1423 S.B.S. Barbados (WIRD) 2000 16 YO Rum – Review

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May 202021
 

These days, most rumistas are aware of the Scandinavian company 1423 and their upscale rum brand of the SBS (Single Barrel Selections, even though they sometimes aren’t). In the last five years this small Danish outfit has become a much bigger Danish outfit, not just bottling the upmarket connoisseur’s series of the cask strength single barrel releases, but whole blended lines like the Compañero rums, and occasionally horse trading barrels and supplies with other companies (the Romdeluxe R.1 Wild Tiger, for example, was originally a 1423 import).

But back when this Barbadian rum came on the scene in 2016, they were known primarily in Denmark, even though they had already been in the business of bottling and distribution for eight years by then and had had some success on the larger European rum scene. Not surprisingly, they bought and buy barrels from European brokers (like Scheer, of course…after all, who doesn’t?) and perhaps what enthused them about the Bajan barrel were the stats: distilled in 2000 at WIRD, sixteen years old, a solid 54%, enough for 224 bottles, and deriving from a pot still. That last might have clinched the sale, since most of what the drinking public was getting from the island at that point was pot-column blended rum.  A pot distillate was something rather more interesting.

The year 2000 delivered quite a few Barbadian rums from WIRD to the indie scene: Serge looked at a Cave Guildive 2000-2015 version in 2017 (87 points), one from Whisky Broker a year later (86). Single Cask Rum has probably reviewed the most, here, here, here and here, with the attendant curiosity of referring to them as originating off the Rockley Still when they likely are not (see discussion below this post). Be that as it may, they were and remain quite unique in taste, and this one was no different.  The initial nose, for example, started off very traditionally with papaya, bananas, fresh whipped cream…and some light petrol, diesel on a hot asphalt road, and tar fumes. There were hints of something medicinal, iodine-like and almost peaty notes, but very much in the background (where it belonged, trust me). Resting and coming back suggested we had just gone down the rabbit hole and entered the Hatter’s Tea Party: cookies and cream with some green tea, cucumber sandwiches on white bread (no crusts), delicate florals, light fruitiness and it was all I could do to not to think that this had one of the most completely weird aromas I’d experienced in quite a while — which is not, you understand, a bad thing…just an unexpected one.

Anyway, it must be said that the taste was better behaved. Again there was that fruity line coiling around the slightly heavier creamier notes. Citrus, tangerines, kiwi and pears set alongside vanilla, salt caramel, dark honey and Danish cookies. Also bananas and papayas plus a touch of tart and unsweetened yoghurt, very well balanced.  The medicinal, rubber, petrol and tar notes took a step backward here, so that while they could be sensed, they didn’t overwhelm – still, they distracted somewhat, and the integration into the greater whole wasn’t of the best. The finish was fine, redolent of iodine and soya, gherkins and again, all those light fruits and a touch of whipped cream and cookies.

The rum, then, was quite original, and now, reading around the other reviews of that year’s products after tasting mine, it doesn’t seem my experience was unique. This was certainly some kind of pot still action, and while it could have been made better, it wasn’t a bad rum. Last week I remarked on the weakness and flaccidity of a standard strength 8YO WIRD rum released in 2003 at 42%.  I always hesitate to put the blame of such mediocrity solely on the level of proof and years spent sleeping — because many other things impact profile, light rums do have their charms, and those who specialize in wines and lower strength spirits can often find much to enjoy there.  But when one tries another WIRD that is aged twice as long and nearly half again as strong, from another still, the impacts of age and strength and apparatus are undeniable. The SBS Barbados 2000 is not a top tier rum, it’s still seeking a balance it never finds – but it sure isn’t boring, or forgettable.

(#822)(85/100)

Notes – The Rockley “Still”

Many producers, commentators and reviewers, myself among them, refer to the pot still distillate from WIRR/WIRD as Rockley Still rum, and there are several who conflate this with “Blackrock”, which would include Cadenhead and Samaroli (but not 1423, who refer to this rum specifically as simply coming from a “pot still” at “West Indies” – one assumes they were still getting their knowledge base up to scratch at that point, and Joshua Singh confirmed for me that it was indeed a “Blackrock style” rum).

Based on the research published by Cedrik (2018) and Nick Arvanitis (2015) as well as some digging around on my own, here are some clarifications. None of it is new, but some re-posting is occasionally necessary for such articles to refresh and consolidate the facts.

“Blackrock” refers to WIRD as a whole, since the distillery is located next to an area of that name in NW Bridgetown (the capital), which was once a separate village. In the parlance, then, the WIRD distillery was sometimes referred to as “Blackrock” though this was never an official title – which didn’t stop Cadenhead and others from using it. There is no “Blackrock Still” and never has been.

Secondly, there is a “Rockley” pot still, which had possibly been acquired by a company called Batson’s (they were gathering the stills of closing operations for some reason) when the Rockley Distillery shuttered — Nick suggests it was transformed into a golf course in the late 1800s / early 1900s but provides no dates, and there is indeed a Rockley Resort and golf club in the SE of Bridgetown today. But I can’t find any reference to Batson’s online at all, nor the precise date when Rockley’s went belly-up — it is assumed to be at least a century ago. Nick writes that WIRD picked up a pot still from Batson’s between 1905 and 1920 (unlikely to be the one from Rockley), and it did work for a bit, but has not been operational since the 1950s.

This then leads to the other thread in this story which is the post-acquisition data provided by Alexandre Gabriel. In a FB video in 2018, summarized by Cedrik in his guest post on Single Cask, he noted that WIRD did indeed have a pot still from Batson’s acquired in 1936 which was inactive, as well as another pot still, the Rockley, which they got that same year, also long non-functional. What this means is that there is no such thing as a rum made on the Rockley still in the post-1995 years of the current rum renaissance, and perhaps even earlier – the labels are all misleading.  

The consensus these days is that yet a third pot still — acquired from Gregg’s Farms in the 1950s and which has remained operational to this day — provided the distillate for those rums in the last twenty years which bear the name Blackrock or Rockley. However, Cedrik adds that some of the older distillate might have come from the triple chamber Vulcan still which was variously stated as being inactive since the 1980s or 2000 (depending on the interview) and it was later confirmed that the most famous Rockley vintages from 1986 and 2000 were made with a combination of the Vulcan (used as a wash still) and the Gregg (as a spirit still). 

Yet, as Cedrik so perceptively notes, even if there is no such thing as a Rockley-still rum, there is such a thing as a Rockley style. This has nothing to do with the erroneous association with a non-functional named still.  What it is, is a flavour profile.  It has notes of iodine, tar, petrol, brine, wax and heavier pot still accents, with honey and discernible esters.  It is either loved or hated but very noticeable after one has gone through several Barbados rums. Marco Freyr often told me he could identify that profile by smell alone even if the bottler did not state it on the label, and I see no reason to doubt him.

 

Secret Treasures Old Barbados (WIRR) 1995 8 YO Rum – Review

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May 162021
 

More than a few rums of Secret Treasures’ “classic” era with those distinctive labels, were all bottled in the year 2003.  When we consider that for years – decades, actually – the original owner of the brand, Fassbind, had been making grappa, schnapps and other spirits, then it’s not too surprising to consider that when they first went into rums, they didn’t mess around with a single barrel bottling, but picked up a number of casks all at the same time and released them simultaneously. So far I can’t find any references to rums from ST released prior to 2003 so I think we can reasonably date the inception of their rum line to that year.

The biography of the company is reprinted below the review, and I’ll simply provide the basic details: this is a WIRR (or WIRD) rum, with the type of still not mentioned (see Other Notes, below) in 1995, on the island of Barbados.  The ageing location is also unknown – Secret Treasures has noted for some others in this series, that they bought barrels that had been aged in situ, but that’s not enough for me to make the claim for this one. Oh and it was reduced down to 42% ABV, which was in line for the period, where producers were nervous about going higher at a time when standard strength was all distributors were often willing to accept (both Richard Seale and Luca Gargano faced this problem with many of their very early releases).

Therefore, what we have here is an interesting rum from the recent past which is something of a curiosity – too “young” to warrant the archaeological excitement of a truly old rum from forty or more years in the past, yet not current enough to be eagerly snapped up by today’s Barbadian fanboy.  In fact, it’s kind of fallen through the cracks. 

Can’t say I blame them. The rum is no great shakes. The nose is good enough – in fact, it could be argued it’s the best part of the experience – a little flowery, nutty, nice background of a caramel milk shake. I liked the spices coiling gently around stronger aspects of the profile, mostly vanilla, cumin and masala. There’s a touch of lemon peel, a little glue and acetones, light fruits – pears, papayas, mangoes, ripe oranges.  Nothing outstanding, just a nice, solid nose.

To taste, it’s warm, an easy drink.  For today’s more seasoned palate, it is, in fact, rather thin…almost unappetizing. I think there may be some licorice here, but it’s so faint I can’t be sure. Crushed walnuts, molasses, cereals, caramel, nougat. Some whipped cream over a dialled down fruit salad with the flavours leached out. The crispness of some apples and green grapes mixing it up with the blandness of bananas, watery pears and papaya, and believe me, that’s pushing it.  Finish is completely meh.  Short, warm, redolent of grapes, papaya, and a touch of the spices but the vanilla, molasses, pineapple and other tart notes is pretty much gone by this stage. 

As with most rums predating the current renaissance, which almost all need a bit more boosting to reach their full potential, I believe that the flaccid strength is the undoing of this rum for the modern aficionado. The nose is fine – faint, but at least clear and discernible – and it’s all downhill to near-nothingness from there. But I say that from my perspective, and those who have always stayed with the 40% rums of the world will find less to disappoint them, though I would suggest the rum retains some of that Goldilocks’s Little Bear characteristic of Barbadian rums in general.  At the time it was made, neat sipping was less the rage than a good mixed drink in which rums were not permitted to have too much character of their own, so that might account for it.

Secret Treasures has never really been a huge mover and shaker on the indie rum scene. They have almost completely dropped out of sight (and weren’t that well known even before that), stay in small markets with their current blended rums, and the promise of their initial single cask bottlings is long gone.  If it wasn’t for long-ignored old and mouldy reviews (including this one, ha ha, yeah you can sit back down there in the peanut gallery, fella), I doubt anyone would remember, know, or much care. But in a way I wish they had stuck with it.  There’s interest out there for such things and while their selections were never top tier, consider that so many releases all took place in the early 2000s, at the same time as Velier’s and Rum Nation’s first bottlings, preceding 1423, the Compagnie, L’Esprit and all those others making waves in 2021. Even if they aren’t that well regarded now, I argue that for history and remembering the first indies, it’s occasionally useful and informative to try one just to see how the world has turned, and dammit, yes, drink it for nostalgia’s sake alone, if the other reasons aren’t enough.

(#821)(80/100)

Other notes

  • A bottle of this went for £50 on Whisky Auction website in September 2018.
  • Outturn was 1258 bottles, from three casks
  • The still: it’s not mentioned on the bottle or Haromex’s website. It tastes, to me, like a pot-column blend, not aggressive enough for the pot, not light and easy enough for pure column.  Amazon’s German site refers to it being pot still, but that is the the only such extant reference (it was confirmed that there was an operational pot still at WIRD in 1995). No other source mentions the still at all (including Wikirum and RumX). We’ll have to take it as unanswered for now

Historical background

Initially Secret Treasures was the brand of a Swiss concern called Fassbind SA (SA stands for Société Anonyme, the equivalent to PLC – the wesbite is at www.Fassbind.ch) — who had been in the spirits business since 1846 when when Gottfried I. Fassbind founded the “Alte Urschwyzer” distillery in Oberarth to make eau de vie (a schnapps). He was a descendant of Dutch coopers who had emigrated to Switzerland in the 13th century and thus laid the foundation for what remains Switzerland’s oldest distillery. 

They make grappa, schnapps and other spirits and branched out into rums in the early 2000s but not as a producer: in the usual fashion, rums at that time were sourced, aged at the origin distillery (it is unclear whether this is still happening in 2021), and then shipped to Switzerland for dilution with Swiss spring water to drinking strength (no other inclusions). In that way they conformed to the principles of many of the modern indies. 

Fassbind’s local distribution was acquired in 2014 by Best Taste Trading GMBH, a Swiss distributor, yet they seem to have walked away from the rum side of the business, as the company website makes mention of the rum line at all. Current labels on newer editions of the Secret Treasures line refers to a German liquor distribution company called Haromex as the bottler, which some further digging shows as acquiring the Secret Treasures brand name back in 2005: perhaps Fassbind or Best Taste Trading had no interest in the indie bottling operation and sold it off as neither Swiss concern has any of the branded bottles in their portfolio.

Certainly the business has changed: there are no more of the pale yellow labels and sourced single barrel expressions as I found back in 2012.  Now Secret Treasures is all standard strength anonymous blends like aged “Caribbean” and “South American” rum, a completely new bottle design and the Haromex logo prominently displayed with the words “Product of Germany” on the label.

 

Secret Treasures Old Venezuela 1992 11 YO Rum – Review

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May 132021
 

There are some older bottles in the review queue for products from what I term the “classic” era of the Swiss / German outfit of Secret Treasures, and it’s perhaps time to push them out the door in case some curious person ever wants to research them for an auction listing or something.  Because what Secret Treasures are making now is completely different from what they did then, as I remarked in my brief company notes for last week’s entry on the “Carony” rum they released in 2003.

In short, from a traditional indie bottler who exactingly and carefully selects single barrels from a broker and bottles those, the company has of late gone more in the direction of a branded distributor, like, say, 1423 and its Companero line. That’s not a criticism, just an observation: after all, there’s a ton of little single-barrel-releasing indies out there already – one more won’t be missed – and not many go with the less glamorous route of releasing blends in quantity, though those tend to be low-rent reliable money spinners.

But returning to Secret Treasures’ rums of “the good old days”. This one is from Venezuela:  column still product, 42% ABV, 1716 bottle outturn. The label is in that old-fashioned design, noting the date of distillation as 1992 and the distillery of origin as Pampero — but it should be noted there is a “new-style label” pot-still edition released in 2002 with a completely different layout, sharing some of the same stats, the reason for which is unknown. As an aside for the curious, the Venezuelan Pampero distillery itself was formed in 1938 and remained a family concern until it was sold to Guiness in 1991; it is now a Diageo subsidiary, making the Pampero series of light rums like the Especial, Anejo, Seleccion and Oro. Clearly they also did bulk rum sales back in the 1990s.  

So that’s the schtick. The rum tasting now. Sorry for the instant spoiler, but it’s meh. The nose is okay and provided one has not already had something stronger (I had not) then aromas of caramel, creme brulee and toffee can easily be discerned, with some light oakiness, dark chocolate, smoke and old leather.  A touch of indeterminate fruitiness sets these off, some unsweetened yoghurt, plus vague citrus — and that word is a giveaway, because this whole thing is like that: vague.

Tasting it reinforces the impression of sleepy absent-mindedness. The rum tastes warm, quite easy, creamy, with both salt and sweet elements, like a good sweet soya sauce. Caramel and toffee again, a hot strong latte, oak, molasses and a nice touch of mint. The citrus wandered off somewhere and the fruits are all asleep. This is not a palate guaranteed to impress, I’m afraid. The finish is odd: it’s surprisingly long lasting; nice and warm, some molasses, coffee, bon bons, but it begs the question of where all the aromas and final closing tastes have vanished to.  

You’re tasting some alcoholic rummy stuff, sure, but what is it? That’s the review in a nutshell, and I doubt my score would have been substantially higher even back in the day when I was pleased with less. You sense there’s more in there, but it never quite wakes up and represents. From where I’m standing, it’s thin tea — a light and relatively simple, a quiet rum that rocks no boats, makes no noise, takes no prisoners. While undeniably falling into the “rum” category, what it really represents is a failure to engage the drinker, then or now – which may be the reason nobody remembers it in 2021, or even cares that they don’t.

(#820)(78/100)

Other notes

  • Comes from a blend of four barrels
  • Sold on Whisky Auction for £50 in 2018. Rumauctioneer’s May 2021 session has a “new design” blue label bottle noted above, currently bid to £17

Historical background

Initially Secret Treasures was the brand of a Swiss concern called Fassbind SA (SA stands for Société Anonyme, the equivalent to PLC – the wesbite is at www.Fassbind.ch) — who had been in the spirits business since 1846 when when Gottfried I. Fassbind founded the “Alte Urschwyzer” distillery in Oberarth to make eau de vie (a schnapps). He was a descendant of Dutch coopers who had emigrated to Switzerland in the 13th century and thus laid the foundation for what remains Switzerland’s oldest distillery. 

They make grappa, schnapps and other spirits and branched out into rums in the early 2000s but not as a producer: in the usual fashion, rums at that time were sourced, aged at the origin distillery (it is unclear whether this is still happening in 2021), and then shipped to Switzerland for dilution with Swiss spring water to drinking strength (no other inclusions). In that way they conformed to the principles of many of the modern indies. 

Fassbind’s local distribution was acquired in 2014 by Best Taste Trading GMBH, a Swiss distributor, yet they seem to have walked away from the rum side of the business, as the company website makes mention of the rum line at all. Current labels on newer editions of the Secret Treasures line refers to a German liquor distribution company called Haromex as the bottler, which some further digging shows as acquiring the Secret Treasures brand name back in 2005: perhaps Fassbind or Best Taste Trading had no interest in the indie bottling operation and sold it off as neither Swiss concern has any of the branded bottles in their portfolio.

Certainly the business has changed: there are no more of the pale yellow labels and sourced single barrel expressions as I found back in 2012.  Now Secret Treasures is all standard strength anonymous blends like aged “Caribbean” and “South American” rum, a completely new bottle design and the Haromex logo prominently displayed with the words “Product of Germany” on the label.

 

Secret Treasures Trinidad (Caroni) 1996 7 Year Old Rum – Review

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May 102021
 

In the maelstrom of ongoing indie releases coming at us from every direction almost every month, it’s easy to overlook some of the older rums, or even some of the older companies. Secret Treasures is one of these — I had discovered their charms on the same trip where I found the first Veliers, all those long years ago, at a time when the concept of independent bottlers was a relatively small scale phenomenon. Back then I bought the company’s Enmore 1989, and both Grandma Caner and I liked it so much we polished off the thing in under a week, and started looking around for more.

Over the years I bought a few others, got a few samples and reviewed the few I scored, and then ownership changed.  The last rums Haromex (the new distributor) put out the door  before they changed the ethos of the brand was the twin St Lucian John Dore and Vendome pot still rums in 2014 and subsequent releases were radically different. The company and the Secret Treasures brand has faded from view since then, and few consider their rums great finds (when they consider them at all) as other, newer indies jostle for the place it once held (for a more complete historical picture, see below)

This is where I’m supposed to make some nostalgic Old Fart kind of comment where I wax rhapsodic about the long forgotten and unappreciated rums of yore, undisovered steals and diamonds in the rough which weren’t appreciated at the time by the aggressive young rum pros of today, blah blah blah.  Unfortunately, that’s not the case here. The rum – a Caroni, one of a few released – fell unaccountably short of the high bar set by Velier and other independents, and remains a forgotten, forgettable curiosity, noted more for the associated name than any intrinsic quality it possesses itself.

Let’s do the tasting, then, to demonstrate why somehow this thing falls down flat. The nose gives a promising indicator of things to come, but which don’t.  It immediately reeks of the characteristic petrol, tar and road asphalt in hot weather which so defines Caroni.  It is dry and sere and surprisingly hot for a near-standard-proofed rum (42% ABV), dark and with notes of sugar water, rubber, acetones, fruits – unripe red cherries and strawberries, pears and ripe green apples.  There is also a touch of vanilla and light molasses, but nothing strong or overpowering.

A salty sweet sugar water greets the tongue with warmth and firmness.  All the fleshy and watery fruits we’re familiar with parade around – pears, watermelons, white guavas, papaya, kiwi fruits, even cucumbers all take a bow.  A trace of olives and occasional whiff of strawberries and petrol are barely noticeable, so one can only wonder where, after such a promising beginning, they all vanished to. Eloped, maybe. Certainly they bailed and left the rum with nothing but memories and a good wish to lead to its inevitably disappointing denouement, which was short, breathy, light and watery, and barely registered some vanilla, brine, a fruit or two and exactly zero points of distinction.

Secret Treasures did put out a few really exceptional rums — their lack of marketing, lack of visibility and lack of distribution mostly relegated them to obscurity (the Enmore 1989 mentioned above is a case in point) — and as is usually the case with small volume bottlers, the outturn of the original line was somewhat hit or miss, and not everything they bottled was gold. This Trini rum was something of a waste of time, for example, weak, unfocused, undistinguished, practically anonymous.  Oh it was a rum all right, identifiable as a Caroni, just not much of one. Perhaps it should have been left in the barrels a few more years. Many more years. And then finished in sherry casks. And then spiced up. Then it might have had a profile I’d actually notice. But then again, maybe not. 

(#819)(78/100)

Other Notes

  • Outturn 1304 bottles.  Distilled 1996, bottled August 2003 in Switzerland. The unproven implication is that it was completely aged in Trinidad.
  • The Ultimate Rum Guide notes it as being a “West Indies Distillery” without further elaboration, and the accompanying photo is wrong. I’ve left them a note to that effect
  • Richard Seale remarked in a FB comment on this review, “Age is an important factor in the latter day success of Caroni. This one may also be blended with neutral spirit – this was a practice in Trinidad – blending an aged rum with neutral spirit but keeping the age claim!”

Historical background

Initially Secret Treasures was the brand of a Swiss concern called Fassbind SA (SA stands for Société Anonyme, the equivalent to PLC – the wesbite is at www.Fassbind.ch) — who had been in the spirits business since 1846 when when Gottfried I. Fassbind founded the “Alte Urschwyzer” distillery in Oberarth to make eau de vie (a schnapps). He was a descendant of Dutch coopers who had emigrated to Switzerland in the 13th century and thus laid the foundation for what remains Switzerland’s oldest distillery. 

They make grappa, schnapps and other spirits and branched out into rums in the early 2000s but not as a producer: in the usual fashion, rums at that time were sourced, aged at the origin distillery (it is unclear whether this is still happening in 2021), and then shipped to Switzerland for dilution with Swiss spring water to drinking strength (no other inclusions). In that way they conformed to the principles of many of the modern indies. 

Fassbind’s local distribution was acquired in 2014 by Best Taste Trading GMBH, a Swiss distributor, yet they seem to have walked away from the rum side of the business, as the company website makes mention of the rum line at all. Current labels on newer editions of the Secret Treasures line refers to a German liquor distribution company called Haromex as the bottler, which some further digging shows as acquiring the Secret Treasures brand name back in 2005: perhaps Fassbind or Best Taste Trading had no interest in the indie bottling operation and sold it off as neither Swiss concern has any of the branded bottles in their portfolio.

Certainly the business has changed: there are no more of the pale yellow labels and sourced single barrel expressions as I found back in 2012.  Now Secret Treasures is all standard strength anonymous blends like aged “Caribbean” and “South American” rum, a completely new bottle design and the Haromex logo prominently displayed with the words “Product of Germany” on the label.

 

Savanna Lontan Traditionnel Grand Arôme (LMDW 60th Anniversary) White Rum- Review

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May 062021
 

The rums of the Reunion Island company Savanna span a wide stylistic gamut, depending on the source material (juice or molasses, for they utilize both), which still made them, and how many esters stuck around for the party (this is particularly the case with the high ester still Savanna casually uses to smack the unsuspecting and unwary into next week).  

Perhaps taking a leaf out of Velier’s book, they also release a whole raft of “sets” or types – for example, the Lontan (Grand Arôme / high ester rhums based on long fermentation times of up to 15 days), Creol (aged and unaged agricoles), Intense (molasses based, occasionally finished, aged and unaged), or Métis (blends of agricole and molasses rums).  And that’s not even counting the cool-named varieties within those sets, like “Thunderstruck,” “Chai Humide,” “Wild Island,” or the utterly prosaic put-me-to-sleep-please “Belgium.” They seem to have no particular interest in releasing things at a consistent strength and you’ll find rums at standard strength right up to 67% (a 2019 creol I still get delicious nightmares about).

Unsurprisingly, there’s an enormous variation of tastes in these rums – perhaps only the Guadeloupe boys can boast anything that jumps around the flavour wheel as much. You cannot make any predeterminations on “what I expect” with this distillery, and it would be foolhardy to try.  I’ve tasted those that are heavy on fruits, others that are more creamy or yeasty or flowery or creamy or are dark, light, heavy, solid, flaky….well, you get my drift.

Still, this 57% ABV grand arôme, which was released in 2016 for La Maison Du Whisky’s 60th Anniversary (they went into partnership with Velier the following year and formed LM&V), seemed at pains to make the point yet again.  In this case, it clearly wanted to channel a cachaca duking it out with a DOK, for it nosed pretty much like they were having a serious disagreement: vegetables and oversweet fruits decomposing on a hot day in a market someplace tropical; herbs, wet grass, sweet pickles, hot dog relish (I know what this sounds like!); sugar water; iodine, papaya, strawberries; wax, brine and cucumbers in a light pimento-soaked vinegar.  I mean, seriously, does that remind you of any rum you’ve ever tried? I both liked it and wondered where the rum was hiding.

In fairness, the taste was pretty good and conformed more to the ideals. 57% was a good strength for it, and even with the slight roughness of it being unaged, it wasn’t savage, just warm and firm. It tasted initially of brine and olives and then did a switcheroo to light anise and sugar water, fresh sugar cane sap bleeding off the stalk, combined with the tartness of unripe white fruit (guavas, soursop, pears), orange peel and some delicate flowers.  A touch of caramel, toffee, breakfast spices, ginger, nutmeg, rosemary and cinnamon, maybe. It fell apart on the finish, alas – that was short, watery, thin, somewhat sweet and lacking any of the complexity with just some herbs, mint, dill, anise and swank drifting away into nothingness. 

In other words, the rum started out strong – and startling…that nose really was something – and then each successive stage was weaker than the one before it.  That it had more complexity and style than most whites is undeniable, it just wasn’t assembled that well (which is a purely personal opinion, of course).  Why LMDW would release an unaged Savanna rum for a major anniversary at a time when Reunion wasn’t much appreciated and super-aged rums were much more likely to attract attention and money, is anyone’s guess. It’s also a peculiarity of the rum that it comes from molasses but through some weird alchemy of the process, actually tastes more like an agricole, which I’m sure you’ll admit is quite a neat trick.

The Fat Rum Pirate in his four-star 2017 review of this rum, remarked “This won’t be for everyone but [..] but whilst similar to other high ABV whites, it has enough going on to be different.” That encapsulates my own feelings as well: while I enjoy (and sometimes fear) the untamed ferocity of the clairins, the Guyanese and Jamaican unaged crazies, or the more refined French island blancs, I also appreciate something original which has the courage to go off on a tangent, before somehow coming together as a recognizably good rum.  This one shows that happening in fine style and I’m happy to have had the chance to try it.

(#818)(82/100)

Other notes

  • The LMDW 60th Anniversary release has a 1,000-bottle outturn.  Bottle number noted on the label
  • As before, thanks and a hat tip to Nico Rumlover for the sample. His unscored tasting notes can be found here.

Opinion

I’ve heard it bruited about from time to time (by the social media commentariat and never-silent chatterati) that rums which sport labels with [a number plus the word “Anniversary”] are presenting a deliberately misleading faux-age-statement.  I completely understand how any minor confusion could arise – when a rum says “50 Years” in large attention-grabbing typeface and then the Lilliputian word “Anniversary” barely visible below that, then the case is easy to make (looking at you, El Dorado, ignoring you, Plantation).

In the main, however, I disagree with the premise. It presupposes an erroneous and all-encompassing assumption of blinkered stupidity by rum drinkers who can’t differentiate the word “anniversary” from the term “years old” when buying something upscale.  Sometimes, such commentators really should extend consumers the courtesy of not thinking they (the consumers) automatically morons just because they (the talkers) know a smidgen more. Though to be fair, consumers really do owe it to themselves as well to pay close attention to what they’re buying.

Moon Import Enmore 1988-2011 23 YO Demerara Rum (Sherry Wood) – Review

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May 032021
 

This is not the first Demerara rum that the venerable Italian indie bottler Moon Import has aged in sherry barrels: the superb 1974 30 Year Old, and several other over their limited rums releases, have also shared in this peculiarity.  However, the results are somewhat hit or miss, because while the 30 YO scored a solid and deserved 90 points, this one doesn’t play in that league, however well-aged it may be. It’s entirely possible that this is because the rum is not an Enmore still rum at all, as the label implies, but from the Versailles single wooden pot still.

One wonders if the rum’s profile can settle this, since I’ve noted that labels from Moon Import tend to be rather careless in their wording (when a Port Mourant rum can be referred to as a “rum agricol” you know somebody is asleep at the wheel). Is this Versailles pot or Enmore coffey? Indifferent rum-geeks around the world want to know.

Let’s take a hard look at the dark gold-brown 46% ABV rum, then. The aromas are not helpful: there’s some dialled down licorice, aromatic tobacco, leather and smoke at the beginning, but none of the characteristic raw lumber, sawdust and pencil shavings of the Enmore still.  The fruits are dark and piquant – prunes, blackberries, stewed plums, plus unsweetened chocolate, coffee grounds and salted caramel. It’s more raw and intense than the DDL’s own Enmore 1993 22 YO  from the first release of the Rares, and I have to admit that Moon’s rum had more in common with DDL’s Versailles 2002 13 YO than the Enmore itself. In particular, the attendant notes of musty cardboard, fried bananas and overripe pineapple do not suggest the coffey still.

What about taste? Oddly, for a nose that bugled its own assertiveness, the palate is much less aggressive, and really lacks heft in the trousers. Still, there’s something there: the old worn leather of sweaty Clarke’s shoes, some more dark fruits (raisins, dates, prunes, all very ripe); briny tastes, caramel, unsweetened molasses, sweet soya sauce.  Not much else, and that’s disappointing, really.  Even continentally aged rums can have more complexity than this. And what of the sherry influence? Not a whole lot, sorry to report, marked mostly by its inconclusiveness, leading to a finish that is tolerably pleasant (it’s not sharp or bitchy), warm, fruity, bready (like a hot yeasty loaf fresh out of the oven) but really not that distinguishable.

So on balance, I’d suggest Moon Imports  really is a Versailles single wooden pot still rum – too many of the subtle Enmore notes are missing (I’ve argued before it’s a bit more elegant than the other two stills which tend to a more elemental brutalist profile). Is it worth the £150 it sold for on Rumauctioneer in September 2019?  That’s harder, since everyone has favourites, not just among the stills, but the indies that release them and the years from which they hail. I’d suggest that for a rum from the 1980s, for its historical value (1980s single cask rums are getting rarer all the time), released by Moon Import which has a long history of careful selections, yes, it is.  For the taste profile and its proof point, perhaps not so much. 

(#817)(83/100)

Other Notes

  • Serge Valentin has probably reviewed more 1988 Enmore rums than anyone else around (six, covering a period of many years) and nowhere does he mention any confusion between the two stills.  Marius Elder of Single Cask Rum and Marco Freyr of Barrel Aged Mind probably did the best listings of them all, including (where known) whether they were Versailles or Enmore still rums, but neither has reviewed many yet (note that links provided here require searching for “1988”).
  • Thanks to Nicolai Wachmann of Denmark for the sample

Opinion

Moon Import’s website provides nothing on this rum, perhaps because a web presence wasn’t a big thing back in 2011, perhaps because good records weren’t being kept, or perhaps (worst of all) because accurately curating one’s back catalogue is not seen as anything important…a not-uncommon attitude among indies to this day, and one capable of driving me into transports of rage any time it is casually tossed out there for popular consumption. When will it ever become common for these old houses to properly research and list their older releases, and why is it considered of such low importance? FFS, people….

That kind of information is needed, because, again like the Moon’s PM 1974, the label is a problem.  There was only a single 1988-2011 release made, and that’s this one with the bird on the label, noted as being an Enmore….and yet is also stated as being a pot still product. The RumAuctioneer item description from September 2019 says it’s a Versailles because “…the Enmore distillery closed in 1993, with its wooden coffey still and the Versailles still moved first to Uitvlugt and then to Diamond in 2000…” Which is true except that a label mentioning a rum as being both an Enmore and a pot still clearly does not have unambiguous lock on historical detail, not least because there was also a still called the Enmore still onsite at the same time.  So which factoid are we to take as the right one?

Moon Import could rightfully say “both” – the Versailles still was at Enmore, so putting one name and one still type on the label is completely correct. Maybe I’m being overly critical.  But consider that these details have a way of spreading to other informational sources that are also now being referred to as research tools. The new app Rum-X correctly notes this as being an Enmore (Versailles) distillery rum and a 660 bottle outturn….but then goes on to say it was distilled on a Double Wooden Pot still, which of course is neither of the other two, but the PM still, thereby exacerbating the confusion. An ebay listing in Italy didn’t mention the still of origin at all. 

For the majority of rum drinkers, this is a complete non-issue.  They’ll see the years, the age, the indie, and buy it (or not) if they can.  For the discerning deep-diving rum fan who counts his money very carefully before dropping that kind of coin on an old rum, the lack of consistency, and confusion about the details, is a potential deal breaker. If you can’t nail the provenance down concretely, then it’s a dangerous buy, and that goes for a lot more than just this one rum.

Compagnie des Indes Dillon 2002 13 YO Martinique Rhum – Review

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Apr 292021
 

The small Martinique brand (once a distillery) of Dillon is not one which makes rhums that raises fiercely acquisitive instincts in the cockles of anyone’s hearts, if one goes by the dearth of any kind of online commentary on their stuff. When was the last time you saw anyone, even on the major French language Facebook rhum clubs, crow enthusiastically about getting one? And yet Dillon has a complete – if small – set of rhums: aged versions, blancs, mixers etc.  And those that I have tried (not many, which is my loss) have been quite good. 

Today’s subject is not a distillery brand, but from one of the independents, Florent Beuchet’s Compagnie des Indes.  Long time readers of these reviews will know of my fondness for Florent’s selections, which mix up some occasionally interesting offbeat rums with the more common fare from Central America and the Caribbean that all the indies bottle.  For example, there was the Indonesian rhum released in 2015, the recent 10-Cane rum, rums from Fiji, some from Guadeloupe, and even Guatemala. 

So here is a rhum from Dillon, which nowadays has its distillation apparatus located in Depaz’s facilities (see biographical notes, below), and this makes Dillon more of a brand than a complete cane-to-cork operation. It’s a single barrel offering, 2002 vintage which was aged in Europe for 9 years of the total of 13, bottled at a quiet 44%. Note that two Dillon barrels were bottled in 2015, MA56 with a 298-bottle outturn, and MA67 with 322, but my sample didn’t mention which it was so I contacted the source, the Danish rum tooth fairy Nicolai Wachmann…and it was MA67 for those who absolutely need to know.

Whatever the case, I must advise you that if you like agricoles at all, those smaller names and lesser known establishments like Dillon should be on your radar. Not all of the rhums they make are double-digit aged, so those that are, even if farmed out to a third party, are even more worth looking at. Just smell this one, for example: it’s a fruitarian’s wet dream. In fact, the aroma almost strikes me like a very good Riesling mixing it up with a 7-up, if you could conceive of such an unlikely pairing. Lighter than the Savanna HERR and much more delicate than even a low-strength Hampden, it smells crisp and very clean, with bags of pineapple slices, green grapes, apples, red grapefruit, bubble gum and lemon zest, all underlaid by a nice nutty and creamy white chocolate and some vanilla and flowers.

Strength is a major component of the assessment of a rhum like this.  44% is the wrong ABV for a woody and character-laden deeper rum like, say a Port Mourant (I think – your mileage may vary), but for a lighter and more scintillating agricole such as the Dillon, it’s spot on. Much of the nose bleeds over to the taste: sprite, grapefruit, lemon zest, pineapples, strawberries, and also ripe mangoes, green grapes, apples, pears and a touch of cinnamon and vanilla.  At first it feels too light, too easy, but as one gets used to the underlying complexity and balance, a really well-assembled piece of work slowly comes into focus. And this is the case even on the finish: it’s tight, medium-long, and always completely under control, never overstaying its welcome, never being bitchy, never hurrying off before the last bit of flavour – citrus peel, vanilla, whipped cream, pineapples – is showcased.  

In short, though released some years ago and getting harder to find, I think this is one of those rhums that got unnecessarily short shrift from the commentariat then, and gets as little now – because it’s something of a steal. Dillon may be off the map for all those people who love posting pictures of their latest acquisitions from Hampden, WP, Fiji, Foursquare or the ultra-aged indie-release of a wooden still rum; and it barely registers in comparison to better known agricole makers like Saint James, Clement, Damoiseau, Neisson or JM (among others).  I just think it should not be written off quite so fast — because even for a single barrel release where singular aspects of the cask’s profile is what led to its selection in the first place, it’s a flavourful, well-layered, well-balanced dram that is at that a near perfect strength to showcase its attributes. And there are really quite a lot of those, for anyone desirous of checking out a lesser known marque.

(#816)(86/100)

Other notes 

Dillon was established in 1690 when the site of the distillery in Fort de France was settled by Arthur Dillon, a soldier with Lafayette’s troops in the US War of Independence. A colonel at the age of sixteen, he married a well-to-do widow and used her funds to purchase the estate, which produced sugar until switching over to rhum in the 19th century. 

The original sugar mill and plant was wiped out in the 1902 volcanic eruption of Mont Pele, and eventually a distillery went into operation in 1928, by which time there had been several changes in ownership.  In 1967 Bordeaux Badinet (now Bardinet / La Martiniquaise Group) took over, the mill closed and the original Corliss steam engine and the creole column still was sent up the road to Depaz…so nowadays Dillon continues growing its own cane, but the distillation and bottling is done by Depaz, which is owned by the same group.

Dave Russell of Rum Gallery, who actually visited the distillery, remarked that the creole single column still is still in operation and is used specifically to make the Dillon marque, perhaps in an effort to distinguish it from Depaz’s own rhums.

Isla del Ron Guadeloupe 1998 15 Year Old Rhum – Review

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Apr 262021
 

Isla del Ron is one of the smaller independent rum labels out of Europe, such as have sprung up with greater frequency over the last decade. It’s a division of its parent company Unique Liquids, founded around 2009, and located in north central Germany, between Dortmund and Hanover. To add to the complexity, it owns the related company Malts of Scotland – not entirely a surprise, since Thomas Ewers, the founder, likes his whisky perhaps more than rum. Since 2012, the company has produced about 22 various single barrel rums from all the usual suspects around the Caribbean and Central America.

The rhum we’re looking at today is a peculiar specimen: a single cask release of 169 bottles at 52.6%….but where from? Consider the label, which says “South Pacific”. Can you honestly make sense of that, given that even the geographically challenged are aware (we can hope) that Guadeloupe isn’t an island in the Pacific? Alex over at Master Quill explains what’s happening here: Ewers bought a cask marked “South Pacific”, but which had been mislabelled, and was actually from Bellevue…though it’s unclear how he came to that conclusion. Assuming he’s right, that sounds simple enough except…which one?  Because there are two Bellevues, one on the small island of Marie-Galante, the other on Guadeloupe (Grand Terre) itself, Damoiseau’s Bellevue at le Moule (That Boutique-y Rum Company made a similar mistake on the label of its Bellevue rhum a couple of years ago).

But it seems to be an unknown: Thomas felt it was from Marie-Galante, and Alex wasn’t so sure, given the variety of 1998 distillate marked Guadeloupe that other indies have released in the past, but which was from Damoiseau’s Bellevue on G-T, not Bellevue on M-G. What this means is that we don’t actually know whether it’s a cane juice rhum or a molasses rum (Damoiseau has a long history of working with both), or for sure which distillery produced it.

But let’s see if the tasting helps us figure things out, because the fact is that the Isla del Ron Guadeloupe is actually a quiet kind of delicious (with certain caveats, which I’ll get to later). The nose, for example, is a warm and soft caramel ice cream pillow with a bunch of contrasting fruity notes (grapes, pomegranates, kiwi fruit) lending it some edge.  Bags of toffee, bonbons, flowers and a flirt of licorice waft around the glass, set off with oversweet strawberry bubble gum and (peculiarly) some a creamy feta cheese minus the salt. Throughout it remains a pleasant sniff, with some citrus and tannic notes bringing up the rear.

The nose doesn’t help narrow down the origin (though I have my suspicions), and the palate doesn’t either – but it is nice. It remains light, slightly briny, and just tart enough to be crisp. It has moments of sprightliness and sparkling freshness, tasting of red grapefruit, grapes, sprite, orange zest and herbs (rosemary and dill) – but also presents a contrasting whiff of sharper and slightly bitter oaky aspects, cinnamon, licorice, molasses, with back-end nougat and coconut shavings allowing it to smoothen out somewhat…if not completely successfully, in my view. I do like the finish, which is medium long, medium warm, and quite tasty: closing notes of citrus peel, caramel, pencil shavings and some raisins, plus a few delicate flowers.

Personally, my opinion on its source tends more towards Damoiseau, what with that distillery releasing rather more bulk rum to brokers than Bellevue, which is smaller and has more of a local market; and the molasses and vanilla and caramel notes point in that direction also. To be honest, though, I thought that the rum’s overall profile fell somewhere in between the crispness of the Bielle 2001 14 YO and a Cuban like Cadenhead’s ADC Spiritu Sancti 1998 14 YO. That’s not a major issue though, because as with most such situations, it’s all about whether it works as a rum or not, and if so, how good it is.  

On that basis, I’d say that yes, overall it’s a solid Guadeloupe rhum…just one without real originality. It lacks distinctiveness, and carves out no new territory of its own.  It’s a lovely tasting rhum, yes, but unfortunately, also not one you’d be able to remember clearly next week. In that sense, it’s like many bally-hooed and overhyped rums we keep hearing about every day on social media, but which then drop out of sight forever without ever having stirred the emotions of us drinkers in any serious way. And that’s a bit of a shame, really, for a rum that is otherwise quite good.

(#815)(86/100)

Rum Nation Rare Collection “British Guyana” 10 YO Blend 2009-2019

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Apr 222021
 

One of the things that irritates me about this blended rum from Guyana which Rum Nation released in 2019, is the carelessness of the front label design.  I mean, seriously, how is it possible that “British Guyana” can actually be on a rum label in the 21st century, when Guyana has not been British anything since 1966 and when it was, it was spelled “Guiana”? Are designers really that clueless? And lest you think this is just me having a surfeit of my daily snarky-pills, think about it this way: if they couldn’t care enough to get their facts right about stuff so simple, what else is there on the label I can’t trust?

Still: I am grateful that the back label is more informative. Here, it is clearly spelled out that the rum is a blend of distillate from the French Savalle still, the (Enmore) wooden coffey still and the (Port Mourant) double wooden pot still, and this blend was aged for four years in the tropics (in British Guyana, one may assume) before undergoing a secondary European maturation for six years in ex-oloroso casks, and then decanted into 2,715 bottles, each at 56.4% ABV. What this is, then, is a bottling similar to DDL’s own experimental blended Rares, which has dropped completely out of sight since its introduction in 2019. A similar fate appears to have befallen this one since I don’t know the last time I saw one pop up at auction, let alone on social media.

But perhaps it’s an undiscovered steal, so let’s look deeper.  Nose first: it’s surprisingly simple, even straightforward. It’s warm and thick, and represents the wooden stills in fine style – dusty, redolent of breakfast spices, oak and vanilla at first, then allows additional aromas of coffee grounds, raisins, dried orange peel dark fruits, licorice. I wouldn’t go so far as to say the oloroso influence is dominating though, and in fact it seems rather dialled down, which is unexpected for a rum with a six year sleep in sherry barrels.

I do, on the other hand, like the taste. It’s warm and rich and the Enmore still profile – freshly sawn lumber, sawdust, pencil shavings – is clear. Also sour cream, eggnog, and bags of dried, dark fruits (raisins, prunes, dried plums) mix it up with a nice touch of sandalwood. It takes its own sweet time getting the the point and is a little discombobulated throughout, but I can’t argue with the stewed apples, dried orange peel, ripe red guavas and licorice – it’s nice. The finish is quite solid, if unexceptional: it lasts a fair bit, and you’re left with closing notes of licorice, oak chips, vanilla, dried fruit and black cake.

Overall, it’s a good rum, though I believe it tries for too much with the three stills’ distillates and the long sherry barrel ageing.  There’s a lot going on but it doesn’t quite snap together into a harmonious whole. There’s always too much or too little of one or other element here, the sherry influence is inconsistent at best, and it keeps charging around in a confusing mishmash of rum that tastes okay but never settles down to allow us as drinkers to come to grips with it.  This is an observation also levelled at DDL’s experimental rares, by the way, but not Velier’s “blended in the barrel” series of later Guyanese rums which set the bar quite high for such blends. 

Clearing away the dishes, then, consider it as a decent blend, something for those who want to take a flier on an El Dorado rum that isn’t actually one of them, or a less expensive, younger Velier blend.  Think of it as a stronger and slightly older version of ED’s own 8 Year Old, lacking only DDL’s mastery of their blending practice to score higher. That is at best a guarded endorsement, but it’s all the rum really merits

(#814)(82/100)

Background

Rum Nation is that indie rum company founded by Fabio Rossi back in 1999 in Firenze (in NE Italy), and if they ever had a killer app of their own, it was those very old Demeraras and Jamaican “Supreme Lord” rums which were once wrapped in jute sacking and ensconced in wooden boxes. Rum Nation was one of the first of the modern rum independents that created whole ranges of rums and not just one or two single barrel expressions: from affordable starter bottles to ultra-aged products, and if they aged some of their releases in Europe, well, at the time that was hardly considered a disqualifier.

By 2016, however, things had started to change. Velier’s philosophy of pure tropically-aged rums had taken over the conceptual marketplace at the top end of sales, and a host of new and scrappy European independents had emerged to take advantage of rum’s increasing popularity. Rum Nation took on the challenge by creating a new bottle line called the Rare Collection – the standard series of entry level barroom-style bottles remained, but a new design ethos permeated the Rares – sleeker bottles, bright and informative labelling, more limited outturns. In other words, more exclusive. Many of these rums sold well and kept Rum Nation’s reputation flying high.  People of slender means and leaner purses kept buying the annual entry-level releases, while connoisseurs went after the aged Rares.

Two years later, Fabio was getting annoyed at being sidetracked from his core whisky business (he owns Wilson & Morgan, a rebottler), and he felt the indie rum business was more trouble than it was worth. Too, he was noticing the remarkable sales of the Ron Millonario line (a light bodied, rather sweet rum out of Peru), which, on the face of it, should not be anywhere near as successful as it was. And so, finally, he divested himself of the Rum Nation brand altogether, selling out to a small group of Danish investors.  He kept the Millonario brand and has an arrangement to rep RN at various rum festivals (which was how I saw him in 2019 in Berlin), but the era of his involvement with the company formed two decades earlier, is now over.  

…which might explain why the label was done that way.

Depaz Rhum Agricole Blanc “Cuvee de la Montagne” – Review

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Apr 182021
 

When most people spend money on rhum agricoles, they tend to go for the upscale aged (“vieux”) editions, those handily aged expressions or millesimes which have tamed the raw white juice dripping off the still by ageing them for several years. Consumers like the smooth sipping experience of an aged brown spirit, and not many consider that while such rhums do indeed taste lovely and are worth their price tag, the ageing process does take away something too – some of the fresh, snappy bite of a white rhum that hasn’t yet been altered in any way by wood-spirit interaction and a long rest.

Locals in the French West Indies have for centuries drunk the blanc rhum almost exclusively – after all, they didn’t have time to muck around waiting a few years for their favourite tipple to mature and in any case the famous tropical Ti-punch was and remains tailor made to showcase the fresh grassiness and herbal pizzazz of a well made blanc. To this day, just about every one of the small distilleries in the French islands, no matter how many aged rhums they make, always has at least one house blanc rhum, and just about all of them are great. In fact, so popular have they become, that nowadays increasingly specialized “micro-rhums” (my term) based on parcellaires and single varietals of sugar cane are beginning to become a real thing and make real sales. 

Depaz’s 45% rhum blanc agricole is not one of these uber-exclusive, limited-edition craft whites that uber-dorks are frothing over. But the quality and taste of even this standard white shows exactly how good the blancs were in the first place, and how the rhum makers of Depaz got it so right to begin with. Consider the nose: it is fresh, vegetal and frothily green, vibrantly alive and thrumming with aromas of crisp sugar cane sap, sugar water and tart watermelon juice.  And that’s the just for openers – it has notes of green apples, grapes, cucumbers in sweet vinegar and pimento, and a clean sense of fruits and soda pop, even some brine and an olive or two.  All this from a rum considered entry level.

The palate has difficulty living up to that kind of promise, but that should by no means dissuade one from trying it.  It’s a completely traditional and delectable agricole profile: sweet, grassy and very crisp on the tongue, like a tart lemon sherbet.  It tastes of lemon, cumin, firm white pears and papayas, and even shows off some firm yellow mangoes, soursop and star-apples. The 45% isn’t very strong, yet it provides a depth of flavour one can’t find much fault with, and this carries over into a nicely long-lasting, spicy finish that is sweet, green, tart and very clean. There’s a whole bunch of fruit left behind on the finish and it really makes for a nice neat pour, or (of course) a Ti-punch.

Depaz is located on the eponymous estate in St. Pierre in Martinique, which is at the foot of  Mount Pelée  itself: it has been in existence since 1651 when the first governor of Martinique, Jacques Duparquet, created the plantation. Although the famous eruption of the volcano in 1902 decimated the island, Victor Depaz, who survived, reopened for business in 1917 and it’s been operational ever since. The company also makes quite a few other rhums: the Rhum Depaz, a full proof 50% beefcake, the Blue Cane Rhum Agricole as well as an XO and the Cuvee Prestige, to name just a few. 

I have never tried as many of their rhums as I would like, and for a company whose rums I enjoy quite a bit, it’s odd I don’t spend more time and money picking up the range (I feel the same way about Bielle and Dillon). I keep adding to my knowledge-base of Depaz’s rhums year in and year out, however, and so far have found little to criticize and much to admire.  When even an entry level product of the line is as god as this one is, you know that here there’s a company who’s attending seriously to business, and from whom only better things can be expected as one goes up the line of their products.

(#813)(84/100)

Other notes

  • It goes without saying that this is a cane juice product, AOC compliant, columnar still.
  • Depaz is not an independent family operated establishment any longer, but is part of the Bardinet-La Martiniquaise Group, a major French beverages conglomerate which also owns Saint James and Riviere du Mat.

That Boutique-y Rum Co. Engenhos do Norte Madeira 7 Year Old Rum – Review

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Apr 112021
 

After a decade of observing the (mostly Europe-based) independent bottlers, I think it can be said with some assurance that they tend to stick with The Tried and True in their first years. In other words, they source and release rums from the canonical distilleries in the familiar countries – Guyana, Barbados, St. Lucia, or Jamaica, with occasional fliers from Belize, Cuba, Fiji, Australia or Trinidad being seen as second order efforts.

When it comes to distinguishing themselves from the herd, few show much real imagination.  Oh, for sure the Compagnie des Indes releases private blends like the Boulet de Canon and Dominador (and released a very fine Indonesian arrack several years ago); Rom Deluxe goes to the max with its massively proofed Jamaican DOK, L’Esprit does some amazing white rums, and several indies find a way to get rums aged for nearly three decades into their bottles – I merely submit this is more and better of the same. Truly new products that showcase something different are actually in rather short supply.

When it comes to doing something original, then, the Boutique-y Rum Company – a division of Atom Brands in the UK, who also run the Masters of Malt website – is one to keep an eye on. Not only are they releasing rums from the “standard” countries, but they seem to really try to go someplace new – consider their Issan rum, the Labourdonnais, the O Reizinho or the Colombian Casa Santana. Those are rums from niche distilleries many have never even heard of before, and to add spice to the mix, there is of course the cool label design done by Jim’ll Paint It which are bright, clever, funny and chock full of little easter eggs for the knowledgeable.

Which leads us to this one. The Engenhos do Norte distillery is located in Madeira, an island considered part of Portugal (even though geographically it’s closer to Africa) and one of the few places outside the French islands that can use the term agricole legally. The rum is derived from cane run through a crusher powered by a steam engine (that’s what the label shows), fermented for about 4-5 days, passed through a columnar barbet still and then left to age in French oak barrels.  So although it doesn’t say so, it’s an aged rhum agricole. 1395 bottles were released, at a firm but not over-strong 48.8%, and the last I checked it was still selling for around forty quid which I think is a pretty good deal

Tasting notes. The nose is nice.  At under 50% not too much sharpness, just a good solid heat, redolent of soda, fanta, coca cola and strawberries.  There’s a trace of coffee and rye bread, and also a nice fruity background of apples, green grapes, yellow mangoes and kiwi fruit.  It develops well and no fault can found with the balance among these disparate elements.

I also like the way it tastes. It’s initially dry and peppery, but also crisp, tasting of marshmallows, and tart white fruits like guavas, Thai mangoes, unripe pears, soursop, papaya, watermelon and pineapple. There’s a nice thread of lemon underneath it all, cumin, vanilla, and a nice touch of brine and olives.  This all leads to a conclusion that is short and easy, redolent mostly of sweet watery fruit with a last musky brine taste, and some more lemon zest. 

In a peculiar way, it reminds me less of a French Island agricole than of a grogue from Cabo Verde.  There’s a sort of easy crispness to the experience, with the herbal notes evident but not as strong and clear and focused as a Martinique rhum is.  For centuries Madeirans drank their rhums unaged and white — of late they have begun to try and develop an aged rum industry and expand beyond the local market which thus far has consumed everything the small distilleries produce.  The development of real blending and ageing skill is still some years in the future, and thus far it’s only the small IBs like Boutique-y that have brought their rums to our attention. But I think that we should keep an eye out for the rhums from Madeira, all of them.  Based on the few I’ve tried, these guys know what they’re doing, know how to make a good rhum, and will be going places in the years to come.

(#812)(84/100)

Other notes

  • For centuries, aside from their famed fortified wines, white rum was all Madeira was known for, and just about all of it was made from small family-owned sugar cane plots, consumed locally as ponchos, and as often considered to be moonshine as a legitimate product. Because of the small size of the island a landed aristocracy based on the system of large plantations never took off there. 6-8 years ago, the Portuguese government started to incentivize the production of aged rum on Madeira.  Several producers started laying down barrels to age, one of which was Engenhos do Norte – however the lack of an export market (for now) allowed Boutique-y to buy a few barrels and release them
  • Engenhos do Norte also produces the well regarded Rum North series of rums, as well as the 970 and 980 brands.
  • The label is somewhat self explanatory: it shows the premises of the distillery, the steam driven crusher and the barbet column still. The polar bears are an in-joke: sugar cultivation took off in Madeira in the 15th and 16th century and was called ouro branco – white gold. It’s long been a sly pun that when mumbled over the roar of the machinery, the phrase is heard as ursa branco, or white bear. On the other hand, some say that Madeirans are huge hulking bear like men who hand harvest ten acres of cane before breakfast and fetch it out one-handed to the factory and this is a way of honouring their physical prowess. I don’t know which is true, but I like both stories.

1423 S.B.S. Jamaica 2000 (Hampden) 16 Year Old Rum – Review

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Apr 082021
 

2016 seems like such a long time ago with respect to Hampden rums.  Back then we got them in dribs and drabs, from scotch whisky makers (who could rarely be bothered to mention the distillery) and the occasional indie bottler like Berry Bros. & Rudd, Compagnie des Indes, Rom Deluxe, Renegade or Murray McDavid. That all changed in 2018 when Velier concluded a deal to be their worldwide distributor and the PR machine roared into overdrive.  Since then, Hampden has become one of the boutique rums du jour, and they sell out almost as fast as the Foursquare ECS rums.

Back in 2016, though, this wasn’t a foregone conclusion. Hampden was known to the cognoscenti of course, those superdorks who paid close attention to the indie scene, knew their Caribbean distilleries cold and bought everything they could…but not many others from the larger mass market cared enough about it; and anyway, supplies were always low. The distillery was ageing its own stock and continued to sell bulk abroad, so most independents sourced from Europe. That’s how SBS, the geek-run rum arm of the Danish distribution partnership 1423, picked up this barrel.

SBS itself was only created in 2015, seven years after its parent came into being, to cater to the boys’ fascination and love for pure rums. Their business had gone well by this time and they decided to branch out into their first love – “our core DNA,” as Joshua Singh remarked to me – single barrel rums. And they picked up this continentally aged rum which had been distilled in Hampden’s pot still in September 2000 and bottled it in October 2016 in time for the European festival circuit, which is where my rum tooth fair Nicolai Wachmann picked it up and passed some on to me. 202 bottles of this 16 year old rum came out of the barrel and was left as is, at a cask strength of 58.9%.

Clearly, with the explosion of interest in both the SBS range and Hampden over the years, this is something of a find. It’s quite rare, seems to be relatively unknown, and has only turned up once at auction that I could find, and fetched a cool £150 when it did.  But when I tasted it, I thought to myself that these guys knew their sh*t, and chose well.  Consider the opening salvo of the nose – it felt like the Savanna 10YO HERR all over again (and that’s a serious compliment).  It had esters puffing and squirting in all directions, very light and clean.  A warm exhalation of rubber on a hot day, dunder and funk, formed a bed upon which sparkling notes of red currants, strawberries, crisp yellow mangoes, unsweetened yoghurt and over-sweet bubble gum competed for attention. It had that kind of cloying sweet to it, leavened with some sharper brine and olives and rye bread left to go bad and was the diametrical opposite of the rather dour and dark Caronis or PM Demeraras.

It was, however, on the plate, that it shone. This was a rum to savour, to enjoy, to treasure.  It was a solid, serious rum of surprising complexity: just shy of hot, tasting of brine, avocados, kräuterquark, salt crackers, interspersed with pineapple slices, kiwi fruits and the tartness of unripe peaches and more mangoes.  There was a wisp of vanilla in there, some faint white chocolate and nuts and caramel ice cream that somehow stopped just short of softening things too much, and allowed the crisp tartness to remain.  As for the finish, it didn’t falter – it was long and hot (in a good way), and reminded me again of the HERR, though perhaps it was a shade deeper, tasting nicely of salted caramel, bananas, pineapples, fanta, cinnamon and lemon peel.

In short, quite a serious all-round rum, not quite so savage as to scare anyone away, while powerful enough to distinguish it from standard strength rums aimed at the larger non-expert rum drinking audience. 58.9% is a near perfect strength for it, permitting full enjoyment of the nuances without any pain. Could it be mixed? Probably…though I wouldn’t. Hampden has always managed to produce rums that — whether aged in Jamaica or in Europe — set the bar a bit higher than most others; and though nobody comes right out and says so, part of the attraction of a rum so bursting with flavours is to have it neat and wring every tasting detail from every drop. This is the way most people speak of Hampden rums now that Velier is distributing them, but it was no less true in 2016. 1423 sure picked a winner that year.

(#811)(88/100)

Saint James Rhum Blanc Agricole “Imperial Blanc” – Review

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Apr 042021
 

Back in 2019 before the world changed, I was fortunate enough (and for the first time ever), to get a “blogger” badge at the Berlin Rumfest.  This did not, of course, class with the far cooler “Exhibitor” or “Judge” badge that others ostentatiously wore front and center.  Nor did it come with any kind of perks: I did not get let in free; it conferred no free samples or extra goodies; I was not plied with hats, shirts, glasses, and the thing absolutely did not give free entrance to master classes and seminars. In fact, it was so small and drab it could almost be overlooked altogether. Yet I was inordinately proud that I had one, and preened to all and sundry until I was brought down to earth by (who else?) The Little Caner, who asked in that ego-deflating manner he has perfected from his old age of fourteen, what it was good for.

In fine, just one thing: it allowed me to get in one hour earlier than everyone else, and since I usually try to arrive at the opening bell, this was a godsend, because it meant I could talk to some of the busier booth people without a crowd, before they got distracted. So there I was at 11a.m. on a sunny Sunday morning looking for old friends and new ones, and spotted Benoit Bail over at the Saint James stand.  He was talking with Marc Sassier (the resident oenologist who is in charge of production at Saint James on Martinique) — I wandered over to say hello, and we started talking about white rhums, of which three examples were on the tabletop.

Now, I had tried that shudderingly powerful 60º colourless Hammer of Thor that was the Coeur de Chauffe earlier that year and Marc allowed it was definitely deserving of all the plaudits (it was a non-AOC pot-still white, unusual for Martinique). “But you should try the other two as well,” he said, pointing to the bottles. My eye went first to the frosted bottle of the 50% Fleur de Canne, and he suggested I try it after the 40% red-lettered version. “Forget the Imperial name,” he told me, “This rhum is the original, just watered down for the bartenders circuit. Good to start you off.”

“So, not a sipping rum?” I asked

Everyone laughed. “They are all sipping rums to someone,” Marc smiled, and he and Benoit courteously left me to try the soft white rhum. 

And indeed, I enjoyed the nose immensely – it had a nice lemony and herbal opening, like rain on freshly mown grass on a hot clear day. You could almost smell the sunlight. It had all the hallmarks of a really well made agricole rhum: herbs, dill, parsley and a trace of coriander; crisp cucumbers in sweet apple cider, with a red sweet pepper dropped in for kick. A lovely, clean aroma of a natural product.

I looked up from my note-taking. “All the usual?” I called over. “Cane juice, crushing within 48 hours of harvest, quick fermentation, creole still?” 

Marc looked highly amused. “It would not have the “AOC” on the label without it,” he pointed out. And of course he was right: that appellation is very strict and fiercely adhered to — Saint James would hardly mess around with it. “Just checking,” I said, glad he wasn’t offended — maybe he knew me well enough from my writing to understand why I’d ask the question. He went back to his conversation, and I went back to my tasting.

I liked the palate, but here the softening to 40% and its more uncouth nature worked against it, and it lacked something of the finesse I expect from a well-made white. Now, the grassy, tangy freshness of the nose carried over – it was just weak and lacked the assertiveness that would make a statement and allow the flavours to pop. That said, there was some roughness in the notes of lime, bitters, tart fruits, sugar cane sap and green apples which was evident on the neat pour, and it was quickly over. The finish was as crisp and short, and as sharp as Mrs. Caner’s criticisms of my many failings…but it must be said that many of the aromas of the nose – tart apples, grass, dill, lemongrass – carry through. “It’s quite an experience,” I remarked later to Benoit and Mark, when we were discussing the rhums.

Saint James has a range of what some generously refer to as “starter” or “cocktail” rums. The Imperial Blanc, the first of these, retails for around €20, and is succeeded up the price and value chain by the Royal Blanc Agricole (50º, also red lettered label), then the blue-letter variation of the Rhum Blanc Agricole 55º and the rather more upscale frosted bottle of the Fleur de Canne (50º) which is sort of a special edition white, the last of the column-still unaged blancs before the Coeur de Chauffe blows them all into next week.

I’ve tried quite a few of these whites from the company, and the thing is, what impresses about the Imperial is its cost benefit ratio — it tastes well and noses even better for the first and cheapest rhum in that lineup. The profile is reasonably good, isn’t strong enough to offend or frighten, and provides most of what is required of a low-level intro to unaged agricoles.  I wouldn’t go so far as to say it makes a great Ti’ punch – you need to go to 50º for that to happen, and Clement and Damoiseau provide stiff competition as well – but its very good at providing a flavourful jolt to whatever you feel like adding it to, even at standard strength.  So while I wouldn’t say it’s a key rum of any kind, it certainly is tailor made for bars, and for anyone of lean purse who wants to start working on his knowledge of the blanc side. 

(#810)(80/100)

Naga Triple Wood Small Batch Indonesian Rum – Review

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Mar 292021
 

 

Indonesia is the region where sugar cane originated and gave rise to the proto-rums of yesteryear, which have their genesis in arrack, a distillate first identified by the Dutch and Portuguese in the town of Batavia (now Jakarta, the capital). After being practically unknown to the larger rum drinking public for a long time, arrack and local rums are now slowly being shown to western audiences, most notably from By The Dutch and their Batavia Arrack, and the little company of Naga which produced the rum we’re looking at today.

Based in Indonesia, Naga is a rum company formed around 2016 by Sebastien Follope, another one of those roving, spirits-loving French entrepreneurs who are behind some of the most interesting Asian rums around (Chalong Bay, Issan and Sampan are examples). While small, the company has several rums in its eclectic portfolio, though they lack any distillation facilities of their own – they are buying from a distillery on Java on the outskirts of Jakarta, which cannot be named.

This particular rum is called the Triple Wood for good reason – it is aged in three different kinds of barrels, and is an extension of the “Double Cask Aged” rum we have looked at twice before – once under that name in 2018, and once as the “Java Reserve Double Aged rum” a year later. The triple wood is similarly a molasses-based rum, column-still distilled, aged for three years in barrels made of teak (also called jati), four years in ex-Bourbon and one more year in cherry-wood barrels – it is, therefore, eight years old. Since the company was only formed in 2016 and this rum came on the scene in 2018, it is clear that the first ageing and part of the second was done at the distillery of origin (or a broker, it’s unclear).

Does this multiple wood ageing result in anything worth drinking? Yes it does – the extra year seems to have had an interesting and salutary effect on the profile –  though at 42.7% it remains as easy and soft as its siblings.  The nose, for example, is a nice step up: cardboard, musty paper, some dunder of spoiled bananas skins, plus strawberries and soft pineapple or two and brine (which, I swear, made me think of Hawaiian pizza). Caramel and bitter dark chocolate round things off.  It’s a relatively easy sniff, inoffensive yet solid.

The palate is goes on to be warm, soft, and somewhat sweeter.  Initially, given its puffed cloudy vagueness, you’d think it’s simple and amorphous, but actually it just keeps improving over time – the rum unfolds like a small origami flower, gradually – even shyly – presenting floral tastes, molasses, toffee, nougat, breakfast spices, licorice and some watery background of melons and pears.  It’s easy and very relaxing to sip, because the flavours don’t come at you all at once, but kind of stroll past doing a slow ragtime.  That low strength, much as I usually prefer something stronger, really is probably right for what that taste is, but it must also be admitted it makes for a weak finish: clean and easy, just not much more than some light flowers, strawberries and bubble gum, fanta, light molasses, and a bit of musty and dust-filled rooms.

I quite liked the rum and enjoyed its low-key, tasty nature, so different from the more aggressive high-proof rums I’ve been seeing of late – after all, one doesn’t always a need a massive overproof squirting dunder, alcohol and pain in all directions.  And arrack, this rum’s progenitor, is an interesting variation on what a rum can be (as an example, fermented rice is usually added to the fermenting molasses – see other notes for more details) which is something worth taking note of and these times of dominance by famed Caribbean distilleries. There’s no question that it’s a somewhat different kind of rum, more representative of its region than of any “standard” kind of profile – but for those who are okay trying something different, it won’t disappoint.

(#809)(81/100)

 

Other Notes

  • Naga is a Sanskrit-based word referring to the mythical creature of Asia, a dragon or large snake, that guards the treasures of the earth, and is also a symbol of prosperity and protection
  • This rum is now named “Pearl of Jakarta.”
  • Production:
    • Fermentation of molasses and fermented red rice in teak vats up to
    • 12% ABV.
    • 52% of this “cane wine” then distilled in traditional Chinese stills to 30% ABV. It is then distilled in these same stills a second time, until it reaches 60-65%.
    • 48% of the “cane wine” distilled in a column still to 92% ABV. 
    • The rums obtained in this way are then blended and aged for 3 years in teak barrels, then transferred to American oak barrels (ex-bourbon barrels) for 4 years before ageing for one final year in cherry wood barrels.

Chamarel VS Premium 3 Year Old Rum – Review

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Mar 122021
 

Let’s quickly run down the tasting notes for the Chamarel youthful aged expression, the VS.  This is the most junior of the company’s aged pantheon – named, one would presume, after the brandy designators of VS, VSOP, XO and so on. The VS supposedly stands for “Very Superior”, but that just goes to show the French had marketing departments in their old maisons for centuries before Madison Avenue was invented, because overall, the rum didn’t exactly wow my socks off.

It smells, right off the bat, of toast — literally.  Lots of toast. Also coconut shavings, vanilla, and cereals that have all at some point in their life been burnt, which I grant is amusing (and unusual) but hardly earth shattering. Anyway, this all passes, and then one can smell aromas of honey, flambeed bananas, salt caramel ice cream, nougat, toffee, white chocolate, and crushed almonds.  What it’s missing is the tart and clear acidity of lighter elements and fruits, which remain very much in the background on the nose.

Palate is somewhat better, and more integrated, though quite light and there remains a sort of spicy spitefulness about the whole thing. There are tastes of nuts, wine, grapes, and cereals again.  The balance is much improved, and the fruit is more forward…I keep getting this idea that there’s a splash of red wine in here too. With resting, there are additional notes of coconut shavings, bananas, more unidentifiable soft and squishy fruit: say ripe mangoes, papayas, cherries, strawberries, that kind of thing.  Oh, and welcome spicy notes of cloves and cumin.  All this leads to a curiously disappointing finish – it’s dusty and short, with hints of cheerios, caramel and crushed walnuts…but the fruits have once again disappeared to wherever they hid while I was smelling it.

The rum as tasted was released at 42%: currently it’s gone back to a more easy sipping 40% (as advertised on its website).  I think the strength is decent for what it is, because the rough edges of its youth have not been quite sanded clean yet, and it showcases a sort of jagged edge that a stronger proof might have made worse, rather than better. From what I was told at the booth where I tried it, it was based on sugar cane juice, and run through a column still (twice, hence the “double distilled” on the label), then aged for 3 years in charred American oak; this would account for the rather strong vanilla and smoky profile that characterizes the rum, but oddly for a cane juice product, rather less of the vegetal and fruity notes which one would expect from the source.

Chamarel on Mauritius has been around for a long time, and I’ve written about it in both the Premium Classic White, the double distilled white and Velier’s Indian Ocean Sills selection reviews, so if this piques your interest and you want to know more about them, check out those reviews or their own website. I’ve not tried very many of their aged rums – because there really aren’t that may: remember, rum making was legalized on Mauritius relatively recently so it’s not as if a whole bunch of aged stocks exist on the island.  So, I started with this one, the youngest, which I didn’t think was all that hot. It was a competent product, but I’m left somewhat confused what it’s meant for – it’s not good enough to sip, while lacking any serious punch over and above the vanilla, coconut and caramel, which would wake up a cocktail. Unless such a placid profile is your thing, you may want to see if you can lay hands on their older expressions, a millesime or anything they issue at a greater strength. Otherwise, be prepared by a restless sense of unfulfilled potential with this one.

(#808)(78/100)

Other

  • The rum isn’t bad, just feels unfinished.  As proof of its potential, note that it won a gold medal in its category at the 2018 German Rum Fest in Berlin, with other honours in the Agricole Gold class going to Clement Rhum Vieux Select Barrel (Martinique, 40%) and Saint James Ambre (Martinique, 40%)

Chamarel Premium Classic Unaged White Rum – Review

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Mar 082021
 

La Rhumerie de Chamarel, that Mauritius outfit we last saw when I reviewed their 44% pot-still white, doesn’t sit on its laurels with a self satisfied smirk and think it has achieved something.  Not at all.  In point of fact it has a couple more whites, both cane juice derived and distilled on their Barbet columnar still: one at 42º (the “Classic 42”) for cocktails like a mojito, and the other delivering a sharper 52º and clearly meant for the islanders’ own beloved Ti-punch.

Chamarel distillery is situated in a small valley in the south west of Mauritius, cultivates its own sugarcane, and has a history on the island going back centuries. The distillery takes the title of a small nearby village named after a Frenchman who lived there around 1800 and owned most of the land upon which the village now rests. The area has had long-lived plantations growing pineapples and sugar cane, and a very long history of distilling its own back-country hooch for local consumption, much like the grogues of Cape Verde or the clairins of Haiti..

After 2006, when rum production was finally legalized (previously all cane had to be made into sugar by law), it began to emerge from the shadows, to become something the world started paying attention to. It’s no coincidence that it was in 2008, at a time of weakening demand and reduced EU subsidies and a time of renewed interest in rum, that the owners of the Beachcomber Hotel chain (New Mauritius Hotels, one of the largest companies in Mauritius), created their new distillery on a 400-hectare estate.

The sugar cane is grown onsite and cut without pre-burning between July and December. The harvest is transported directly to the distillery and the crushed sugarcane juice filtered and taken to steel tanks for fermentation after which the wash is run through a copper pot still (for one of their white rums), or the two-column 24-plate still they call an alembic (for aged and other white rums). In all cases the rums are left post-distillation in inert stainless steel vats for three months (or more) before being transferred to ageing barrels of various kinds, or released as white rums, or further processed into spiced variations. In this case the classic is slowly reduced to 52% ABV over six months.

What comes out the other end and is released in a bottle smart enough to sport a doctorate from Cambridge, is a sleek stunner of a rum with a cosh in its back pocket. It’s an intense and crisply fiery taste bomb, and my Lord, was there a lot going on under its crinoline – a hot combo of wax, olives, brine and sugar water, acetone and paint thinner, which vied with a veritable smorgasbord of light and watery fruit for the dominance of the nose: guavas, pears, Thai mangoes, watermelon and guavas with a touch of pineapple and strawberry infused water. Slightly sweet, salty and sour, a really distinctive, slightly-addled nose. It’s sharp to smell, yet it’s the sharpness of clear and crisp aromas rather than any deficiency of youth and poor cuts such as too often mars young rums subsequently marketed as cocktail fodder: this thing, on the contrary, smells like you could take it to dinner at the Ritz.

Having already tried – and felt somewhat let down by – the restrained, near-lethargic nature of the Chamarel pot still white, I wasn’t looking for anything particularly “serious” when it came to how it tasted, aside from, perhaps, a bit of extra jolt from the higher proof point. I was happy to be disappointed: it was a firm and solid rhum on all fronts, both deep and sharp at the same time, laden with vegetals, wet grass, green apples, grapes, citrus, vanilla, pineapple and a mischievous hint of cider to shake things up.  Waiting a bit and then coming back to it, I noted a crisp melange of lemon, thyme, biryani spices, marzipan, more light and tart fruits, some unsweetened yoghurt and even the creamy back end of white chocolate and almonds.  It ended up closing the show with a last joyous and furiously spinning sense of fruit, citrus, pepper and a very hot green tea gurgling its way down.

Personally I have a thing for pot still hooch – they tend to have more oomph, more get-up-and-go, more pizzazz, better tastes.  There’s more character in them, and they cheerfully exude a kind of muscular, addled taste-set that is usually entertaining and often off the scale.  The Jamaicans and Guyanese have shown what can be done when you take that to the extreme.  But on the other side of the world there’s this little number coming off a small column, and I have to say, I liked it even more than its pot still sibling, which may be the extra proof or the still itself, who knows. 

The Premium Classic was simply a rhum that invigorated, and was hugely fun to try without any attempt to be “serious” or “important”.  And that’s a good thing here, I think, because it allows us to relax and just go with it.  Now, a lot of us drink rums just to get hammered, start a convo, have a good time – and if we don’t like it we chuck it away, or into a mix and any weakness is shrugged off by saying “others will like it” or “it’s not meant for sipping.” Meh. For me, either it works or it doesn’t and this one – frenetic, alcoholic and cheerfully unapologetic – does its thing so well, that the day I tried it I looked at the guy at the booth doing the talk and the pour and laughed in sheer delight, didn’t say a word and just held out my glass for more.  I haven’t heard much about this company or this rum since then, but I sure hope that gent remembers how much I liked his company’s product. 

(#807)(85/100)

Other notes

  • Although this is a rum (or rhum) deriving from cane juice, Mauritius does not have the right to call its products agricoles, and I follow the practise in my naming and description..

SMWS R8.3 Nicaragua 2004 12 YO Rum (“Fruit and Nut Case”) – Review

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Mar 042021
 

If two rums from the same company were made the exact same way on the same still, there are just a few things that would explain any profile variations. There’s the still settings themselves, because one rum might have different “cuts” than the other, or from higher or lower plate; there’s the proof point, stronger or weaker, at which either is bottled; and then there’s the barrel strategy, which is to say, the barrel itself and the duration of the rum’s slumber therein.

Last week I looked at a 12 year old Flor de Caña Nicaraguan rum from Compañía Licorera de Nicaragua, which came off their column still in some undisclosed year and was then aged in ex-bourbon barrels in Central America for more than a decade before being diluted down to a milquetoast 40%.  The 335 bottles of this Nicaraguan rum released by the Scotch Malt Whiskey Society were also 12 years old but allowed to flex the glutes at a solid 55% ABV, was in so many ways a better rum that one can only wonder at the difference. After all, isn’t tropical ageing supposed to be better? Stuff made at the distillery of origin from cane to cork should be benefiting from the voodoo of location, yet clearly that didn’t happen here.

I mean, consider the profile from start to finish.  This SMWS rum was deep and forceful from the get go.  Caramel and toffee melded well with a woody component.  Dark fruits and raisins waft across the nose and combined with some apple cider, threatens to overwhelm the smell…but the toffee, caramel, oak, chocolate and tart yoghurt end up carrying the day.  It’s a bit sweet, with some bitterness after a while, and an emergent strain of coconut and marzipan, with the whole thing getting both darker and sweeter the longer it’s nosed

Palate?  Not bad at all. It’s woody, more so than the Flor de Caña product (and this is something  about their rums many have commented on before); caramel and bitter chocolate wrestle for dominance with dark Russian peasant bread. “It’s kind of like a thin Blairmont and without the complexity,” remarked my friend Marco, who was tasting it unenthusiastically with me (he was not a fan). I disagree there, because when you leave the rum alone for a while (okay fine, I forgot about it and checked it again an hour later, so sue me) it actually provides some nice notes of coffee, brown sugar, apples and vanilla – these temper the slight oaky bitterness we sensed, and while overall I think it is rather simple and the finish just repeats the chorus of notes from above, it’s a pretty powerful statement for the company…and what it could be doing.

I have no way of knowing in which year the Flor 12 was made – company-made blends like that stay stable for long periods and are tweaked to make them that way – and so a comparison between a continentally aged rum from a single barrel selected by a whisky maker, and a blended, easier product continuously being made by the distillery, lacks true comparability or real meaning; and will without question taste differently. And that’s even without going into the oft-repeated doubts as to whether even back then, their rums truly aged for X years.

And yet, and yet….perhaps it should not taste that different. The shared DNA should be clear, there should be points of similarity that would permit a reasoned comparison to be made, the family tree to snap into focus. Here, that’s hard. If pressed, I’d say I felt this one was less like the 12 and more akin to the superlative blue-bottled 15 year old “21” I’ve always liked — but that one was also quite different from other Flor products (it was an anniversary bottling, never repeated).

So taking all that into account, what made the SMWS rum from Nicaragua so relatively good? Maybe they really were made at different times and in different ways and came off the still already more like second cousins than brothers. But assume for a minute that they were the same up to that point:  given the similarity in age, similarity in barrels and assumed sameness off the still, the only thing left to consider is the wide divergence of the proof point, and the ageing location. The 40% TA variant is faint, lacklustre and ultimately boring – it in no way provides the complexity and solidity of tastes the CA 55% does.  

I’m not trying to make a case for continental over tropical (aside from pointing out how pointless the discussion is from a taste perspective) – but I will go on record for suggesting that maybe one reason Flor de Cana can’t seem to increase its market share or get a bigger footprint on the connoisseur’s mindset, is because they have not had the guts to stake out the full proof market for their products, or even issue a limited edition series of single cask releases. And what that means is that other, smaller independents are stealing the thunder and reaping the rewards that by right should have been theirs. All because they couldn’t be bothered to move away from the traditional philosophy of their blenders.

(#806)(85/100)

Other notes’

  • Simon over at the Rum Shop Boy liked the rum, and made some interesting comments in his conclusions: he suggested that its quality disproves the oft-cited myth that lighter column still spirits require dosage to be truly palatable; and also, that a higher proof is a completely acceptable way of delivering more flavour punch to the rum.

Revisiting the Flor de Caña “Centenario” 12 YO Rum

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Mar 012021
 

[Based on a bottle acquired and tasted in July 2017, Berlin]

Nearly ten years ago, I was rather indifferent to Flor de Cana’s 12 year old rum.  It wasn’t as cool as the older expressions like the 18 for sipping, and was outdone by the 7 year old for a more assertive a cocktail. The 12 YO made a decent drink…except insofar as I thought it was somewhat unfinished mid range rum which didn’t seem to be either flesh or fowl. 

A decade has now passed, and the brand has lost both brownie points and market lustre with consumers. The 2015 Chronic Kidney Disease matter has died down, but the peculiar and more lasting damage of their age statements continues. In fine, the age statement number on the label was phased out after around 2014 (when Wes Burgin first noted it in his middling-scored review) and now just says “7” or “12” or 18” without further clarification.  Of course, even then they were touting that silly “slow aged” moniker, which I regarded then and now with the same sort of impatience.  What on earth do they think this means, honestly? That the world spins more slowly for this thing?

What this all does mean, and what just about every reviewer on reddit or other fora is at pains to note (when they bother reviewing anything from Flor at all), is that the big number on the label is completely useless, if not outright deceptive. It tells you nothing of consequence, not the age, or whether it is a blend of X rums (unlikely) or whether it’s a link to the past when it was 12 years old.

With that in mind, let’s see what we have: an older 12 year old 40% rum, whose current “12” blend is no longer now what this once was; column still distilled and aged in ex-bourbon barrels. A more standard rum could not be imagined (unless maybe it’s the Appleton 12 YO or Doorly’s 12 YO).  The only reasons to try it are curiosity (always), to see if it could be a candidate for the Key Rums list (no), and to see if anything has changed from my original review (yes, but not for the better).  

I confess it did not impress now either.  The nose started out medicinal and a bit sharp.  It’s predominant characteristic was dark prunes and viscous molasses, honey, overripe cherries, a tang of salt and olives. The ageing showed up via a trace of vanilla and tannins, whose aromas stayed mostly in the background, but overall, not a particularly expressive or impressive nose.

The rum tasted mostly of caramel, treacle and molasses.  There was a trace of nuttiness and honey, a few dark and ripe fruits, nothing particularly sharp or tart.  Black olives, some brown sugar. It felt like something of a soft blanket, lacking the sharper notes of a citrus element that would have make a stronger statement and balanced things off more nicely. With some strain and patience, a touch of orange peel and unsweetened chocolate was discernible at the tail end leading into the short, dry finish, just insufficient to make a difference to the overall profile.  Not something that made it any more memorable, however. 

For my money, the 12 YO remains something of a middling work in progress, once leading to the better 18 Year Old (now the “18”) of the supposedly even more upscale “Luxury” expressions (this one is referred to as an “Ultra Premium” in its current iteration). I don’t think it merits anything near those kinds of descriptions – based on tastes alone, it encourages words like “capable,” “decent” and “mid range” but “Premium”?  No chance.

To me, it comes down to that that big number 12 on the label: without any qualifiers or explanations, it is a sign of not just shoddy marketing and the peacock-like display of a double-digit (if not an outright attempt to mislead buyers), but of a lack of faith in their own product. I have no particular issues with Flor de Cana as a whole – I admire what they’ve managed to accomplish to recover their reputation – but this rum is just not worthy, at this stage, of being included in the pantheon.  It’s too simple, too ambiguous, and it excites mostly a kind of indifference. Ten years ago it was the sort of rum I’d drink when I just wanted to get hammered, and in that sense, it’s exactly the same now

(#805)(78/100)

Other notes

  • In a time of true-aged cask-strength full-proofs as part of several primary producers’ ranges, I wonder why they insist on keeping this old work horse and not rebrand it as a true 12 year old, and/or goose the proof a bit?  For that matter, why not issue a complete range of high-octane full proofs?  To stick with the advertising of yesteryear at a time when the world has already changed so much strikes me as odd, to say the least.  Perhaps, like DDL, they regard that kind of thing as a loss-leading indulgence of the independent bottlers, not something they really care about themselves.
  • Both TWE and MoM keep on naming their entries for the rum as if it were a true-aged rum, when the label clearly says nothing of the kind.

SMWS R6.1 Barbados 2002 14 Year Old Rum (“Spice At The Races”) – Review

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Feb 252021
 

Back in 2013 when I wrote about the Scotch Malt Whisky Association’s release R3.4 Barbados 2002 10YO “Makes You Strong Like  Lion”, several people went on FB and passed the word around that it wasn’t a Foursquare rum, which was hardly needed since I noted in the review that it was from WIRD, and the (mythical) Rockley Still. Four years later the SMWS did however, decide that the famed Barbados company shouldn’t be left out and bottled an aged rum from Foursquare (the first of two), named it R6.1, and gave it one of their usual amusing titles of “Spice At The Races.” One wonders when they’re going to try for a Mount Gay distillate, though I’m not holding my breath.

Now, for years, every rum geek in the observable rumiverse (bar a few of my acquaintances who don’t drink kool aid) has formed up behind the oft-repeated idea that there is no way a continentally aged rum is the equal of one left to sleep in its island or country of origin. I’ve always taken that statement with a pinch of salt, for two reasons: one, its adherents always talk about taste and age, yet it’s actually touted for social and economic reasons, which is a point often lost in the shuffle; and two, I’ve simply had too many aged rums that ripened in both places for me to be so dogmatic in my assertions, and I’ve seen as many failures as successes in both. Ultimately, it’s the taste that counts no matter where it’s bottled.

This pale yellow rum cost around £75 when initially released, was 57.3% and with a 210 bottle outurn, aged for a solid 14 years old (yes, in Europe) , illustrates the problem with making such sweeping “four legs good, two legs bad” generalizations, because it’s a really a fine rum in its own peculiar way, and one I enjoyed a lot.

Consider first the nose, which opens with the firm assertiveness of my primary school teacher wielding her cane. It smells of sawdust, dusty cardboard, glue, has an odd medicinal touch to it, and also a nice smoky-sweet sort of background. Then the fruits begin their march in: orange peel, strawberries, bananas, pineapple, some light cherries and peaches. The citrus line, augmented with other sharper aromas of persimmons and ginnips provide a lovely through-line, and the smokiness and leather lend an intriguing edge.

The taste is admittedly odd at the inception; my first notes speak of a pair of old, well used, polished, leather shoes (with socks still in ‘em). This is not actually a bad thing, since it is balanced off by ginger, mauby and some rich fruit notes – apples, guavas, almost ripe yellow Thai mangoes – and these make it both tart and delicately sweet, gathering force until it becomes almost creamy at the back end, with a sort of caramel, port, molasses and vanilla taste to it. This is one of these cases where the finish lingers and doesn’t do a vanishing act on you: it’s slightly acidic and tart, with vanilla, oak, smoke, unsweetened yoghurt and a touch of delicate florals and fruits. Nice.

So, a couple of points.  Marco Freyr of Barrel-Aged-Mind, who was sampling it with me, and who has an encyclopaedic knowledge of the various Bajan rum profiles, wondered if it was even a Foursquare at all (I chose to disagree, and accept the rum as stated).  Also, It’s unclear from the labelling whether it’s a pure pot still distillate, or – more consistent with Foursuare’s own releases – a blend of pot and column.  Rum Auctioneer classed it as a pot-column blend.  The bottle remains silent. The Rum Shop Boy, one of the few who’s reviewed it, noted it as pot still only in one part of his review, and a blend further down (and didn’t care much for it, as a matter of interest). However, he further noted in an earlier Kintra Foursquare review some months before, that Mr. Seale had confirmed some 2002 pot still 4S rum had indeed been sold that year. My own initial take was that it was a blend, as I felt it lacked the sort of distinctiveness a pot still distillate would impart and I didn’t think Mr. Seale shipped his pot still juice over to Europe. However, Simon’s quote from him, and Seale’s subsequent note on FB put he matter to rest – he confirmed it was a pot still spirit.

All that aside, it was a really good rum, one which shows that when they want to, the SMWS can pick rums with the best of them, especially with more familiar and more famous distilleries – that said, their track record with less known and less popular marks is a bit more hit and miss.  If various laws and regulations being pursued stop indies from getting continentally aged juice in the years to come (though this is unlikely given the extent of Scheer’s stocks), I think the Society can still rest comfortably on its laurels after having issued a rum as fine as this one, young as it may be in tropical years.

(#804)(86/100)

Other notes

  • Rum Shop Boy scored the rum 67/100, so about 83 points by my scale and 3½ out of 5 on Wes’s.  Like Marco, he commented on how different it was from the Foursquare rums he knew, and rated it “disappointing”.
  • Angus over at WhiskyFun liked it much more and scored it 87, rolling out the tongue-in-cheek “dangerously quaffable” line, and meaning it.
  • Ben’s Whisky Blog (near bottom of page) rates it a “Buy” with no score
  • Post details regarding source still is updated based on a conversation on FB the same day I put it up.  It could indeed be a pot still rum, but the jury remains out.

Havana Club Silver Dry White Rum (Cuban)(1980s-1990s)

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Feb 222021
 

Rumaniacs Review #124 | 0803

There were several varieties of the standard white Havana Club mixer: strengths varied from 37.5% to 40%, the labels changed from saying “El Ron de Cuba” to “Mix Freely” and in the early 2000s this old workhorse of the bartending scene, which had been in existence at least since the 1970s and produced all over the world, was finally retired, to be replaced by the Anejo Blanco. 

From the label design I’m hazarding a guess mine came from the early 1990s (it lacks the pictures of the 1996 and 1997 medals it won that were added later) but as it was part of a collection from much earlier and the design changes were stable for long periods, it may be from the late eighties as well (the HC sun began to be coloured red in the early 1980s which sets an earliest possible dating for the bottle). As far as I know it was a column still product aged for no more than 18 months, filtered to white and made in Cuba.

Colour – White

Strength – 40%

Nose – Very light, fragrant and delicate. Sugar water, coconut shavings (and actual coconut water), watery pears.  A touch of light vanilla, watermelon and cucumbers, and an almost industrial sort of aroma to it that is supposed to double for “alcohol,” I guess, but feels too much like raw spirit to me. Without practice this could come off as a serious no-nose kind of rum.

Palate – Meh. Unadventurous.  Watery alcohol.  Pears, cucumbers in light brine, vanilla and sugar water depending how often one returns to the glass.  Completely inoffensive and easy, which in this case means no effort required, since there’s almost nothing to taste and no effort is needed. Even the final touch of lemon zest doesn’t really save it.

Finish – Short, faint and undistinguished, complete non-starter. By the time you think to ask “Where’s the finish?” it’s already all over.

Thoughts – By today’s standards, this venerable white is unimpressive.  Current Havana Club variants like the 3YO Anejo Blanco or the Verde are slightly more taste-driven on their own account, and have a life over and beyond the cocktail circuit since they possess a smidgen of individual character. This is too much of a backgrounder, too anonymous, to appeal.  

Note however, that it is completely consistent with its purpose which was to liven up a mojito or a daiquiri, not to appear on one of my lists of white rums (here and here) that stand tall alone.  At the time, this was what such blancos were made for and what made them sell. That this one fails by today’s more exacting standards for white rums, is hardly its fault. We changed, not it.

(74/100)

A picture of some of the silver dry series over the decades, from the FB site HC Sammlung Hamburg

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