Ron Botran 1893 Solera Añejo (Decanter)(2000s)

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Oct 082020
 

Rumaniacs Review #121 | 768

1893 was a year of some importance for the Botran rum-making concern of Guatemala – it was the date of birth of one of the founders of the company, Venancio Botran. He and four other brothers (Andres, Felipe, Jesus and Alejandro – their parents immigrated from Spain to Central America in the early 1900s) moving away from a purely sugar-based company, established the Industria Licorera Quetzalteca in the western Guatemalan town of Quetzaltenango back in 1939. It was geared towards making rones, and the company remains a family owned business to this day.  

This rum is presented in a decanter, not the current 2015-released bar-room bottle and I think it was likely the top of their line for many years – hence the flagon – before the 75th Anniversary Solera 25 came out and became the crown jewel. Interestingly, the label  does not mention the number 18 anywhere, just “1893” and “solera”, and so it’s reasonable to assume the blend was tweaked a little (but not much) and locked into the current version, with some 18 YO as the oldest component. I’ve sent them a note to check.

Colour – Gold brown

Strength – 40%

Nose – Silent and withdrawn sort of nose, not too much going on at the inception. Very gentle. Light fruits like pears and watermelon, plus green peas (!!), peaches and dried apricots.  Some cocoa, vanilla, with hints of lemon peel and cinnamon.

Palate – Cocoa and spices, vanilla, toffee, honey, tobacco.  Nutmeg dusting over a blancmange, sweet and firm, with additional notes of brown sugar, smoke and a strong mocha.  Fruits take something of a backseat with this aspect, though a bit of orange or lemon zest can still be discerned if you try (or care enough to bother).

Finish – Here today and gone today, vanishes faster than a 4S acolyte seeing Alexandre Gabriele at a rumfest.  Some nuttiness and more blancmange, coffee powder, vanilla ice cream, but the real question is, where’s the “rumminess” to this thing? Completely absent, really.

Thoughts – It’s got the flavours, just not the punch to make then pop and 40% simply does not provide the firmness such a profile needs. I tried the new 1893 version with the entire lineup in 2015 and liked it enough to give it a good score and recommendation. Somehow this one doesn’t quite come up to the same level for me (this may be four additional years’ experience manifesting itself), though for anyone looking for a relaxing drink from yesteryear that challenges less than it soothes, it admittedly remains a good buy.

(76/100)

Other Notes

  • The various components of the blend are aged in Spanish ex-Jerez casks, American white oak casks, and ex-Port barrels
  • Since “Guatemala” and “solera” are probably ringing some big alarms in your mind (or church bells, depending on how you view the matter), let it be confirmed that yes, they also produce the Zacapa line of rums, the most famous of which is of course the “23” — these rums have come in for equal praise and opprobrium in the last few years, because of the solera method of production, the sweetness and the light nature of the rums, and the problematic age statement.  You can read more about the issue here.
  • As always, thanks to the source, my old schoolfriend Cecil of the USA.

Hamilton 151 Overproof Rum – Review

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Oct 052020
 

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

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

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

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

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

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

(#767)(84/100)

Other Notes

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

 

High Spirits 1975 Fine Old 32 YO Demerara Rum – Review

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Sep 302020
 

In spite of rums from various 1970s years having been issued throughout that period (many are still around and about and surfacing every now and then at wallet-excavating prices), it is my contention that 1974-1975 were the real years that disco came to town.  No other years from the last century except perhaps 1986 resonate more with rumistas; no other years have as many Demeraras of such profound age, of such amazing quality, issued by as many different houses.  I’d like to say I’ve lost count of the amount of off-the-scale ‘75s I’ve tasted, but that would be a damned lie, because I remember them all, right back to the first one I tried, the Berry Brothers & Rudd PM 1975. I still recall the rich yet delicate solidity of the Norse Cask, the inky beauty of the Cadenhead Green label 40.6%, the black licorice and sweet tobacco of the Rendsburger, Velier’s own 1975...and now, here is another one, dredged up by another Italian outfit we never heard of before and which, sadly, maybe we never will again. Unlike Norse Cask, it has not vanished, just never bothered to have a digital footprint; in so doing it has left us only this equally overlooked and forgotten bottle of spiritous gold, and some more recent bottlings known only to ur-geeks and deep-divers.

For the kitch, I’m afraid there is not much. Thanks to my impeccably fluent lack of Italian, I can tell you it’s a 1975 Port Mourant that was bottled in 2007, and it appears to be one of those single barrel releases often indulged in by importers – this time an Italian outfit called High Spirits, which doesn’t exist beyond its odd one-page website that leads nowhere and says nothing – see below for some notes on this.  The rum is 56.1%, dark red brown….

…and smells absolutely magnificent. The aromas are, in a word, loaded. The distinctiveness of the PM still comes through in a wave of aromatic wine-infused cigarillos’ tobacco, coffee, bitter chocolate and, yes, licorice. You pause, enjoy this, sniff appreciatively, dive in for Round 2 and brace for the second wave.  This emerges after a few minutes: and is more musky, darker in tone shot through with jagged flashes of tarter sharper notes: muscovado sugar, molasses, plums, blackberries, ripe black cherries, bananas, all the best part of, oh, the Norse Cask, of which this is undoubtedly the equal.  And then there’s a bit extra for the fans, before the taste: cinnamon, vanilla, herbs, and (I kid you not) even a touch of pine resin.

And the profile, thank God, doesn’t let us down (think of what a waste that would have been, after all this time). People like me use the nose a lot to tease out flavour-notes but the majority of drinkers consider only the taste, and here, they’ll have nothing to complain about, because it continues and underlines everything the smells had promised. Again, thick and pungent with bark and herbs and fruit: plums, dark ripe cherries, ripe mangoes, bags of licorice, and an interesting combo of mauby and sorrel. Caramel and toffee and chocolate and cafe-au-lait dosed with a generous helping of brown sugar and whipped cream, each flavour clear and distinct and outright delicious – the balance of the various soft, sharp, tart and other components is outstanding.  Even the finish does the rum honour – it’s long, fragrant and lasting and if it could be a colour, it would be dark brown-red – the hues of licorice, nuts, raisins, dates, stewed apples and caramel.

There’s just so much here.  It’s so rich, smooth, warm, complex, inviting, tasty, sensual and outright delicious. Just as you put down the glass and finish scribbling what you optimistically think is the final tasting note, you burp and think of yet another aspect you’ve overlooked. Yes, High Spirits probably bought the barrel from a broker or an indifferent Scottish whisky maker who passed it by, but whoever selected it knew what they were doing, because they found and teased out the muscular poetry of the core distillate that in other hands could (and in its knock-offs sometimes does) turn into a schlocky muddled mess.

At end, over and beyond how it tasted, I find myself coming back to that age. Thirty two years. Such rums are getting rarer all the time. Silver Seal and Moon imports and Cadenhead and G&M occasionally upchuck one or two in the twenties, and yes, occasionally a house in Europe will issue a rum in the thirties (like CDI did with its 33YO Hong Kong Hampden, or those 1984 Monymusks that are popping up), but the big new houses are mostly remaining in the teens, and tropical ageing is the new thing which further suggests a diminution of the majority of aged bottlings. To see one like this, with the barrel slowly seeping its influence into the rum over three decades from a time most rum lovers were unborn and the rumworld we live in undreamt, is an experience not to be missed if one ever has the chance.

(#766)(91/100)

Other Notes

  • My thanks to Gregers, Pietro and Johnny for their help on this one, the pictures and background, and, of course, for the sample itself.
  • If I read the label right, it’s possible that as few as 60 bottles were issued.
  • For a recap of several 1975 Port Mourant rums, see Marius’s awesome flight notes on Single Cask.
  • High Spirits is a small Italian importer of whiskies and rums and moonlights as an occasional bottler. It is run by a gentleman by the name of Fernando Nadi Fior in Rimini (NE Italy), and he is an associate and friend of Andrea Ferrari and Stefano Cremaschi of Hidden Spirit and Wild Parrot respectively. High Spirits has quietly and primarily been dealing in whiskies and very occasional limited bottlings of rum since the formation of the company after the dissolution of the previous enterprise, Intertrade Import in the 1970s, but is still mostly unknown outside Italy.
  • I’ve often wondered about the prevalence of 1974 and 1975 Guyanese rums, so many of which were Port Mourant, We don’t see 1970s PM rums that often to begin with (Velier has a 1972, 1973 and other years as well, but they’re an exception), yet for some reason these two years seems to be unusually well represented across the various companies’ lines, and I doubt that’s a coincidence.  Somehow, for some reason, a lot of barrels from Guyana went to Europe back then and yet for few other years from that decade. Hopefully one day we’ll find out why.

Smatt’s Silver Jamaican Rum – Review

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Sep 272020
 

It’s peculiar how little information there is on Smatt’s that isn’t all razzamatazz and overhyped positive posturing meant to move cases. Almost nobody has written anything of consequence about it, there’s no review of credibility out there, while the product website is a cringeworthy mass of spouting verbiage long on gushing praise and short on anything we might actually want to know. When you’re relegated to furtively checking out Rumratings and Difford’s to at least see what drinkers are saying, well, you know you’ve got an issue.  

Smatt is, according to those sources I’ve managed to check, a small-batch, boutique, Jamaican blended rum of pot and column still distillate, launched in the early 2010s. Which distillery? Unclear and unconfirmed, though it’s likely to be made by one of the companies under the NRJ banner, given the involvement of Derrick Dunn as the master blender (he started working at Innswood Distillery where he maintains an office, and is the master blender for Monymusk, the house rum of NRJ). The rum is filtered to white, released at 40% and is marketed in upscale establishments in the UK and various duty free emporia (and some online shops), which may be why it consistently maintains a low profile and is relatively unknown, as these are not places where rum geekery is in plentiful supply.

Normally, such a rum wouldn’t interest me much, but with the massive reputations the New Jamaicans have been building for themselves, it made me curious so I grudgingly parted with some coin to get a sample.  That was the right decision, because this thing turned out to be less an undiscovered steal than a low-rent Jamaican wannabe for those who don’t care about and can’t tell one Jamaican rum from another, know Appleton and stop there.  The rum takes great care not to go beyond such vanilla illusions, since originality is not its forte and it takes inoffensive pleasing-the-sipper as its highest goal. 

Consider the aromas coming off it: there’s a touch of sweet acid funkiness and herbs – sweet pickles, pineapple, strawberry bubblegum mixed in with some brine, white pepper and cereals. To some extent, you can sense bananas and oranges starting to go off, and it becomes more fruity after five minutes or so – within the limitations imposed by the filtration and that low strength – but not rich, not striking, not something you’d remember by the time you set the glass down.

The palate is, in a word, weak, and it raises the question of why it was filtered at all given that it was already quite delicate as a factor of the standard proof.  It tasted clean, very very light, and pleasantly warm, sure.  And there were pleasing, soft flavours of coconut shavings, candy, caramel, light molasses. And even some fruits, light and watery and white, like pears and ripe guavas and sugar water. Just not enough of them, or of anything else. It therefore comes as no surprise that the finish is short and sugary and sweet, a touch fruity, a little dry, and disappears in a flash

Once I drank the thing, checked my notes and assessed my opinions, I came to the conclusion that while the nose does say “Jamaican” — real quiet — it then gets completely addled and loses its way on the palate and finish and ends up as something rather anonymous. It’s not as if there was that much there to begin with at 40%, and to filter it into insensibility and flatness, to tamp down the exuberance of what an island rum can be, completely misses the point of the Jamaican rum landscape. 

Smatt’s modest self-praise of being one of the finest rums ever produced (“Considered by many as the world’s best tasting rum”) can be completely disregarded. I guess that letting it stand on its merits didn’t scream “excellence!” loud enough for the marketing folks, who clearly have at best a tangential acquaintance with rum (or truth, for that matter) but a real good sense of over-the-top adjectives. But what they’re doing by saying such things is purloining the trappings and cred of some serious, real Jamaican rum, stripping them down and selling for parts. Smatt’s is no advertisement for the island or its traditions, and while I completely accept I come at my snark from a long background of trying whites from all points of the compass (and have come to prefer strong, growly and original) that’s no excuse for Smatt’s to come out with a bland and boring rum that doesn’t even do us the favour of letting us know what it really is, while shamelessly bloviating about all the things it isn’t. Why, it’s positively Trumpian.

(#765)(78/100)

Other Notes

  • Honesty compels me to let you know that in 2015 Forbes named this as one of eight rums you should try. In 2020, the Caner is telling you it really isn’t.
  • I don’t care about the story of the pirate the rum was supposedly named after, and simply note it for completeness here.
  • Age is unknown.  I’d suggest it’s a few years old but that’s a guess based on taste and price.

Skotlander V (1400 sømil) Danish Rum – Review

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Sep 222020
 

Let’s start at the beginning.  Skotlander rum is not made in Scotland, but in Denmark, for the very good reason that the founder, Anders Skotlander, is a Dane with the name. Denmark has long been known (to me, at any rate) as home of some of the most rum-crazy people in Europe, and Anders decided to walk the walk by actually creating some of his own, in 2013. He purchased a Müller copper pot still, sourced sugar cane molasses and in 2014 released 1000 bottles of RUM I, a white, at 40%. It promptly won a gold medal at the Miami rum festival that year; and in 2015, where both RUM I and an infused RUM III were entered, the former won Best in Class White Rum, and the latter a gold for Premium White (alongside Plantation 3 and Nine Leaves Clear, which says something about the categorization of whites in those more loosely defined times). 

In the year since then, Anders Skotlander has pushed to stay not only relevant but original.  He has sourced molasses and cane juice from around South America, experimented with different barrels, has used unusual storage places (like a bunker, or a century old schooner) to chuck those barrels, and has expanded the range to include spiced and botanical rums, whites, aged rums, agricole rums and even high ester rums. He’s up to Skotlander 10 right now (a 59.5% blend) and the website provides an enormous amount of information for each. And the labels, informative as they are, are masterpieces of Scandinavian minimalism which make some Velier labels seem like over-decorated roccoco indulgences in comparison.

Rums made from scratch by some small new micro-distillery in a country other than the norm are often harbingers of future trends and can bring – alongside the founders’ enthusiasm – some interesting tastes to the table, even different spirits (<<cough>> ‘Murrica!!). But Skotlander, to their credit, didn’t mess around with ten different brandies, gins, vodkas, whiskies and what have you, and then pretended they were always into rum and we are now getting the ultimate pinnacle of their artsy voyage of discovery. Nah. These boys started with rum, bam! from eight o’clock, day one. 

Which, after this long preamble, brings us to the very interesting Skotlander RUM V Batch #1 (1400 sømil), a rum made from molasses sourced in Brazil which are fermented for thirty days (in Denmark), pot still distilled (also in Denmark), aged in four PX barrels onboard the schooner “Mira” for about a year during which it sailed 1400 nautical miles (get it?) and then 704 bottles were unleashed on an unsuspecting public in 2016 a muscular 61.6% ABV. 

At that proof point you can expect, and you get, serious intensity. The nose is really hot and spicy – clearly it spend the entire voyage happily  sharpening its fangs.  It is clean and snarly, presenting a profile nothing like a Cuban, Bajan, Mudland, or Jamaican rum.  It has fruits, yes, deep, dark orange and red-purple ones: black and red grapes, apples, unripe prunes and apricots, red grapefruits, though sorting them out is a near-impossibility. It also smells of smoke, dusty hay, a touch of vanilla and brown sugar, molasses, salted caramel – if I had to guess blind I’d say it resembles a pot-still, jacked-up St. Lucian or Saint James more than anything else.

After the near-hysterical clawing of the aromas, the palate calms down somewhat.  It remains sharp – at that strength, how could it not? – and drips with the winey, sherry-influenced flavours.  Red grapes, grapefruit again, tart apples.  There is also some caramel, candied oranges and truffles (!!), with crisp cider and citrus notes dominating…but not entirely successfully. Really, I wrote with some amused bewilderment, “…this is like a barely aged seriously overproofed agricole mixing it up with a Guyanese High Wine”.  It does have a lot going on — subsequent sips at the glass, with and without water, evidences stewed apples, fruit salad, watermelons, pineapples, strawberries, so a fair bit of esters in here. This is also evident on the close, which, while long and fragrant with candied oranges, salt caramel, smoke, vanilla and pineapples, lacks neat balance between the salt, sweeet, musky, crisp and tart elements.

I write a lot about “distinctiveness” and “uniqueness” in assessing both familiar and unfamiliar rum houses’ offerings. This has it – to an extent. You can sense an really cool and original product coming into focus, even as it takes care not to skate too far to the edges of what is known and understood. But it does kind of mash untidily together, and the complexity it could be showcasing more successfully gets lost, even muddled as it careens heedlessly from one profile to the next.  You could taste it several times and each time your interpretation would be slightly different, which in this case is both a recommendation and a cautionary heads-up. It’s a bold and interesting rum by my standards, however, and on that basis, even if I’m late to the party, I think I’ll keep my eye on the company, and go find me some more to try.

(#764)(82/100)

Other notes:

  • The Rum Renaissance gold medal awarded in 2014 was second prize (platinum is first), and was won for being “Best In Class” for white rum.  At the time white rums were not stratified between aged or unaged, filtered or not, pot or column, and there are no records how many other rums were judged in that category.  Still, for a rum not even in existence a year before, that’s not a bad showing given it was up against all other white rums, and not a subclass.
  • Skotlander V Batch #2 is slightly older, about two years, released around 2018, aged on the same schooner while it sailed for 2200 nautical miles.  The same emptied ex-sherry ex-Batch 1 barrels were reused. 
  • Here’s a chocolate-voiced promo video about Skotlander
  • Thanks to Gregers and Henrik, the Danes who twigged me on to this company and their rums.

Compagnie des Indes Dominican Republic 2000-2016 15 YO Rum – Review

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Sep 212020
 

Photo courtesy of and (c) Mads Heitmann of romhatten.dk

One of the interesting things about the Compagnie des Indes Dominican Republic rum we’re looking at today, is that we don’t often see rums from the half island go into anything except a mild standard strength blend.  It’s rare to see a single cask version and even rarer at this kind of power – 64.9%. Here is a rum that at that level of oomph had to be a special edition for Denmark only (see other notes), probably because nobody back in the day wanted to take a chance on a rum and a country not known for individualistic excess of any kind.

In 2020, of course, when new indies are popping up everywhere and cask strength is considered almost a new standard, such a thing is the sort of amusing tale we relegate dismissively to “them old days”, but it’s instructive to note how recently the situation actually was – the rum was released in 2016.  Another peculiarity about it is the lack of information about who made it – none of this “Secret Distillery” business, just a cryptic note of “various” distilleries – this tells us that it was likely procured from either one or more of the “Three B’s” – Bermudez, Barcelo or Brugal – or Oliver & Oliver (who produces such indeterminate blends).  The assumptions this also forces us to make are that it is from column stills, a blend, and blended prior to ageing, not after. Knowing the Compagnie, I don’t think it’s a stretch to suggest ageing was continental.

Still, I do appreciate the extra intensity the 64.9% brings and the ageing of fifteen years is nothing to sneeze at. The nose bears this out in some ways – it’s powerful, yes, but very light and clear, with a clean and somewhat sweetish nose. Fruits like peaches, cherries, a slice of pineapple and a red grapefruit are present, though oddly muted.  To this is added tannins, oak, shoe leather, citrus, and aromatic port-infused cigarillos, which nose well but seem tamped down, even tamed, not as furiously pungent as might have been expected.

Photo courtesy of and (c) Mads Heitmann of romhatten.dk

The palate is pretty good, though.  The tart and sweet nose gives way to a more musky, nutty and coffee-like flavour, with chocolate and mocha, a bit bitter. The sweetness noted on the aromas was less prominent here, while, with some water, the fruity component went up, and developed hand in hand with an interesting salty tang, nuts, dates and teriyaki sauce (go figure). Finish is good but not exceptional: medium long, fruity aromas of ripe mangoes, pineapple and sweet soya sauce, and a whiff of salt caramel.

A single cask full-proof rum from the Dominican Republic is harder to find nowadays, even from an independent, and my impression is that CdI (or Florent – to speak of one is to speak of the other as is the case with most small indies) found it uneconomical to release such a rum which in any event lacked precision – it had been blended before it went into the cask in 2000, and then aged for 15 years, releasing a mere 293 bottles.  It’s likely that though it sold and he didn’t lose money, he found it more efficient to go more seriously into blended rums, like the well-received Dominidad series of Dominican/Trinidadian hybrids which did away with the limited outturn of the DR 2000 and expanded his sales (he has remarked that blends outsell the single cask offering by quite a margin, an experience shared by 1423 in Denmark).

Well, whatever. Moving away from this single-country, multi-distillery type of rum was probably the right decision – because although CDI has made a few others from the DR, younger ones, they are not well known, probably for the same reason this one has faded from our senses: overall there’s something indeterminate about it, and it lacks an element of real distinctiveness that might make you run to find your credit card. In other words, while the CdI DR 15 YO is too well made to ignore completely, there’s also nothing specific enough here to recommend with real enthusiasm.

(#763)(82/100)

Other Notes

  • On FB, others gently disagreed with my assessment. Nico Rumlover commented it was the best DR rum, for him (of the 14 DR rums I’ve written about, only two score higher, so I’d suggest he has a point); and Mikkel Petersen added that he felt it was one of the best gateway rums for people who wanted to get into cask-strength additive-free juice. I hadn’t considered that, but do agree.
  • Florent has told me it’s definitely not Oliver & Oliver, and identified at least one of the distilleries in the blend. I respect his reticence and therefore will not mention it either.  
  • The rum has no additives and is not filtered. Interesting then, why it tastes sweet.
  • Back in 2014-2016, Danish bars and importers liked the Compagnie’s bottlings but having a bunch of rabid rum fans clamouring for stronger juice, asked Florent to sell them some at cask strength.  Florent told them he could do that, but for tax and other reasons could only sell them the entire outturn from a whole barrel, and this is why there are various older bottlings with the “Bottled for Denmark” on the label.  By 2016 others got into the act, these releases became more popular and more common and distribution was widened to other countries – so the label was changed to “Cask Strength” and after another year or two, the matter was dropped entirely.

Savanna Cuvée Maison Blanche 2005 10YO Rum – Review

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Sep 172020
 

Savanna’s 2005 Cuvée Maison Blanche 10 Year Old rum, in production since 2008 is a companion to the 2005 10 YO Traditionnel and a somewhat lesser version of the superb 2006 10YO HERR issued a year later, and that one, you will remember, blew my socks off back when I tried it. 

Going strictly  by the numbers, it hardly seems to be very different from the various traditionnel (i.e., molasses based) rums that are released with great regularity by the distillery.  But actually, these “White House” 10 YO rums date back to when the 1998 edition was first released as a millesime and has always denoted something a bit more special from the season.  Such rums are intermittently issued, not annually, and have become something of an underground search-for by some (myself included) even if they are not that well known and are nowadays eclipsed by the various Grand Arômes and special series that pop up with much fanfare every year or two. The title, as an aside, references the original Savanna distillery in Saint Paul which bore the name of “Maison Blanche.”

We know a fair bit about Savanna by now (see here for a mini bio if you don’t), so we’ll get straight into what it’s like. Note, first off, that the name has nothing to do with its type – it’s not a white rum, but an aged dark gold one, which would seem obvious, but isn’t always, so I mention it in passing. 

The nose is very nice for something at 43%, and I’ve always wondered why they kept the strength that low: but for sure it’ll provide its adherents many pleasures, like the warm, creamy aromas of honey and caramel, to start. There’s some vanilla, flowers, oak tannins and bite, the vague fruitiness of peaches and ripe cherries and something a bit lighter (pears, I’d say).  The balance among the various pieces is nicely done, though it feels somewhat faint, which may be my schnozz, not yours.

I’m not sure if I mentioned this before, but I usually do standard strength rum tastings first thing in the morning when the palate is at its most sensitive and I haven’t (yet) been brutalized by a bunch of stampeding overproofs. That helps here, because although it also makes it seem sharpish, what it really is, is clean and fresh and bright, a delicate smorgasbord of caramel, nuts, molasses, vanilla, fresh red and white fruits (apples, peaches, pears, watermelon, strawberries, papaya, cherries). That’s enjoyable, but the finish – short, clear, clean, minty and with some caramel, vanilla and sour cream – departs too soon and is gone too fast for any sort of real appreciation.

That finish is representative of what I consider something of a deficiency for the Maison Blanche’s – the low strength, which hamstrings tastes that need jacking up to be appreciated more fully. The rum walks a neat line between acid and tart and musk, between soft and sharp notes, and I did enjoy it, especially for that peculiar note to it on the end, a wispy salt-tobacco-pineapple thing that to me is the creole island twang of Savanna. But I honestly wish they had bottled it at a higher proof, something to give it a bit more oomph and smack, that would draw out and showcase those tastes more decisively. Too much is lost in the obscuring fog of 43% for me to consider it truly special — and that’s a shame for a rum that is in most other respects quite a lovely drink.

(#762)(83/100)

Other Notes

  • The year of the edition is always on the front label, at the bottom
  • As always, thanks and my appreciation to Nico Rumlover, who sent me the sample.

Savanna Lontan Grand Arôme Unaged White Rum – Review

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Sep 142020
 

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

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

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

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

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

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

(#760)(77/100)

Other Notes

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

Watson’s Trawler Rum – Review

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Sep 102020
 

It’s been many years since the first of those blended dark-coloured UK supermarket rums dating back decades crossed my path – back then I was writing for Liquorature, had not yet picked up the handle of “The ‘Caner”, and this site was years in the future.  Yet even now I recall how much I enjoyed Robert Watson’s Demerara Rum, and I compared it positively with my private tippling indulgence of the day, the Canada-made Young’s Old Sam blend — and remembered them both when writing about the Wood’s 100 and Cabot Tower rums.

All of these channelled some whiff of the old merchant bottlers and their blends, or tried for a Navy vibe (not always successfully, but ok…).  Almost all of them were (and remain) Guyanese rums in some part or all. They may be copying Pusser’s or the British heritage of centuries past, they are cheap, drinkable, and enjoyable and have no pretensions to snobbery or age or off-the-chart complexity.  They are a working man’s rums, all of them.

Watson’s Trawler rum, bottled at 40% is another sprig off that branch of British Caribbean blends, budding off the enormous tree of rums the empire produced. The company, according to Anne Watson (granddaughter of the founder), was formed in the late 1940s in Aberdeen, sold at some point to the Chivas Group, and since 1996 the brand is owned by Ian McLeod distillers (home of Sheep Dip and Glengoyne whiskies). It remains a simple, easy to drink and affordable nip, a casual drink, and should be approached in precisely that spirit, not as something with pretensions of grandeur.

I say “simple” and “easy” but really should also add “rich”, which was one of the first words my rather startled notes reveal.  And “deep.”  I mean, it’s thick to smell, with layers of muscovado sugar, molasses, licorice, and bags of dark fruits.  It actually feels more solid than 40% might imply, and the aromas pervade the room quickly (so watch out, all ye teens who filch this from your parents’ liquor cabinets). It also smells of stewed apples, aromatic tobacco, ripe cherries and a wedge or two of pineapple for bite. Sure the label says Barbados is in the mix, but for my money the nose on this thing is all Demerara.

And this is an impression I continue to get when tasting it. The soft flavours of brown sugar, caramel, bitter chocolate, toffee, molasses and anise are forward again (they really wake up a cola-based diet soda, let me tell you, and if you add a lime wedge it kicks).  It tastes a bit sweet, and it develops the additional dark fruit notes such rums tend to showcase – blackberries, ripe dark cherries, prunes, plums, with a slight acidic line of citrus or pineapple rounding things out nicely.  The finish is short and faint and wispy — no gilding that lily — mostly anise, molasses and caramel, with the fruits receding quite a bit. A solid, straightforward, simple drink, I would say – no airs, no frills, very firm, and very much at home in a mix.

It’s in that simplicity, I argue, lies much of Watson’s strength and enduring appeal — “an honest and loyal rum” opined Serge Valentin of WhiskyFun in his review. It’s not terrible to drink neat, though few will ever bother to have it that way; and perhaps it’s a touch sharp and uncouth, as most such rums aged less than five years tend to be. It has those strong notes of anise and molasses and dark fruit, all good.  I think, though, it’s like all the other rums mentioned above — a mixer’s fallback, a backbar staple, a bottom shelf dweller, something you drank, got a personal taste for and never abandoned entirely, something to always have in stock at home, “just in case.” 

Such rums are are almost always and peculiarly associated with hazy, fond memories of times past, it seems to me.  First jobs, first drunks, first kisses, first tastes of independence away from parents…first solo outings of the youth turning into the adult, perhaps. I may be romanticizing a drink overmuch, you could argue…but then, just read my first paragraphs again, then the last two, and ask yourself whether you don’t have at least one rum like that in your own collection.  Because any rum that can make you think that way surely has a place there.

(#759)(82/100)

Cadenhead Green Label 25 Year Old Guyana Rum – Review

 1 Response »
Sep 072020
 

Cadenhead just refuses to depart the rum scene, which is probably a good thing for us.  We see rums too rarely from Berry Bros & Rudd, Gordon & MacPhail or AD Rattray, who were among the first introductions many of us ever had to fullproof single cask rums (even if they were sadly misguided whisky bottlers who didn’t know where or what the good stuff truly was). And there’s Cadenhead, persistently truckin’ away, releasing a bit here and a bit there, a blend or a single cask, and their juice goes up slowly but steadily in value (e.g. the fabled 1964 Uitvlugt which sold on RumAuctioneer a few months back for a cool three grand).

Cadenhead has always marched to its own tune and idiosyncratic, offbeat bent.  They never really created a consistent feel for their rums, and had a number of different rum lines, however small, however similar (or peculiar). There’s the blended one-off of the Classic Green Label rum, there is the whole “standard” Green Label range with their cheap-looking, puke yellow/green labelling design and occasional playful experimentation; there’s the green box and more professional  ethos of the 1975 Green Label Demerara, and then there’s the stubby yellow- label “dated distillation” bottlings of the single casks, which carries three- or four-letter marques on them, about which I have always joked they themselves never knew the meanings.

Usually I go after the single casks, which seem to be made with more serious intent.  But the lower-end Green Labels have some interesting ones too, like that Laphroaig finished Demerara 12 YO, or the Barbados 10 YO (no it’s not a Foursquare).  Even the Panama 8 YO had its points for me, back when I was still getting a handle on things. So to see a 25 year old “Guyanan” rum (that term irritates me no end) is quite enough to get my attention, especially since this is the top end of a small range-within-a-range that also has an 8 and a 15 year old. Alas, age aside, there are few details to be going on with – no still, no year of distillation or bottling, no outturn.  It is 46% and non filtered, not added to, and I think we can take it for granted that it’s continentally aged.

As with all Guyanese rums where the provenance is murky, part of the fun is trying to take it apart and guessing what’s inside when it’s not mentioned.  The nose gives a few clues: it’s warm and fruity, with ripe prunes and peaches right up front.  Some nuttiness and sweet caramel and molasses the slightest bhoite of oak.  But none of the distinctive wooden-still glue, pencil shavings, sawdust and anise are in evidence here. Actually I find the smell to be rather underwhelming – hardly the sort of power and complexity I would expect from a quarter century in a barrel, anywhere.

Perhaps redemption is to be found when tasting it, I mutter to myself, and move on actually drinking what’s in the glass. Mmmm….yeah…but no. Again, not quite spicy – initial tastes are some toffee, toblerone and gummi bears, dark fruits (prunes, plums and raisins for the most part, plus a slice of pineapple, maybe an apple or two).  Molasses, smoke, leather, a touch of licorice, brine, olives.  With a drop of water, it gets drier and a tad woody, but never entirely loses the thinness of the core profile, and this carries over into the finish, which is sharp and scrawny, leaving behind the memory of some fruits, some marshmallows, some softer white chocolate notes, and that’s about it.

Leaving aside the paucity of the labelling, I’d say this was not from any of the wooden stills, and very likely an Uitvlugt French Savalle still rum.  There seems to be quite a bit of this washing around Cadenhead in the late 1990s, so I’ll date it from there as a sort of educated guesstimate. 

But with respect to an opinion, I find the rum something of a disappointment.  The deeper notes one would expect from a Guyanese rum are tamped down and flattened out, their majestic peaks and valleys smoothened into a quaffable rum, yes, but not one that does much except exist.  Part of the problem for me is I honestly don’t think I could tell, blind, that this thing was 25 years old, and therefore the whole point of ageing something that long (no matter where) is lost of the drinker can’t sense and enjoy the voluptuous experience and rich complexity brought about by chucking something into a barrel until it’s old enough to vote. With this 25 year old, Cadenhead implicitly promises something that the rum just doesn’t deliver,  and so it is, while drinkable, not really one of their stellar must-haves.

(#758)(82/100)

Other notes

It’s surprising how there is almost no reference to this rum online at all.  It suggests a rarity that might make it worth getting, if the taste was not a factor.

St. Lucia Distillers “1931” 4º Edition Rum (2014)

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Aug 302020
 

Rumaniacs Review #120 | 0757

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

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

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

Colour – Gold

Strength – 43%

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

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

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

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

(86/100)

The components of this blend are as follows:

89% molasses-based.

46% Column still, of which:

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

11% from a Pot/Column blend:

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

32% from a pot still of which:

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

11% Sugar cane juice based (Agricultural rhum).

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

Summary of blend

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

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

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

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

St. Lucia Distillers “1931” 3º Edition Rum (2013)

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Aug 262020
 

Rumaniacs Review #119 | 0756

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

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

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

Colour – Dark gold

Strength – 43%

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

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

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

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

(83/100)

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

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

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

St. Lucia Distillers “1931” 2º Edition Rum (2012)

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Aug 232020
 

Rumaniacs Review #118 | 0755

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

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

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

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

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

Colour – Mahogany

Strength – 43%

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

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

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

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

(82/100)

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

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

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

New Grove 2004 Single Barrel 9 YO Mauritius Rum – Review

 2 Responses »
Aug 202020
 

Last time, I was looking at the really quite excellent St. Aubin 10 year old from Mauritius, which was a cane juice, pot-still, decade-old rhum, a type we don’t see very much of – to my memory only the Saint James Coeur de Chauffe comes close, and that wasn’t even aged. St. Aubin certainly seems to like making rums their own way, while New Grove, also from that Indian Ocean island, provides us with rums that seem somewhat more familiar – they flit in profile between El Dorados and Barbadians, I think, with an occasional dash of Worthy Park thrown in to mix things up.

One of the rums I used as a control that day was the New Grove Single Barrel rum from 2004, which in every way tried to maximize its hit points in a way St. Aubin did not, by specifically nodding to the indie scene to establish its chops — relatively high proof (49.9%, a whisker shy of fifty), a millesime from 2004, nine years old, 297 (individually numbered) bottles from a single barrel #151, columnar creole still, aged nine years in Limousin oak…well, you get the point. 

Although cold stats alone don’t tell the tale, I must confess to being intrigued, since a primary producer’s limited single-barrel expressions tend to be somewhat special, something they picked out for good reason. That felt like the case here – the initial smell was delicious, of burnt oranges and whipped cream (!!), a sort of liquid meringue pie if you will. It negotiated the twists and turns of tart and mellower aromas really well: honey, fruits, raisins, green apples, grapes,and ripe peaches. There was never too much of one or the other, and it was all quite civilized, soft and even warm

Alas, the nose was the best part – the palate strained, it tried, but just couldn’t keep up. Certainly it was workmanlike and tasted well, firm, solid, warm; it showcased some citrus, salted caramel, vanilla and cumin, plus peaches and apricots and faint molasses, just lacking somer of that exuberance and verve the nose had primed me for. The fade was about on that level too – aromatic, a little tangy, some vanilla, bon bons, spices, and again that chocolate-orange vibe I enjoyed quite a bit. I don’t know if that’s a Mauritius thing, just that it was a tasty end to the drink.

Back when I tried New Grove’s 8 YO in 2014, I commented rather dismissively on the strength and hinted at its middle-of-the-road taste which seemed geared to please rather than excite. By the time Lazy Dodo came out a few years later (a very nice blend) I was more in tune with what New Grove was doing. No further issues of anonymity or strength afflicted the 2004 which is a ways better than either of the other two…although it still had its weaknesses, however minor.

I mean, the rum is, overall, quite a good one.  The tastes were strong and crisp and well defined, and it could be sipped easily and enjoyed at any time.  Yet somehow it lacked a pinch of that excellence and uniqueness which would have staked out its own claim to excellence, the sort of thing that made the St. Aubin so good – though by no means should this be regarded as either a criticism, or a failure on their part, for the rum was perfectly delectable in its own way. 

Scores aside, what this pair of rums clearly demonstrates is that the Caribbean doesn’t hog all the glory or possess all the cool kids’ rums – it just seems that way because they get more press.  But if you were to ever start looking elsewhere, beyond the regular and the comfortingly familiar, then take a chance and go further afield. Mauritius in general is a good place to look and New Grove specifically wouldn’t be the worst place to land.

(#754)(85/100)

Background history

Mauritius, an island nation in the Indian Ocean to the east of Madagascar, has been at varying times composed of more islands and fewer, and either Dutch, English or French…though Arabs and Portuguese both made landfall there before. Its strategic position in the Indian Ocean made both French and British fight for it during the Age of Empires, and both remain represented on the island to this day, melding with the Indian and Asian cultures that also form a sizeable bulk of the population. Sugar has been a mainstay of the local economy for centuries, and there were thirty seven distilleries operational by 1878 — the first sugar mill dates back to 1740 in Domain de la Veillebague, in the village of Pampelmousses, with the first distillery starting up two years later: they sold their product mainly to Africa and Madagascar.

New Grove, a rum making concern founded by a Dr. Harel, dates back to 1852 and is intimately connected with another major Mauritius family, the Grays. The Harel family have moved into other concerns (like the Harel-Mallac group, not at all into agriculture), but other descendants formed and work for Grays – one of them sent me the company bio, for example, and three more sit on the board of directors.

Grays itself was formed in 1935 (the holding company Terra Brands, was established in 1931 by the Harels and the first still brought into operation in 1932) and are a vertically integrated spirits producer and importer.  They own all stages of local production, from cane to cork, so to speak, and make cane spirit, white rum, a solera and aged rums, for the Old Mill and New Grove brands which were established in 2003 for the export market. This explains why the SBS Mauritius 2008 rum, for example, noted on its label that it came from the Grays’ distillery.

St. Aubin 2003 10 YO Traditional Old Mauritius Rum – Review

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Aug 172020
 

Mauritius is another one of those rum producing areas that flits in and out of our collective rumconsciousness, and seems to come up for mention mostly (and only) when a blogger checks out a new indie expression (SBS and Velier spring to mind). Cognoscenti might recall Penny Blue, New Grove, Chamarel or Lazy Dodo rums from the graveyard of reviews past, but honestly, when was the last time you saw one yourself, tried one, or even bought one?

St. Aubin is one of the Indian Ocean island distilleries that have been gathering some goodwill of late and should not be left out of anyone’s purchasing calculations, and with good reason: they taste pretty damned good, and they have a long history of both pot and column still production stretching back two centuries. If distribution can be sorted out beyond Europe, and there’s a resumption of the rum festivals where one can find their products, then we can hope their reputation ticks up more than it has so far.  This particular rum is the top of their line, being a limited edition of not only a set number of bottles (2,080) but from a particular harvest (2003), cane juice source, completely copper-pot-still distilled, aged a solid ten years and aimed at a wider audience by tamping it down to 43%.  Based on those specs it’s practically a must-have, 

Certainly the 2003 10 YO does its next-best relative the St. Aubin Grande Reserve (which is itself a combo of 30% pot still 10YO from 2004 and 70% rested 7YO column still juice) quite a bit better, simply by not diluting its own core fully-pot-still essence. This is key to understanding how good the 2003 smells, because it noses cleaner, crisper, even a shade lighter…and quite a bit more is going on under there.  What was, in the other aged expressions, a sort of sweetness is more delicate here, closer to sugar cane sap and sugar water than the slight heaviness often attendant on molasses based rums. There are aromas of flowers, masala spice, cloves and a dash of cinnamon. And leaving it standing to open up, one gets additional hints of coffee grounds, unsweetened chocolate, and a nice delicate vein of vanilla and citrus. 

The oak influence takes on a more dominant note on the palate, which is initially sweet, dry and intense.  There’s bitter chocolate, caramel, cinnamon and a vague grassiness more sensed than actually experienced, plus citrus peel, chocolate oranges, cumin and the slightest hint of cilantro.  Plus some Fanta and 7-up, which I was not expecting, but no entirely unhappy to taste.  The whole drink is clean, crisp and dry, and the gradually emergent and assertive herbals and tart notes make it a pretty nifty neat pour.  Finish is not too shabby – medium long, mostly bon-bons, caramel, light flowers and lemon meringue pie.

The cost of this ten year old rum released in 2014 is in the €140 range (when it can be tracked down – I found that price in the Mauritius duty free, but not much elsewhere) and this is one of those instances where even with the modest strength, I think it worth picking up if you’re in funds.  Because on top of how well it noses and tastes, those stats are impressive – pot still, ten years tropical ageing, cane juice distillate, its own peculiar terroire, something not from the Caribbean….that’s pressing a lot of buttons at once.  Too often we uncritically and unthinkingly fork out that kind of coin for regularly issued blends, just because of the associated name. The new and the unknown needs to be tried on its own terms as well, and here, I think that for what St. Aubin provides us with and what we get out of it, it’s well worth pausing to try, to share, and to buy. 

(#753)(86/100)

A brief history

The Domaine de St. Aubin, named after the first sugar cane mill established by Pierre de St. Aubin in 1819 or thereabouts, is located in the extreme south of Mauritius in the Rivière des Anguilles, and has been cultivating cane since that year – however the date of first distillation of spirits is harder to pin down – it’s likely within a few decades of the original opening of the sugar factory (there are records of the Harel family starting a distillery which is now New Grove in the 1850s, which also makes the Lazy Dodo brand). In the late 1960s the Franco-Mauritian Guimbeau family – who made their fortune in the tea trade for which Mauritius is also renowned – acquired the estate and retained the name, and gradually developed a stable of rums produced both by a pot still (which produces what they term their “artisanal” rums) and a relatively recent columnar still for larger volume agricoles. 

Santiago de Cuba “Carta Blanca” Cuban White Rum – Review

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Aug 132020
 

There’s a peculiar light yellow lustre to the Santiago de Cuba rum somewhat euphemistically called the Carta Blanca (“White Card”), which is a result, one must assume, of deliberately incomplete filtration. The rum is aged three years in oak casks, so some colour is inevitable, but in anonymous white barroom mixers, that’s usually eliminated by the charcoal used: so whatever colour remains can’t be an accident. It’s likely, in this case, that the makers figured since it was issued at a trembly-kneed sort of please-don’t-hurt-me sub-proof strength, it might be better to leave something behind in case people forgot it was supposed to be a rum and not a vodka.

That worked, I suppose…up to a point.  The problem is that a 38% proof point simply does not permit sufficient serious aromas to be discerned easily – you really got to work at it (which I argue is hardly the point for a rum like this one).  

When nosing it, I certainly got the light sort of profile it promised: some negligible white fruits, in bed with a thinly sharp and quite herbal background; it smelled a bit grassy, almost agricole-like, surprising for a Spanish-style ron from Cuba.  And when I took my time with it and let it stand for a bit, I sensed almonds, crushed walnuts, coconut shavings, papaya, sweet watermelon and even a touch of brine. (Note: adding water did absolutely nothing for the experience beyond diluting it to the point of uselessness).

As for the taste when sipped, “uninspiring” might be the kindest word to apply. It’s so light as to be nonexistent, and just seemed so…timid. Watery and weak, shivering on the palate with a sort of tremulous nervousness, flitting here and there as if ready to flee at a moment’s notice, barely brushing the taste buds before anxiously darting back out of reach and out of range. I suppose, if you pay attention, you can detect some interesting notes: a sort of minerally base, a touch of mint. Citrus – like lemon grass – cardamom and cumin, and even some ginnip and sour cream.  It’s just too faint and insipid to enthuse, and closes the show off with a final touch of citrus peel and lemon meringue pie, a bit of very delicate florals and maybe a bit of pear juice.  Beyond that, not much going on. One could fall asleep over it with no issues, and miss nothing.

Obviously such tasting notes as I describe here are worlds removed from the forceful aspects of all those brutal falling-anvil fullproofs many fellow boozehounds clearly enjoy more.  When faced with this kind of rum my default position as a reviewer is to try and be tolerant, and ask who it was made for, what would such people say about it, can redemption be found in others’ tastes? After all, I have been told on many occasions that other parts of the world prefer other rums – softer, lighter, weaker, subtler, easier…made for mixes, not chuggers or shot glasses.

Completely agree, but I suspect that no-one other than a bartender or a cocktail guru would do much with the Carta Blanca. It has all the personality of a sheet of paper, and would disappear in a mix, leaving no trace of itself behind, drowned out by anything stronger than water. It does the world of rum no favours, trumpets no country and no profile worthy of merit, and after a sip or a gulp can be forgotten about as easily as remembering which cocktail it was just mixed in. In short, it has a vapid existence unmolested by the inconvenience of character.

(#752)(72/100) ⭐⭐½

Other Notes

  • 2025 Video review link.
  • Made in Cuba at the Santiago de Cuba facilities in Oriente, which is located in the SE of Cuba, an area known as “La Cuna Del Ron Ligero” or The Cradle Of Light Rum. This where Matusalem and Ron Caney is also produced. The company was founded in 1862 and the distillery established in 1868 – it is therefore, the oldest in Cuba, currently owned by Corporacion de Cuba (or “Cubaron”).
  • The Ron Santiago brand was introduced in 1970 when gthe Carta Blanca was rolled out; an anejo release and the “de Cuba” suffix were both added in 1999, the latter for export purposes.

Pusser’s British Navy “Gunpowder Proof” Rum – Review

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Aug 092020
 

Black Tot day came and went at the end of July with all the usual articles and reviews and happy pictures of people drinking their Navy Rum wannabes. Although it’s become more popular of late (a practice I’m sure rum-selling emporia are happy to encourage), I tend not to pay too much attention to it, since several other countries’ navies discontinued the practice on other days and in other years, so to me it’s just another date. And anyway, seriously, do I really need an excuse to try another rum? Hardly.  

However, with the recent release of yet another ‘Tot variant (the 50th Anniversary Rum from the Whisky Exchange) to add to the ever-growing stable of Navy Rums purporting to be the Real Thing (or said Real Thing’s legit inheritors) and all the excited discussions and “Look what I got!” posts usually attendant upon the date, let’s look at Pusser’s Gunpowder Proof which is an update of the older Blue Label rum, jacked up to a higher strength.  

Sorry to repeat what most probably already know by now, but the antecedents of the rum must be noted: the name derives from the (probably apocryphal but really interesting) story of how the navy tested for proof alcohol by checking it against whether it supported the combustion of a sample of gunpowder: the weakest strength that would do that was deemed 100 proof, and more accurate tests later showed this to be 57.15% ABV.  However, as Matt Pietrek has informed us, real navy rums were always issued at a few degrees less than that and the true Navy Strength is 54.5%.  Which this rum is, hence the subtitle of “Original Admiralty Strength”. Beyond that, there’s not much to go on (see below).

That provided, let’s get right into it then, nose forward.  It’s warm but indistinct, which is to say, it’s a blended melange of several things — molasses, coffee (like Dictador, in a way), flambeed bananas, creme brulee, caramel, cereals.  Some brown sugar, and nice spices like cinnamon, vanilla and ginger cookies.  Also a bit of muskiness and brine, vegetables and fruits starting to go bad, dark and not entirely unpleasant.

The blended nature of the flavours I smelled do not translate well onto the palate, unfortunately, and taste muffled, even muddled.  It’s warm to try and has is points – molasses, brown sugar, truffles, caramel, toffee – but secondary components (with water, say) are another story.  It’s more caramel and brown sugar, vanilla and nuts — and seems somehow overthick, tamped down in some fashion, nearly cloying…even messed with. Even the subtle notes of citrus, bitter chocolate, black tea, dates, and a bite of oakiness and tannins at the medium-long back end don’t entirely rescue this, though I’ll admit it’s decent enough, and some additional final faint hints of ginger and cumin aren’t half bad.

The problem is, I really don’t know what this thing really is. I’ve said it’s just the older Blue Label 42% made stronger, and these days the majority of the blend is supposedly Guyanese, with the label describing it as a “product of Guyana, Trinidad and Barbados”. But I dunno – do these tasting notes describe a bit of any Versailles, Port Mourant or Enmore profile you’ve had of late?  In fact, it reminds me more of a stronger DDL 12 or 15 year old, minus the licorice and pencil shavings, or some anonymous WIRD / Angostura combination . Because the blend changed over time and there’s no identifying date on the bottle, it’s hard to know what the assembly is, and for me to parrot “Guyana, Trinidad and Barbados” is hardly Pulitzer-prize winning research. And, annoyingly, there is also no age statement on the black label, and no distillation information at all — even Pusser’s own website doesn’t tell you anything about that. Seriously?  We have to be satisfied with just this?  

Hydrometer test result courtesy of TheFatRumPirate.com

Anyway, let’s wrap up with the opinion on how it presents: short version, it’s a good ‘nuff rum and you’ll like it in either a mix or by itself. I was more or less okay with its discombobulated panoply of tastes, and the strength worked well.  Still, I found it oddly dry, even thin at times (for all the sweet and thick background), and given that Wes rated it at 7g/L of something-or-other, I have a suspicion that the rum itself was merely blah, and has then been added to, probably because it was just young  distillate from wherever that needed correction. The brand seems to have become quite different since its introduction and early halcyon days, before Tobias passed it on — and paradoxically, the marketing push around all these new variations makes me less eager to go forward, and much more curious to try some of the older ones.

(#751)(82/100)

Other Notes

  • There are several other dates for cessation of the rum ration: the New Zealand navy eliminated the practice in 1990, the Royal Canadian Navy in 1972, Australia way back in 1921, and the USA in 1862. 
  • Some other reviews of the Gunpowder Proof are from Rumtastic, Drinkhacker, Ruminations, GotRum magazine, Rum Howler, Reddit and Reddit again). None of the other well-known reviewers seem to have written about it.
  • Matt Pietrek’s series of articles on Navy rums are required reading for anyone really interested in all the peculiarities, anecdotes, debunks and details surrounding this popular but sometimes misunderstood class of rums.

Cadenhead Uitvlugt 1964 36 YO Guyana Rum (PM) – Review

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Aug 052020
 

The Cadenhead 1964 Port Mourant is one of the great unicorns of our time, a rum whose 36 years of ageing sail majestically across the senses, impervious and indifferent to the up-and-coming claimants for the crown of “oldest” and “strongest’ and “bestest” and “mostest”.  Not since the Age of Velier have we seen anything like this and in some ways it supersedes even those behemoths we had all ignored back in the day, because they were “too expensive.”

And expensive this is: in June 2020 a variant bottle of this thing (bottled in 2000, 70% ABV) was bid up past all reason on Rum Auctioneer until it went under the hammer for a cool £3,000, which makes it pricier than rums from the 1930s and 1940s sporting amazing pedigrees of their own (though still less than a Velier Skeldon 1978). There’s another one now available in the August 2020 auction (the one I’m writing about here, bottled in 2001). Such prices dissuade all but the most foolhardy, the deep-pocketed or those who “clan-up” — and rightfully so, for surely no rum is worth that kind of coin, and who in this day and age has it anyway? 

And those stats, whew! 36 years old, pre-independence 1964 distillation (this, when finding anything from as recently the 1980s is already a problem fraught with the potential susurration of rapidly emptying wallets), Port Mourant distillate at a time when it was still at Uitvlugt, 69.3% of turbo-charged thrust – these things suggest an extraordinary rum, which usually fills me with dread as a reviewer: for, how could any rum live up to that kind of hype? Yet somehow, against my fears,  Cadenhead has indeed released something exceptional.  

Consider the nose: I loved it. It smelled like it was reared in an ultramodern Swiss lab and fed a diet of woodchips from DDLs stills and given only liquid molasses runoff to drink to dilute the raw caramel. It was a smoothly powerful rush of wood, well-polished old leather, smoke, licorice peas, stewed apples, prunes, and oak tannins. No rubber, no acetone, no paint stripper, just controlled thick ferocity. Some salted caramel, and molasses, flowers and as I stayed with it the subtler aromas of fennel, rosemary, masala and cumin and a twist of lemon zest all emerged. 

Clearly unsatisfied with just that, it toughened up something serious when tasted.  It showcased less a sense of shuddering sharpness aiming only to inflict careless pain, than the surefooted solidity of a Mack truck piloted high high speed by a really good stuntman.  It’s creamy, hot, redolent of caramel, sweet bon bons and molasses.  Anise.  Whipped cream in a fruit salad of raisins, prunes and caramelized apples.  Just a flirt of salt, and also some pine-sol mixing it up with soft flowers, coffee grounds and macadamia chocolate cookies. None of the ageing was wasted, and it did exactly what it meant to, no more, no less, with grace and power and the sense of complete control at all times. Even the finish demonstrated this: it was enormously long lasting, coming together at the last with a sort of burly, brutal rhythm of toffee, toblerone, almonds, coffee and citrus that shouldn’t work, but somehow manages to salvage real elegance from all that rough stuff and full, firm tastes.  It’s a great conclusion to a seriously well aged rum.

The Cadenhead Uitvlugt 1964 followed all the traditional ways an indie has of producing a rum, except then it proceeded to dial it up to 11, added steroids, horse tranqs and industrial strength factory cleanser, and released it to just about zero acclaim (I mean, have you ever herd of it?).  It’s excellence lay in how it came together over time, I think – it started at a low idle, then gained force as it moved along. The early tasting notes and impressions could come from any one of a dozen rums, but as it developed we see a great original product coming into focus, something we have perhaps tried before, and which remains buried in the recesses of our tasting memories, but which we rarely recall being done this well.

So, circling back to the original point, is it worth the money?  If you have it, yes, of course.  If you don’t, maybe you can dream, as I did, of scoring a sample. “To me this is the Holy Grail” remarked Gregers Nielsen when we were discussing the bottle, and now, having tried it, I can completely understand his unrequited love (or should that be lust?) for it.  Maybe, if I could, I’d pawn the family silver to get it as well — but in the meantime, for now, I was simply happy to have received the generosity of Alex Van Der Veer, and toasted him happily as I drank this really quite superlative piece of rum history.

(#750)(91/100)

Other notes

It goes without saying this is continentally aged,  The outturn is unknown.

1423 S.B.S. Versailles 2003 12 Year Old Guyana Rum – Review

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Aug 032020
 

The three wooden stills now all gathered at DDL’s Diamond facility are called Heritage stills, their wooden greenheart components regularly serviced and replaced, and the questions they pose about the matter of Theseus’s ship are usually ignored. That’s not really important, though, because they may be the three most famous stills in existence, and the taste profiles of the rums they create are known by all dedicated rumistas, who enjoy nothing more than relentlessly analyzing them for the minutest variations and then bickering about it in a never-ending cheerful squabble.

My own preference has always been for the stern elegance of the Port Mourant, and the Enmore coffey still produces rums that are complex, graceful and sophisticated when done right.  But the Versailles still is something of an ugly stepchild – you’ll go far and look long to find an unqualified positive review of any rum it spits out.  I’ve always felt that it takes rare skill to bring the rough and raw VSG pot still profile to its full potential…none of the familiar indies has had more than occasional success with it, and even Velier never really bothered to produce much Versailles rum at the height of the Age.

This brings us to the Danish company 1423: it makes many mass-market rums for the broader supermarket shelves in Europe, but is perhaps better known worldwide for its boutique rum arm the Single Barrel Selection, which specializes in single cask, limited bottlings. These aim squarely at the connoisseurs’ palates and wallets, and have gained a quiet reputation (and a following) for their quality rums and geographical range.  The Diamond 2003 is a case in point – it’s 12 years old (bottled in 2015), has a finish in marsala casks, comes off the Versailles single wooden pot still and is bottled at a completely solid 62.8% with an outturn of 264 bottles. And it’s quite a hoot to drink, let me tell you

“Something is rotten in the State of Diamond,” I wrote cheerfully after a good deep sniff, “…and just enough to make it interesting.” Which was quite true – it smelled of fruits and vegetables starting to go off, and added some deep oak tannins which thankfully did not get overbearing but receded rapidly.  To this was added almonds, peaches, prunes, anise, strawberries, some light vanilla and raisins, all tied together in a neat bow by a briny note and some zesty citrus.  

The palate was also quite good, irrespective of how much (or how little) additional taste the finish provided.  It had the creaminess of salted caramel ice cream, the dark fruitiness of raisins and prunes and black cake and overall struck me as a deceptively simple, very solidly-constructed rum. The good stuff came from around the edges – you could sense some fennel and licorice and vanilla, and perhaps some nuttiness, red wine, indian spices and cloves, all dancing around that central pillar without taking center stage themselves. The finish didn’t try for anything new or exotic, but was content to sum up all that had gone before, and gave last notes of toffee, cumin, masala spice, caramel, dark fruits and brine, a nice sweet-salt amalgam, without any sharpness or bite on the exit at all.  Nice.

There has been occasional confusion among the stills in the past: e.g. the SBS Enmore 1988 which I am still convinced is a Versailles; but this is (in my opinion) neither a PM nor an Enmore and if there’s any further confusion it may derive from the marsala cask whose influence is faint, but enough to skew one’s mind away from a pure VSG kind of aroma.

And it’s good, very good indeed. Even Duncan Taylor with their 27 YO 1985 couldn’t better it, DDL’s own Rare Release wasn’t significantly better (I’ve heard the Mezan and Samaroli variations are excellent but have not tried them). But it seems to me that the VSG marque is really not meant to be a standalone except for purists and deep divers – it works much better as part of a blend, which is indeed what DDL uses it for in its aged releases, rarely issuing it on its own.  

Summing up then, with all those difficulties in trapping the best profile out of a notoriously temperamental still, it’s completely to its credit that 1423 managed to wring as much flavour and class out of a relatively young Versailles distillate aged in Europe as they did.  Perhaps their 1988 Enmore was in fact from that still also, but this one is no slouch on its own terms, has less ambiguities about its origins to boot and is an all ’round fine drink to have on the shelf.

(#749)(85/100)

Other Notes

  • The length of finish in marsala casks is unknown, if SBS responds to the query I sent, I’ll update.
  • Thanks to Nicolai Wachmann for the sample.

Ron Caribe Añejo Superior 5 Year Old Rum – Review

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Jul 302020
 

Although the unrealized flashes of interest and originality defining the Mexican Ron Caribe Silver still make it worth a buy, overall I remain at best only mildly impressed with it. Still, given the opportunity, it’s a no-brainer to try the next step up the chain, the 40% ABV standard-strength five year old Añejo Superior. After all, young aged rums tend to be introductions to the higher-end offerings of the company and be the workhorses of the establishment – solid mixing ingredients, occasionally interesting neat pours, and almost always a ladder to the premium segment (the El Dorado 5 and 8 year old rums are good examples of this).

Casa D’Aristi, about which not much can be found outside some marketing materials that can hardly be taken at face value, introduced three rums to the US market in 2017, all unlisted on its website: the silver, the 5YO and 8YO. The five year old is supposedly aged in ex bourbon barrels, and both DrunkenTiki and a helpful comment from Euros Jones-Evans on FB state that vanilla is used in its assembly (a fact unknown to me when I initially wrote my tasting notes).  

This makes it a spiced or flavoured rum, and it’s at pains to demonstrate that: the extras added to the rum make themselves felt right from the beginning.  The thin and vapid nose stinks of vanilla, so much so that the bit of mint, sugar water and light florals and fruits (the only things that can be picked out from underneath that nasal blanket), easily gets batted aside (and that’s saying something for a rum bottled at 40%). It’s a delicate, weak little sniff, without much going on. Except of course for vanilla.

This sense of the makers not trusting themselves to actually try for a decent five year old and just chucking something to jazz it up into their vats, continues when tasted. Unsurprisingly, it starts with a trumpet blast of vanilla bolted on to a thin, soft, unaggressive alcoholic water. You can, with some effort (though who would bother remains an unanswered question) detect nutmeg, watermelon, sugar water, lemon zest and a mint-chocolate, perhaps a dusting of cinnamon.  And of course, more vanilla, leading to a finish that’s more of the same, whose best feature is its completely predictable and happily-quick  exit.

It’s reasonably okay and a competent drink, but feels completely contrived and would be best, as Euros remarked in his note to me, for mixes and daquiris.  Yes, but if that’s the case, I wish they had said what they had done and what it was made for, right there on the bottle, so I wouldn’t waste my time with such an uninspiring and insipid fake drink.  What ended up happening was that I spent a whole long time while chatting with Robin Wynne (of Miss Things in Toronto) while puzzledly keeping the glass going and asking myself with every additional sip, where on earth did all the years of ageing disappear to, and why was the whole experience so much like a spiced rum? (Well yeah, I know now).

So, on balance, unhappy, unimpressed. The rum is in every way an inferior product even next to the white.  I dislike it for the same reason I didn’t care for El Dorado’s 33 YO 50th Anniversary – not for its inherent lack of quality (because one meets all kinds in this world and it can be grudgingly accepted), but for the laziness with which it is made and presented, and the subterranean potential you sense that is never allowed to emerge.  It’s a cop-out, and perhaps the most baffling thing about it was why they even bothered to age it for five years.  They need not have wasted any time with barrels or blending or waiting, but just filtered it to within an inch of its life, stuffed it with vanilla and gotten…well, this. And I’m still not convinced they didn’t.

(#748)(72/100)

Other Notes

Since there is almost nothing on the background of the company I didn’t already mention in the review of the Silver, I won’t rehash any of it here.

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