El Dorado 25 Year Old Rum (1988) – Review

 5 Responses »
May 292018
 

#517

Writing about the Milroy Jamaican 26 year old, I rather sourly remarked that there was absolutely nothing to go on regarding the provenance of the rum.  No such issue afflicts the 1988 edition of the El Dorado 25 year old rum, which is one of the most recognized premiums ever made. Even increased competition from  other Caribbean (or independent) makers has done little to dull its lustre….except among the cognoscenti, who wouldn’t rinse their glencairns with it.

Which, for the uninitiated, seems somewhat extreme.  After all, just look at the stats: bottled at 43%, and it’s a true 25 year old rum – nobody has ever put a dent in DDL’s age statements – made by one of the most famous brands in the rumiverse, using the near legendary stills in a masterful assembly: various sources note that the marques of EHP (wooden coffey), PM (double wooden pot still), AN (French Savalle Still) are all part of the blend, and while there is some variation from batch to batch, overall the rum remains remarkably consistent.

So what’s the issue? Well, by now, anyone who has read about DDL’s El Dorado rums is – or should be – aware that they practice dosing.  That is, the addition of caramel syrup or sugar or whatever, in order to smoothen it out and make it more sippable, more elegant, more rounded. This is of course never acknowledged or noted on the label, and it took private hydrometer tests to ascertain that the El Dorado 25 YO 1980 version had around 50g/L of adulterants, and the El Dorado 25 YO 1986 around 39 g/L (I don’t have specs on the 1988).  These additions certainly do their duty admirably – the rum is smooth, quiet, an awesome after-dinner sip. But there’s no free lunch in this world, and the price that is paid for that sippability is a muted profile – a muffled, muddled, addled, over-sweetened mess that obscures the high points of a rum that old.

Nosing it makes it clear right off the bat.  It’s slightly heated, fat and rounded – almost thickly aromatic. The dusky notes of anise and caramel, molasses, coconut and bananas are evident, but just barely. With some effort and concentration, raisins, apricots and prunes can be sensed…almost.  It feels toned down, and that’s not just a function of the relatively low strength, but also the suppressive nature of the dosage. And even on the nose the sweetness is self-evident.

This leads to a palate that is, at best, indeterminate – at worst it’s a travesty of what a rum aged for twenty five years should be. I spent half an hour sipping this rum in an attempt to take it apart, provide better tasting notes…and at the end, all I came up with was vanilla, toffee, molasses and licorice. There were some white chocolate and coffee notes.  Vague flowers. Fleshy fruits, very ripe oranges, faint faint faint. And over it all was the sweetness and liqueur-like nature of the whole tasting experience which was simply too much. What this also did was to make the finish practically nonexistent. It was blattened flat by a sort of cloying syrupy-ness, and no subtle tastes really emerged to make the close an enjoyable one.  

If you think that this review of the ED-25 is relatively moderate and temperate – or even bland – you’re quite right, so let me provide some extra personal details: the day I tasted this thing I was hopping mad with it inside of five minutes, and the very first notes in my book started out “Oh for f**k’s sake!!”  I wanted to write an R-rated review.  I wanted to eviscerate it with foul language that would make a Mudland porknocker cringe. And eventually, I had to write this review four times from scratch lest my disappointed fury bleed too much into the narrative.

And I’ll tell you why I was so pissed off – because I know there’s better under the hood of this deliberately triple-locked supercar. Because you can sense the quality, the brilliance of what could have been, lurking underneath the dreck — but are kept away from it by a freakin’ wall of additives neither asked for nor wanted, but which it was felt necessary to inflict. Because I’ve eaten labba and drunk creek water and want more out of the country.  Because I know DDL can do, and has done, better. It’s like the Little Caner dumping on a school test because he was too lazy to study even though he knew the material inside out. And like his results when he pulls this crap, were they to be given, the ED-25 (1988) doesn’t deserve to be rated. I’m that incensed.

So I’m not going to score this rum.  What’s the point? Those who want a five hundred dollar hooch with a cool presentation and excellent age won’t care enough to read this; those who despise dosage and adulteration in any form will never spring the coin, and the more knowledgeable folks in the middle know there’s better out there for less – sometimes even from El Dorado – and will be neither surprised nor appreciative. I’m going to suggest that if you want a smooth, sweet, well-aged rum and can get it for free as part of a tasting or a sample set, then by all means, go for it. Want to impress people who know nothing about rum, here’s one to wow their socks off. Otherwise, look elsewhere.

(Unscored)

Other notes

In the days after this post got shared on FB, it got a remarkable amount of traction in the comment section, especially in Rum Club Canada and The Ministry of Rum.  Most agreed, and others were, I imagine, amused by the idea of the Caner losing his temper.

John Milroy Finest Jamaican “Golden Strength” 26 Year Old Rum

 2 Responses »
May 282018
 

Rumaniacs Review #080 | 0516

There’s a lot of missing information on this rum, specifically from where in Jamaica, and when it was made. Until I can get more, we’ll have to just take the tasting notes as they come, unfortunately, since that’s all I have.

Colour – Orange

Strength – 50%

Nose – “Subdued” is the best word I can think of; there is very little of the fierce funkiness or hogo-infused Jamaican badass we’ve gotten used to with more recent Hampdens or Worthy Park rums.  It’s slightly sweet, with caramel and citrus and vanilla, and the question one is left asking is “Where did the funk disappear to?”  Leaving it to open and then coming back to it does not improve or enhance the aromas much, though some fruits and additional lemon peel, coffee grounds and bananas to become more noticeable.

Palate – Ah well, here we go, the sharper funky stuff comes on stage at last.  Still rather restrained, however.  The rum presents as medium bodied, creamy, and tastes of caramel, vanilla, molasses, with a vibrant backbone of cherries, orange peel, ginger, grass, nutmeg and cinnamon.  It really reminds me more of a Demerara (sans anise) than a true Jamaican, and in the absence of real details on the estate of origin, it’s remains something of a let down for those in love with the fierce ester-driven purity of more recent vintages.

Finish – Excellent, quite long, hot, breathy, with more ginger, bitter chocolate and coffee, and quite a bit of tart fruitiness in the background

Thoughts – Not one of my favourites, to be honest.  It’s too indeterminate and doesn’t carry the flag of Jamaica particularly well.  I’m unsure, but (a) I think it’s been continentally aged and (b) it’s possible that the barrel was either charred was nearly dead. Were you to rate it as just a rum without reference to the island of origin, then it’s pretty good — but when I see Jamaica on a label, there’s certain things I look for, and even at nearly three decades old, there’s not enough here to mark it out as something special from there.

(77/100)

Other Notes

There are no details on the estate of origin nor the year of distillation to be found.  My personal opinion is that the rum is a column still rum, continentally aged and perhaps from Longpond (assuming it’s not a blend of some kind).

Tracing Milroy’s is an odd experience.  The bottom of the label provides an address which when searched for puts you in a quiet residential side street in Saxmundham (Suffolk), and when I called the phone number, the gent told me it had not been in the name of Mr. Milroy for over four years. Yet I found a reference that notes Milroy’s is a very well known spirits establishment in #3 Greek Street London. That one makes more sense (the Suffolk address was likely a personal one).  According to K&L Wines, John “Jack” Milroy opened a wine shop in the West End in 1964 with funds provided by his brother (a gold miner from South Africa) and indulged in the bottlings of single cask Scotches. It’s reasonable to suppose an occasional rum flitted through their inventory over the years. The brothers sold the company (date unknown, likely late 1990s) which was run by La Reserve under the stewardship of Mark Reynier who later went on to fame as the man behind Bruichladdich, Murray McDavid and Renegade Rums. As of 2014, the company is once again an independent shop “Milroy’s of Soho” whose site I used for some of these historical notes.

Duncan Taylor Versailles 1985-2012 27 YO Guyana Rum – Review

 2 Responses »
May 242018
 

#515

Two independent bottlers out of Europe which I have not done much with are Mezan and Duncan Taylor, though I have samples and a plethora of notes of rums from both. Let’s try to remedy that this week with a quick look at the current subject, which presses many of my buttons at once: it’s from Enmore estate but the single wooden Versailles pot still (which alongside Port Mourant is one of my favourite stills from Guyana), distilled in 1985 and bottled in 2012 so a hefty 27 years old, and it has a no-nonsense strength of 52.5%. Need I say continental ageing? No additives or messing around? Probably not. You could tell that as one of the first rums they issued, they probably figured that they’d release a 27 year old Hulk to the market and reap all the glory therefrom.

Did they succeed? Not quite.The nose was fine, mind – very light, thin and sharp, redolent of glue, acetones, pencil shavings, the rich aroma of a brand new leather jacket, oak, a little anise and a raft of light and indeterminate fruits (apples, orange peel and pears) that were difficult to pick apart.  It had a musty sort of smell too…like aged, dust-covered old books in a stuffy library. Odd, but by no means unpleasant.

Thinness of the nose aside, the palate took something of a ninety degree left turn. It felt thicker, richer, with the glue and furniture polish notes receding, yet what emerged was a rum that seemed over-oaked, and very dry, very crisp.  What fruits there were – and there were some, mostly raisins, pears, unripe apples and green mangoes – were of the mouth puckering kind, quite tart, accompanied by orange peel, nutmeg, cardboard or drywall, and something that reminded me of the dustiness of a drought-stricken backyard. The strength was fine for what it was – not low enough to make it a mild crowd-pleaser, not so strong as to make it an assault on the tongue, so on that level it succeeded just fine. The finish gave up more of those tart fruity sensations, oak notes, some pepper and cooking herbs (thyme and parsley)…yet overall, it somehow failed to cohere really well, and the whole experience was deflated by its relative lack of voluptuousness that either some more ageing or some time in tropical climes might have ameliorated.

Duncan Taylor started life in 1938, formed by Abe Rosenberg and his two brothers, who had a sales license for major states in the US which allowed for rapid growth in the post-war years (especially with the J&B brand). It was a company that dealt in whiskies, both as a merchant and as a broker in Glasgow, and over time they acquired what was one of the largest privately-held collections of rare malt whisky casks in the world. The partnership was sold in 1980, but the collection of whiskies owned by Duncan Taylor was not part of that sale. Euan Shand and his partner Alan Gordon bought it in 2002 and moved the company to Scotland. At that point they made a conscious decision to cease operating as a broker and tread down the road of being an indie bottler of their own branded whiskies.  In 2012 they expanded the portfolio into rums as well, although thus far it seems that those who have been fortunate enough to review some of their work (mostly Wes and Steve), feel that it’s a bit hit or miss.

Here, I’d have to say that the Enmore 27 YO is rather more miss than hit, and it copied the form of the Veliers without the underlying passion that served Luca so well in his own Enmores and Versailles rums. Which is surprising because even in continental climes, twenty seven years is twenty seven years and I somehow felt there should be more on display here.  But it just doesn’t gel for me – there’s a thin kind of hardness to the experience which I did not like, a sort of cold, austere, uncompromising lack of warmer flourishes and tastes which I see in tropically aged rums that slept many years less. Essentially, it tastes like it’s not quite ready to be decanted, and in summary, I conclude by noting that Duncan Taylor might have thought, when they issued this well-aged rum, that they were channelling the Hulk…but in reality, after all that time, only succeeded in growing a green fingernail.

(84/100)

Other notes

Thanks and a hat-tip to Maco Freyr of Barrel Aged Mind, who not only wrote the definitive biography of the company, but sent me the sample…which he also reviewed, more positively than I did. He also wrote that the rum was not from the Enmore wooden coffey still, but the Versailles single wooden pot still which was housed at Enmore before being moved to Diamond.  The word “pot” on the bottle label makes that clear, hence the title of the post

Monymusk Distillery Patent Still “Demerara” Rum 7 YO (1990s)

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May 232018
 

Rumaniacs Review #079 | 0514

No, you read that right.  This bottle of a 1990s rum, from a company I never heard of and which no exercise of masterly google-fu can locate, which has a map of Jamaica on the label and is clearly named a Momymusk – this old and rare find says it’s a “Demerara” rum. You gotta wonder about people in them thar olden days sometimes, honestly.

W.D.J. Marketing is another one of those defunct English bottlers (I was finally able to find out it was English, released another Monymusk aged 9 years, and has been long closed, on a Swiss website) who flourished in the days before primary producers in the islands took over issuing aged expressions themselves.  What they thought they were doing by labelling it as a Demerara is anyone’s guess.  Rene (of “Rarities” fame) said it was from the 1990s, which means that it was issued when Monymusk came under the West Indies Sugar Company umbrella.  And although the label notes it was distilled in Jamaica and  bottled in England, we also don’t know where it was aged, though my money is on continental ageing.

Colour – Pale gold

Strength – 46%

Nose – Yeah, no way this is from Mudland.  The funk is all-encompassing. Overripe fruit, citrus, rotten oranges, some faint rubber, bananas that are blackened with age and ready to be thrown out.  That’s what seven years gets you. Still, it’s not bad. Leave it and come back, and you’ll find additional scents of berries, pistachio ice cream and a faint hint of flowers.

Palate – This is surprisingly sharp for a 46% rum.  Part of this is its youth, lending credence to the supposition that the ageing was continental. Fruits are little less rotten here…maybe just overripe. Bananas, oranges, raspberries, all gone over to the dark side.  A touch of salt, a flirt of vanilla, but the primary flavours of sharp acidic fruits and compost (and your kitchen sink grinder) take over everything. In short, it showcases a really righteous funk, plays hardass reggae and flirts a fine set of dreads.

Finish – Damned long for 46% (I’m not complaining), the sharpness toned down.  Gives you some last citrus, some peppercorns, a ginnip or two, and for sure some soursop ice cream.

Thoughts – What an amazing young rum this is. Too unpolished to be great, really, yet it has real quality within its limitations. If you’re deep into the varietals of Jamaica and know all the distilleries by their first names, love your funk and rejoice in the island’s style, then you might want to try sourcing this from Rene next time he drifts into your orbit. This thing will blow your toupee into next week, seriously.

(84/100)

Other notes

My notes have this as a 1960s rum, and Rene got back to me stating it was from the 1990s.  It’s very odd for a rum made that relatively recently, to have almost no internet footprint at all for both itself or its company of origin.

Habitation Velier Port Mourant Unaged White Rum – Review

 1 Response »
May 192018
 

#513

The question of why Velier would want to issue a well-endowed, claw-equipped high-test like this, is, on the surface, somewhat unclear.  Because my own opinion is that this is not a product for the general marketplace. It’s not aimed at beginners, 40% strength lovers or those with a sweet tooth who have two of every edition of the Ron Zacapa ever made. It’s an utterly unaged cask strength white with serious strength one point short of 60%, to which is bolted a massive 537.59 g/laa of esters…that puts in the realm of the Rum Fire Jamaican white, and that one packed quite a bit of gelignite in its jock, remember? Aside from serious rum-junkies, ester-loving deep-dive geeks and Demerara-rum fanboys (I’m all of these in one), I wonder who would buy the thing when there are so many great independent offerings of an aged Demerara out there (many of which are Port Mourant still rums themselves).

Let’s see if the tasting notes can provide some insight. At 59% ABV, I was careful with it, letting it open for a while, and was rewarded with quite an impressive and complex series of aromas: rubber and plasticene, nail polish remover, followed by a combination of sugar water, brine, watermelon, pears, roasted nuts, plus a firm, crisp-yet-light fruitiness which the strength did not eviscerate.  That’s always something of a risk with high proof rums, whose intensity can obliterate subtler nuances of flavour on nose or palate.

Unaged rums take some getting used to because they are raw from the barrel and therefore the rounding out and mellowing of the profile which ageing imparts, is not a factor.  That means all the jagged edges, dirt, warts and everything, remain. Here that was evident after a single sip: it was sharp and fierce, with the licorice notes subsumed into dirtier flavours of salt beef, brine, olives and garlic pork (seriously!). It took some time for other aspects to come forward – gherkins, leather, flowers and varnish – and even then it was not until another half hour had elapsed that crisper acidic notes like unripe apples and thai lime leaves (I get those to buy in the local market), were noticeable. Plus some vanilla – where on earth did that come from?  It all led to a long, duty, dry finish that provided yet more: sweet, sugary, sweet-and-salt soy sauce in a clear soup. Damn but this was a heady, complex piece of work. I liked it a lot, really.

Reading those tasting note and looking at the stats of the rum, I think you’d agree this is not your standard table rum; maybe even one that only a madman or a visionary would try to make money from, when it’s so obviously stuffed with sleeping leopards. Who on earth would make this kind of thing; and then, having been made, who is addled enough to buy it? Drink it?  And why?

To answer those questions, it’s useful to look at the man behind the rum.  Luca Gargano, whose Five Principles are now the source of equal parts merriment and respect, doesn’t often say it in as many words, but obeys another: I call it the Sixth Rum Principle, and it suggests that Luca believes that rum should be made pure, fresh, organic, without additives of any kind from cane through to still.  If he had a choice, I’m sure he’s prefer to have wild yeast do the fermentation of a wash gathered in the bark of trees hollowed out by the latest hurricane.

But a codicil to the Principle is simply that a rum need not necessarily be aged to be good…even fabulous. Now for a man who selected and popularized the extraordinary Port Mourant series of aged rums, that seems like bizarre thing to say, but look no further than the clairins from Haiti which have made such a splash in the rumiverse over the last four years, or any of the unaged French Island whites, and you’ll see that may really be on to something.

And that leads to the intersection of the Port Mourants and the Principle. I’m sure Luca was perfectly aware of the quality and reputation of the PM 1972, PM 1974 and PM 1975….to say nothing of the later editions. “What I wanted to do,” he told me recently in that utterly sure, subtly evangelic voice he uses in rum festivals around the world, “Is demonstrate how the rum everyone likes and appreciates – the Port Mourants, Foursquares, Jamaicans – started life.  Okay, they’re not for everyone. But for those who really know the profiles of the islands’ rums blind, they can now see what such rums were before any ageing or any kind of cask influence.”

Drinking this rum shows what results from applying that principle. There’s a whole raft of these whites out in the market right now, distinguished by lovely drawings of the stills from which they originate. I’m not sure how they sell, or who’s buying them, or even if they are making a splash in the perceptions of the larger rum world.  All I know is it’s an amazing rum that one should try at least once, even if it’s just to appreciate for the one time how the raging cataracts of a Port Mourant distillate started out, before the torrent of taste calmed down, evened out…and flowed into the ocean of all the other great PMs we have learnt to know and appreciate over the years.

(88/100)

E. Vaughan-Jones Standard Pure Old Jamaican Rum (1960s)

 5 Responses »
May 152018
 

Rumaniacs Review #078 | 0512

Tracing this rum takes one through three separate companies and dozens of tiny, offhanded remarks made on a score of obscure websites. While it’s tough to pin down a date of formation, Vaughan-Jones appears to have been a London-based spirits bottler very well known for its V-J branded gin, and the company was certainly in existence by the 1880s, likely incorporated by Edward Vaughan-Jones (the exact year remains uncertain).  According to the British Trade Journal of May 1882, Vaughan-Jones “Standard” spirits at that time were gins, whiskies, rum, Old Tom (a type of popular 18th century gin that was sweeter than London Dry but drier than Dutch Jenever), flavoured brandies, and bitters.

By the time this Jamaican rum came out in the 1960s (the date comes from an estimate of the Whisky Exchange website and I’ve got nothing better except from a tax stamp on the bottle which hints at the 1970s importation but not necessarily manufacture) another company called Hedges & Butler had taken over Vaughan-Jones, and registered various trademarks of V-J in 1957.  Following this down the rabbit hole provides the information that they themselves were wine and spirits merchants dating back to 1667, were granted a Royal Warrant by King George IV in 1830 which was renewed by Queen Victoria in 1837. They were and remain primarily (but not exclusively) in the wine and whisky business, and were taken over by The Bass Charrington Group in the 1960s.  Since 1998 they fall under the umbrella of Ian MacLeod Distillers which is where the story ends for now.

At all times, under whichever company owned the V-J brand, it appears that rum was very much an afterthought and not a major branch of the business. Some of the Vaughan-Jones family remain alive and remember their great grandfather Edward…it would be interesting to see what they know about the rums his company made. No data on the still, distillery or estate of origin is available. It is noted as being “pure” which suggests either no additives, or unblended and direct from a distillery which, from the taste, is what I chose to believe.

Colour – amber

Strength – 43%

Nose – It may just be a function of the age, but it does present somewhat oddly to those who have a bunch of modern Jamaicans to chose from. Not quite an ester bomb, this: still, it starts with brine, olives, citrus, some funk and miso soup, sweet soya, vinegar and herbs (dill, cilantro, rosemary).  Nothing off-putting, just different.

Palate – Oh well, this was lovely. Soft, well rounded.  Caramel, light molasses, herbs (dill and cilantro again), brine, tequila, olives, and a pinch of oregano and some old used coffee grounds left out in the sun too long.  It also has aspects that reminded me of the Paranubes, something of a minerally and agave background, added some light white fruits at the back end, and overall, it’s really not that sweet.  A shade thin, though.

Finish – Very nicely rounded and warm.  It all comes together here and the oddity of the nose disappears completely. Light caramel and funk, herbs, brine, with almost no fruitiness at all.

Thoughts – Drinking this next to an Appleton 12, say, or some of the newer Hampdens and Worthy Park stuff, and you could infer this was an earlier form of what they are now making. It’s not as cultured, a bit raw, and the tastes and smells are in a different (primitive?) form of what we now take for granted.  But it’s not bad, and if you’re a lover of historical artifacts from Ago, neither the background of the company nor the rum itself, is likely to disappoint.

(82/100)

Other Notes

Francesco from Lo Spirito dei Tempi, who I met briefly in April 2018, was the source of the bottle, and he noted that it was made for export to Australia from the 1880s to 1980s.  In his article he remarks that it was aged three years in Jamaica and then for a further undisclosed time underground at the London docks.

Revisiting the El Dorado 12 Year Old Rum

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May 132018
 

#511

The El Dorado 12 Year Old is something of an econo-budget kind of rum, lacking both the price tag and the relative quality of its upscale brothers the 15 and 21 year old. It’s a rum often overlooked in people’s enjoyment of the those two, and with good reason – it lacks much of what makes the 15 worth drinking, and is only a minor step up from the 8 year old, or even the very nice 3 year old white, both of which are cheaper. Nowadays, I usually pass it by, but the thing is referred to so often by the young, the curious, and the newcomers, that I wanted to check it out again.

What makes it less of a drink than any of the other rums noted above yet better value for money than even DDL’s 25 Year Olds is its relative simplicity.  It derives partly from the Enmore wooden coffey still, and the dominant part is the SVW marque which implies the metal two column coffey still at Diamond, nothing too special there.  And while it’s been aged, it just doesn’t have any of the true complexity which we see lurking behind the dosage in the 15 or 21 — that adulteration does serious damage to the profile by muffling the flavours that do exist like a wet blanket. Add to that a drowsy sort of 40% strength and you’re not really left with much that a person who likes clean and distinct tastes would truly enjoy and recommend in these days of stern 60% behemoths.

Consider the way it begins, on the nose: it has aromas redolent of butterscotch, caramel, prunes and raisins, with very little edge or bite or sharpness.  It’s warm to inhale, and after opening up, it gets a little more heated and a little licorice and darker fruity notes emerge…or try to. It feels really muffled, somehow, and the thing is, while quite pleasant, it lacks real complexity and is almost simple; even here, at this preliminary stage, it doesn’t take much experience with “clean” rums to suspect that something has been added to make it this way.

Such thoughts continue on the palate, where the feeling becomes the obvious. So, it’s sweet, warm, yet oddly thin too (that’s the 40% talking, I suppose). Caramel, some weak molasses and butterscotch remain the core flavours, and the fruits (prunes, peaches, pineapple) are making a fast exit – what is left is mostly crisper spicy notes of cinnamon, nutmeg, cloves, plus oak and some leather and a last despairing gasp of anise.  The pervasiveness of caramel becomes a heavy blanket silencing all but the sharpest notes, and while this is precisely what makes it such an appreciated intro-rum to those on a shoestring and with an interest, for anyone who’s had more than ten decent rums, it falls down. The finish remains the weakest point of the rum, hardly worth remarking on – thin, quick, and you really have to concentrate to make out anything beyond caramel and damp brown sugar.  Perhaps a last shake from the spice jar, if you try hard.

Seen at a remove of nearly ten years, I still remember why I liked it and why new entrants to rum recommend it so often (there’s a recent review post on reddit that rates it 87).  But what it showcases is rather more potential and maybe even wishful thinking than reality. It teases without coming through, it bluffs with a lone pair and is upstaged by its brothers up and down the line.

I noted above that it may be better value for money than the 25 YO and 50th Anniversary halo rums.  Leaving aside the pure price differential it’s primarily a matter of those rums being incremental quality increases per geometrically more bucks spent. For sure you can taste the underlying structural assembly of the 25s (any one, 1980, 1986 or 1988) in a way the 12 can’t hope to match, but the adulteration blunts the impact of all equally, and what’s left after that’s factored in is simply that the 12 is a better buy for the coin you shell out if you don’t have much of it.

Although I bought the 12 thinking of it as a candidate for the Key Rums series, now I don’t believe it belongs on that list – it does not stand as an honest blend on its own merits and too much back-end crap has been added to it. The rum rests on its laurels as a great rum of Yesteryear in the memories of its older adherents, rather than being a poster boy for innovation and quality in the Now.

However, let’s be honest — my disparaging notes here are made from the perspective of a person who has tried several hundreds of rums from across the spectrum, not as a guy who’s just starting out and has four or five little rumlets in the drinks cupboard.  On the basis of using the 12 as an introductory spirit, I’m equally – if paradoxically – comfortable asserting that for anyone who wants a cheap starter rum to get familiar with the Guyanese stills, which may one day ripen into a full blown love affair with PM, EHP, ICBU or VSG marques on their own (and at cask strength), then the 12 may just be a good place to start…and then move away from at top speed.

(72/100)

Other notes

Various measurements confirm 35-39 g/L of additives, probably caramel.

Ping No. 9 Longpond 1977 36 Year Old Jamaican Rum – Review

 No Responses »
May 102018
 

(c) liquor-store-europe.com

#510

The Ping No. 9 is a private / independent bottling done by the Danish liquor store Juuls and I first came across it in 2016 when one of those anonymous mad vikings (thanks Gregers!) brought it to a truly epic Caner Afterparty session, where it was promptly run past (what else?) the G&M Longpond 1941 and the BBR 1977 itself, to which we then added an Albrecht Trewlawny 1993 17 YO (Longpond, 2nd Release) and the EKTE No 2 (Monymusk) to cross reference .  We had nothing else on hand that was the right age or from the right island, so this had to do, but even that comparison allowed us to come to grips with its structure and assembly in a way that made its strengths (and weaknesses, such as they were) somewhat clearer.

Let that pass for the moment and simply sigh with envy at whoever sprang over a thousand euros in early 2018 (on one of the FB sales pages) for a bottle of this juice – not because it’s superlative (I didn’t think it was, not entirely), but simply because we don’t see rums from the 1970s coming on the market any longer and even the 1980s are fast becoming a vanishing breed, and so to try one that geriatric, and issued at a snorting 61%? Rum heaven.

All right, so a bourbon-cask aged expression, costing four figures, continental ageing, Danish bottler buying from a Speyside outfit, 221-bottle outturn. What did it taste like? In a word, lovely. It was smooth to smell and a pleasure to inhale, largely because the huge strength was under control the whole time, presenting heat instead of crude sharpness.  It began quietly with bananas, vanilla, mead, honey, cream cheese and a little caramel, almost no citrus (and if there was any, it kept way the hell back). As we came back to it over a period of some hours, crisper notes of green apples, candied oranges, cinnamon and ginger cookies came forward as the softer ones receded.

Say what you will about tropical ageing, there’s nothing wrong with a good long continental slumber when we get stuff like this out the other end. Again it presented as remarkably soft for the strength, allowing tastes of fruits, light licorice, vanilla, cherries, plums, and peaches to segue firmly across the tongue.  Some sea salt, caramel, dates, plums, smoke and leather and a light dusting of cinnamon and florals provided additional complexity, and over all, it was really quite a good rum, closing the circle with a lovely long finish redolent of a fruit basket, port-infused cigarillos, flowers and a few extra spices.

What is both good and to some extent a let-down about the rum is its control. At no point did any of us ever feel that we were getting a 61% beefcake in our glasses.  It was not a cream puff milquetoast, no, but in comparison to the gleefully manic proctological probing that clairins subject us to, this thing is like a lover’s gentle yet firm caress – and on the level described, it’s all good, and I enjoyed it thoroughly. But it also, I have to concede, lacked a real edge and bite of the sort a more funky profile would have provided, which leads me to my main point of contention.

There was little that was distinctly Jamaican in the rum – no, really – and it actually reminded me more of a combo of a Bajan and a Guyanese, taken to cask strength. If the measure of a rum is the extent to which its maker conforms to the standards of the place of origin or alignment with the expected style, then you’d be hard put to really place it as being from the island. The Ping No. 9 presents a profile somewhat at odds with those characteristic tastes we associate with the newer Jamaican bottlings of late – dunder, funk, hogo, esters, pick your term – little of this was in evidence.  Whether this is a matter of how and where it was aged, or the simple fact that it was made in a different era, is debatable. But it did make me feel somewhat disappointed.

I know there’s one person who’s reading this who’s muttering “Bullsquirt!” to himself and running to get his two bottles out of the triple-locked safe where he has them stashed behind a couple of flash-bangs and a collection of nasty toys meant to cause any would-be pilferer immense discomfort (he takes his juice seriously, and they’ll get his rums when they pry them out of his quivering hands, I suspect). He’s going to re-test it, no question, then post a rebuttal for me to ponder. The thing is, I know he liked the Ping 9 more so than I did, just as he disdained the Velier 1972 Courcelles and I didn’t.  And because our tastes and palates run apart from each other, it’s very likely that others will too. Therefore, interesting as I believe the Ping 9 to be, lovers and potential purchasers might want to sample before they buy. It’s very good but it’s also different…and that makes it something of a tricky purchase, no matter what the score, the age or the price.

(86/100)

Other notes

  • The rum is actually five days under 36 years old: for once I think I’ll just note it and move on and keep calling it a 36 YO. Such a tiny variation doesn’t trouble me much at such an age.
  • For what it’s worth, it makes me suspect that the BBR 1977 also came from Longpond.  My own opinion was that the BBR was better, and the Albrecht Trelawny and the EKTE also exceeded it.
  • Both Roger Caroni (who writes in French), and Wes Burgin over at the FatRumPirate tried a brother of this rum, the Old Jamaique Long Pond 1977 35YO (at 50%), which was a collaboration between the Belgian bottler Corman-Collins and the Scots bottler Ian MacLeod, the latter of whom was also the source of this barrel for Juuls. Roger liked it a lot (without a score), and Wes also commented on the lack of funkiness; still, from his 4.5-star score, I think it’s safe to say he liked the rum from his barrel a bit more than I did the rum from mine.
  • So what’s with the name “Ping”? I asked around and was told that “Ping” was the humourous nickname given to Michael Madsen (the owner of Juuls, the 30th anniversary of which this edition commemorates) in his youth….because he looked something like a penguin, or “pingvin” in Danish.  That’s so funny it almost has to be true, though I must emphasize it’s just something of a Danish urban rum-legend.

Clairin Le Rocher Unaged White Rum (2017) – Review

 1 Response »
May 072018
 

#509

Plastic.  Lots and lots of plastic.  And rubber. The clairin “Le Rocher” is a hydrocarbon lover’s wet dream, and if you doubt that, just take a gentle sniff of this Haitian white.  It is one of the richest whites from Haiti I’ve managed to try, and the best part is, those opening notes of the nose don’t stop there – they develop into a well balanced combination of acetone, salt, soya, and a spicy vegetable soup, into which a cut of jerk chicken thrown in for good measure to add some depth (I swear, I’m not making this up).  And if that isn’t enough, half an hour later you’ll be appreciating the watermelons, sugar water and light cinnamon aromas as well.  This rum is certifiable, honestly – no unaged white should ever be able to present such a delightfully crazy-ass smorgasbord of rumstink, and yet, here it is and here it reeks.  It’s pretty close to awesome.

Sometimes a rum gives you a really great snooting experience, and then it falls on its behind when you taste it – the aromas are not translated well to the flavour on the palate.  Not here. In the tasting, much of the richness of the nose remains, but is transformed into something just as interesting, perhaps even more complex. It’s warm, not hot or bitchy (46.5% will do that for you), remarkably easy to sip, and yes, the plasticine, glue, salt, olives, mezcal, soup and soya are there.  If you wait a while, all this gives way to a lighter, finer, crisper series of flavours – unsweetened chocolate, swank, carrots(!!), pears, white guavas, light florals, and a light touch of herbs (lemon grass, dill, that kind of thing). It starts to falter after being left to stand by itself, the briny portion of the profile disappears and it gets a little bubble-gum sweet, and the finish is a little short – though still extraordinarily rich for that strength – but as it exits you’re getting a summary of all that went before…herbs, sugars, olives, veggies and a vague mineral tang.  Overall, it’s quite an experience, truly, and quite tamed – the lower strength works for it, I think.

Clairins no longer need much introduction.  Velier’s been promoting them up and around the world, people have been shuddering and cheering about their profiles in equal measure for years now.  We know what they are. What we don’t know is the producers and individual methods. Here’s what I know: Le Rocher (“The Rock”, named after Matthew’s injunction in 7: 24-27 not to build on sand) is the product of Bethel Romelus, whose little op is located in the village of Pignon, about an hour’s jouncing away from St Michel where Michel Sajous fires up the Sajous. Le Rocher is different from the other clairins I’ve looked at so far in that it is made from sugar cane juice from three different varieties of cane, which is boiled down to syrup.  It’s fermented naturally, with maybe a 1/3 of the syrup being made from previous vinasses, then run through a discontinuous pot still, before being bottled as is. No ageing, no dilution, no filtration, no additions. A pure, natural, organic rum for all those whole drool over such statistics.

Personally, I’m impressed with the rum as a whole, but if you disagree, I fully understand the source of your doubt – you gotta be into unaged, unhinged whites to be a fanboy of this stuff – for me, that’s catnip, for you, perhaps not so much. Still, If I had to rate the clairins which Velier is putting out the door, I’d say the Sajous remains the most certifiable, the Casimir the most elegant, the Vaval the easiest for its strength.  But the Le Rocher….it’s perhaps the most approachable for the average Joe who wants to know what the fuss is all about and is willing to try one, but is cautious about mucking around with the >50% sarissas of the first three. By going to a lower ABV, by taming a remarkable panoply of potent and pungent smells and tastes, by changing (slightly) the way it’s made, the Le Rocher is setting a standard as high as its creole-still cousins, and if your tastes bend in this direction, it’s definitely worth adding to your collection of whites, and clairins.

(85/100)

Other notes

  • In doing my research I found references to other varieties of the Le Rocher tried at various rumfests last year: one at 51%, another at 43.5%. 
  • Back label translation: “It is at Pignon, at the entrance to the plateau of St. Michael de l’Attalaye, that the Le Rocher clairin is produced using cane syrup, produced from natural juice, adding during fermentation about 30% vinasses from the previous distillations: an archaeological example of the method of production of the French colonies, influence of 1785 by the technique developed by the English in Jamaica, the “dunder-style.”

Velier Enmore 1988 19 Year Old Rum

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May 052018
 
Enmore 1988 1

Photo (c) Barrel-Aged-Mind

Rumaniacs Review # 077 | 0508

The 1988 Enmore vintage has quite a lot of siblings from the same year: Berry Brothers, Bristol Spirits, Compagnie des Indes, the Whisky Agency, Rum Cask and Silver Seal have all issued rums from that year, with varying ages and qualities — some more and better, some less and less.  But all are variations on a theme, that of the Enmore wooden still from Guyana now housed at Diamond, and perhaps only rum geeks with their laser-like focus bother to get them all in an effort to write a dense analysis of the finest, most minute differences. This one is, to my mind, one of the better ones…even though it’s likely that this is not from the Enmore wooden coffey still, but the Versailles single wooden pot still (see other notes below).

Colour – Dark blonde

Strength – 51.9%

Nose – Yummy. Surprisingly light at first nosing, then develops some heft and complexity after a few minutes, so don’t rush into it. Coffee, petrol, wax notes at first, opening up into oak, fruits, anise, olives, prunes, dates and not-so-sweet fruits and molasses.  It’s deceptive, because at first it doesn’t seem like much, and then it just keeps coming and providing more and more aromas. Just because it starts quiet and unobtrusive sure doesn’t mean it ends up that way.

Palate – Coffee, oak, fruitiness, some toffee, wax and shoe polish open the show, as well as being briny and with olives galore plus a little bit of sour cream – these come out a little bit at a time and meld really well.  Lemon zest, coconut and background anise notes develop as it opens up (this is definitely one you want to take your time with).  It’s crisp and clear, skirting “thin” by a whisker, yet even so, satisfactorily rich, tart, creamy and flavourful.  There’s a even a wisp of molasses lurking in the background which is quite pleasant.  It’s warm, well-balanced, and pretty much under control the whole time.

Finish – 51.9% is a good strength: it allows the finish to go without hurry, as it heads for a creamy, briny, lemony and licorice-like exit, with perhaps some coffee grounds and bitter chocolate wrapping up the whole experience in a bow.

Thoughts – Two years ago I rated it 89 points in Paris.  This time around, trying it with a few other Enmores (including the DDL Rare First Batch Enmore 1993), I felt it remained an excellent product, even though it slipped just a little in the company it kept.  But just a smidgen, within the margin of error, and it remains a great exemplar of the wooden stills and the country that no-one would ever be ashamed to own, and to share.

(88/100)

Other Notes

  • The label states the rum derives from the Single Wooden Pot Still – but that’s not the Enmore (which is the “filing cabinet” shaped wooden coffey continuous still) but the Versailles.  Luca has confirmed elsewhere that it is Versailles (which means the label is a misprint), and I’ve been told that several of the 1988s share this confusion…which likely arose because while this still originated in Versailles, it was moved variously to Enmore and Uitvlugt, before finding its final home in Diamond (DDL Website)
  • The translation of the Italian on the back label notes that the rum is aged in Europe (continental).

Paranubes Mexican White Rum – Review

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May 012018
 

buy ambien online

#507

Almost without warning and with little  fanfare, Oaxaca went from being a small geographical region in Mexico to the source of a fast moving blip in the rumiverse, the Paranubes white rum.  Although there have been occasional comments on the various Facebook rumclubs on the Oaxaca-region blancos before this, my feeling is that the June 2017 Imbibe Magazine article on Paranubes, followed up by the April 2018 Punch article “Hunting for Rum in Oaxaca’s Cloud Forest” was in a large measure responsible for the upsurge of interest in the region, this particular company, and this rum.  That, and the fact that like Rivers Royale, Haitian clairins or Cape Verde grogues, they represent a miniscule, almost vanished proponent of natural rum making, of a kind we don’t see much of nowadays…which is exciting much interest in the rum soaked hearts of the ur-geeks who are always on the lookout for something new, something potent and something pure.

Mostly unknown in the wider world, Mexican white rums like the Paranubes share DNA with agricoles and cachacas – the source of the spirit is fresh-pressed sugar cane juice – but in manufacture and distribution, if the terms could be used for something so relatively grass-roots, they are closer to the Haitian clairins. Locally made by unregistered, numberless small mom-and-pop roadside hoocheries and tiny distilleries (called trapiches), using local materials and old equipment, a different one around every corner and in every region, they are called aguardiente de caña there and are back country white lightning which (again like clairins) is consumed mainly in the neighborhood. There are several other small trapiches in the neighborhood: the story goes that the co-founder of Mezcal Vago, Mr. Judah Kuper was running around Oaxaca with a load of mezcal (and tasting roadside aguardientes as a sort of personal hobby) when he happened to try that of a local distiller and businessman called Jose Luis Carrera, was not just impressed but blown away, and approached him with the idea of exporting it.  This has led to the Paranubes brand being formed.

order valium onlineMr. Carrera’s little distillery has been in existence for decades, using different varietals of sugar cane free of pesticides and fertilizers, lugging the cane to the trapiche by donkey power and after crushing, fermenting the juice with wild (naturally occurring, not added) yeast and a sort of boiled mesquite bark mix in a couple of 1100 liter pinewood vats (but occasionally a pineapple or two is used in the same fashion of bark is not available – these guys take the meaning of “batch production” seriously). Every day Mr. Carrera takes half of one of the vats and chucks it into the small copper column still (which holds 550 liters) – and then refills the vats in the afternoon. What this means is the vats are a mix of very old and very young fermenting liquids, and since they are only completely emptied three times a year, they end up producing an enormously flavoured spirit that conforms to few markers of the rums with which we are more familiar.

That part is key, because I said that in origin it’s like an agricole, in manufacture like a clairin, but let me tell you – in taste, it’s like those were spliced to an out of left field Jamaican with a steroid-addled attitude.  And even then it seems to exist in its own parallel universe, adding its own distinctive originality to the pantheon of the whites. It started off, for example, with one of the most distinctive series of smell notes I’ve ever experienced: wet ashes from a campfire, rain on hot baked earth, mixed with pickles and gherkins. The oily saltiness of a tequila but without the muskiness.  It’s also vinegary, citrus-y, sharp, acidic, and beneath all that is sugar caned sap, very light fruit, vegetable soup, olives and more brine. And plastic. I mean, wow. Newbies beware, experts be warned – this rum is not the kind that makes sugar cane turn up at your door demanding its juice back.

As if dissatisfied with its own aromas, the rum seemed to feel it had to add even more notes to the tasting when drunk. So, many the above smells made a re-appearance on the palate – ashes (I swear this is almost like licking a stone), olives and brine, lemon rind, gherkins in vinegar to start – before the brininess retreated and additional varnish and turpentine hints emerged, which went right up to the edge of being gasoline.  The sugar cane sap thankfully mitigated that, adding lighter swank, watermelon and lemon to the mix, miso soup, sweet soya and a ton of veggies. It was, really quite a collection of different tastes, and even the finish – long, lingering, with sweet and salt, acetones, cigarette tar and more herbals – completed what was a rum of startling, almost ferocious originality.

All these tastes aside, what did I actually think of it? Well, as noted, I think it may be one of the most unique whites I’ve tried in a long while. It’s different, it’s original, it hews defiantly to its own profile without genuflecting to anything else.  It’s not trying to be a clairin or a Jamaican or a grogue or a cachaca, and has at best a glancing familiarity with the ester bombs of Reunion and Hampden and Worthy Park. Fruits are a bit lacking, sweet and salt combination is fine, and earthy, musky notes are bang on. “Traditional” may be how it’s made, but surely not in its overall taste configuration.  It gets points for being one of a kind, yet be aware that it is not necessarily one you’d appreciate neat. This is a cocktail lover’s dream, one that would drive bartenders into ecstatic fits because it would wake up and make new any old faithful, or kickstart any creation they feel like coming up with.

Paranubes may be one of the first Mexican rums to make a dent in people’s perceptions that Mexican liquor is just mezcal or tequila (and rums like Bacardi, Los Valientes, Mocambo, Prohibido et al).  Locals will know of aguardiente, and Americans and tourists who visit the back country will likely be familiar with it — now it’s the turn of the wider world, not least because it’s available in the US, and may start appearing in Europe as well, with the added cachet of artisanal production, traditional methods, and a taste that is quite simply in its own universe.

Is such pure rum-making an oncoming wave of the future for the independents?  Ask Luca Gargano of Velier and you’d probably get a resounding yes, and if you look carefully at the rums with which he personally associates himself, you’ll see that old-school, artisinal, natural rums are his personal and pet passions – clairins, grogues, Rivers, Hampdens are just some of the varied rums he holds close to his heart. By that standard, he must be frothing at the mouth over the Paranubes. Me, I believe that this simply made, small-batch artisanal rum takes its place immediately in any list of tonsil-shredding whites as one of the most original, potent, pungent, and flavourful rums currently extant.  It’s that interesting right out of the gate, and is tailor-made for those who are looking to dispel boredom, and want to explore the bleeding edge of rums that conform to no rational standard.

(81/100)

Other notes

  • The Paranubes website is massively informative on the method of production – I have drawn upon it to summarize the process here.  It is well worth a read in its entirety.
  • Unaged, issued at 54%
  • Serge Valentin on WhiskyFun, as ever ahead of the curve, rated it 88 last year, very much because he loved its artisinal nature and originality.

Ron Zacapa Centenario 23 Años (Early 2000s)

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Apr 292018
 

Rumaniacs Review #076 | 0506

Ron Zacapa from Guatemala, now owned by Diageo, has been a poster boy for adulteration, over-sweetness and confusing (misleading?) labels for the entire time I’ve been reviewing rums.  The current late-2010s edition of the Centenario 23 (first introduced in 1976 and now dropping the “Años”) is still a crowd favourite…but here we have an older vintage, back when the wrapped bottle was still in vogue (Rum Nation copied it for the Millonario 15 when Zacapa discontinued it some years ago)…and if scuttlebutt is to be believed, this thing really is 23 years old, before they started solera-izing it in the current iterations. But about that I have my doubts – I respectfully submit it was always a solera, and it’s just that as everyone found out about it the label had to be changed.

Colour – Amber

Strength – 40%

Nose – Quite thick and rich, redolent of brown sugar, chocolate, molasses and coffee. Not overly complex, little in the way of additional flavours, except for some toblerone, vanilla, cinnamon and honey.  Some sherry and vague fruity notes.

Palate – Soft, very easy, almost no bite at all – I’d call it unadventurous. Walnuts and raisins mixing it up with chocolate and toffee with a little alcohol.  A faint bitterness of black tea, some honey, vanilla, a few raisins, brown sugar, caramel, cinnamon….overall, not so much tamed as simply easy, no effort required. However, note that it’s not as sweet as the current versions available on the market, just sweet enough to be noticeable.

Finish – Short warm and smooth, mostly caramel, a little (very little) fruit, coffee and liqueur. Gone in a heartbeat, leaving not even a smile behind.

Thoughts – I can see why it remains a crowd pleaser, but the decision to stop with this blend and go with the “modern” Zacapas now on sale was (in my opinion) a mistake. This slightly older version of the rum is marginally better, has at least some character and isn’t destroyed by additives or sweet quite as badly.  Even so, it remains a rum to appeal to the many rather than the few, and all it remains for the dedicated is a pleasant after-dinner digestif as opposed to something to place on the top shelf.

(75/100)

 

Key Rums of the World – Rivers Royale White Overproof (Grenada)

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Apr 252018
 

#505

On initial inspection, Rivers Royale Grenadian Rum – a white overproof – is not one of the first rums you’d immediately think of as a representation of its country, its style, or a particular type — perhaps Westerhall or Clarke’s Court are more in your thoughts.  It is made in small quantities at River Antoine on  the spice island of Grenada, is rarely found outside there, and even though it can be bought on the UK site Masters of Malt, it barely registers on the main bloggers’ review sites.

Yet anyone who tries it swears by it.  I’ve never seen a bad write-up, by anyone. And there are a several aspects of this rum which, upon closer inspection, reveal why it should be considered as part of the Grenadian pantheon and on any list of Key Rums, even if it is so relatively unknown.  

For one thing, there’s it’s artisinal production.  Almost alone in the English-speaking Caribbean, River Antoine adheres to very old, manual forms of rum making.  The sugar cane is free from fertilizers, grown right there (not imported stock), crushed with a water wheel – perhaps the oldest working one remaining in the world – and the source of the rum is juice, not molasses. Fermented for up to eight days without added yeast – natural fermentation via wild bacteria only – in huge open-air vats and transferred to an old John Dore copper pot still (a new one was added in the 1990s).  No additives of any kind, no filtration, no ageing. They are among the most natural rums in the world and the white, which is supposedly drawn off the still at a staggering 89% ABV and bottled at 69% to facilitate transport by air, is among the most flavourful whites I’ve ever tried, and thought so even back in 2010 when I first got knocked off my chair with one.

There’s also the whole business of heritage.  In the geek rumiverse, it’s common knowledge that Mount Gay’s paperwork shows it as dating back to 1703 – though it was almost certainly making rum for at least fifty years before that – and River Antoine is by contrast a relative johnny-come-lately, being founded in 1785. The key difference is that Rivers (as it is locally referred to) is made almost exactly the way it was at the beginning, never relocated, never really changed its production methodology and is even using some of the same facilities and equipment. So if your journey along the road of discovery is taking you into the past and you want to know more about “the old way” and don’t want to go to Haiti, then Grenada may just be the place to go.

These points segue neatly into an emerging (if still small) movement of fair trading, organic ingredients and eco-friendly production methodologies.  By those standards, and bearing in mind the points above, Rivers must be a poster child for the eco-movement, like Cape Verde, Haiti and other places where rumtime seems to have slowed down to a crawl and nobody ever saw any reason to go modern.

But is it any good?  I thought so eight years ago, and in a recent, almost accidental retasting, my initially high opinion has been reconfirmed.  At 69%, unaged, unfiltered, untamed, I knew that not by any stretch of the imagination was I getting a smooth and placid cocktail ingredient, and I didn’t – it was more like getting assaulted by a clairin.  It started out with all the hallmarks of a Jamaican or Haitian white popskull – glue, acetone, vinegar, olives and brine exploded across the nose, pungent, deep and very hot. And it didn’t stop there – as it rested and then opened up, crisper and clearer notes came out to party – watermelons, pickled gherkins and sugar cane sap, married to drier, mustier aromas of cereal, old books, fresh baked bread, light fruits and even some yeast.  Weird, no?

As for the taste, well…whew! The palate did not slow down the slightest bit from the jagged assault of the nose but went right in. Although the initial entry was just short of crazy – “like drinking ashes and water and licking an UHU glue stick” my notes go – this offbeat profile actually developed quite well. It turned dry, minerally, the fruitiness and citrus zest took something a back seat, and it took some time to recalibrate to this. Once that settled down the fruits emerged from hiding — cherries, some guavas and yellow mangoes, orange peel, light florals…but the crazy never entirely went away, because there were also hints of gasoline and a salt lick, and the sort of binding adhesive you can occasionally smell in brand new glossy magazines (I know of no other way to describe this, honestly).  And of course the exit is quite epic – a long, searing acid fart that blows fumes of acetone, citrus, brine and deeper fruits down your throat.

This rum is like a lot of very good whites on the market right now: Rum Fire, the Sajous, Toucan, J.B White, to name just a few. Quite aside from the heritage, the history, the production and eco-friendly nature of it, the rum is simply and powerfully an amazing original even when rated against those on the list of 21 Great Whites.  It’s not a rum that apologizes for its sense of excitement, or attempts to buffer itself with a standard profile in an effort to win brownie points with the larger audience.  It is maddeningly, surely, simply itself — and while I admit that strong whites are something of a thing for me personally (and not for people who like quieter, simpler or sweeter rums), I can’t help but suggest there’s so much going on with this one that it has to be tried by rum lovers at least once.

Luca and others have told me that River Antoine are having some issues maintaining the old water wheel and the open-air vats, and repairs are continuously being made. There are rumours of upgrading the equipment, perhaps even modernizing here or there.  I’m selfish, and I hope they manage to keep the old system going – because yes, they can make their rums faster, more easily, and issue more of them. But given the old-school quality of what I tried, the sheer force and fury and potency of what they’re already doing, I somehow wonder if anything modern they do will necessarily be better…or be regarded as a Key Rum. The way I regard this one.

(85/100)

El Dorado 50th Anniversary Grand Special Reserve 33 YO Rum – Review

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Apr 232018
 

#504

Two of my favourite metaphorical rum-terms are halo rums and unicorns, which are monikers coming to our awareness from opposing points on the spectrum.

A unicorn is a desperately sought-after personal wanna-have, usually characterized by rarity and only sometimes by a high price; Examples of unicorns would be the G&M 1941 58 year old, Velier Skeldon 1973 or Port Mourant 1972, first editions of the Rum Nation line issued in 1999 and 2000, Appleton’s 1960s decanters, or aged agricoles from the 1930s, 1940s and 1950s (or earlier). A halo rum on the other hand is a massively hyped special edition rum, often quite old, almost without fail quite expensive, and of a limited edition, meant to commemorate a special occasion or anniversary in the mind of the producer.  They’re not personal and user-driven, but producer-defined, come with cool boxes, fancy designed bottles and and the best known of these is probably the Appleton 50 year old, still, after all these years, selling for a hefty five thousand dollars or so. The Havana Club Maximo is another, and you could make a case for The Black Tot and the Damoiseau 1953 among others. In some cases, of course, a rum can be both at the same time, though I argue a halo can be a unicorn but a unicorn is not always a halo.

Which brings us to the El Dorado 50th Anniversary offering, with 600 produced bottles selling for a muscular US$3500 or so (each), and bottled at a less beefy 43%, meant to celebrate Guyana’s 50th anniversary of independence in 2016, just as the Appleton 50 did a few years earlier.  It is not, as some websites state, a fifty year old rum (the bottle itself notes “50 years” in bold writing which doesn’t help) — by strict definition it is a 33 year old. The Whisky Exchange, which I have no reason to doubt, notes it as being a blend of rums: 65% from 1966, 25% between 1966 and 1976 and another 10% from 1983….so the idea that each of these aged components is from a specific still is likely to be a reasonable assumption (I’ve cobbled together various sources on the parts of the blend in “other notes” below).

Trying the rum gives one the initial impression that most of the oversugared nonsense of the various 25 year old expressions (1980, 1986 and 1988) has been dispensed with, and subject to my comments below, this may even be one of the best regular-proofed El Dorado rums ever made – it’s certainly richer and better balanced than the 15 and 21 year old rums in the standard lineup. The nose gives great promise from the start – deep aromas of molasses, licorice, raisins, dark grapes, coffee grounds, cherries and a flirt of acetones, coming together nicely in such a way that they both commingle well, and are individually specific. Trying it on and off over a couple of days allows other smells of musty books, sawdust, pencil shavings, salted caramel, peaches and ripe apples to emerge over time, and that’s pretty cool too, right?

Indeed it is, and on the palate it starts well – salty sweet caramel ice cream, sweet soy sauce, pencil shavings, tart apples, red guavas, ripe apples, bags of licorice (of course), dark chocolate, more coffee, a fine line of citrus and vanilla and smoke.  All the hits are playing, all the right notes are being sounded…but underneath it all is a sort of disturbing sweetness, a thickness that dampens down the crispness the nose suggested would continue and deflates the overall experience, moving the taste profile closer to the ED 15 year old.  It left me…uneasy, and a little disappointed. The finish of course was reasonable without being exceptional in any way, primarily as a consequence of the living room strength, but that was to be expected, and in any case there’s orange peel, licorice, dark fruits, a little tartness and smoke, so not entirely bad.

But man, that sweetness bugged me, it was a splinter lodged in my mind, and I’m sorry but DDL is known for undeclared dosage, so since I was for once in a position to borrow a hydrometer, I tested it…and the results are what’s shown below:

Well, perhaps I should have expected it. That measurement works out to about 20g/L of additives (whatever they are, let’s assume it’s caramel or sugar and if you convert, that’s about 5 sugar cubes per 750ml bottle).  But seriously, what on earth was the addition for? This thing is a super premium, costs four figures, is more than three decades old, is a blend of famous marques everyone knows about…so why? Tradition? Lack of confidence in the original blend?  Appeal to the deep-pocketed non-knowledgeable rummies who’ll buy it with petty cash? I mean, wtf, right?

I think that the key to understanding the dosing decision is the target audience: this rum is not made for poor-ass rum-snorting bloggers, or newbies now starting out, or the masses of rum aficionados with corpulent tastes and slender purses (or purse-loving wives).  It’s aimed at people who want to show off affluence and power, who know little about rum and a lot about expensive things. Politicians, banana-republic jefes, titans of industry, retired jillionaires, trust fund babies. For such people, this rum, like the Appleton 50, is 100 points easy.  Jaded rumistas will see it going down in history as a great hundred-buck rum selling for thirty times that much. My own feeling is that DDL does its premium street cred no favours at all when messing around with their rums at this level and that makes the 50th anniversary a let-down – too well made to leave behind, too old to ignore … and too messed-with to love.

When assessing the Foursquare Criterion in a somewhat differing context, I wrote “my work is to describe what I taste and offer an opinion on the product as it stands, not its underlying production philosophy.”  Here, the same rule has to apply, so I must score it as I see it and give a grudging endorsement, because it really is quite decent…but only within its frustrating and unnecessary limitations. And while it may be a halo rum for DDL, for us rum lovers it’s unlikely to ever become a unicorn – which probably makes it a good thing it’s out of our financial reach, because at least that way we won’t be tempted to buy it and shed sweetened ethanol tears after the fact.

(84/100)

Other notes

  • Most sources agree that ⅔ of the blend is from the Port Mourant Still (from 1966 – that’s the true 50 year old). Remaining ⅓ is from (variously) the decommissioned John Dore still (laid to age in 1983), the VSG wooden pot still (age unknown) and the French Savalle still (marque ICBU, age unknown). Charred Barrel noted it was a blend of 5 rums so we can only assume the last component is the Enmore wooden coffey still.
  • The El Dorado website makes no mention of this rum, perhaps because it’s not part of their standard lineup.

Rendsburger Port Mourant 1975 32 Year Old Rum – Review

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Apr 072018
 

#503

If you’re looking at this title and muttering to yourself “What the hell is Rendsburger?” you’re certainly not alone.  Aside from Spirits of Old Man out of Germany or Norsk Cask from Denmark, they may be among the least known independent bottlers out there and before a bunch of samples drifted across my scope, I sure hadn’t heard about them either. Strictly speaking, Rendsburg is the north-west German town close to Flensburg in which the parent company Kruger – a small, family-run whisky and spirits specialist  mainly known for its large whisky auction house – has its home. Therefore they have much in common with the makers of White Cat, the eminently forgettable white rum I looked at some time back and share some of the same centuries-old trading DNA which made the history of the White Cat more interesting than the rum itself.

By now many of us still-specific rum nifflers more or less agree that the 1970s were very good years for rum, especially the period 1972-1975 which is the source of many amazing products made by independent bottlers in the first decade of the new millenium and which at the time of issue were pretty much ignored. Rums like the Velier PM 1972 and PM 1974, the Norse Cask PM 1975, BBR 1975 PM, Silver Seal 1974 28 YO Demerara…the honour roll is long and distinguished, even if we can barely source them any longer and they’re drifting into “unicorn” status.

That a small outfit like Kruger – which doesn’t really “do” rums – could bring out something as excellent as this says a lot for the heritage stills DDL now has dibs on, and how far back they go (and perhaps, how underutilized they were as marques in their own right until quite recently). Kruger named its rums after the town in which they operate, slapped the picture of various mayors on the line of outturns of whiskies and occasional rums…and somehow in the middle of all that, managed to pick up a barrel the likes of which Velier would have been proud, issued a 56.9% 32 year old PM in 2007 and met with exactly zero fanfare and almost total indifference.

How this aged rum created nary a ripple in the wider rum world – even back in 2007 – is mystifying. It’s a real Port Mourant beefcake in all the ways that matter. Sniff this dark brown monolith and just revel in the deep, dark aromas: slightly bitter chocolate, licorice, backed up with salt caramel ice cream, a thrumming undercurrent of molasses, and that was just in the first sixty seconds. It let forth billowing fumes of anise, dark fruits – prunes, plums, blackberries, overripe cherries, raisins, to which were added (over some hours) sweet soy with just enough salt to add some character, faint citrus, smoke, leather and even a touch of vanilla.  

As for the palate, man, I’m in heaven, because I just found another 1975 to add to the pantheon. That same growling, thick richness of the nose segued to the tongue with no pause, no hesitation and no detours.  The strength was near perfect – it gave strength without sharpness, allowing all the flavours to march solidly across the stage and present themselves one after the other: licorice, vanilla, caramel, bags of fruits, a little saltiness, biscuits and cereal.   The whole thing was warm and thick with dark flavours that never seemed to want to stop showing off and even the oak, which at first I thought started to take on an unhealthy dominance after some minutes (I was actually writing “Mozart just exited the scene and is replaced by Salieri!” before crossing it out), retreated into the background, chilled out, and was (to my relief) content to be a part of the troupe rather than a scene stealing hog.  The exemplary and traditional Port Mourant profile finished long, slow, voluptuously and with chocolate, coffee grounds, some oak, vanilla, raisins and anise, and overall, my take was it was simply one of the Grand Old Men of the plantation and the still.

Of course, when it comes to Guyana, Enmore and Port Mourant are the stars of the show, boasting well-known and oft-analyzed profiles, and name recognition nearly off the charts. Versailles rums, good as they are, often live in their shadow.  What this means for deep-diving rum nerds, is that the PM profile may be one of the best known of its kind, its variations endlessly dissected, the minutest deviations pondered over by PhD students in rumology. Here, I submit there’s no need — the rum is superlative.  It’s one of the best of the independent Port Mourants rums in existence and shows how high the bar has been set not only by the rums listed above, but by itself. It’s a bottle hungering to be cracked, has a cork demanding to be popped…an ambrosia begging to be sampled, drunk, enjoyed and, damnit, shared.  

As I unhurriedly went through this rum, leaving many others to await their turn another day, I thought of W. H. Davies, who wrote in “Leisure”

What is this life, if, full of care

We have no time to stand and stare?

Here we do need to stand and stare, I think: because rums like this need to be savoured, to evoke dreams of old days gone by; not hurried over, or guzzled quickly and moved away from as the next hot-snot new bottling comes on the scene. It rewards not only patience but slow appreciation, and about the only regrettable thing I can say about it is how rare it is, how unknown.  For rum junkies in general and Port Mourant lovers in particular, it conjures memories, exhilaration and, at the end, perhaps even a little sadness. It’s simply that kind of experience, and I’m glad I managed to try it.

(90/100)

Other Notes

  • Rendsburger also has single cask bottlings of Barbados and Caroni, which I’ll get to sooner or later.
  • Sharp eyed readers will be amused at the bottle picture – I sure was, and compliments to that great guy Malte who traded me the sample: for the effort he put in, the rum itself and his sly sense of humour. The real bottle label is below.

Photo (c) Whyskyrific.com

Chalong Bay White Rhum – Review

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Apr 032018
 

#502

Asia may be the next region to discover for rummies.  Some companies from there already have good visibility – think Nine Leaves or Ryoma from Japan, Tanduay from the Phillipines, Amrut from India, Laotian from Laos and so on – and we should not forget Thailand.  So far I’ve only tried the Mekhong “rum” from there, and that was a while ago…but for the last few years I’ve been hearing about a new company called Chalong Bay, from the resort area of Phuket; and when John Go and I traded samples a while back, he sent me one of their interesting whites that for sure deserves a look-see from the curious who want to expand their horizons.

Chalong Bay is the brainchild of another pair of entrepreneurs from France (like those chaps who formed Sampan, Whisper and Toucan rums) named Marine Lucchini and Thibault Spithakis.  They opened the company in 2014, brought over a copper column still from France and adhered to an all-natural production philosophy: no chemicals or fertilizers for the cane crop, no burning prior to harvesting, and a spirit made from fresh pressed cane juice with no additives.  Beyond that, there’s the usual marketing stuff on their site, their Facebook page, and just about everywhere else, which always surprises me, since one would imagine the history of their own company would be a selling point, a marketing plug and a matter of pride, but no, it’s nowhere to be found.

Be that as it may, it’s quite a nifty rum (or rhum, rather), even if somewhat mild. The 40% ABV to some extend gelds it, so one the nose it does not present like one of the proud codpieces of oomph sported by more powerful blancs out there.  Olives, brine, swank, generally similar to Damoiseau, J. Bally, Neisson, St Aubin blanc, or the clairins, just…less. But it is an interesting mix of traditional and oddball scents too: petrol, paint, wax, a little brie, rye bread, and just a touch of sweet sugar cane juice.  Faint spices, lemongrass, light pears…before moving on to hot porridge with salt and butter(!!). Talk about a smorgasbord.

The taste on the palate takes a turn to the right and is actually quite pleasing. Thin of course (couldn’t get away from the anemic proof), a little sharp.  Sweet and tart fruity ice cream. A little oily, licorice-like, akin to a low rent ouzo, in which are mixed lemon meringue pie and clean grassy tastes. Not as much complexity as one might hope for, though well assembled, and the flavours at least come together well.  Citrus, pears and watermelon emerge with time, accompanied by those muffled softer tastes – cereal, milk and salted oatmeal – which fortunately do not create a mishmash of weird and at-odds elements that would have sunk the thing. Finish is short, thin, quite crisp and almost graceful.  Mostly sugar water, a little citrus, avocado, bananas and brine. Frankly, I believe this is a rum, like the Toucan No 4 or the El Dorado 3 Year Old White, which could really benefit from being ratcheted up a few notches – 50% would not be out of place for this rhum to really shine.

After all is done, the clear drink finished, the unemotional tasting notes made, the cold score assigned, perhaps some less data-driven words are required to summarize the actual feelings and experience it evoked in me.  I felt that there was some unrealized artistry on display with the Chalong Bay – it has all the delicacy of a sunset watercolour by Turner, while other clear full proofs springing up around the globe present brighter, burn more fiercely, are more intense…like Antonio Brugada’s seascape oils (or even some of Turner’s own).  It’s in the appreciation for one or the other that a drinker will come to his own conclusions as to whether the rum is a good one, and deserving a place on the part of the shelf devoted to the blancs. I think it isn’t bad at all, and it sure has a place on mine.

(80/100)

Other notes

  • Interestingly, the rum does not refer to itself as one: the label only mentions the word “Spirit”.  Russ Ganz and John Go helpfully got back on to me and told me it was because of restrictions of Thail law.  I’m calling it a rhum because it conforms to all the markers and specs.
  • Tried contacting the founders for some background, but no feedback yet.
  • The company also makes a number of flavoured variants, which I have not tried.

El Dorado 3 Year Old White Rum – Review

 3 Responses »
Mar 312018
 

#501

If there was ever a standard strength, filtered white rum that could drag the Bacardi Superior behind the outhouse and whale the tar out of it, this is the one.  I bought the thing on a whim, tasted it with some surprise and ended up being quietly impressed with the overall quality. I know it’s made to be the base for cocktails, and when it comes to badass white-rum-bragging-rights from Mudland the local High Wine is the Big Gun – but you know, as either a trial sipping experience, a cocktail ingredient or just to have something different that won’t rip your face off like Neisson L’Espirit 70⁰ … this rum is not bad at all.

Now according to the El Dorado site this rum derives from the Skeldon and Blairmont marques, which suggests the French Savalle still, not any of the wooden ones, or perhaps the same coffey still at Diamond that made the DDL Superior High Wine. Maybe.  I sometimes wonder if they themselves remember which stills make which marques, given how often the stills were moved around the estates before being consolidated at Diamond. Never mind though, that’s niggly rum-nerd stuff. Aged three years in ex-bourbon casks, charcoal-filtered twice — which to my mind might have been two times too many — and then bottled at a meek 40%.

Yeah, 40%.  I nearly put the thing back on the shelf just because of that.  Just going by comments on FB, there is something of a niche market for well made 45-50% whites which DDL could be colonizing, but it seems that the standard strength rums are their preferred Old Dependables and so they probably don’t want to rock the boat by going higher (yet). I can only shrug, and move on…and it’s a good thing I didn’t ignore the rum, because it presented remarkably well, punching above its weight and dispelling many of my own initial doubts.

Nose first: yes, it certainly reminded me of the High Wine. Glue, acetone and sugar water led off, plus some rubber, brine and light fruits.  Even at the placid strength it had, you could sense potential coiling around in the background, a maelstrom of apples, pears, vanilla, light smoke and unsweetened yoghurt, plus tarter, more acidic notes of orange peel, mangoes and a twirl of licorice. None of these was forceful enough to really provide a smack in the face or to elevate it to something amazing or original; they were just visible enough to be noticed and appreciated without actually emerging to do battle.  It smelled something like a low-rent Enmore, actually and kind of resembled El Dorado’s own 12 year old

Tastewise, there was certainly nothing to complain about.  It was reasonably hot, a little rough on the tongue, given to sharpness rather than smoothness. Vanilla, apples, green grapes, bitter chocolate, some indeterminate light fruits, sugar water, coconut shavings; and also a not-entirely-pleasant taste of almond milk, with the whole drink possessing the edge that made it more than a merely pleasant or bland or eager-to-please cocktail ingredient of no particular distinction. The finish, redolent of vanilla, brine, citrus and yoghurt, was actually quite good, by the way – short, of course, and faint, but nice and warm and with just enough edge to make it stand apart from similar whites.

Where the El Dorado white 3 year old succeeds, I think, is in having a certain element of character, for all its youth.  That was always the problem I had with the low end Bacardis or Lambs or other boring white stuff on sale in the LCBOs of Ontario (for example), with which this must inevitably be compared: they all felt so tamed and buttoned down and eager to please, that any adventurousness and uniqueness of profile — braggadoccio if you will — seemed squeezed out in an effort to appeal (and sell) to as many as possible. They had alcohol and a light taste, and that was it: bluntly speaking, they were yawn-throughs — and mixing them to juice up a cocktail was the best one could hope for.  

Not here. This rum has some uncouth street-tough edge, plus a bit of complexity from the ageing, and originality from the still which is lightly planed down by the filtration…yet retains the taste of something strange and barbaric. And it still doesn’t scare off those who don’t want a cask strength screaming bastard like, oh, a clairin. For any rum made at 40% to be able to tick all these boxes and come out the other end as a rum I could reasonably recommend, is quite an achievement, and makes me want to re-evaluate its stronger older brother immediately.

(81/100)

Damoiseau 1953 31 Year Old Rhum Vieux – Review

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Mar 252018
 

#500

In one of those odd coincidences that crop up from time to time, I was polishing up my essay for one of Damoiseau’s ultra-premium halo rums – a 31-year-old inky bad boy from 1953 which is usually too rare or too pricey for most to bother with – when Single Cask posted his own in-depth evaluation.  We had a good laugh over that one, but in a way it’s good too, because while one person’s review of a single rum is fine, a better opinion can be formed with several people putting their snoots and their pens in.

Age-wise, the 1953 from Guadeloupe does not class with the ur-rum of the Aged Canon, the Longpond 1941 58 year old from Jamaica. Yet it is nearly as old as the 1972 37 year old Courcelles which was the first to truly switch me on to French Island rhums, and which is the oldest such aged product I’ve yet found – others, such as the Bally 1929 and Clement 1952 and the St James 1885 were made before 1953, but are younger. Whatever the case, it is a blast from the past, something we should try if we can just to get a sense of the evolution of rum and rhum and ron over the decades. And yes, also because it’s so damn cool to have something from the fifties.

So what was happening in 1953? The Cold War was in full swing, of course, Eisenhower was inaugurated as #34, Mossadegh was overthrown, Stalin died, Kruschev lived. The Kenyan Mau Mau uprising was going on while the Korean conflict “ended.” Everest was conquered.  Watson and Crick announced DNA, Ian Fleming published the first James Bond novel, the first Playboy came out, and Jacques Tati released the whimsical classic M. Hulot’s Holiday (a favourite of mine, along with Playtime). The rationing of cane sugar in the UK came to an end. The Brits suspended the British Guiana constitution and occupied the country militarily so as to make it safe for democracy.  And this rum came off the still in Damoiseau’s facilities.

I have no idea whether it was pure cane juice distillate or molasses – Guadeloupe has a history of mixing things up, which is part of their attraction for me – but just based on the way it nosed and tasted when run past other aged dinosaurs (the Courcelles, Damoiseau’s own 1980, the Cadenhead Green Label 1975 among others) I’m going to say it had at least some molasses-based spirit in the bag. It was a sort of mud brown opaque liquid that immediately made me remember the St James 1885, and poured thickly into a glass, even at its relatively low ABV of 42%.

But it smelled very nice for all that low power. Really. It had deep fruity flavours of blackberries and prunes, plus a lighter note of strawberries and orange peel, flambeed bananas, and it reminded me somewhat of a Bajan Black Rock rum, what with that underlying series of crisper smells.  Candied oranges, a flirt of caramel, some faint licorice, very ripe cherries added to the fun. However it was deeper than any of those, richer, smokier, and developed over time into a plump and rotund nose that steered you between the darkness of a crazy old fellow like the 1885, and the clarity of Damoiseau’s 1989 20 year old.  Which perhaps says something for bottles that have sat waiting their turn for many many decades.

The palate is perhaps where people will pause and look at the glass a second time.  That it was pungent and warm was beyond question: even at the rather anemic strength, one could easily appreciate the relative smooth profile, pick out some weak brine, prunes, chocolate covered dates, banana cake, strawberries and honey; and to that, over time, was added a few lighter balancing elements of unripe strawberries, maybe a stalk of lemongrass. Overall, what fruitiness there was, was dialled way back and became almost imperceptible, to be overtaken by something more like a mix between tannins and some much-too-strong unsweetened black tea, both a good and a bad thing, depending on your viewpoint.  As for the finish, not much could be said – warm, short and unfortunately weak. That said, here perhaps more could be discerned which were missing from the palate – black tea, honey, raisins, faint chocolate, plenty of crushed walnuts, if too little of the fruitiness I was looking for.

Taking all these aspects together, one must concede that it started well, it’s just that as it opened up, there emerged a sort of woody, smoky, nutty background: this gradually overwhelmed the delicate balance with the fruit which the rhum needed (my opinion), and that to some extent derailed the experience. Too, the flavours melded into each other in a way that a stronger strength might have separated, creating a somewhat indeterminate melange that was tasty, yes, just…indistinct. And not entirely successful.

After the fact, looking at the rhum coldly and practically and assessing it on price alone, I can’t tell you this is a must-have.  It’s the kind that relies on the numbers “5”, “3” and “1” to be taken seriously, but when it comes down to a tasting, it doesn’t quite live up to the hype of the halo…and the numbers become just that, numbers.  As with rums like the Black Tot (or even the St James, Clement or Bally rhums mentioned above), we’re buying to touch the past and reconnect with a sense of real heritage, back when the Cuban style of rum dominated the market, to see how what we drink now came from what was made then. It absolutely is a major product in that sense — just not exceptional, compared to what it costs, compared to what we might expect.

So, the Damoiseau 1953 nails the historical value and cool presentation ethos just fine, and it is different, fascinating, old, pretty good, and if that’s what you want, you’re good to go. You’ll be the belle of the ball showing it off, and all the stares and envious plaudits will surely be yours for the taking (unless someone trots out a Bally). The best thing to do — when you’re in the store looking at it, with your bonus cheque twitching in your pocket — is to ask yourself some very honest questions as to why you want to buy it and then proceed purely on that basis.  I ignored that advice myself, and that’s why you’re reading this review.

(85/100)

Other notes

The Single Cask review is really worth a read.  Also, he noted that it came from some “lost casks” but Herve Damoiseau, when confirming the age as 31 years for me (the rhum was bottled in 1984), didn’t know anything about that.

Velier Port Mourant 1997-2012 15 YO Rum – Review

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Mar 212018
 

 

#499

Velier’s 1997 Port Mourant expression announces its presence with the sort of growling distant rumble of an approaching storm system, igniting emotions of awe and amazement (and maybe fear) in the unwary.  It’s 65.7% of fast-moving badass, blasting into a tasting session with F5 force, flinging not just bags but whole truckloads of flavour into your face.

You think I’m making this up for effect, right?  Nope. The nose, right from the start, even when just cracking the bottle, is ragingly powerful, shot through with lightning flashes of licorice, blueberries, blackberries, off-colour bananas, citrus, pineapple slices in syrup.  And as if that wasn’t enough, it apparently decided to include sheeting rainstorms of anise, coffee, cinnamon, ginger, nutmeg…just because, y’know, they were there and it could. It was heavy, but not too much, and it made me think that while the ester-laden Savanna HERR or Hampdens and Worth Parks have similarly intense aromas (however unique to themselves), the darker heavier notes from Port Mourant definitely have their place as well.

Photo courtesy of Barrel Aged Mind

Physically tasting the rum is an experience in itself, largely because of its weight, its heft, and its tropical intensity – yet amazingly, it’s all controlled and well balanced.  It’s hot-just-short-of-sharp, smooth, buttery, dark, licorice-y, caramel-y and coffee-like, and while you’re enjoying that, the additional notes of blackberries, unsweetened black tea, citrus and raisins (and more anise) descend like black clouds casting ominous shadows of oomph all over the labial landscape. The assembly of the vanilla, salt caramel, fruity spices and anise notes of the PM is really quite impressive, with no overarching bite of tannins to mar the experience – they were there, but unlike the El Dorado Rare Collection PM 1999, they kept their distance until the end. And even the finish held up well: it was long, dry, deep, with those heretofore reticent tannins finally making their presence felt,causing the fruits to recede, flowers to step back, and it all stays alive for a very, very long time.  

Tropical ageing can’t be faulted when it produces a rum as good as this one.  Balance is phenomenal, enjoyment off the scale, and it just doesn’t get much better than that. The endurance of the aromas and tastes hearkens back to the neverending-smell-story of the Skeldon 1973. It’s just about epic, and I mean that. Consider: I had a generous sample of this rum and played with it for some hours;  I had dinner; had a bath, brushed my teeth; I went to bed; I woke up; did all the “three-S” morning ablutions, dressed, had coffee, and as I went out the door and got kissed by the wife, she frowned and asked me “What on earth have you been drinking?” Kissed me again. And then, after another sniff. – “And why the hell didn’t you share any?”  I’ll drink a rum like that any day of the week.  Maybe even twice.

(90/100)

Other notes

  • Outturn 1094 bottles.  Wooden double pot still.  Velier needs no introduction any more, right?
  • Compliments to Laurent Cuvier of Poussette fame, for his generous sharing of this gem among rums from the Lost Age of the Demeraras.
  • Two Danish squaddies of mine, Nico and Gregers, detailed their own experiences with the PM 1997 in the recent Velier PM Blowout.
  • The most detailed review of this I’ve ever seen is Barrel Aged Mind’s 2013 write up (sorry, German only). And if you want to know how far we’ve come, consider that a mere six years ago, he paid 118€ for it.

Postscript

It was instructive to note the reactions to the El Dorado Rare Collection (First Edition) reviews in general, and the Port Mourant 1999 in particular. Many people felt the ED PM took pride of place, variously calling it a flavour bomb of epic proportions, “huge”, “brutal” and “immense”. Clearly the Port Mourant rums have a cachet all their own in the lore of Demeraras; and if one disses them, one had better have good reasons why. Saying so ain’t enough, buddy – state your reasons and make your case, and it had better be a good one.

My rebuttal to why the El Dorado PM got the score it did from me is quite simply, this rum.  If you ever manage to get it, try them together and reflect on the difference. Hopefully your mileage doesn’t vary too far from mine, but I honestly think the Velier PM 1997 is the superior product.

El Dorado Rare Collection – Port Mourant 1999-2015 16 YO PM

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Mar 192018
 

#498

By the time we get to the third Rare Collection rum issued by DDL to the market in early 2016, we have to move on from our preconceived notions of how these rums were issued: okay, so they booted Luca out and us rum junkies were pissed, but from a purely business perspective, perhaps we should have seen it coming.  And anyway, the world didn’t come to an end, did it? Life continued, taxes got paid, rums got drunk, and civilization endured. Time to move on. It was surely nothing personal, just business, caro amico.  Lo capisci, vero?

Which brings us to the Port Mourant 1999, which some say is a fifteen year old and I say is sixteen (just because of the years), bottled at ferocious 61.4% ABV, and deriving from the double wooden pot still which produces (along with the Enmore wooden Coffey still) what I think are the best Guyanese rums available. You’ll forgive me for mentioning that my hopes were high here. Especially since I never entirely got over my feeling that it cost too much, so for that price, I wanted it to be damned good.

For a sixteen year old (or fifteen, if others write-ups are to be taken) made from one of my favourite stills, I felt it was remarkably light and clear for a Port Mourant, and even this early in the assessment, dominated by the sharpness of tannins that had been left to go nuts by themselves for far too long. It was dry and leathery on the nose and, as for both the Enmore 1993 and particularly the Versailles 2002, my personal feeling was and remains that the oak had too much of an influence here – the rum equivalent of sucking on a lemon.  Fortunately, this calmed down after a while and allowed other aromas to be sensed: lemon peel, raisins, pears, black cherries, an olive or three, cloves, freshly sawn lumber, a little brine, and lastly those dense, solid anise and licorice notes that basically danced with the oak and took over the show from there on forwards.

The copper coloured rum was surprisingly citrus-forward when tasted, a little sweet and quite dry on the first sip.  Also musky, with leather and smoke and wooden tannins, very assertive, lots of oomph – it really needed some water to bring it back down to earth.  With that added, the fruitiness came to the fore – tart green apples, cherries, pears, red guavas, raisins, plus of course the solid notes of licorice.  It really was a bit too much though – too sharp and too tannic, and here I truly felt that it could have been toned down a shade and provided a better result.  The finish, though – long, warm, dry, redolent of licorice, hot black unsweetened tea and lighter fruity nuances – was quite good, for all of the concussive nature of what went before.

Looking at The PM 1999 in conjunction with the other two, I’d suggest this was not one of my all-time favourite expressions from the still…the ever-present oakiness was something of a downer, and the lack of real depth, that aridity and bite, kind of derailed the experience, in spite of the redeeming fruitiness and intense heat that normally would earn my favour.  I can’t entirely dismiss it as a lesser effort, or even a failure, because it isn’t, not really – too much still went right (the intensity gave as much as it took away). It’s just that if DDL wanted to own the Demeraras, they dropped the ball with this one.  Partly that’s because the Port Mourant and Enmore profiles are so well known and endlessly revisited by all and sundry, so deficiencies are more clearly (and more quickly) noted and argued over; and the real stars shine right from the get-go, and are known.  But for me it’s also partly because there’s better out there and in fine, I guess I just have to wait until the next releases come my way, because for its price, this is not one of the better PMs in the rumiverse. I wish it were otherwise, but it just isn’t.

(83/100)

Summing up the First Release of the Rare Collection

Overall, I think that DDL — in this First Release — captured the spirit of the Velier Demeraras quite well without entirely ascending to their quality.  Yet for all that qualification, against the indie competition they hold up well, and if they are batting against a behemoth, well, I call that teething pains.

Keep in mind that not all the Velier’s were stratospheric scorers like the UF30E, the Skeldon 1973 or the PM 1972 and PM 1974: there were variations in quality and assessment even for this company.  But perhaps more than any other currently fashionable independent bottler, or the ones that preceded it, Velier placed full proof Demeraras squarely on the map by issuing as many as they did, with many of them being singular deep dives into tiny Guyanese marques nobody else ever bothered with, like Blairmont, LBI, Albion. Which is not a niche I see DDL wanting to explore yet, to our detriment.

What this situation created for DDL was a conceptual competitor for their own single barrel or full proof rum lines like the Rares, which perhaps nobody could have lived up to right off the bat. Yet I submit that Serge’s glowing review of the VSG (90 points) and the FatRumPirate’s satisfaction with the Enmore (5 stars out of 5), as well as my own reviews of the three, gave DDL all the street cred it needed as an inheritor of the Demerara full proof lines. Say what you will, they’re good rums.  DDL has shown they can do it. Perhaps they’re lacking only the global mindshare to sell better, perhaps a more stringent quality review…and maybe for the halcyon memories of the Demeraras Velier made before to fade a little in people’s fond remembrances.

Reading around, it’s instructive to see how popular the El Dorado series is, with what genuine anticipation the Rares were awaited, even when prematurely announced.  People might have been miffed at DDL’s strategy and the relatively high prices, but they were willing to cut DDL a huge break…and for evidence of that, think about this: when was the last time you saw so many reviewers review all three of a new rums’ issue, all within months of them coming out? Aside from the current Foursquare and Velier releases, that was well-nigh unprecedented.

And if, as has been bruited about, the second release is better than the first, then while we may no longer be living in a Golden Age of full proof Demeraras, well, perhaps we’re living in a highly burnished Silver one which may with luck become aurus in its own good time. We can certainly hope that this will turn out to be the case.  In which case both DDL and the buying public will be well served.

Lastly, for some perspectives on the PM 1999 from the other writers out there: all the big guns have written about it by now so….

  • WhiskyFun scored it 82, remarking on its oak-forward nature
  • RumCorner felt it was only worth 79
  • Barrel Aged Mind rated it at 82, and called it “burned”, suggesting the use of charred casks may have been partly responsible.
  • The Fat Rum Pirate called it “a big flavourful menace” and gave it 3.5 stars out of 5
  • The RumShopBoy gave it 54/100, which could roughly equate to around 80-82 points on a Parker scale, and thought it could have been issued at a lower ABV.  He really didn’t like the price.
  • Cyril of DuRhum also weighed in with a dismissive 83 points, thinking that something was missing and it was bitter, with less balance.
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