990s, at the dawn of the modern rum renaissance, and if you really are curious, the Boys of Rumcast did a great interview with the man just a few weeks ago. Bristol Spirits, along with Renegade and Rum Nation, were the first indies I came into contact with that showed me the directions rum could go, and one of my best memories of the early rums I tried and wrote about, was the terrific PM 1980 25 year old that almost converted a dedicated single-malt lover to rums on the spot. Bristol Spirits has faded from popular acclaim somewhat over the last five years or so, as new, young and aggressive little indies from all over Europe claimed market share and eyeballs of social media, yet they never went away, and their bright and simple labels have been a fixture at many a rumfest where I skulked around, and I’ve never actually had a bad one from the stable.

Bristol buys barrels like everyone else, trades them and exchanges them and sources stuff here and there, does some tinkering, blending and ageing of their own, holds on to stock they like, bottles stuff they think is ready. With respect to this Venezuelan rum, in my opinion, they hit the sweet spot, because it’s very ready.

This is a rum that defies expectations (especially mine), and is one of the best Latin/Spanish heritage-style rums of my recent memory – in fact, it forces a reconsideration of what these distilleries can do, if juice like this becomes the norm rather than the exception it currently is. The strength is near-perfect, the notes shimmer in simple harmonies that speak of subtle and elegant arrangements which you can almost, but not quite, sense. There’s not a whole lot of oomph going on — consider it a serene chamber piece, not a symphony — and the level of complexity exhibited by a Hampden, for example, is not in evidence. Yet somehow it goes beyond all that, and at the end, it works, it tastes great and you enjoy it, and isn’t that what counts?

(#928)(85/100) ⭐⭐⭐⭐

The Distillery

The producer noted on the label is stated as being “Destileria Sofa” which seems straightforward enough, except that you’ll never find a distillery of that name in Venezuela (and believe me, I tried). Rum-X and various European shops make mention of it – always with respect to this very same rum and no other – and some remark it’s located in the NE of the country. But that’s all you get. There’s no mention of the distillery on google, reddit, wikidot or any other resource I can consult…except for one, and so, your intrepid soused reviewer got on to Simon over at Bristol Spirits: he’s the guy who helps me out when Mr. Barrett doesn’t pick up the phone.

Long story short, it’s a distillery that makes a certain well regarded rum possibly named after a 16th century Carmelite nun, which has an association with Bacardi that prohibits it from using its own name on independent bottlings such as Bristol’s. So something similar to the “secret distillery” which Compagnie des Indes sometimes includes on its label, or how “A Jamaican Distillery” is used on occasion to avoid complications with the useage of a name like Worthy Park or what have you. Most of the time you’re given enough to work with, as I was, but I’ll respect the confidentiality in print and not come right out with the name.

All that aside, even though permission was given to use the name of Destileria Sofa on the label as the source for the rum, I still don’t actually know what that represents or means or where the name comes from, so if anyone knows any better, or can provide information from Venezuela, feel free to send it along and I’ll add it to these notes.

Other Notes

  • After this review went up, Mads Heitmann, who runs the Danish webshop Romhatten, commented that the rum was tested at 10-11g/L sugar which he later confirmed with Bristol Spirits. If this is so (I have an outstanding email to them) it won’t change the review, which is locked, but it would explain something of the slight voluptuousness and sweetness the rum displayed, even if not particularly unpleasant in any way.

Rhum Jacsi Martinique (late 1950s)

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Jul 042022
 

Photo (c) L’Homme a la Poussette on FB

Rumaniacs Review #136 | 0920

Rhum Jacsi (later named Rhum Jacksi) defies easy categorization and is a research exercise leading down several peculiar rabbit holes. All initial sources agree that the rhum was from Martinique, was made from the 1950s to the 1970s and it is usually to be found at 44% ABV (some later versions were 40%). The source / etymology of the name is not written down but is easily inferred. The distillery of origin is a mystery. The companies involved in its make are the only places one can go and that’s a sufficiently lengthy story to be split off into its own section under these brief tasting notes.

Rum-X is the only place that has any technical specifications: their entry for the rhum states it is from cane juice and done on a column still (of course any such thing as the AOC is undreamed of at this stage of rhum’s evolution), but since attribution is not provided, it’s hard to know who put that entry in, or on what basis. That said, it’s from Martinique, so the statements are not unreasonable given its rhum-making history. Age, unfortunately is a complete zero, as is the distillery of origin. We’ll have to accept we simply don’t know, unless someone who once worked for the brand in the 1960s and 1970s steps forward to clear matters up.

Colour – Gold

Strength – 44%

Photo (c) ebay.fr

Nose – Very herbal and grassy, and is clearly an agricole rhum from cane juice. Lots of vegetables here: carrot juice, wet grass, dark red olives, a touch of pimento, and a nice medley of lighter fruity notes – passion fruit, lime zest, yellow mangoes and an occasional flash of something deeper. It feels better and more voluptuous over time, and I particularly like the aromas of clear citrus juice, soursop, pears, green apples and vanilla.

Palate – Much of the nose transfers seamlessly here, especially the initial tastes of crisp fruits – mangoes, ginnips, ripe apples. Once you’re past this you also get cane sap, sugar water, a slice of lime, a bit of vanilla. Light brininess, pears and apples follow that, balanced off by dark, ripe cherries, syrup and toffee.

Finish – Doesn’t improve noticeably on what came before, and is medium long, but doesn’t get any worse either. Fruits, tart unsweetened yoghurt, miso soup, apple cider, sort of delicate amalgam of sweet and sour overlain with dusky notes of caramel, vanilla and butterscotch.

Thoughts – This is a rum I liked, a lot. It’s made from cane juice, but feels deeper and richer than usual, and it reminded me of the old Saint James rhums that used to be heated to 40ºC before fermentation and distillation (in a sort of quasi-Pasteurization process). Not sure of that’s what was done here, and of course the distillery of origin is not known, but It feels half clean agricole and half molasses, and it’s all over delicious.

(86/100) ⭐⭐⭐⭐

Historical details

The labels on the bottles that are now being sold (usually at auction) have the notation that it is certified by CDC. But that was just a sort of selection and verification process, guaranteed by Compagnie Dubonnet-Cinzano. Nothing in their history suggests that they — or Pernod, or Ricard who took them over — originated the brand, and so this leads us to another company mentioned on one of the bottles, that of J&S Violet (Freres), which have a far stronger claim to being the ones behind the first Jacsi rhums.

Two brothers named Violet – Pallade and Simon – who were initially itinerant drapers, opened a small shop in the southern French town of Roussillon in 1866 (it is about 40km north of Marseille) and driven by a boom in aperitif wines, they created a blend of their own that combined red wine, mistelles and botanicals…and also quinine (perhaps they also wanted in on the sale of anti malarial drinks that would sell well in tropical colonies, though certainly their marketing of the spirit as a medicinal tonic in pharmacies alleviated problems with existing established vermouth makers as well).

This low-alcohol drink was actually called byrrh – the brothers did not invent the title, just appropriated it as their brand name – and was wildly popular, so, like Dubonnet (see below), the company grew quickly. By the 1890s they had storage facilities for 15 million litres of wine, and by 1910 they employed 750 people and distributed in excess of thirty million litres of byrrh a year – in 1935 Byrrh was France’s leading aperitif brand, apparently. Pallade and Simon passed away by the advent of the first world war, and Lambert’s sons Jacques and Simon (the J&S mentioned on the label and therefore also most likely the Jacques and Simon of the brand name) took over in 1920 – which sets the earliest possible time limit on the Jacsi brand. though I believe it to have been created some decades later.

In the post WW2 years, the demand for aperitifs faded as cognacs, brandies, whiskies and light rums surged in popularity. The Violet brothers tried to expand into other spirits at this time, and it was here, in around the mid-fifties, that we start to see the first Jacsi magazine and poster advertisements appear, which is why I can reasonably date the emergence of the Jacsi rhum brand to this time period. Like most print ads of the time, they touted blue waters, tropical beaches, lissome island women, sunshine and the sweet life that could be had for the price of a bottle. It’s very likely that stocks were bought from some broker in the great port of Marseille, just down the road, rather than somebody going to Martinique directly; and the rhums were issued at 44% even then.

1950s Label with J& Violet Bros. Label. 44%

Alas, this did not help: sales of Byrrh continued to fall, the rhum business was constant but minimal, and in 1961, beset by internecine family squabbles over a path forward, Byrrh sold its entire business, vats, stocks and barrels, to another company involved in liqueurs and aromatic wines and aperitifs – Dubonnet-Cinzano. It is from 1961 that the “selected and guaranteed by CDC” appears on the label of Jacsi branded rhums and the “J&S Violet” quietly exits.

1961 Label – CDC mentioned

So who exactly were CDC? A bottler, certainly, though not a distillery, for these were indie / merchant bottlings, not estate ones. As noted, Jacsi rhums that have turned up for sale in the past few years, all have labels that refer to la Compagnie Dubonnet-Cinzano (CDC). This is a firm which goes back to one Joseph Dubonnet, a Frenchman who created an aperitif modestly called Dubonnet in 1846 in response to a competition organised by the French Government to find a cordial which African legionnaires would drink and colonists could buy, that would disguise the bitter taste of the anti-malarial drug quinine (it therefore served the same purpose as the British gin and tonic in India). This was done at a time when fortified and flavoured wines and liqueurs – especially anises and absinthes – were very popular, so M. Dubonnet’s enterprise found its legs and grew into a large company in very short order.

Late 1960s label, still CDC referenced and at 44%

I could not ascertain for sure whether the Italian vermouth company Cinzano had a stake in Dubonnet or vice versa, but it strikes me as unlikely since they (Cinzano) remained a family enterprise until 1985 – and for now I will simply take the name as a coincidence, or that Dubonnet produced Cinzano under licence. CDC, then, dealt much with vermouths and such flavoured drinks, but like Byrrh, they were caught up in the decline of such spirits in the 1950s. Their own diversification efforts and core sales were good enough to stave off the end, but by the 1970s the writing was on the wall, and they sold out to Pernod Ricard in 1976 – by then the family was ready to sell. Pernod and Ricard had just merged in 1975, and had started an aggressive expansion program, and were willing to buy out CDC to fill out their spirits portfolio, which had no vermouths of note.

Post-1970s label for 40% version after Pernod Ricard acquisition. 40% ABV and Cusenier name.

By the 1970s, the brand name had been changed to Jacksie, and the “selected and guaranteed by CDC” moniker was retained on the label for a while before being replaced by Cusenier, which was an Argentine spirits maker acquired at the same time by PC – that’s the last reference to the brand and the rhum that can be found. But in an interesting side note, both Dubonnet and Byrrh (now Pernod Absinthe) continue to be made in Thuir, where the facilities of Byrrh once were. Jacsi itself, however, has long since been discontinued and now exists only in these pages and the occasional auction when one goes on sale. For what it’s worth, I think they are amazingly good rums for the prices I’ve seen and the only reason they keep going for low prices is because nothing is known about them. Not any more.

 

SMWS R11.4 Worthy Park 2010 6 YO Rum (“Tasty Treat”) – Review

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Jun 272022
 

The Scotch Malt Whisky Society is the largest subscription-based spirits distributor in the world, focussing primarily on whisky but also blends, bourbons, gins, cognacs and, yes, occasionally rums. It has long passed the stage of simply buying a cask here or there and releasing the subsequent bottling, but is a noted stockist and ageing warehouse in its own right, purchasing new make spirit from all over the map and barrelling it themselves. Their prime focus remains the whisky arena, no matter what sort of minor releases they do in other areas of the spirit world, which I guess is understandable given their historical mandate and membership.

That said, 2017 was a relatively good rum year for the SMWS, because that was the year that the most rums were ever issued since they first got the slightest bit serious about them (in 2011): eighteen in all, of which seven were from a single distillery – Worthy Park 1. All but one of the WP Seven derived from a series of casks laid down in 2010 and somehow most of these have made it over into my stash, which does nothing to allay Mrs. Caner’s suspicions as to how much money I spend on rums (not much, honey, honest!).

So today, we’ll be looking at R11.4, a 66.1% ABV beefcake coming off a pot still, aged six years in Europe and with an outturn of 267 bottles. I’d write a longer introduction and throw in a few other observations, but really, with both the society and the distillery being known so well, it’s hardly required nowadays.

The rum is given the usual unique Society title, which this time is actually less obscure than most: it’s called the “Tasty Treat” — though that might be stretching things (especially for those new to the rum scene). The nose, for example, instantly reminds one of the insides of a pair of sweat-infused rubber boots after a hot day spent tramping through a muddy field of freshly turned sod, before it relaxes and grudgingly provides notes of sweet acetones, nail polish and turpentine (just a bit). And if you think that’s odd, wait a while: you’ll be greeted by brine, olives, cucumbers in light vinegar paired with sashimi in pimento-infused lemon juice (I kid you not). By the time you recover, all that’s gone and all that’s left is sharp, tartly ripe fruits: apples, pears, apricots, pineapples. And a touch of orange peel.

The palate is quite hot, as can be expected from something with such a high proof point; however, letting it breathe for a few minutes so it opens up and lets the sharper alcohol fumes dissipate, mitigates that heat, and a rum of rather well balanced flavours emerge out of the chaos. The segue from the nose is seamless: first the spicy, tart, fruity notes – pineapples, pears, strawberries, cherries, yellow mangoes – followed by milder, more mellow tastes. These are flambeed bananas, caramel, honey, almonds, walnuts, unsweetened yoghurt, vanilla, and hot black tea infused with just a touch of cinnamon and cardamom. I particularly enjoyed how it finished, long and dry, with all flavours coming onstage for a final curtain call. Nothing new at the close, nothing original, just a succinct summation of the whole experience in a languorous fade.

The odd thing about this rum is that good as it is, strong as it is, it’s missing something of the overall punch and uniqueness of some of the earlier R11.x series, let alone Worthy Park’s own rums which I had on hand as comparators. It’s tasty and complex enough, yet lacks the voluptuousness of the juice WP puts out the door in its estate bottlings, and jumps around the flavour wheel without the structure of R11.2 or the excellent R11.3. Maybe that’s a factor of the European ageing, maybe it’s the single barrel, maybe it’s just a different palate, maybe it’s the relative youth. It’s just not quite … there. And so, much as I like it, I can’t quite elevate it to the status of a must-have that had to be acquired by fair means or foul: because while it’s tasty enough, it’s not quite a treat.

(#918)(84/100) ⭐⭐⭐½

Four Bells Imported Navy Rum (1970s/1980s)

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Jun 092022
 

Rumaniacs Review #135 | 0914

Disregard – actually, try to forget – the label for a moment, so that the word “Navy” doesn’t send you into conniption fits. It’s an advertising thing, and exists on that label for no other reason than to draw a line between the seafaring traditions of yore, and your mind — as if somehow, by buying and drinking the rum, you are instantly transported to a noble nautical heritage stretching back centuries, with sea spray in your face, snapping sails overhead, and you line up at four bells to get your tot. I guess that’s the rum part – sodomy and the lash go mercifully unexamined (though one does wonder when some courageous Navy-rum-maker wannabe will eventually go the whole tot on the label, so to speak…but I digress).

The rum is of course not a true Navy rum. That’s just marketing garbage; it’s a standard strength blend of unspecified Caribbean components which one website generously referred to originating from “the best sugar cane” and “from the Caribbean islands of Guyana” – the very thing that always soothes my suspicions about a brand and gives me the warm and fuzzies. It’s apparently made by a company called “The Four Bells Fine Navy Rum Co.” out of Glasgow which is almost untraceable. Consider it a contract-made third-party blend, no longer made, probably hailing from the island of Guyana. You can trust that. The label says so.

Colour – Dark gold

Strength – 40%

Nose – All the snark out of the way, I must confess it wasn’t half bad. It’s a dark brown rum, actually quite aromatic. There was molasses, wood, tannins, licorice and brine with a heavy, almost sulky attitude to the nose. Wet sawdust, caramel and honey, well-polished leather boots and some emergent lumber notes that kept getting stronger. Nothing new, nothing too complicated, lots of old faithfuls – this is almost like low-level spirituous comfort food.

Palate – Again, good: warm and simple, Molasses, polished leather, dark cherries, raisins, licorice, a smidgen of sharper tannins and some sour citrus rind. By now I kind of had a bead on the thing, so was not surprised to taste additional notes of bitter chocolate, coffee grounds, toffee and molasses, clearly young, somewhat sharp. It reminded me of cheap Canadian mixers like Young’s Old Sam (a perennial favourite of mine).

Finish – Short, which is to be expected at 40%, a bit sweet and yet also dry, with closing points of pungent licorice, molasses and a very sweet caramel macchiato.

Thoughts – Bells is a rum that doesn’t need to be stronger, because for all its evident youth, it’s also heavy enough and has sufficient flavours to be tried neat. It is, in that respect, completely straightforward, and clearly not looking to break boundaries and redefine genres. It’s fine as it is, within its limits, but those limits are further restricted by the lack of information provided about the rum itself, and the company that makes it. Like it or not, few taste blind, and people do tend to rate a rum based on what they know about it…or not. Here we know nothing about the rum, the blend, or the maker – and if we can’t trust the information that is provided, if only on the label, then it makes us trust what we’re tasting less, much less, and there aren’t many who would buy a rum with that kind of cloud hanging over it.

(#914)(80/100) ⭐⭐⭐

Other Notes

  • For what it’s worth, I think the blend is mostly PM out of Guyana. If there’s anything else in there, it’s a very small percentage. The back label notes it as being pot still, but who knows?
  • In British Navy tradition, the strikes of a ship’s bell were not aligned with the hour. Instead, there were eight bells, one for each half-hour of a four-hour watch – four bells is therefore halfway through any one of the Middle, Morning, Forenoon, Afternoon, Dog or First watches (good that someone knew this, because naming it “eight bells” would have been unfortunate, being used as it was to denote end of watch” or a funeral).
  • There are other Four Bells Rums — “Four Bells” as a title does not appear to have any trademark or copyright or owned brand associated with it: several firms have made use of the title — such as one I reviewed for the Rumaniacs (from the 1970s), or another that went up for auction released by Whyte & McKay;
  • There remains no current references to Four Bells as a company, or the rum outside of auction sites and a few obscure online shops. It may just be a one off brand experiment into rum dating back many decades. Rum-X comments that its production ceased in the late 1970s / early 1980s.
  • A stronger 50% version of the rum remarks that W&M have the Four Bells Fine Navy Rum Company as a subsidiary but that can’t be verified. If it is a subsidiary (they have the same address), Four Bells is not mentioned anywhere on its website or company profile, and W&M has so many other minor subsidiaries under its corporate umbrella (59) that it’s unfindable. Even the CEO’s linked in profile doesn’t tell you anything about Four Bells. White & MacKay itself does deal in spirits, and is currently a subsidiary of the Philippines-based Emperador Group which is part of Alliance Global Inc a diversified F&B/Hospitality/Real Estate conglomerate.
  • I’ve sampled this out to some friends over the years, and quite a few really liked it. It’s not a waste of money, if you find it on some dusty store shelf at a cheap price and enjoy a Guyanese style of rum. I’d rate it on par with the ED-8 or -12, though maybe less complex than either.

Rom Deluxe Bellevue (Guadeloupe) 1998 23 YO Rum – Review

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May 232022
 

Aside from their premium “Wild Series” line of rums with their striking black and white labels and dizzying proof points, the relatively new Danish indie Rom Deluxe also has various downmarket rum offerings. One step down from “Wild” is the Collector’s Series, originally meant to capture rums that were not quite as strong as the former but retaining much of the quality. On the face of it and perusing the listings, I don’t honestly see much difference, however, aside perhaps in a lower price.

The subject of today’s review is the first batch of Release 3 which hails from Bellevue, which can lead to some confusion since there are three places (maybe more) with that rather common name — suffice to say it’s from Le Moule on Guadeloupe, and made by Damoiseau (see “other notes”, below). Unusually for the French islands, it’s a molasses based rum, column still, distilled in 1998 and bottled in 2021 — and so aged a whopping 23 years in a combination of both tropical and continental — at a solid 55.5% (another batch has a slightly higher proof point of 56.1%). Stats like that have the nerd brigade crossing their eyes and drooling, and not just in Denmark; with good reason, since we see such ageing from French island rums only rarely.

The rum, fortunately, did not disappoint. The nose was middle-of-the-road complex, a Goldilocks-level symphony of just about enough, never too much and rarely too little. The nose was slightly briny, but not a Sajous level-salt wax explosion. It had fruits, but was not an ester-bomb – peaches, apples, melons, apricots, flambeed bananas. A little smoke, a little wood, noting overbearing, and all these notes were balanced off with a pleasant melange of breakfast spices, cinnamon, vanilla, caramel and a touch of licorice.

The palate settled down a bit and continued to channel an approach that eschewed the screeching sharp vulgarity of a fishwife’s flensing knife and went with something more moderate. There was salt caramel ice cream in Irish coffee, topped with whipped cream. Vanilla and brine, stewed apples, green peas, light pineapples, peaches in syrup. Things got a little odd somewhere in the middle of all this when distinct notes of wet ashes, rubber and iodine came out. These however, didn’t stick around long and gave way to a dry, short, crisp finish redolent of strong hot black tea (sweetened with condensed milk), acetones, nail polish, brine and a last filip of toffee.

The whole rum, the entire sipping and drinking experience, really was very good. I like to think it channelled that school of thought propounded by Hesiod and Plautus (among many others) who promoted moderation in all things (“…including moderation,” quipped Oscar Wilde centuries later). It’s tasty without overdoing it, it’s firm without bombast, assertive where needed, one of the better rums coming off the island, and honestly, one can only wonder what made Rom Deluxe relegate a rum like this to the Collector’s Series and not to the more upmarket Wilds.

No matter. Whatever category it’s placed in, it’s really worth checking out of it ever turns up in your vicinity. I doubt you’d be disappointed.

(#910)(86/100) ⭐⭐⭐⭐

Other notes

  • Outturn 258 bottles
  • Marque GMBV
  • The label and the stats are the same on both the 55.5% R3.1 and the 56.1% R3.2, except for the strength.
  • The rum is not an agricole, given it was made from molasses; this twigged a lot of people into believing it was not from MG BEllevue…but from Damoiseau (see next comment)
  • Note on origins: Originally this review mentioned Bellevue as being “…on the small island of Marie Galante just south of Guadeloupe (other distilleries there are Pere Labat and Velier/Capovilla at Poisson, and Bielle).” However, several people alerted me to overlooked inconsistencies here, because there is Bellevue on Marie Galante, another Bellevue at Le Moule in Guadeloupe (that’s Damoiseau’s place) and a third in Sainte Rose, also in Guadeloupe (which is Reimonenq). Because such confusions had arisen before (e.g. the TBRC 1999 Bellevue) most commentators felt it was a Damoiseau rum. I got onto Kim Pedersen at Rom Deluxe and he wrote back “…you are right about the misprint on our website. It is a Bellevue from Damoiseau 🙂 […] there has been a lot of confusion about these rums, and I can see that my text on the webpage is more misleading than informative. So I think I have to change that despite the bottles is sold out.” So that means the review’s “sources” paragraph, and my title has been changed.

L’Esprit Beenleigh 2014 6YO Australian Rum – Review

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May 162022
 

Two years ago I took a look at L’Esprit’s Beenleigh 5YO rum from Australia and after trying manfully to come to grips with the gasp-inducing strength of 78.1%, I got up off the floor and wrote a fairly positive review about the thing. That rum was hot-snot aggressive and not bad at all, and there I thought the tale had ended…but then came this one. And then it became clear that Steve Magarry (who was then Distillery Manager over at Beenleigh) and Tristan Prodhomme (the showrunner at L’Esprit) read my review, rubbed their hands gleefully while cackling in fiendish delight, and released something a little older, a little stronger…and a whole lot better.

The 2014 rum which was bottled in 2020, has 0.2% more proof points than the one I reviewed, clocking in at 78.3%, and it’s one year older. It remains a pot-still rum, suggesting a lurking taste bomb in waiting. On the face of it, the stats would make you take a step backwards (unless you’re the sort of person who methodically works your way through the list of 21 Strongest Rums in the World, smiling the entire time). And taking even a cautiously tiny sniff is probably best here, because the rum is lava-like, the rum is sharp, and it presents itself to your attention with all the excitement of a switched-on electric hair dryer dropped into your hot tub…while you’re in it.

The first notes to discern are ostensibly off-putting: shards of burnt rubber, rotten carrots. plus meat spoiled enough for flies to be using it for a house. Stick with it: it gets better fast once it learns to relax, and then coughs up vanilla, almonds, toffee, brown sugar, and ice cream over which has been drizzled hot caramel. Relatively simple, yes, and it seems quite standard (except for that startling cold-open), yet somehow the nose is really quite amazing. It continues into sweet dense fruit and whipped cream over a rich cheesecake, plus leather and aromatic tobacco, cherries and syrup, and that crisp sensation of biting into a stick of celery. It works, swimmingly, even though logic and the reading of such disparate tasting notes suggests it really shouldn’t.

Nosing is one thing, but rums live or die on the taste, because you can jerk your scorched nose away a lot easier than a burnt and despoiled tongue. What’s surprising about L’Esprit’s Beenleigh is that it actually plays much softer on the palate than we have any right to expect. There’s almost a light perfumed sweetness to it, like strawberry candy floss and bubble gum, mixed up with more salted caramel ice cream….and mango shavings. There’s gelato, pears, apricots over which someone poured condensed milk, and it’s really spicy, yes….but completely bearable — I would not throw this thing out of bed. Plus, it channeled enough fruitiness – orange marmalade, butter chocolates and gooseberries – to provide an interesting counterpoint. And I also liked the finish – it was hot and sweet black tea, crisply and sharply heavy, and fruitily tart, and slightly bitter in a way that wasn’t really unpleasant, just lent a distinctive accent to the close.

By now we know more about Beenleigh (see other notes, below) than we did before the pandemic, much of it due to the increasing raft of independent bottlers who have put their juice through the door (including Velier, of late – Ralfy loved their 2015 5 YO), as well as the social media presence and engagement of Steve Magarry himself. What was once a distillery known mostly to Australians, uber-geeks and obscure reviewers, has, in a remarkably short period of time, become quite celebrated for the quality of its rum. Like Bundaberg, it has started to become an icon of the antipodean rum scene, while tasting better.

A whole lot better. This is an impressively civilized overproof rum It hums along like a beefed-up garage-tuned homemade supercar fuelled with the contents of whatever’s brewing in grandma’s bathtub, and by some subtle alchemy of selection and ageing, becomes quietly amazing. Really. I expected rougher and nastier and uglier, feared Azog, and yet to my surprise, somehow got Legolas.

(#908)(87/100) ⭐⭐⭐⭐

Other Notes

  • Sugar cane growth had been encouraged in Queensland by the Sugar and Coffee regulations in 1864, the same year as the Beenleigh plantation was established (it was named after its founders’ home in England). Initially sugar was all it produced, though a floating boat-based distillery called the “Walrus” did serve several plantations in the area from 1869 and made rum from molasses – illegally, after its license was withdrawn in 1872, continuing until 1883 when it was beached. Francis Gooding, one of the founders, purchased the onboard still and gained a distilling license in 1884 from which time such operations formally began in Beenleigh. Through various changes in ownership, Beenleigh as a distillery continued until 1969 when it shut down because of falling demand, then relaunched in 1972 under the ownership of Mervyn Davy and his sons; they didn’t hold on to it long and sold it to the Moran family in 1980, who in turn disposed of a controlling share to Tarac Industries in 1984. All the post-1969 owners added to the facilities and expanded the distillery’s production to other spirits, and it was finally acquired in 2003 by VOK Beverages a diversified drinks company from South Australia, in whose hands it remains.
  • Tristan confirmed that the rum is indeed all pot still distillate.
  • L’Esprit is a small independent bottler out of France, perhaps better known in Europe for its whiskies. They’ve been on my radar for years, and I remain convinced they are among the best, yet also most unsung, of the independents — perhaps because they have almost no social media presence to speak of, and not everybody reads the reviews. I also think they have some of the coolest sample bottles I’ve ever seen.
  • An unsolicited (but very welcome) sample set was provided gratis to me by the owner, Tristan Prodhomme, for Christmas 2021, perhaps because he knew of my liking for strong hooch and that I buy his stuff constantly. If we can meet next time I’m in Europe, I have to see what to do to even the scales.

SMWS R7.1 Jamaica 2000 16 YO Rum “Welcome to Jamrock” – Review

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May 122022
 

Sooner or later, no matter what the SMWS thought the Big Gun Rums deserving of their own Big Green Bottle were, they had to come here, to Release 7.1 of the vaunted and much ignored “R” (rum) series. By 2016 when it was put on sale for the membership, they had rums from Guyana (DDL), Jamaica (Monymusk and Longpond), Barbados (WIRD) and Trinidad (Providence)…and that was it. And even if you’re not in to rums – or weren’t, six years ago – it’s clear there’s just a whole lot missing there, which could have buffed and burnished the SMWS’s sadly lacking rum department.

However, after three years’ of zero rum outturn, perhaps somebody was finally waking up, because in that year nine rums came out, and four new distilleries were added — Nicaragua’s Flor de Cana (R8), Trinidad’s Angostura (R10), Barbados’s Foursquare (R6)…and Hampden Estate’s R7. Which is nice, though it would be hard to explain why Worthy Park was ignored (they were allocated R11 a year later), where St. Lucia’s Distillery was (and is), and why every single agricole has yet to be given a spot alongside sterling rums from points around the globe.

Well, never mind. The important thing is that they finally got around to adding one of the real and enduring stars of the rum scene, Hampden Estate, which had already and quietly started to make waves in the rum and whisky worlds via independent bottlers’ offerings and various spirits festivals (they would begin the release their own estate bottlings in 2018). Certain years of Hampden’s bulk sales always seem to come up as touchstones – 1992 was one such, with the superlative pair of the Samaroli’s 24 YO and the 25 YO being examples of the possibilities, and 1990 and 2000 both had some pretty good rums from Berry Bros, Rum Nation, CDI, Renegade and SBS. In twelve years of constant writing, I’ve never found a Hampden dog.

This one is no exception. Distilled in 2000 and bottled in 2016 for release in 2017, it’s a 54% sixteen year old cultured bruiser with an outturn of 214 bottles, and even if it doesn’t say so, the marque is an LROK “Common Clean”, which places it in the pleasantly mid- to low-range of the ester charts (and therefore provides you with the advantage of not requiring expensive insurance against having your face ripped off, as you would with a full-powered DOK sporting off-road tyres). It is, of course, pot still made, and aged in ex-Bourbon casks.

Just about every reviewer of SMWS rums (and even some of the whiskies) likes to repeat the old trope that they (a) find the odd names of the spirits incomprehensible and (b) ignore those peculiar tasting notes that are on the label. You can sort of see the point since “Welcome to Jamrock” is not exactly clear to those genuflecting to The Queen’s. Me, I read the entire label (including the warnings) and just smile and enjoy the sense of irreverent humour at play. The truth is, though, the rum is weird, it is odd, and I think it took some courage to release back before Hampden gained the street cred it did after 2018, and people got more used to the profile.

Consider: the nose opens up with the scent of hot porridge to which has been added a pinch of salt and a pat of melting butter. To this is then brought caramel, toffee, and the dry smell of cracked plaster and mouldy drywall in an old and dusty house. And then we also start getting olives in spicy vinegar, delicate flowers, cherries in syrup, figs, a little bitter chocolate, marmalade with a little red-pepper attitude – it’s oddball to a fault, it’s strange and it’s peculiarly tasty, and I haven’t even gotten to the second best thing about it. Which is the gradual intermingling of herbs, grasses, marigolds and a trace of sandalwood, with cinnamon, cumin and citrus juice, all doused with aromatic tobacco (and if this sounds like a lot, it’s because, well, it is.)

Once we get to the pour and the palate, though, the rum gets down to business, stops with the fancy stuff and hauls out the happy slapper. The good stuff slides right off and it becomes a full-out badass, starting off with new paint, medicinals, a sort of minerally tang, and the crackling flash of ozone like an electrical fire’s after-smell. There’s the disused taste of a second hand store’s sad and expired dust-covered back shelf wares here. Paprika and black pepper, more of that vague pimento and tobacco taste, bell peppers, chocolate oranges, strawberries, even a touch of brown sugar and toffee, plus a smorgasbord of mashed-together fruits one can no longer separate. The finish is really good, by the way – it’s fruity, estery, slightly bitter, crisp, dry and has a flirt of nail polish, oakiness, bitter chocolate, caramel and campfire ashes about it, and is one to savour.

All this, from a wrong on the wrong side of 60%. It’s amazing, it spreads carnage in all directions, but so politely that you can’t help but love the thing, and for sure it took courage to risk releasing it as it was, because at the time Hampden was not as well known as it currently is. Now, I have to admit that this is a rum for drinkers with some naso-glottal fortitude – solera-style fanciers, El Dorado 12 YO fans and Zacapa lovers are strongly advised to smell and sip carefully lest they be rendered comatose – yet the overall quality shines through regardless for everyone, expert, aficionado or newb alike. Even at a time when we are spoiled for choice and we can have multiple rums from single distilleries to hone our senses, there are still rums out there that shine a light on aspects of estates and producers we think we know really well, and reveal qualities we can only consider ourselves fortunate to have experienced. This is one of them.

(#907)(86/100) ⭐⭐⭐⭐

Other Notes

  • The word “Jamrock” refers to Jamaican’s slang for their island which they sometimes call “de Rock” (much as Newfies do theirs), and the bottle title is also the name of a 2005 song by Damian Marley.Given the premise of the song, I like the left handed compliment it implicitly gives the rum
  • Not many others have reviewed this rum, but Rum Shop Boy also rated it high in his 2018 review (87 points). The Rum-X app averages things out at 85 points from 4 ratings (before this review gets incorporated).
  • It is assumed that the distillate matured in Europe, and was sourced via a broker, or, of course, Scheer / Main Rum.
  • For those who want more background into the SMWS, a biography and bottle list (of rums) is available.

Opinion

As I’ve remarked before, yes, sure, the Society (of which I am a card-carrying, dues-paying member) is primarily a whisky club and a whisky indie bottler and that’s where its international rep rests — but to my mind, if they are going to expand into other and interesting directions like rums, then it should be doing it right, doing it seriously, and stop farting around with a mere thirteen distilleries’ and 76 bottlings twenty years after issuing the first one (as a comparison, in their very second year the Society bottled from the 16th whisky distillery and was already approaching a hundred separate releases). The inconsistency of releases, with occasional years’ long gaps, is moving out of amateur hour and into outright embarrassing and does the society no favours at all.

A regular and consistently applied schedule of top quality rum releases, however minimal, is not an impossibility in this day and age (especially if they were to hire me to source it for them, ha ha). And if it is a big deal, if new and exciting distilleries and well-regarded older ones can’t be identified and sourced, why bring in The Global Rum Ambassador on retainer as an adviser? The Society can and should do better with its ancillary releases, because if it can’t, then it should bite the bullet, admit failure (or lack of interest and expertise), and just cease altogether instead of keeping hopeful rum fans strung along. This is a huge potential new fan base they’re ignoring, at a time when more and more people are turning disgustedly away from the prices and rarity of top end whiskies. I simply don’t get the indifference.

 

Revisiting the Plantation Barbados XO 20th Anniversary Rum

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May 012022
 

It’s an old saw that time grants experience at the expense of youth, and indeed the entire review of the El Dorado 21 YO rum was an extended meditation on this theme. But perhaps, had I wanted to illustrate the issue more fully, it would have been better to reflect on the descent of the Barbados 20th Anniversary XO in my estimation over the intervening years since I first tried and wrote about it in 2012. Back then I awarded it what by contemporary standards is an unbelievable 88.5 points and my opening blurb naming it “one of the top sipping rums of my 2012 experience” can in no way be repeated a decade later without causing howls of disbelieving and derisive laughter from all and sundry, and a recent re-tasting of the rum shows why this is the case.

The rum’s nose opens with a light, medicinal sort of aroma reminiscent of quinine, except that it’s sweet and not sharp at all. It develops into hints of honey, caramel, blancmange and soft ripe fruits – flambeed bananas, raisins, apples on the edge of spoiling – that combine into a softly congealed sweetness that hides the sharpness one suspects may be lurking beneath it all. There are marshmallows, coconut milk, sweet pastries with a surfeit of icing sugar, but little acid bite or edge that would balance this all off. It’s a heavy dull, sweet nose, covering the senses like a wet blanket.

The deepening disappointment I feel about the rum has nothing really to do with the War of the Barbados GI (as I’ve heard it described), or the choice of Plantation as a brand name (with all its subsequent negative connotations), or some of the questionable business practices of the company. Those matters have been discussed and dissected at length and will continue to raise blood pressures for years to come. It doesn’t even have anything to do with Ferrand’s careful marketing, problematic labelling and the cold-eyed sales strategy, none of which, after all, is personal – it’s just business. But all these dodgy issues aside, the fact remains that if ever there was a poster child for how tastes evolve and how what was once a real favourite can turn into a symbol of so much that no longer works, this rum is it.

On the palate, the initial sensations suggest all is well. The tastes are nicely fruity: sugar cane sap, vanilla, coconuts shavings, white chocolate, giving one the impression of a liquid Ferrero Raffaello Confetteria (but not as good). And yet, all the fruits striding forward to centre stage are too ripe, here – yellow mangoes, peaches, apricots, cherries. Thickly sweet tastes overwhelm the sharper rummy notes of caramel and light molasses with a barrage of marshmallows, candy floss and sugar water and blattens everything flat.

That profile as described might surprise many emergent rum fans from America in particular. After all, if one were to consult those three great repositories of crowdsourced rum opinion – Reddit’s /r/rum, Rum Ratings and Rum-X – the vast majority of the respondents just love this thing, as the high consolidated scores on those platforms attest (the last one is the lowest with a 79 point average from 414 ratings).

And on the surface, there’s no question that it presses many of the right buttons: it’s been widely available (since 2007) at a slightly-higher-than-cheap price, has got that faux-ultra-premium bottle and gold etching; and it’s not part of the “standard backbar line” of the 3-Star, OFTD or Original Dark but one level higher (the “Signature Blends”). It remains bottled at 40% ABV and continues to be touted as being a blend of “quintessential extra-old rums from Barbados”. The company website provides disclosure: the various ages of the blend, the pot/column still makeup, the dual-ageing regimen, and of particular note is the 20g/L “dosage” element, which is considered to be the sugaring that makes it sweet (it’s not, really, but serves as a useful shorthand). So all that provision and declaration and presentation, and it’s all good, right?

The finish is smothering, though light, and thankfully escapes the kiss-of-death word “cloying”. There’s stuff going on here and it’s delicious: caramel, honey, brown sugar, vanilla, raisins, honey and even some tamarind, but there’s not enough of it, and what is sensed remains covered over by a sort of placid languor, a dampening effect of the sweetening that provides a sweet and warm conclusion, just not a memorable one.

Not entirely. For all its current disclosure, Plantation sure wasn’t talking any more than anyone else, back in 2012 and it was only after 2014 that they started to come up to scratch (trust me, I was there). That’s when they and many (but not all) others belatedly came out of the closet in a come-to-Jesus-moment and said “Yeah, but we always did it this way, it’s been a long standing practice, and it makes the rum better.”2.

What’s often not addressed in the denunciations of dosage is exactly why the sugaring was and remains considered such a bad thing, so here’s a recap. A common refrain is that it destroys the purity of rum, the way spicing does, so one is not getting an original experience – and worse, one may be paying a higher price for a cheap rum cunningly dosed to make it seem more premium. Secondly there’s a lesser but no less important point of reasons related to fitness and health. But those matters aside, it really is because rum chums hate being lied to: the practice was never disclosed by any producer, while being fiercely denied the whole time. These and other social issues surrounding the parent company go a long way to explaining the despite the rum gets, though at end, much of this is window dressing, and it’s how the rum works (or not), and perhaps how it’s classified, that’s the key issue, since disclosure is now provided. Other than that, the matters above don’t — or shouldn’t — impact on any evaluation of the rum at all (though no doubt many will disagree with me on this one).

By that exacting, laser-focused and narrow-bore standard, then, all the markers suggest a rum with luscious potential…but one which doesn’t deliver. It is really too faint to be taken seriously and too sweet to showcase real complexity — although this is precisely what many new entrants to rum, weaned on Captain Morgan, cheap Bacardis, Kraken, Bumbu or Don Papa, consider smooth, sippable and top end. As with earlier El Dorado rums, nowadays for me the real question is not the dosage per se (after all, I can simply chose not to drop my coin on the rum) just why it continues, since it is really quite unnecessary. The rum is discernibly fine and can be better with less additions, or no sweetening at all; and I think that the state of the rumiverse generally is now sufficiently educated and aware – in a way we were not back in the early 2000s – for it to be re-released as an adulterated / spiced rum or reissued without the dosage as something more serious…rather than pandering the way it does and having the best of both worlds.

That might make me a purist…but I chose to believe it’s more that I don’t think that a rum that’s already intrinsically decent needs to have such embellishment, which we never asked for, no longer need and really no longer want. It cheapens the whole category and lessens any kind of serious consideration of the spirit as a whole

All that, and it really is just too damned sweet.

(#904)(76/100) ⭐⭐⭐

Other notes

  • My hydrometer tested this out at 35.07% ABV, which works out to just about 20g/L so the website is spot on. This is a reduction from the decanter version I had originally reviewed a decade ago.
  • In this retrospective, I have deliberately chosen not to go deeper into the theme of “separating the artist from the art”, as that is a subject requiring a much more nuanced and opiniated exploration. It is, however, on my radar, and not only for this company.
  • What exactly the “20th Anniversary” is, remains debated. Some say it’s of Mr. Gabriel’s becoming a master blender, others have differering opinions. It’s not the age of the rum, though, which is a blend of 8-15 YO distillates. It may of course be simply a number put there for marketing reasons, or something of significance to Maison Ferrand.

Antoniazzi Jamaican Rum (1970s)

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Mar 202022
 

Rumanicas Review R-133 | 0892

There was a lot of rum floating around Italy in the post-WW2 years, but not all of it was “real” rum; much was doctored miscellaneous plonk based on neutral alcohol. I tried some a few times, but a brief foursome with a trio of Italian Rum Fantasias from the 1950s, carelessly indulged in back when I was young and irresponsible, left me, as all such things do, with little beyond guilt, a headache and a desperate need for water. Even way back then — when I knew less but thought I knew more — I was less than impressed with what those alcoholic drinks had to offer. I’m unsure whether this rum qualifies as one such, but it conforms to the type enough that mention at least has to be made.

The company of the Antoniazzi Brothers operated out of the small northeast-Italian town of Conegliano, in the county of Treviso. Initially my researches showed they were in existence in the 1950s, which suggests they were formed in the post war years as spirits merchants. But it became clear that not only had they been active in 1926 as grappa makers – the region is famous for the product, so that makes sense – but a document from 1950 shows on the letterhead that they had been founded in 1881. Who the founder was, who the sons were and the detailed history of the company will have to wait for a more persevering sleuth.

Still, here’s what we can surmise: they probably started as minor spirits dealers, specialising in grappa and expanded into brandies and cognacs. In the 1950s onwards, as Italy recovered from the second World War, they experimented with Fantasias and liqueurs and other flavoured spirits, and by the 1970s their stable had grown quite substantially: under their own house label, they released rum, amaretto, brandy, sambuca, liqueurs, gin, scotch, whiskey, grappa, anise and who knows what else. By the turn of the century, the company had all but vanished and nowadays the name “Antoniazzi” leads to legal firms, financial services houses, and various other dead ends…but no spirits broker, merchant, wine dealer or distiller. From what others told me, the spirits company folded by the 1980s.

Colour – Straw yellow

Strength – 42%

Nose – Very light and floral, with bags of easy-going ripe white fruits; not tart precisely, or overly acidic; more creamy and noses like an amalgam of unsweetened yoghurt, almonds, valla essence and white chocolate. There’s also icing sugar and a cheesecake with some lemon peel, with a fair bit of vanilla becoming more overpowering the longer the rum stays open.

Palate – Floral and herbal notes predominate, and the rum turns oddly dry when tasted, accompanied by a quick sharp twitch of heat. Tastes mostly of old oranges and bananas beginning to go, plus vanilla, lemon flavoured cheesecake, yoghurt, Philly cheese and the vague heavy bitterness of salt butter on over-toasted black bread.

Finish – Nice, flavourful and surprisingly extended, just not much there aside from some faint hints of key lime pie, guavas, green tea and flambeed bananas. And, of course, more vanilla.

Thoughts – It starts well, but overall there’s not much to the experience after a few minutes. Whatever Jamaican-ness was in here has long since gone leaving only memories, because funk is mostly absent and it actually has the light and crisp flowery aromatic notes that resemble an agricole. The New Jamaicans were far in the future when this thing was made, yet even so, this golden oldie isn’t entirely a write off like so many others from the era.

(82/100) ⭐⭐⭐½

Other Notes

  • Hat tip to Luca Gargano and Fabio Rossi, and a huge thank you to Pietro Caputo – these gentlemen were invaluable in providing information about the Antoniazzi history.
  • Hydrometer gauged this as 40.1% ABV which equates to about 7-8g/L of adulteration. Not much, but something is there.
  • Source estate unknown, still unknown, ageing unknown

“Fantasias”

Rhum Fantasias were to be found in the 1950s through the 1970s as the Italian versions of Vershnitt or Inlander (domestic) rums such as had been popular in Germany in the 1800s and early 1900s (they may have existed earlier, but I never found any). This class of spirits remains a brisk seller in eastern Europe: Tuzemak, Casino 50º and Badel Domaci, as well as today’s flavoured spirits, are the style’s modern inheritors. They were mostly neutral alcohol – vodka, to some – to which some level of infusion, flavouring or spices were added to give it a pleasant taste. To the modern drinker they would be considered weak, insipid, over-flavoured, over-sugared, and lacking any kind of rum character altogether. Fifty years ago when most people didn’t even know about the French islands’ rums, Jamaica and Barbados were the epitome of ‘exotic’ and Bacardi ruled with a light-rum-mailed first, they were much more popular.

 

Habitation Velier Worthy Park “Forsyths WP” 2005 10 YO Rum – Review

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Mar 102022
 

For what seems our entire lifetime, Appleton was the first name in Jamaican rum. They gained their accolades by not being too extreme, and producing a tasty series of blended pot-column-still rums that didn’t push boundaries too much, too far, or too often. But by the second decade of the 21st century this was all changing and stronger, forceful, pot-still only rums were being issued at cask strength by various independent bottlers; turbo-charging that process which I term the Rise of the New Jamaicans.

One of the early adherents of WP was the Genoese company of Velier, which had been sniffing around Jamaica since 2013 or so, and finally managed to buy some aged (and unaged) stock to become part for its deservedly well-regarded Habitation Velier line. Few, however, manage or bother to try the entire range. There are many reasons for that: the wide array of choices available to consumers these days; the many other excellent Velier bottlings; and since there are so many HVs, people not unnaturally gravitate towards their favourite countries’ rums (the series is all about pot still expressions from many rum producers around the world) rather than fruitlessly attempt to get them all. Jamaica is probably the most popular of the set, which is no surprise, since of the 40+ releases made so far, more than half are from that island, and most of those are from Hampden (if you count the special limited editions) with which Velier has a distribution arrangement.

That said, eight other Jamaicans are from Worthy Park and are a tantalising mix of unaged white street brawlers and slightly more refined but no less loutish hoods aged ten years or so. This particular version — ensconced in the usual flat dark bottle so reminiscent of flatties my generation stuffed in their back pockets to nip at during the hot drowsy Caribbean days — came from the very beginning of Worth Park’s re-emergence as a rum maker in 2005, when they installed their new Forsyths double retort pot still at the distillery. The rum was aged ten years, and bottled at 57.8% ABV in 2015, which dates it from the very first generation of the HV releases and it remains a really good rum to this day (if it can be found).

What distinguishes the rum and what was so unusual for its time when high esters were not yet “a thing” is its rather sharply voluptuous fruitiness. While it does start off with dates, raisins, brine and pimentos in cane vinegar, that changes. After five minutes or so, it exudes sharpish mix of apples, pears, green grapes, ginnips, soursop, kiwi fruit, and strawberries, all marinated in lemon juice, which gives it an initial aroma equivalent to the scolding of harridan’s whiplash tongue (though I mean that in a good way). Five minutes after that and you get flowers, sweet honey, a touch of lilac and a dusting of cinnamon, really quite nice.

On the palate is the promise of all those tastes that would make the New Jamaicans the rums du jour a few years down the road. The profile is sharp, sweet, sour, estery, clean, everything we want from a Jamaican funk delivery system. Apples, unripe mangoes, green apples, green grapes, red currants, pineapples slices, citrus juice…the word gilttering is not entirely out of place to describe how it feels. What’s also nice is the secondary wave of notes that we come to: brown sugar, light molasses, honey, caramel, toffee, blancmange – still, it’s the fruits that carry the show and remain the core of the whole thing. The finish is completely solid: fruity, citrus-y, long and spicy, and even throws in a last touch of sawdust and dusty papers as if having a last laugh at our expense.

What a rum this is indeed. It’s complex, tasty, aromatic, challenging and requires some work but few are those who don’t appreciate at least some aspects of how it presents after the session is over. Although Worthy Park has won rightful acclaim for its own branded rums like Rum Bar and the various estate editions released from 2017, it could be argued that the ease with which they colonised (new and old) consumers’ minds was somewhat helped by all the previous bulk exports that had been snapped up by the indies who came before, like Compagnie des Indes (who released classics like the really quite remarkable 2007 and 2008 WP rums, also in 2015).

These early issues presaged and announced the subsequent emergence of estate rums that allowed Worthy Park to become the force on the world rum stage it is now. But you know, whether some new indie or Velier or anyone else came up with this rum, doesn’t really matter – it effortlessly skates past and beyond such ruminations. It’s simply a damned fine rum, released by a house that knows how to make ’em and another that knows how to pick ‘em. Worthy Park distillate really does go down well, at any age, and sometimes it doesn’t matter who puts out the juice, as long as what’s inside the bottle works. What’s inside this one does work, very very well.

(#890)(85/100) ⭐⭐⭐½

Other Notes

  • Aged completely in Jamaica. All the usual statements about no additives or messing around apply.
  • Part of the first year’s release set of Habitation Velier (2015)

Rum Club Private Selection No. 23 2000 BMMG 21 YO Barbados Rum – Review

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Feb 212022
 

Photo (c) Christopher Sackl, used with permission

The Rum Depot is a shop in Berlin that specialises in, you guessed it, rum, and Dirk Becker, the owner, is the man behind the Berlin Rum Festival. I try to go there any time I’m in the city and have the time, because I have fond memories of my times wandering around the joint: it was the first such dedicated rum emporium I had ever visited, way back in 2012 when I had been so proud of my 50+ rum reviews (hush, ye snickerers). And aside from being introduced to Velier, Courcelles and a raft of other exclusive rums such as I could only have dreamed about in Calgary at the time, there was a whole table full of opened bottles one could sample at will. Which I did, and do.

On this occasion it was Christmas 2021 and COVID had not yet died away so protocols were in place, but once again I was treated with patience and courtesy by Charlos and Fabian (who endured my persnickety-ness and constant questions with good cheer), and occasionally Dirk himself, when he had a free moment. At one point they brought out three bottles they intended to release in early 2022 and invited me to try them, and you’d better believe I jumped at the chance (the full story, which I started writing and clocked in at a thousand words before I put the brakes on, is better than this dry account suggests, but is too long to relate here without derailing the review completely).

Though the selections were all quite impressive, one rum from the trio was really quite a catch just on its specs, I thought: a year 2000 21 YO Barbados pot still rum from Mount Gay. We’ve been fortunate enough to try pot still rums from Barbados before, of course: Habitation Velier’s Foursquare and Last Ward releases remain two of the best known – but another one is always welcome, especially from Mount Gay, which is more noted for its blends than this kind of thing (one wonders how Dirk snapped up the barrel, and why nobody else did, but never mind).

Jacked up to 54.4%, it certainly had a lot of pedigree to live up to, and the initial nose was at pains to demonstrate the fact that it wasn’t messing around and intended to wow you from the get-go. It was very intense, very deep and – I can think of no better word – juicy. Extremely bright aromas of honey, nougat, caramel and aromatic flowers billowed right out and enveloped the senses in a rich tangle. Some funkiness of pineapple and strawberries, salt caramel, tobacco and leather added to what was a really nice nose.

The taste was no slouch either. Very little sharpness, just solid intensity. Honey was the first note to be discerned, tawny, raw honey dripping from the comb. Toffee, chocolate, molasses, salt caramel ice cream, a slight briny hint. Then the aromatic tobacco and well-polished leather came onstage, followed by black cake, a mixed smorgasbord of fruits — strawberries, cherries, raisins, lychees, and even a plum or two. There’s a touch of molasses and oak at the back end, complementing a solid finish that is musky, fruity, tart and tawny all at once, and lasts a good long time. Which is great, since there’s not much of this stuff available and we want to savour what we do manage to sample.

Rum Club – the private bottling arm of the ‘Depot – selected and issued a really good rum here, and it adds to the reputation of Barbados as a rum producing nation. The real question it raises with me is this: with respect to pot still rums, why don’t we see more of them? Barbados has elevated its status over the last decade as the purveyors of excellent pot-column blends, which is completely fine, but I think there’s a niche to be explored here that is under-represented, both in the literature and on the shelves of our favourite rum stores. Only 292 bottles of this rum were issued to the public, most of them likely snapped up in Germany; after sampling it blind and then again knowing what it was, I thought it could serve as an indicator that there’s still lots more good stuff to come from the island, and I’d love to get more just like it. Lots more.

(#886)(86/100) ⭐⭐⭐⭐

Berry Bros. & Rudd 2004 9 YO Haitian Rum – Review

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Feb 072022
 

This is one of those times where I’ll circle back and fill in the detailed background later, since even a summary of more than three centuries of company life will still probably put the disinterested to sleep.

In brief, Berry Bros & Rudd (or BBR) is a London-based wine and spirits enterprise (they have branches in several other countries) who dabble in their own bottlings of rum from time to time. They were among the first indies to capture my attention back in 2012 or so with an extraordinary 1975 Port Mourant, but nowadays their star shines somewhat less brightly and few speak of their rums with the reverence they once were thought to command.

This rum sort of exemplifies why: it’s a rum from Haiti about which just about nothing can be found and is listed only in a few online shops which provide a bare minimum of detail. It’s never come up for auction, is not on Rum-X’s database and nobody has reviewed it as far as I can tell. Neither Single Cask Rum nor Barrel Aged Thoughts, in their company bios, have even listed it, but then, nobody has a complete listing of BBR’s rums.

Based on the label and other sources, it is distilled in Haiti in 2004 – this of course immediately implies Barbancourt, the major and most renowned rum maker on the half-island and the only one who exports bulk to Europe where BBR would have picked up a few barrels. As was customary a decade ago, the rum was released at 46% ABV and is column distilled, though whether molasses based or deriving from cane juice is unknown (I have little faith in the spelling convention of “rum” versus “rhum” on the label to determine the source).

That out of the way, what’s it like? It is, on initial nosing, quite pleasantly fruity and musky…but not herbal or grassy (suggesting but not confirming a molasses origin). Apples, raisins, dates and black grapes are the initial scents, followed by dark red cherries and a lingering ripe pineapple background that remains perceptible throughout. Once the rum settles down – it’s a bit thin at 46% and from time to time bites like an underfed, rice-eating, flea-bitten mongrel if one approaches it carelessly – there is a deeper note of honey, light molasses, pencil shavings and cream cheese on sourdough bread.

Some of this carries over to the palate, but not all. It tastes nicely of brine and a lightly salted trail mix of cashews and peanuts. Tart flavours of gherkins and sweet pickles creep in, leading to a firmer melange of crisp fruits and cough syrup (!!). Green grapes, unripe peaches and pears, some light orange zest and citronella. It feels watery at times, but there’s enough strength here to let more complex flavours seep through if one is patient. The weakest point is the finish, which is less salty, sweeter and has an easy sort of fruit salad vibe going on. It’s short, breathy, easy and not too exceptional at this point: the nose remains the best part of it.

So, not a bad rum, but conversely, nothing to really write home about either. It’s simply a competently assembled rum with no points of distinction and few weaknesses for which one might mark it down – maybe some more ageing, a few extra points of proof, would have elevated it. It’s too good to be anonymous blah, while unfortunately not staking out any tasting territory in your mind which would cause you to seriously recommend it to your friends as something they would have to try (as attends, say, every Hampden or WP rum ever made). Maybe it’s all down to BBR not having a serious rum department or in-house expertise to really select some good juice, but the upshot is that their 9YO Haitian rum from 2004 is no undiscovered masterpiece, just a forgotten rum that no-one will miss if it stays that way.

(#882)(83/100) ⭐⭐⭐½

Historical Notes

With the explosion of new and nimble independent bottlers on the European scene, some of the original bottlers we used to know a mere decade ago are fading from view, which is unfortunate. They, these older ones, kept the flame of pure rums burning at a time when the world was glutted with anonymous blends and pointed the way to the possibilities of the rumworld we live in now. That said, I was never entirely free of the suspicion that most of these outfits had their origins in, and kept their love for, whisky as their primary focus — and rums were, at best, an afterthought. Wilson & Morgan, Cadenhead, Moon Imports, Samaroli, BBR and others, all started bottling whisky before they moved into the good stuff – but whatever the case is, they were and remain the inheritors of the merchant bottlers of old who serviced the distribution of rum around the empires they served, many of which were bought out or went under or are long out of business…and all but unknown now.

Such merchant bottlers had their origins in distributorships and spirits shops, and probably the oldest of these is the firm of Berry Brothers & Rudd in London, which, as all rum geeks are probably aware, was founded in 1698 by the surviving wife of the prematurely deceased, sadly unmissed and completely unknown Mr. Bourne, who opened a general grocery shop in that year with (one assumes inherited) funds sufficiently impressive for her to take premises opposite St. James Palace. The intricacies of the family line and business development over the centuries are too complex for this review, but by the early 1800s the shop had already moved into wine distribution and by the beginning of the 1900s was exclusively a wine and spirits merchant, bottling their own wines, sherries and whiskies well into the 20th century and expanding carefully, but globally.

Rums seem to have been issued by BB&R on something of an irregular, ad hoc basis and the only ones predating the modern era that I know of, are a Jamaican rum from the 1960s which was auctioned in 2018, and another even rarer one from 1947/1948 that went under the hammer in February 2020 both at prices none of us can afford. Rums began to appear in the portfolio as a semi-regular thing in 2002, with a Long Pond 16YO from 1986 and a Versailles 1985 17 YO; these early editions were characterised by a simple, almost Edwardian-era label design ethos which (along with the bottle style) has now been changed several times over. Some of their modern bottlings have become very sought after, like the Jamaica 1977 or the Port Mourant 1975, but somehow the series as a whole never scaled the bar which others set so high, never got that cachet of “must have” attached to their initial work. Probably this was because of inconsistent releases and equally inconsistent quality…some were good, some were not, and some were simply okay.

BBR continues to release rums from time to time, with a puzzling lack of publicity which may also be part of the reason their visibility is less than it could have been. Nothing about their rum shelf is particularly impressive: not the selections, not the disclosure of what they do have, not the variety. And while they have expanded the original “Berry’s Own Selection” to now include an “Exceptional Cask” and a “Classic Range” series – sometimes distinguished, I suggest, more by price and rarity than by quality – there are never very many listed for sale or auction and no serious must-have rums to excite the cognoscenti as, say, Nobilis or Rom Deluxe does. It remains to be seen whether the company wants to increase its footprint of well-made, well-aged rums from around the world, harness the rum-geek crowd’s enthusiasms into new and exciting ranges of young or aged expressions…or just be content to follow everyone else and remain a top tier wine and spirits merchant with a third tier rum selection.

 

Letter of Marque Hampden (DOK) 2009 8 YO Jamaican Rum – Review

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Jan 162022
 

DOK. The initials which have now become a word, have such a sense of menace. They have all the unfriendly finality of an axe thunking into an executioner’s block. And perhaps this was deliberate, because a DOK rum (I give a delicious shiver) is at the trembling razor’s edge of esterland, 1600 g/hlpa, something so torrid and intense that it is used to calm down cask strength neutral alcohol before being sold to Scotch lovers, and those only now getting into rum.

Richard Seale is famous for his exasperation about DOK-weenies and fangeeks who wax rhapsodic about these things, because he knows that such a high concentration of esters was historically there for a reason – not to drink neat or rack up drinking brownie points, but to act as a flavorant to pastries, perfumes and cheap European rums in the 19th and 20th centuries (some of these uses continue). The taste of such a rum is so intense that it serves no sane purpose as a drink in its own right, and even in a mix it’s akin to playing with fire if one is not careful.

But of course, nothing will dishearten these spirited Spartans, for they, like your faithful reviewer, are way too witless for fear, and it’s a badge of honour to always get the rum that’s the biggest and baddest with the mostest even when the biggest ‘n’ baddest Bajan says otherwise: and so when one gets a DOK through fair means or foul, well, it’s gonna be tried, screaming weenies be damned. And I gotta be honest, there’s some masochism involved here as well: can I survive the experience with my senses intact and my sanity undisturbed? Does the Caner like rum?

Judge for yourself. I poured the pale yellow rum into my glass – carefully, I don’t mind telling you — and took a prudent and delicate sniff. The strength was manageable at 66.4%, and I’ve had stronger, of course, but I was taking no chances. Good idea, because right away I was assaulted by the squealing laydown of a supercar’s rubber donuts on a hot day. The tyres seemed to be melting on the road, the rubber scent was that strong. Man, there was a lot to unpack here: porridge with sour milk and salted butter, sharp as hell. Creamy not-quite tart herbal cheese spread over freshly toasted yeasty bread. Glue, paint, turpentine, more rubber, varnish, acetones, the raw cheap nail polish scent of a jaded Soho streetwalker, and still it wasn’t done. Even after five minutes the thing kept coughing up more: sharp fruits, pineapple, strawberries, ginnip, gooseberries, plus paprika, basil, dill, and red olives.

And the taste, well, damn. Sour milk in a latte gone bad, plus glue, paint, acetones and melting rubber. Gradually, timorously, meekly, some fruits emerged: raisins, pears, unripe strawberries, pineapples, green mangoes, ripe cashews. Oh and olives, leather, brine and coffee grounds, more fruit, and I was thinking that half of me wanted to shudder, stop and walk away, but the other half was mordantly curious to see how long this level of crazy could be maintained before the thing ran out of gas. Truth to tell, not much longer, because after about half an hour it seemed to think I had been punished enough, and the intense pungency drained away to a long, spicy, dry but tasty finish – I could give you another long list of finishing notes, but at the end it simply repeated the beats of what had come before in a sort of crisp and spicy summation that left nothing unrepeated.

Look, I’m not making up these tasting notes in an effort to impress by establishing the extent of my imaginative vocabulary, or how complex I think the rum is. Therein lies a sort of pointless insanity by itself. The fact is that those sensations are there, to me, and I have to describe what I am experiencing. That the rum is a smorgasbord of sensory impressions is beyond doubt – the question is whether it works as it should, whether it provides a good tasting and drinking experience, or whether it’s just a pointless exercise in dick measuring by an independent who wants to establish a rep — somewhat like Rom Deluxe did when they released their own DOK at 85.2%, remember that one? As with that rum, then, I have to respond with a qualified yes.

Because it works…up to a point.

The issue with the rum and others like it — and this is an entirely personal opinion — is that there is simply too much: it overwhelms the senses with an undisciplined riot of aromas and flavours that fail to cohere. Admittedly, the boys in Germany chose well, and the Letter of Marque is not quite on the level of crazy that attended the jangling cacophony of the Wild Tiger…but it’s close, and here I suspect the ageing did take some of the edge off and allow a bit of smoothening of the raw indiscipline that the Rom Deluxe product sported so happily. Too, the strength is more bearable and so it works slightly better from that perspective as well.

And so, I have to give this the score I think it deserves, which is a bit on the high side, perhaps. It sure took courage for the Rum Cask company to release it onto an unsuspecting public, and there’s a lot of interesting aspects to this Jamaican rum: if one dilutes a bit, tastes carefully and with attention, I think a lot can be taken away. Most people aren’t like that though, and I suspect that if an average Joe was given this without warning, he might grudgingly praise the thing, but would hardly be likely to spring for a bottle the way a committed Jamaican rum fan would. Unless, of course, he wanted a rum that was demonstrably one of the the biggest, bestest and mostest.

(#875)(86/100)

Other Notes

  • Letter of Marque is a brand of the Rum Cask indie bottler in Germany
  • The rum was selected by bloggers Rumboom, Single Cask Rum and Barrel Aged Thoughts.
  • Distilled in 2009, this was some of Hampden’s first output laid down to age, when they reopened that year
  • 300-bottle outturn
  • A “Letter of Marque,” once called a privateering commission, was a document issued by a Government (usually the crown) during the Age of Sail to authorize a private person to attack ships of another nation with which the Government was currently at war. Essentially it legalized piracy by outsourcing naval guerilla operations to mercenaries — privateers or corsairs — under the mantle of the national interest. The 1856 Paris Declaration eventually ended the practice of privateering and the issuance of such letters worldwide.
  • On Rum-X, some thirty or so DOK rums are listed; clearly, whether we like it or not, these high-ester funk delivery systems are here to stay and as long as they get made, they will get sold, and drunk, and boasted about.

Samaroli 2004 11 Year Old Haitian Rum – Review

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Jan 102022
 

When we think of Haiti two names in rum immediately spring to mind: clairins and Barbancourt. This pair of diametrically opposite rum making styles dominate the conversation to such an extent that it is often overlooked that there are other distilleries on the island, like Barik / Moscoso, Agriterra / Himbert, Distillerie de la Rue (Nazon), Distillerie Lacrete, La Distillerie 1716, Beauvoir Leriche and Janel Mendard (among others). Granted most of these don’t do much branded work, stay within their regional market, or they sell bulk rum only (often clairins or their lookalikes that punch up lesser rums made by even cheaper brands), but they do exist and it’s a shame we don’t know more about them or their rums.

I make this point because the Samaroli 11 year old Haitian rum from 2004 which we are looking at today, doesn’t actually say which distillery in Haiti made it. Admittedly, this is a pedantic issue, since we can surmise with near-total assurance that it’s a Barbancourt distillate: they supply the majority of European brokers with bulk rum from Haiti while the others mentioned here tend to do local sales or over-the-border business in the Dominican Republic. But we don’t know for sure and all the ebay sites and auction listings for this rum and other Haitians that Samaroli bottled, do not disclose the source, so we’ll take it as an educated and probably correct guess for now.

What else? Distilled in 2004 and released in 2015 at 45% ABV, the rum hews closely to the mantra Silvio Samaroli developed all those years ago, which said that at the intersection of medium age and medium strength is a nexus of the best of all possible aromas, textures and tastes, where neither the rawness of youth or the excessive oakiness of age can spoil the bottled distillate, and the price remains reasonable. Well, maybe, though what’s going on these days price-wise might give anyone pause to wonder whether that still holds true.

The rum does nose nicely, mind you: it starts off with a loud blurt of glue paint and nail polish, warm but not sharp and settles down into an almost elegant and very precise profile. Soft notes of sugar water, pear syrup, cherries, vanilla and coconut shavings cavort around the nose, offset by a delicate lining of citrus and florals and a subtle hint of deeper fruits, and herbs.

Overall the slightly briny palate is warm, but not obnoxious. Mostly, it’s relaxed and sweet, with pears, papayas, cucumbers plus maybe a single pimento for a sly kick at the back end. It’s not too complex – honestly, it’s actually rather shy, which may be another way of saying there’s not much going on here. But it still beats out a bunch of standard strength Spanish-heritage rons I had on the go that same day. What distinguishes the taste is its delicate mouthfeel, floral hints and the traces of citrus infused sugar cane sap, all quite nice. It’s all capped by a short and floral finish, delicate and spicy-sweet, which retains that slight brininess and darker fruits that are hinted at, without any effort to overwhelm.

Formed in 1968 by the eponymous Italian gentleman, the firm made its bones in the 1970s in whiskies, branched into rums, and has a unicorn rum or two in its portfolio (like that near legendary 1948 blend); it is the distinguished inspiration for, and conceptual ancestor of, many Italian indies who came after…but by 2022 and even perhaps before that, Samaroli slipped in the younger generation’s estimation, lagging behind new and hungry independents like 1423, Rom Deluxe or Nobilis. These brash insurgents issued cask strength monsters crammed with 80+ points of proof that were aged to three decades, or boosted to unheard ester levels…and the more elegant, easier, civilized rums Samaroli was once known for, no longer command the same cachet.

Now, this quiet Haiti rum is not an undiscovered steal from yesteryear, or a small masterpiece of the indie bottler’s art – I’d be lying if I said that. It’s simply a nice little better-than-entry level sipper, quiet and relaxed and with just enough purring under the hood to not make it boring. But to me it also shows that Samaroli can continue to do their continental ageing thing and come out with something that — while not a brutal slug to the nuts like a clairin, or the sweet elegance of a well-aged Barbancourt or a crank-everything-up-to-”12” rum from an aggressive new indie — still manages to present decently and show off a profile that does the half-island no dishonour. In a time of ever larger bottle-stats (and attendant prices), too often done just for shock value and headlines, perhaps it is worth taking a look at a rum like this once in a while, if only to remind ourselves that there are always alternatives.

(#874)(82/100)

Other Notes

  • It is assumed to be a column-still rhum; the source, whether molasses or sugar cane, is unstated and unknown.
  • 270-bottle outturn

Velier 70th Anniv. St. Lucia Distillers “Warren Khong” 2010 7 YO Rum – Review

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Dec 082021
 

It’s the Red Queen’s race, I sometimes think: top dogs in the indie scene have to keep on inventing and innovating to maintain their lead, release ever-older or fancier bottlings, enthuse the fans, show how cool they are, all to remain in the same place — and none, perhaps, know this as well as Velier, whose various “series” go back a decade or more and keep the bar set really high. The legendary Demeraras, Caronis and Habitations, the Indian Ocean series, Endemic Birds, Foursquare Collaborations, 70th Anniversary, Appleton Hearts, True Explorer, Rhum Rhum, NRJ…the list just keeps growing.

But the unspoken concomitant to these various collections is that new editions spring from Luca’s fertile imagination and keep getting issued, so often and so quickly that though they elevate Velier to the status of front runner, they drop out of sight almost as quickly if no champions arise to promote them regularly. Sure, one or two here or there attain mythical status (the Skeldons, some of the Caronis, the original NRJ TECA, the Damoiseau 1980, the Foursquare 2006 and the HV PM White are some such) but in the main, series as a whole tend to vanish from popular consciousness rather quickly. Consider: can you name the component bottles of the Endemic Birds series, or even how many there are?

Back in 2017, the Genoese firm of Velier celebrated its 70th anniversary (of its founding in 1947, not Luca Gargano’s ownership), and to mark the occasion they released (what else?) a 70th Anniversary series of bottles from all over the map. Within that select set was a further sub-group, one of six rums whose label and box design ethos was created by Warren Khong, an artist from Singapore of whom Luca was quite fond3. These were rums from Hampden (Jamaica), Mount Gilboa (Barbados), Nine Leaves (Japan), Chamarel (Mauritius), Bielle (Marie Galante) and St. Lucia Distillers, and it’s this last one we’ll be looking at today.

The St. Lucia Distillers edition came from the 6000-liter John Dore pot still No. 2 and in a nice gesture, Velier sent Ian Burrell around to Castries to select a barrel to be a part of the collection. It was distilled in 2010, aged seven years (tropical, of course), and 267 bottles were issued at a nicely robust 58.6%.

So, nosing it. Sweet acetones and rubber in an extraordinary balance; initially almost Jamaican, minus the fruit…but only till it changes gears and moves into second. Sweet, light and forcefully crisp with very precise, definite nasal components. Orange zest, green grapes apples and cider. Vanilla ice cream. Varnish, smoke, thyme, mint, pineapple, tic-tacs. There’s a lot foaming on the beach with this rum and it’s definitely worth taking one’s time with.

The palate is trickier: somewhat unbalanced, it’s hot and a bit addled and doesn’t roll out the welcome mat, but nobody can deny it’s very distinct. Initially a shade bitter, and even sour; acidic, cider-like, bubbly, light, crisp, sharp, distinct. Lots of easy esters here, perhaps an overabundance, because then they get bitchy, which is something that happens when not enough care is taken to balance them off with barrel influence and the inherent character of the rum itself. Becomes nice and sweet-salt as it opens up, which is pleasant, but the finish, relatively the weakest part of the entry (though still very good) is all about esters, fruitiness and some briny notes. Lots of ‘em.

Back in 2017 Marius over at Single Cask Rum reviewed the rum giving it love to the tune of 93 points; and six months later, two of the coolest deep-diving Danish rumdorks of my acquaintance — Gregers and Nicolai — went through the series in its entirety and were really quite enthusiastic about the St. Lucia, both scoring it 91. Some months later I nabbed a sample from Nicolai (same bottle, I’m guessing) and this review results from it. It’s an interesting rum to try, for sure: had I tried it blind I would have sworn it was either a Jamaican DOK-wannabe or a grand arome from Savanna, with some intriguing aspects of its own. That said, the rum seems to be too reliant on the sharp sour fruitiness of the esters which the pot still had allowed through to establish some street cred, leaving other aspects that would have made it shine more, left out, taking a back seat or just subsumed.

While by no means a merely average rum – it is, in point of fact, very good indeed, I want more like it and so far it’s the best scoring St. Lucia rum I’ve ever tried – I’m not convinced that it exceeds the (or my) magic 90 point threshold beyond which we enter halo territory. Nowadays it has sunk into partial obscurity and the dust-covered collections of those who bought theirs early, and while prices have been creeping up over the last years, they are thankfully not four figures yet. It’s too bad that more reviewers haven’t tried and written about it so we could see how other scores rank up, but then, it’s really all a matter of degree: all of us who’ve tried it agree that it’s one really fine rum, no matter how many or how few points we award. And it demonstrates once again – as if it needed to be proved – that Velier maintains a comfortable lead in the race they’re running.

(#870)(88/100)

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