Winding Road “Coastal Cane” Pinot Cask 4YO Pure Single Australian Rum – Review

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Nov 112024
 

It is no accident that Winding Road Distillery makes its third appearance in the 2023 Australian Rum Advent Calendar issued by Mr. & Mrs Rum, and is included in the upcoming 2024 edition as well. The rums which Mark and Camille Awad make in their little distillery (just south of Brisbane in New South Wales) are, and have always been, in my opinion, just excellent – and that’s whether we’re discussing an unaged white rum, the first release of the two year old Pure Single Rum, or this one.

There is a small biography of the company which will provide some historical background of the distillery for those who are interested, but for now, let’s keep things brief and talk about the production stats.

Winding Road has stayed consistent with using first press cane juice, which they get from a small mill in the Northern Rivers area, and allow wild yeast to start the fermentation process naturally – however, additional strains of yeast are then added to produce more complex ester profiles, and although no specific information regarding fermentation time is provided, there is no indication that the previous length of 3-4 days is not also being done here. The wash then gets run through “Short Round”, their 1250-litre pot still, and laid to rest (in this case) wine barrels from Tasmania which once held Pinot Grigio, for something over four years.

What makes its way into the bottles, then, is a 58.5% ABV, aged, agricole-style rum, though they are careful never to use that term (correctly, in my view). And it is, in the very first word of my notes, lovely. The nose is redolent of honey and light acetones, nail varnish and the smell of newly made leather furniture with the polish still evident. The aromas develop into salted caramel ice cream with notes of vanilla, cinnamon, ripe red grapes and a touch of stewed apples, but rather than stopping there, it coughs up a few final hints of chicken soup, a maggi cube, and maybe a last celery stick thrown in for good measure.

Much of what we sense on the nose is also present when tasted – little of it disappears. There’s the ice cream again, toffee, caramel, salt, vanilla, all present and accounted for. Fruits take on more prominence here, mostly fleshy fruit like soft ripe mangoes and peaches, but we also get black cherries, cranberries, some kiwi fruits and a strong sense of a cinnamon dusted pumpkin latte (go figure). The hint of soup I note above is pretty much gone by the end, unfortunately, but it’s not missed – what we have is more than good enough. The finish sums things up with wine, cherries, light fruits and spices, and lasts a nice long time – it’s a fitting close to the experience, quite pleasant, without introducing any additional notes for our consideration.

Overall, when I look at the companies whose rums have featured more than once in the three advent calendars, the Winding Road’s Coastal Cane 4YO exemplifies a trend I’ve observed across the entire line – Australian rums are improving year on year. I can’t say definitively if it’s because of additional years of ageing of the matured rums, more experience producing unaged whites, the playful experimentation that characterises so many of these new distilleries. I’m just seeing that the bar is being raised, company by company, year by year, rum by rum.

Sure there are missteps, stumbles, some weak entries – it would be astounding if there weren’t. But in my opinion, speaking about this one rum within the context of all these products we have slowly become familiar with from way down under, is that it’s bloody good. The aromas are enticing and meld well, and the palate is complex and inviting and strong enough to make itself felt, and the whole thing just clicks. I think that Winding Road’s emphasis on making cane juice rums and always going a little further down the rabbit hole has paid dividends, and while at the time of writing the Coastal Cane “Pinot” is not yet released to the market, I can assure you that when it does, it’s well worth picking up.

(#1099)(86/100) ⭐⭐⭐⭐

Other notes

JimmyRum “RumRum Batch #4” 4YO Australian Rum – Review

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Oct 282024
 

With the upcoming release of the new 2024 Australian Advent calendar, I should speed up the process of writing about the 2023 calendar, where we still have about four to go. And so today, I return to one of the first producers whose rums I tried back with the initial calendar, JimmyRum, that casual, humorous, insouciant little distillery down in the south (see a brief bio below the review).

Several ranges of rums are now part of the distillery’s stable, and you want to be careful with them, because while they are clearly and distinctively named — Queen’s Cut, Oaked, Cane ‘n’ Grain, Silver, RumRum and so on — these series are individually issued in batches. And while those batches are identified on the website, I’m not sure whether it’s as clearly noted on the labels, or whether the year is identified anywhere. It can cause confusion to the casual buyer.

Anyway, this rum is Batch #4 and it can be considered part of the “standard” lineup with none of the flourishes or other touches that set apart more romantically named editions (like the Navy or Queen’s Share.e.g.). As noted in my previous reviews, the molasses derives from Sunshine Sugar in New South Wales, and the wash is done in two 5000-litre fermenters, which are temperature controlled to less than 25°C with an initial Brix of approximately 19. Distillation remains on “Matilda” (the 1500 litre Italian-made hybrid still), and ageing is for a minimum four years in four ex-bourbon 200L American oak casks – these were initially filled at 65% ABV, in this case the rum was reduced to 50.3% ABV specifically for the Calendar. It’s also an unfiltered version, hand bottled and hand labelled. Cute.

Publicity photo (c) JimmyRum

I’ve quite liked JimmyRum from the inception (the Silver scored 79, the RumRum 3YO nabbed 84) and they have kept on creeping up the scale with this one, because it’s a really nifty piece of work. It has, for example, a dusty opening nose, like a wooden barrel filled with apples in the cellar. There are spices, strawberries, peaches, apricots, kiwi fruit, freshly sliced pineapple skins, and to that is added a mild citrus note of 7-Up sugar water and zest. As if this was not enough, a kitchen sink floats by, filled with laban, miso soup, sour yoghurt, sweet balsamic vinegar (the kind that has essence of, say raspberries in it) and whipped cream sprinkled with cinnamon and lemon peel. It really is an aromatic rum.

And the palate is also nothing to sneeze at either: honey, tawny wax notes, brown sugar, brine and olives. Freshly baked croissants with butter, maple syrup, strawberries, butterscotch and vanilla, some bitter chocolate and coffee grounds, set off by the faintest sweet-sour note of a freshly cracked tamarind pod (and that’s not a bad thing in this context, really). The finish is all right – neither overstaying its welcome, nor being overly shy. There are hints of tamarind, ruby grapefruit, apricots, vanilla and cinnamon; not a whole lot more, though, and it leaves without breaking new ground or making any larger statement for itself.

Well, I quite liked this one. Young rums don’t always get a good hearing – witness my own occasional shredding of cheap mixing-grade blends like ambres, golds or other young cocktail fodder made with equal parts indifference and disrespect – but I do find that smaller distilleries often provide a good product. Like here, where we get lots of flavours, a solid strength and more than enough quality to set it apart from others its own age. If I had a quibble, it’s that Golds are cheaper mass market rums that can be had for peanuts, while something like this, even for its youth, costs way over a hundred hucks in Australia (so God knows how much it’ll be when we get it out west)

Still, in re-tasting it, I once again note that there’s a lot of breakfast on this tray. It’s a voluptuous, tasty, well-balanced treat; and while my imagination may be overactive, it’s no small thing for a rum, any rum, by itself, to so easily evoke the kind of autumn thoughts this one does. I keep daydreaming of a confident and beautiful woman in a green coat walking home from work on a crisp cool evening, treating herself to a bag of freshly baked pastries, fruits from the grocery, and a hot toddy steaming in her hand. What can I say? Rum does that to me sometimes. So pardon me while I close this review, lean back to finish my sample, and indulge them some more. I think I want to meet this rum…and maybe, one day, the woman too.

(#1094)(85/100) ⭐⭐⭐½

Other notes

  • Video Recap is here.
  • From Day 20 of the 2023 Australian Advent Calendar
  • As of the time of this writing in October 2024, JimmyRum’s website is selling RumRum Batch#5

Company Bio (summary)

JimmyRum is a very new distillery, established around 2018 in Dromana, a small community just south of Melbourne by James McPherson, a former marine engineer. In 2015 or so, after some twenty years sailing the high seas as a Chief Engineer, he decided (initially as a joke) to open a distillery dedicated to rum, a first (and the first) in the state of Victoria. His research relating to rum took him on a whirlwind 3-month 70-distillery tour of the world after which he bought the biggest still he could afford from Italy (before he had actually done a lick of distilling himself), installed it and ran it in, arranged for casks, sources of supply, tested the results and started making stock to lay down to age.

Bayou Louisiana XO “Reserve Select Barrel” Rum – Review

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Oct 112024
 

Rums like this, decent as they may be, always strike me as ultimately deceptive: when you delve right in and start to take apart the claims of the advertising they try to sell you on, all you get is emptiness. The pretty label and website blurbs you are generously provided is rather at odds with the grudging paucity of anything resembling actual information, and for us to be running around trying to understand anything about what’s in the rum in this day and age is, quite simply, an affront to rum lovers.

The mild dissatisfaction you might sense in the comment above derives from a tasting of the Bayou white, the XO “Reserve” and the “Mardi Gras” rums that I did side by side back in January of 2024. I wasn’t impressed by the white and this one didn’t do much for me either. Now, just so you know – I taste first and research later, so whatever issues I have with disclosure and labelling and the company’s information provision don’t impact how I feel about the rum as it samples, or how I score. So let’s just get that out of the way and then I’ll tell you some more about what you’re supposedly drinking

The nose opens with what initially seems an impressive panoply of aromas: caramel, cold wet coffee grounds still in the filter, some toffee, smoke and leather. This is all boilerplate, however, really quiet and light. After some time one can pick out vanilla, sweet green peas in water, and some faint background notes of stewed apples, flambeed bananas, that burnt fruit kind of thing. If you strain you can get some pastries and stale black tea. Quite sweet, with some licorice and marshmallow notes thrown in at the back end.

If this had been about five to ten points stronger it would have made a real statement for itself, I believe, but the standard strength undercuts the promises the nose makes. Tasting the rather thinly sweet bourbon-like rum provides a whole lot of nothing in particular: I strain to taste chocolates, cinnamon, unsweetened black tea long since gone cold, licorice, some vanilla and it’s all rather dampened down, with some indeterminate fruits like apples doing a slow dance in the background. Very little to get enthused about here, very little to get inspired by — at the end, it closes with a lackadaisical indeterminate finish of marshmallows and light fruits one can barely sense before they vanish, and one is left wondering what the point ever was.

So…what is it? According to the website it’s a molasses-based pot still rum, aged for four years or less (the famous words “up to…” are in evidence) in wet ex-bourbon barrels, which implies they couldn’t be bothered to actually try for an actual bourbon but wanted to get the best of both drinking classes enthused with this one drink made on the cheap. The bottle label says it’s a reserve without defining what that is, and the website does nothing better, though it does make a curious comment that suggests that are using a solera system, even if this is mentioned nowhere else on the website or the label itself. On the other hand, we are told this is bottle #003 of 7076, which rather undercuts the special select nature of the release, I would think, but never mind.

“This is a rum for bourbon drinkers” chirps the website — one can only wonder when one reads stuff like that, to what level of bourbon they refer: bottom feeding bathtub-brewed hooch, or something more elevated that’s fallen on hard times, or…what? Me, I’m completely unmoved by it, because it suffers from that most depressing of characteristics, namely, that it has none. It’s a rum, yes, but bland and completely conventional, without anything to set it apart, a slog through, and not really interesting — I could get more of a buzz shuffling the papers on my desk from the “in” to the “out” tray.

(#1093)(74/100) ⭐⭐½

Brief company bio (from Review #1053 of the Bayou white )

The company making the rum is called Louisiana Spirits LLC: it was founded in January 2013 by brothers Tim and Trey Litel and their friend Skip Cortes, with Bayou as their flagship brand in January 2013 (the idea had been floated in a duck blind back in 2011). The chosen name was obvious (and survey-tested for its recognition factor, as if this were necessary), and back then the design had a ‘gator on it. By 2018 in a rebranding exercise it had been renamed “White” and the modern design had snapped into focus. The wag in me suggests that maybe more surveys were done but actually that’s when the SPI Group (the owners of Stoli vodka and headquartered in Luxembourg) who had already bought a majority stake in 2016, acquired all the remaining shares and took over. As far as I know, the original founders are no longer much involved in production.

Other notes

La Maison & Velier 2018 Vietnam 6YO Rum – Review

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Oct 052024
 

In any festival featuring rums, there are always a few that are special (if only to oneself), and the larger the festival the more they are…and usually, the harder they are to find. Sometimes they only exist below the counter, provided by people who know (and hopefully like) you enough to spot a shot. Occasionally, you are alerted to potential finds by fellow enthusiasts who scurry around ferreting out the new, the amazing, the obscure, or the just plain batsh*t crazy, and then they tell you — maybe. Alas, in many cases there are only limited stocks and others are sure to be there before you — so if you dally and tarry, you’re out of luck. And so you hustle to get your dram…if any is left.

At an event as large as Paris’s 2024 WhiskyLive, which I attended a few days ago for the second time, the problem becomes acute because at the VIP area where almost all such nuggets are to be found, all the top end spirits and new releases are jammed together and the booths are five and six deep in people wanting to do exactly what you are. In this way I missed out on a 1950s Cuban rum (sniffed but not tasted), a LMW full proof rum from Cambodia (never even spotted), and several fascinating rums from the Caribbean (the list is long). There just wasn’t enough time or enough energy to elbow one’s way past and through the crowds.

But on the flip side, I managed to try this surprising rumlet, on the very last day, in my final hours: a cane juice rum from Viet Nam’s Quang Nam province, distilled on a French copper column still and then aged in ex-bourbon and ex-Cognac casks (we are not told how much of each), before being bottled six years further on, at 56.9%. That’s pretty much all we get. It has been placed in the annual La Maison collection called Foundations, and is itself a part of the LM&V series called “Flags”, which are all distinguished by labels bearing a stylized – almost abstract – flag of the country of origin.

Because we see so little rum from Asia that isn’t messed with in some way or issued at some yawn-through low strength, you can understand my eagerness to try it. I can assure yo, this six year old does not disappoint. It noses in a faintly vegetal way, redolent of grass and cane sap. It is quite pungent and aromatic to a fault, channelling a crisp semi-sweet white wine, ripe green grapes, a touch of brininess, combined with vague notes of lychees and green apples. There are even scents of hot pastries, lemon meringue pie, plus a dash of white chocolate and – I swear this is true – raw potato peelings.

This all comes together in a palate of uncommon restraint, at that strength. It’s salty and very crisp, with a grain background that makes it almost whisky-like, yet there are sweetish notes too, as well as caramel, toffee, white chocolate and almonds and a creamy unsweetened greek yoghurt. There are some watery white fruit in evidence – pears, melons, white guavas, that kind of thing – and the general taste is of something quite light and perfumed, leading to a civilised and easygoing finish, quite aromatic and fruity and floral, yet with some breakfast spices as well. It’s really pleasant rum to drink and not one I’d care to mix, really.

The rum noses really well and tastes even better, and still manages to carve out its own little niche with some subtle hints of terroire that distinguish it from the rhums adhering to more exacting AOC standards, with which we are also more familiar. That’s its attraction, I think, that air of something at a slight remove from the well known. Yet the final impression one is left with is that the agricole nature of it all has started to recede as the age increases and the barrels take on more of an influence, and dilute the distinct notes of its origin.

That’s an observation, not a criticism, because overall, the rum is great – and my score reflects that. I just want you to be aware that even at a mere six years of age, we are losing a little of that clear sense of origin – something that says “Vietnam”. And to get that, we may have to turn to the source, and check out a white or two from there. Until we can do that, we must be grateful for this one: because this rum is no slouch, is a good addition to anyone’s collection, and deserves too be sampled. And keeping in mind my desire for the new and obscure, am I ever glad I tried it.

(#1092)(86/100) ⭐⭐⭐⭐

Other notes

  • Video Recap is here
  • Outturn is 193 bottles. The LMV catalogue says 440+ but since the catalogue goes to print before the final bottling, I take the label as my guide here.
  • The question of course is which distillery made it, and my own educated guess is based on the following factors: the province of Quang Nam, the French copper pot still, and the fact that no fly-by-night small-batch operator would interest Velier or La Maison – at the very least there would have to be some street cred involved, and that eliminates Belami (too small), Mia (wrong location, different still), or L’Arrange (too involved in fruit infusions). Which leaves just one which ticks all the boxes – Sampan, of which I’ve tried just one, and was mightily taken by. If I’m right about that, a brief company bio is in the review of their white overproof rum.
  • Thanks to Kegan, who sent me to the right place just in time to get a final dram from the chaotic counter.

Killik Handcrafted Rum “Pure Pot Still” Australian Rum (pre-release) – Review

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Sep 252024
 

There aren’t a whole lot of rums in Australia that charge full bore and headlong into fullproof territory, but Killik, a small distillery from Victoria, has never shied away from releasing some seriously batsh*t crazy rums. These are the same happy chappies who, if you recall, experimented relentlessly with muck pits and dunder, supercharged their wash and unleashed a high-ester, hogo-laden juice — the shuddering white shredder of the 59% Silver Overproof, remember that feral blast? — onto an unsuspecting rumiverse back in 2021. You can be sure Ben and Callan Pratt have lost none of their fiendish delight in making more such spirituous codpieces in the intervening period.

All this sounds like I’m just making stuff up to tell a better story, but not really. Shorn of the flowery language, the basic facts are in evidence: Killik Handcrafted Rum (this is the actual name of the company and a clever way to get around Australia’s two-year “rum-naming” limit) started life as a beer brewing enterprise in 2009 before the brothers had a come-to-rum-Jesus moment and started making the good stuff in 2019. Unusual for distillers, they professed a certain indifference to distillation equipment, and focused their attention on robust yeast strains, bacterial cultures, muck pits and boosting their ester counts like a skilled demo expert laying his charges.

To this day such pot still high ester rums are not huge sellers in Australia, and remain a small proportion of the company’s sales — gins, lesser proofed rums and flavoured editions sell much more briskly. But squirrelled away in the portfolio is the 59% Single Cask Release, which is of similar provenance and style to this rum, and shows the direction the distillery would prefer to go. Alas, for now, it would appear that the Australian public remains unmoved by the style.

Too bad: but if that’s still the case, then I think this 62% ABV pot still high ester rum, which remains unreleased and will be issued in late 2024, will likely shiver their timbers like an anchor to the head. The rum noses so richly, is so luscious and so bright that it’s hard to know where to begin. Right away, it’s pineapples, soft yellow ripe fruits (including some overripe ones) – peaches, apricots, Thai mangoes, and behind that lurk subtler notes of orange peel, a white wine vinegar, figs, cucumbers and sour cranberries, leavened with some vanilla, honey and a light dusting of brown sugar. Nice!

It’s also remarkably easy to sip, in spite of that growly strength. It’s harsh edges have been sanded off and it’s not scratchy at all – in fact, it presents as easier than the proof point would suggest, with a firm, warm taste of very ripe cherries, apricots, marshmallows, toffee, cinnamon and ginger. And even after an hour, perhaps just to prove it’s not quite dead yet, it coughs up a last note of stewed apples, caramel, vanilla and again, a trace of orange peel and cardamom. As for the finish, it’s shy of biblical – we can’t have everything, I guess – yet it lasts, and there’s a shy exit of fruits, spices, papaya, watermelons and bubble gum that provides a good ending to the experience.

Overall, this is a rum I can only admire, and even for its relatively young age, the 62% ABV is a plus, not a disqualifier, allowing strong, clear tastes to come forward and be counted. The funkiness of a Jamaican high ester rum is on full display, yet it’s obviously not from there – by some quiet alchemy of the distiller’s art, it is completely standalone product that pays homage to its roots in De Yaad without slavishly adhering to every single note from the pantheon, allowing it to be seen as a distinctly Australian product. This may finally be the product that will convince the good rumizens of Oz to take note of what funk is and how interesting it can be when done right.

Back when I reviewed Killik’s Silver Overproof, I remarked that it was so well made that Jamaican rum lovers might want to cast a covetous eye over Down Under. With this rum, the company proves that that one rum was no mere happenstance, and now it’s just not high-ester funk lovers who should pay attention, but the distilleries themselves. When this thing gets released, if it doesn’t fly off the shelves, Killik should seriously consider exporting it to Jamaica.

(#1091)(87/100) ⭐⭐⭐⭐

Other notes

  • Video Recap is here.
  • The rum is currently slated for release in late 2024 and so will be different when issued because of the additional ageing. I maintain that it will be close to what I describe though, and is worth considering.
  • Production stats: made from Queensland molasses and sugar, used in conjunction with their muck pits (as far as I am aware, so far they are the only distillery to seriously use this technique). Brewer’s yeast used in the primary ferment for the first two weeks in closed and controlled fermentation vessels: the low wines are then transferred to a secondary vessel for further open fermentation which can vary in length depending on the characters produced from anything to a further two weeks, to a month or more, after which it is run through their hybrid still in a pure pot configuration, and the set to age in re-coopered, re-shaved and charred American Chardonnay barrels. At the time the sample was prepped for the calendar in early 2023 the rum was just over two years old, but by the time they get around to commercially releasing it this year, it will be closer to four. The ester count, alas, is unknown

Colours of Rum Foursquare 2002 20YO Barbados Rum – Review

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Sep 232024
 

Anyone on the worldwide festival circuit over the last few years knows about the crew that reps the new independent bottler out of Poland called Colours of Rum. Their eye catching shirts matching their brightly labelled rums, the rums themselves, the enthusiasm of Magde Reszke and Dominic Rudnicki (among others) when they talk and strut their stuff…well, it’s not hard to stop by and just hang out for a bit, see what they are selling and check if anything is squirrelled away under the table that might conceivably be shared. It just goes to show how much a good brand ambassador can make a huge difference in the perception of the rum she (or he) is promoting. The way they operate, it’s like they enjoy what they do immensely, an attitude which keeps me coming back to their booth, every time…and that’s priceless.

That said, I don’t want to distract from the fact that when you really get down to it, CoR is not really different from any other good independent bottler. To be sure, they chose cannily and well with their selections, and thus far they have not gone too far into the bushes, and simply concentrated on a few countries’ rums — they always release single casks — which they know are popular and will move: Jamaica and Barbados have the most, and there are also rums from Guyana, Trinidad, Fiji, and Guadeloupe. More are likely to join the stable in the future, and of late they have dipped their toes into blends and finished rums as well.

Let’s narrow our focus, though: the rum we are looking at today is a Barbados rum from Foursquare, from 2002 – and once that date clicks and you realise it’s a single cask and pot still, well, you just know it’s from the same batch of twelve barrels (out of an original twenty) of pot still distillate which Richard Seale sold to Main Rum back in 2002. Other fortunate bottlers of this rare batch of Foursquares (and I like to imagine that vendettas ensued and carpets ran rust-red in Scheer’s offices when the knives came out in the bidding war) include USA’s Holmes Cay, Royal Cane (a brand of Infinity Spirits from Amsterdam), and Nico on FB told me that the SMWS, Silver Seal, Kintra, Ultimatum and L’Esprit all issued single cask expressions from the set. Who snagged the other barrels remains unknown; perhaps we’ll be lucky enough to see them get issued in years to come, though my wallet trembles at the potential cost.

Anyway, what else? Pot still as noted, 49% ABV, 208 bottle outturn. Issued in 2022, so 20 years old, ex bourbon barrels. And that’s about all we get and all we know.

The only other rum from this background which I’ve tried is of course the Holmes Cay expression, and I liked that a lot: it was superb. This one has its differences. Here the nose opens with flowers, sweet bubble gum, candy floss, salt, olive oil, lychees, slightly sweet-sour mangoes. Ginnip, licorice, damp sawdust, cucumbers in vinegar. Noses almost delicately, hardly like a deep and heavy overproofed pot still badass at all. There are light touches of molasses, cinnamon and cardamom, but seemingly restrained from showing off the full panoply of their potential.

As for the palate, well, no surprise, it’s lovely, presenting a crisp, clear, clean, sweet, deep profile from start to finish. Anise, red licorice, leather, smoke, salt, olives, plastic, vanilla, plus candy floss again, and that’s in the first five minutes. Once it opens up, you can sense strong black tea with evaporated milk, and some tart, fruity and somewhat sharp notes – and yet the whole time, the rum remains rather delicate. Other tastes that come and go across the stage are florals, light red pepper notes, cardamom and cedarwood and allspice, moving quietly and without haste to a slow and languorous finish that’s lightly fruity, has some spices, and a few musky notes of anise, cedar, molasses and well cured leather.

The Colours of Rum selection of the same distiller’s distillate suggests a quality similarly at the tope end, compared to those I tasted already. That’s certainly true here – the rum is excellent – but it’s remarkably different. In fact, were I to taste it blind I’d be hard pressed to say (or believe) that this is a kissing cousin of Holmes Cay, and I remember that one very well indeed. To some extent it’s in the same ball park, though this is a couple of points less strong, and the spices in the nose ands palate were somewhat less in evidence.

But with all that, it remains a terrific rum on its own terms, and if the aromas and tastes are a little different, well, so was the barrel, and maybe there were all sorts of other minor variations when it was laid to rest that magnified over the two decades of ageing. On its own terms and without any comparisons, this stands as a testament to Colours’ ability pick a barrel, Foursquare’s pot still chops (should they chose to go further with them), and our own good fortune in being able to try them both.

(#1089)(89/100) ⭐⭐⭐⭐

Other notes

  • Video recap is here.
  • Although initially they wanted to use the same colours for the same rums from the same countries, this “system” never took root and was abandoned early on; so there is no colour scheme to the labels. They’re just bright colours that stand out.
  • Holmes Cay 20 YO goes for US$350.00, last I checked. This one on the Colours of Rum website sells for €195.00. Maciej Kossowski, one of the founders, told me that it was the 3-tier system that was to blame, with multiple parties involved, all with sticky fingers and markups. He doesn’t sell there (too hard a nut to crack for too little gain) but would do what he could to get bottles shipped for individuals if the interest was expressed.

Company bio

The Colours of Rum brand is not the first foray into spirts made by Wealth Solutions, the Polish company founded in 2007 by Masiej Kossowski and his colleague Michal Kowalski. They both hailed from the financial sector, but (possibly as a result of their investment activities and knowledge) they created Wealth Solutions to concentrate on the alcohol market, specifically the investment side of things – not production – and began their work with Bordeaux wines.

Things got interesting in 2012 when they started to go more seriously into distilled spirits: whisky and cognac for the most part, at the top end of the market, and instead of always and only buying and selling, they began bottling their own (for the detail oriented, this included a Karuizawa 1964 48YO, Glenfarclas 1953 58YO, and a trio of Glen Grants 65, 66 and 67 years old). The aha! moment for rum came when Michal Kowalski met with Richard Seale of Foursquare in 2019 and Richard agreed to bottle a “Private Cask Selection” edition of 600 bottles for Wealth Solutions (it was a 12YO), and it sold out so fast that the two founders sensed an untapped market to work with.

This led to the founding of Colours towards the end of 2021 as an independent brand, with the usual concept of bottling single cask rums from different regions. Although initially the idea was to use a colour per country — from the flags of major and well known rum producing nations — there just weren’t enough colours, they soon ran out, and the company switched to just using the colours to make the labels simple and informative.

As of 2024, CoR has bottled 63 expressions, mainly from Barbados, Guyana and Jamaica. The staff of the company have travelled a lot to bring themselves up to speed on the distilleries and to learn about productions techniques. Of late they gained the ability to buy directly from distilleries instead of just through brokers, and that opened new possibilities: for example, in 2024 they launched a series of Hampden DOK expressions aged nine months in various casks (Madeira, Oloroso, PX) and those sold out quickly.

The company markets itself online quite extensively, and is helped by their two best known brand ambassadors — Magda Reszke and Dominik Rudnicki — who also have strong social media profiles, and are, as I noted, very likeable and outgoing people in their own right. So well received has the brand been at various festivals around the world, that a few dedicated bottlings for such expos have been issued: one for Rum Love in Wrocław, another for German Rum Festival

Kalki Moon “The Mill” (Batch 1) Australian Unaged White Rum – Review

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Sep 122024
 

It always pleases me when I see some new or old distillery go off on a tangent and do its own thing. It could be some new still configuration, a parcellaire microenvironment, a crazy fermentation time or style, some obscure cane varietal, a new take on the Jamaican style of rum making (dunder and muck pits, for example)…take your pick. It’s almost guaranteed to provide something we can look at with curiosity and (hopefully) with pleasure and appreciation.

Kalki Moon Distillery, that artisanal outfit set up in Queensland right under the nose of Bundaberg — in fact, Mr. Rick Prosser, the founder, once worked there — did something rather interesting here: in August of 2022, the distillery bought some fresh-pressed cane juice from a nearby sugar mill. The juice — it’s not specified how much — was transported the thirty miles to the distillery, transferred to their fermenters and a small amount of yeast was then added to bootstrap what natural (wild) yeast had already begun. Three weeks later the ferment was run through the pot still…twice (though we are not told which of the four they have was used); rested a bit, and then bottled.

What we have here, then, is an agricole-style rum they call “The Mill” which is the fourth in the line of their “Cane Farmer” Series (#1 was the unaged Plant Cane, #2 was a Liqueur, #3 was the Spiced and #4 is this one). I have not tried the spiced or the liqueur, but the Plant Cane was a rum I really kinda liked so the Mill certainly intrigued me as well, especially since they beefed it up to 50% instead of leaving it at the tame living room strength.

Photo (c) Kalki Moon, from their website

So, nose first: a brief wtf? moment when I sniffed egg cartons, dry compost (branches and grass), morphing into crisp tangy sweetness of green tea, a freshly mown lawn, ginnip, soursop, yoghurt. Ashes and iodine made an appearance, just enough to be noticed, then acetones and nail polish and fresh plastic. The through line of freshly squeezed lime juice was delectable, and it got richer and more fragrant as it opened up (it rewards some patience for sure) – it finally coughed up a last hint of burnt biscuits and breadsticks, oddly enough.

The palate was peculiar: not much of the agricole-style profile was immediately evident – indeed, what we got was pine needles, dishwashing liquid, citrus peel…and then the light white fruits (guava, pears, melon slices) made their debut. A little brine and sugar water mixed uneasily, but it was far from unpleasant, and once again those pastry notes were in evidence – butter daubed croissants, and overdone toast with crumbs turning black in the toaster. An odd amalgam for sure, with a finish that hinted at fruits, some lemon peel, olive oil, and a dash of the herbals we had been looking for all this time.

Overall this is a white rum that goes off in interesting directions. There’s a plethora of competing flavours and aromas in it, not all of which work together all the time, true — but on the whole it’s a rum that shows Kalki Moon is not standing still, and willing to push boundaries a bit and dance around to their own tunes. The rum’s proof point and the profile (and the lack of ageing) make it likely to be more suited to a cocktail than for having neat, yet I believe that for those who have already made their peace with both agricole style rums and unaged whites that try to channel some terroire, this is a rum that should not be ignored, but tried, savoured…and hopefully promoted.

(#1088)(84/100) ⭐⭐⭐⭐

Other notes

  • Video Recap is here.
  • From Day 14 of the 2023 Australian Advent Calendar
  • I call this a rum even though Kalki does not (because of Australia’s two year rule for calling cane spirits “rum”). I think that rule is both restrictive and misleading, and so I have elected to ignore it in both the title and the review.

Company background (adapted from Review R-0883)

Kalki Moon is named after an enduring image in the mind of the founder Rick Prosser, that of the full moon over the fields of Bundaberg in the neighbourhood of Kalkie, where he had built his house. After working for thirteen years and becoming a master distiller at the Bundaberg Distillery, Mr. Prosser decided to give it a shot for himself, and enlisted friends and family to help financially and operationally support him in his endeavours to build and run his own artisanal distillery, which opened in 2017 with two small stills. The need to make sales from the get-go pushed him into the vodka- and gin-making business (gin was actually a last minute decision), where he felt that big brands that were produced by his previous employer, Diageo, had their place, but there were opportunities for craft work too.

Somewhat to his surprise, the gins he made – a classic, a premium, a navy strength and even a pink – sold well enough that he became renowned for those, even while adding yet other spirits to his company’s portfolio. Still, he maintains that it was always rum for which he was aiming, and gin just paid the bills, and in 2020 he commissioned a third, larger still (named “Marie”, after his grandmother) to allow him to expand production even further. Other cash generating activities came from the spirits-trail distillery tourists who came on the tours afforded by having several brewing and distilling operations in a very concentrated area of Bundaberg – so there are site visits, tasting sessions and so on.

At the same time, he has been experimenting with rums – like the previously mentioned “Plant Cane” – but it took time to get the cuts and fermentation and still settings right, so that a proper rum could be set to age. Spiced and maybe the dark (aged) rums were ready for release in 2022, and the gins were too profitable and too well known to be abandoned, so Kalki will continue to be very much a multi-product company. It remains to be seen whether the dilution of focus I’ve commented on before will hamper making a truly great artisanal rum, or whether all these various products will get their due moment in the sun. Previously, I remarked that it would be interesting to watch what Mr. Prosser did when he got a head of steam under him, with any aged rums he’s make. It didn’t even occur to me that he’d go the opposite direction as he has with this one, but for my money, it’s well worth taking a look at.

 

El Dorado Cask Strength, Single Still 2009 12 YO (PM) Guyana Rum – Review

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Aug 142024
 

Today’s review is all about an El Dorado rum from Guyana’s famed (and only remaining) distillery, DDL. The backstory is quite fascinating because it shines a light into how large companies which lack the nimble footwork and quick reaction time of small upstart independents, can — once they get going and commit their resources to the job — produce something really good. However, I’ll add that as a note below the main review so you don’t expire of boredom before discovering how the rum actually is.

The 12YO 2009 El Dorado rum, is one of the single still expressions which began to surface around 2018 or so with a surprising lack of fanfare. Most of these new products were from the three wooden stills, issued at 40%, with occasional outliers popping to the surface now and then – like store specialty bottlings, or the recent LBI edition, for example. However, there were attempts to muscle in on the high end market by providing some cask strength editions as well – this is one of them, bottled at 56.7% and from the Port Mourant double wooden pot still. But with the outturn, alas, not mentioned.

Well, since DDL no longer sells the heritage stills’ distillate for export, we should be grateful. And indeed, here, there is much to be grateful for, because while I must from the outset confess my preference and liking for the PM rums, even those who aren’t familiar with the profile or prefer other countries’ wares can find much to enjoy here.

Consider the nose: it starts off fruity, deep, dark and woody, with strong notes of plums, prunes and licorice: one might almost call that the PM signature scent. To that can be added cinnamon, a dusting of nutmeg and turmeric, well tanned leather and even a touch of smoke, plus some brininess and olives, but never so much as to overwhelm the core aromas. The strength really helps those pop, let me tell you – this is on par with any good independently bottled PM I’ve ever tried, and actually exceeds quite a few.

Does the palate hold up its end? Indeed it does – it’s lovely. Not too strong, not too sharp, just solid workmanship landing like a stone hammer on the tongue. Most of what is immediately discernible is fruit: lots of dark fruit, a smorgasbord of fruit, black cake levels of the stuff. There are prunes, plums, apricots, orange slices, blackcurrants, ripe purple cherries, dragon fruit, lychees…the list goes on. In a lesser rum these might have been too tart, but they are anchored by duskier tastes of licorice, cardamom, cinnamon, honey, caramel and a kind of freshly planed cedar plank that makes a powerful statement all by itself. The finish dials things back a notch and exits the scene with a soft summing up of the preceding: honey-caramel, fruit-infused black cake, anise, vague tannins and some citrus to tie the lot up in a bow.

Honesty compels to me to admit that my tastes bend towards the PM profile, and I’ve had a lot of experience with rums from that still; and so I tend to be a bit more enthusiastic than others whose preferences are understandably elsewhere. The woodiness and anise notes of a PM (of any age) aren’t necessarily for everyone.

But I acknowledge the achievement of DDL here, and sing the praises of this rum, because while indies nowadays get the lion’s share of the encomiums and hosannas for presenting a new Guyanese rum they got from Scheer or some broker, the original distillery, with all those magical stills, isn’t sitting on its ass and waiting around for sales to happen. However slowly, the company is trying to take note of the market and make some hi-test hooch that some people – a sliver of the rum-swilling population to be sure – might actually want to drink and collect and pay real money for.

In other words, DDL is not going gently into that good night or resting on past achievements, but moving, developing, adapting. With this 12 YO from 2009, they show they’ve lost nothing, forgotten nothing, and can still do serious work….and here, have produced a scintillating gem of a rum, one that I’d be happy to buy again.

(#1086)(87/100) ⭐⭐⭐⭐

Other notes

Background

It is interesting to witness the evolution of DDL and the rums coming off of those famed heritage stills. The best known of these are the wooden stills commonly named Versailles (single pot), Port Mourant (double pot) and Enmore (coffey), with the French Savalle right alongside, and the somewhat less known high ester still lurking in the background.

Back in 1992 (when the ground-breaking 15 YO made its debut) and until around 2014 or so, the various stills’ outputs were blended in varying proportions to make up the standard line of the company’s El Dorado rums (including the local versions such as the King of Diamonds). These were the 3YO, 5YO, 8YO, 12YO, 15YO, 21YO and the occasionally-issued 25YO. No one outside the company knew, let alone much cared, about those stills, and they were not seen as selling points. Until, that is, Velier started issuing rums and showcasing the stills specifically and creating an enormous swell of interest in them.

Seeing the popularity of these limited edition single-still full-proof bottlings, DDL stopped issuing rums to Velier in 2014 and launched their own “independent-style” rums that showcased the stills – they were called the “Rare Editions” and three series over three years were issued. However, they did not always sell well for various reasons — and for a company which was used to selling hundreds of thousands of bottles at a marginal price point, it could not have been that interesting to have a few hundred or a few thousand expensive bottlings not contributing to the bottom line…and so the Rares were eventually pulled. DDL experimented with other versions like the 12YO and 15YO wine aged editions, the quartet of blended-in-the barrel rums called “Four Colours,” the occasional high end vanity releases like the 50th Independence Edition, or occasional new 25YOs. None really took off.

However, starting in 2018 or so, they took a new tack: they started issuing various aged rums that showcased the stills directly, and instead of making them special editions, they simply added them to the standard El Dorado lineup, using the same bottle shapes, and only slightly varying the labels. There were three main types: one was a series of vintage 40% rums from the three individual wooden stills, which have a broader consumer appeal (not the least because of the unthreatening strength); then a series of full-proof bottlings of varying ages, sometimes single still, sometime single barrel, sometimes for third parties (like Wine & Beyond’s 2006 and 2012 releases); and lastly the cask strength single-still releases that are the grown-up versions of the forty percenters mentioned above.

What distinguishes such specialty releases (which is what they are) is that they are folded into the same visual ethos of the “regular” line of 12-15-21 year old rums, so there is instant recognizability – indeed, in some cases the look is so similar that they are in danger of being overlooked/ But they are distinct and they are DDL rums and while there is, as there must be, some variation in quality, overall I believe that such series of rums are now firmly part of DDL’s portfolio, and that’s a good thing for all of us.

 

Devil’s Thumb Distillery Cane Spirit Batch #13 Australian Rum – Review

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Jul 212024
 

Devil’s Thumb Distillery may hold the distinction of being one of the northernmost Australian distilleries making rum in Australia (as far as I know only Hoochery is further north and that by less than one degree of latitude, but never mind). That places it in northern Queensland (FNQ, remember that?) about 1800km north of Brisbane, and takes its name from an iconic peak of that name in the Daintree Rainforest that overlooks over Port Douglas, Mossman and beyond: the founding team felt it would be the perfect name for the distillery.

Who is the team? Well there you have me, because as has become a rather standard – and annoying — occurrence these days, the company website doesn’t mention much of the actual history of the distillery, let alone the owners or founders. As far as I was able to ferret out, the two main movers and shakers are Mark Norman the Head Distiller and co-founder (he was the force behind the award winning Navy Strength Gin a couple of years back), and Tony Fyfe, the CEO of Hemingway’s Brewery from Port Douglas 1. Devil’s Thumb was officially established in 2020 and has been in business ever since.

As a relatively new distillery, their product range remains small; one imagines they have a modest ageing program in place and each batch of their rum is sold as such – this the 13th. They also currently sell five gins (with some cute names like “Rainforest”, “Wet Season” and “Dry Season”), two spiced rums and one multi-batch example of a cane spirit, which is to say, unaged rum. It is to this we turn our attention today – it was the Day 10 entry of the 2023 rum advent calendar, for those who are keeping tabs.

The rum (yes, I’ll call it that) is actually an agricole style distillate, with cane juice coming from the nearby Mossman Sugar Mill. It is fermented with both cultured and wild yeast over something less than a week, and then run through the 1200-litre pot still called Carrie (a tip of the trilby to their manufacturing consultant) which is used to make some lighter rums from time to time, and also for gins and whiskies. As an aside, the other still in use is an Australian-made 1000-litre double-retort pot still called Roberta (whose name derives from the gent at Brewery MacAlister who gave their wort chiller to Devil’s Thumb to convert into a pot still); the resulting distillate was rested in stainless tanks and reduced over six weeks to 48%, with no filtration and nothing added. That makes it an agricole-style rum and many readers will know I have a real fascination for such unaged cane juice products because they vary so very much.

This one certainly started things off with a bang because the first notes on the nose were of cordite and gunpowder, the smoke of firecrackers and the acrid aroma of salt-petre (no, really). It took a while for this to dissipate, and then it was replaced by rubber, varnish and turpentine, all of which admittedly sounds like industrial solvent channelled by a chemical factory working flat out, but somehow, sort of, kind of…works. Partly that’s because additional character came into play: brine, olives, raisins, leather, grass, citrus peel, herbs in olive oil, plus some dusty and dry notes that seemed more whisky-like than anything else.

The palate was also quite something: really pleasant. Yes it had some rubber and fresh plastic notes, but also pushed out a crisp sort of sweetness, with sugar water, cucumber slices in white wine vinegar (plus a pimento for kick), brine, olives, lychees and a fig or two. There were also the faint tastes of unripe apricots, lemon peel, and yellow mangoes on the edge of being ripe. It was tart and herbal and lightly sweet and quite a lovely sipping experience, if a tad sharp for those unprepared for it. The finish wasn’t all that impressive, mostly closing down the aromas and repeating what had come before without adding anything new – but it was aromatic and easygoing, so could not be classed as a failure of any kind.

Well now, what to make of this? I’d have to say that it was a cane juice rum of uncommon originality (that opening nose, for example…wow!). I suppose I could ask for a bit less bite, a little more herbal character, and maybe a few extra notes of this or that fruit. But that would make it a rum I wanted, not the rum I actually got, and for a person who seeks originality and a new experience when trying rums, the choices Mr. Norman has made cannot be faulted.

Last week I mentioned that the three year old Doorly’s was a hell of a rum – it up-ended expectations and was more than the sum of its parts. Well, this unaged dingo’s donger from Down Under is not the same kind of rum…but it’s even better, and one I would happily get a bottle, any time it went on sale in my location. It’s that unusual, that interesting…and that good.

(#1082)(86/100) ⭐⭐⭐⭐

Other notes

  • Video Recap is here. The video was recorded before the notes below became available, so in cases of any inconsistency of facts, the written review takes precedence.
  • Mark Norman very kindly provided some more background details just before this review went to press. Aside from what has been incorporated and amended above, here are some additional notes:
    • This is Batch #13, but as of July 2024 they are up to #18
    • Cane juice rums are high on Mark’s radar and are a passion of his: they will always be a focus of the distillery.
    • Another major area of future endeavours is high ester rum making: the company has employed Gabriele Pegoraro, a Brazilian chemical engineer whose thesis was on the fermentation of sugar cane juice. Gabriele has a strong distilling background and taken over as head distiller to lead this process.
    • With respect to an ageing program, the company’s principle has always been that the rum will be ready when its ready, rather than at any particular age. The first reserve cask rum will be released in the next month (August 2024) which will be a single cask release of a wild fermented, double pot stilled rum with age of around 2½ years. The oldest rums in the warehouse are now close to four years old and further stock continues ot be laid down..
    • The distillery is very much rum focussed, in spite of the very successful gin line. Apparently a amount of whisky is made (to appease co-founder Tony Fyfe).
    • Experimentation with the “Jamaican” style continues, and ageing new make cane juice in white wine casks is an ongoing area of interest.

Sunshine & Sons Maroochy River “Barrel Aged Cane” Australian Cane Juice Rum – Review

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Jul 122024
 

Let’s get back to Australia, and take a look at one of the rums that begins to turn up the proof a little: this is the Barrel Aged Cane from a locality of the Sunshine Coast Region, just north of Brisbane, in Queensland. The torturous title — which when you parse it linguistically, actually makes no sense — is a way to get around the two year rule for calling a rum “rum” Down Under.

There is not too much information on the distillery available on their website beyond the usual hyperboles and flowery language, so I’ll spare you that and just mention my guess that they were founded around 2019 or so, and that they have two large pot stills – “Sarah” a 2500-litre spirit still 2; and “Maria” a 6,000-litre wash still 3. One interesting thing about this distillery is they are a sister company of a much better known brand – Nil Desperandum, which does special bottlings.

So, about this rum, then. One unusual feature about it is that it is made from locally sourced cane juice, not molasses, with wild fermentation. Although it’s exactly the same as the Sunshine & Sons Premium Spirits Original Cane, it’s slightly younger at 20 months, unsweetened, less strong (49%) and in more limited quantities (two to four 200-litre barrels per year) matured in ex-bourbon oak barrels and intended to play a role as an exception in the Nil Desperandum releases – in this case, however, it was made specially available to this advent calendar.

We don’t see to much cane juice hooch in Australia, so it goes to show the experimental nature of what they do over there. That said, the real question for us is whether it comes anywhere near to lightly aged agricoles with which we are more familiar. Nosing this displays a rum remarkably light and easy for 49%. There are hints – and I use the word carefully – of honey, fruits, lemon zest and dishwashing liquid, raisins and dates. Some ripe Thai mangoes, green grapes, oranges, and some hot pastries in a vaguely sweet but puzzlingly faint overall amalgam. It really takes some effort to pin down those elusive notes, even going back and forth for several hours,

The palate is quite firm, and once again there are tastes that only reveal themselves gradually, even reluctantly, over time: some light fruits, pears, watermelon, papaya, lychees. Nothing overbearing or overly dominant. After a while one can taste a bit of orange marmalade on white toast, vanilla, a touch of brine, some indeterminate citrus peel, wrapping up in a finish that’s short and light and sweet, but ultimately, somewhat banal.

I find this an odd rum. First of all, there is very little that says agricole here, and channels a profile more akin to a back bar light white mixing rum. It’s vaguely sweet and pretty unaggressive, and rather underwhelming for something positioning itself as a limited edition special. It’s a rum, it’s nice enough, yet it reminds me too much of those milquetoast minis that hotel fridges stock, those mild-mannered Clark Kents which they charge an arm and a leg for. It’s too easy to completely succeed in a neat pour, and yet not anonymous enough for a cocktail, while being too light to satisfy either. Admittedly, it’s better than the alcoholic water that too often passes itself off as amber or mildly aged rums out west these days…I just feel there’s more here that we aren’t being allowed to come to grips with. Hopefully future editions will try to pack a bit more punch into the plonk.

(#1080)(78/100) ⭐⭐⭐½

Other notes

Montanya Distillers “Querencia” 7YO Rum – Review

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Jun 242024
 

This the third review of a rum from Montanya distillers after the interesting white Platino and the somewhat polarising 3YO “Exclusiva” (I never got around to the 4YO “Valentia” and the “Oro” is in the queue). Montanya is that forward looking Colorado-based distillery that made lots of rum waves in the last decade; founded in 2008, it was run by Karen Hoskin before the company was acquired by CRN Ventures in December 2023. Since CRN is made up of head distiller Megan Campbell, former head distiller and operations lead Renée Newton, and brand strategist Sean W Richards (who one imagines is there for marketing purposes) and only has this one asset, then I guess it was either a takeover or a divestment by Ms. Hoskin.

This rum, therefore, predates the change in ownership six-plus months ago, and if the almost complete lack of a redesign of the website aside from a notice of The Event (to say nothing of there being no mention of the Querencia at all) is anything to go by then I guess it’s business as usual. Although I must say that Karen had a visibility and presence in the universe which may have been underestimated as a selling tool, because not a whole lot has been heard about the company or its rums in a while.

Anyway. The Querencia is a rum named after an area in a bullring where the bull makes his defensive stand (interesting naming choice….). It is the only high proof Montanya has made, is seven years old (their oldest rum) and is, as noted above, curiously absent from their webpage – partly because it’s only sold at their company tasting room and partly because it’s a single barrel release (of 396 bottles) back in December 2021.

The production stats can be assumed to be pretty much on par with others in the portfolio: the Lula Sugar Mill co-op provides the complete residue from the minimal juice processing they do — raw unrefined molasses and raw unrefined granulated cane sugar — which then gets open-air fermented for around a week, before going through the 400L direct-fire Portuguese pot still (the newer US-made still that was installed in 2021 had not seen output at the time this rum was issued). The distillate was double matured: first aged in an American white oak barrel, that previously held Colorado Whiskey from Laws Whiskey House, and then finished for somewhat under a year in a Ex-Pedro Jimemez Sherry Cask. Final release bottled at 50%.

What then, is it like? If you recall, the Exclusiva was intriguing mishmash of competing aromas: the Querencia is similar but I think somewhat better: the ageing does show up and asks to be counted here and moderates what its younger sibling had: initial aromas are of black and red peppers, a sort of musky dirty dishwater hint (thankfully brief), followed by a smorgasbord of dust and cardboard, and a nice series of sharp and tangy fruits: strawberries, pineapples slices, ripe cherries and gooseberries, closing up shop with sage, dill and a pepper-heavy vegetable soup.

Tastewise, not very traditional either, just nicely assembled: cucumbers in cane vinegar, plus some minerally, ashy, iodine-y notes, well balanced off by 7-up, cola and dill. The taste is more sour than sweet, though there is enough of the latter as well (cherries, ripe mangoes, peaches in syrup, that kind of thing), even a dash of Thai peppers, and smoky red paprika. The finish doesn’t attempt anything new just brings the fruitier sweet and sour elements to a close and leaves without haste or bother.

Altogether, I’d say this is more elegant than any other Montanya offering, while not being as original. It cares enough to be an easier drink and edges into the wall rather than just ramming into it facefirst, so to speak. The sweet and slightly off notes, the sour and brininess, all mesh quite well. Even at 50% if feels softer and more palatable than many others with similar stats, and as a mixer or as a sipper, it works equally well.

Most of the time I have little patience for the way so many American rums either head straight for the cheap seats so as to max sales, or the boring middle ground in an effort never to offend even a single potential buyer. The best American rums resolutely go their own way and what we have here is one of those: an interesting, almost noble, attempt to defy the stereotype, to make an original rum to exacting standards, that will nevertheless please. Not one that everyone will love, perhaps, but for sure one that many will respect. I’m one of those.

(#1079)(85/100) ⭐⭐⭐½

Other notes

  • A video recap can be found here.
  • Production details updated a few days after posting to take into account Megan Campbell’s helpful follow up email
  • The rum predates the December 2023 takeover and was made around 2022
  • My deepest thanks to the boys at Skylark in the UK, who allowed me to hang around their crib and steal their rums, including this one.
  • More complete company notes can be found in the Platino review
  • Under new ownership, they will be releasing a pineapple habanero rum later this summer (2024); also issuing various cocktail bitters, as well as experimenting with different barrels for aging (e.g. grape brandy barrels).

 

New Norfolk Distillery Dormant Star Single Rum (Batch 2)(Tasmania) – Review

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Jun 102024
 

Now here we’re approaching a distillery that moves away somewhat from the east coast of Australia where so many other rum making outfits are found, and situates itself firmly on the southern island of Tasmania (about which I could tell you plenty historical stuff, but may risk putting you to sleep and so shall desist).

In brief, this distillery, located in New Norfolk (get it?) in the Derwent Valley in southern Tasmania, just NW of Hobart, the capital, is on premises that once housed a hospital and asylum complex. It was established in 2019 by Tarrant Derkson, who decided to make a distillery that focused on rum, after realising there weren’t any such animals around, for reasons rooted in the same history I’ll just touch on here.

Now, from 1839 until 1992, spirit production — primarily whisky, for which there had once been sixteen distilleries — was prohibited in Tasmania, but the ban was eventually repealed. These days there are a few companies making rums, yet, similar to Australia, one gets the impression that in the main they move around gins and whiskies and rum is a sideline. Island Coast, Blackman’s Bay, Deviant Distillery, Knocklofty, Bridport Distilling are examples, making rum as a reflex nod to rounding out the portfolio rather than a prime focus (I make no judgement on this, it’s just economics and wherewithal, that’s all)

New Norfolk has no time for any of newfangled notions like portfolio diversity and resolutely makes rums, pretty much only rums, and amuse themselves by often using some very intriguing names for them. They currently produce various liqueurs, spiced rums and straightforward rums…but it is the 60% Drone Riot Wild Cane Spirit and the Diablo Robotico 66.6% pure single cask rum which really interest me, quite aside from this one, which is called Dormant Star for reasons that are probably related to it being dormant until released by cracking the bottle and quaffing it (something similar to the way Velier called one line of its rums “Liberation” and gave it the year of bottling not the year of laying it down to age.

Photo (c) New Norfolk Distillery

The website production details are spartan at best but from photos and additional notes of the advent calendar we can infer the following: molasses based with some cane sugar for the ferments, which takes 7-14 days and results in a 12-14% wash which gets run through “Riley” their tame copper pot still, after which it is set to age in American oak for 2+ years. Now, according to Mrs and Mrs Rum, there is some minor dosage, but I didn’t get a chance to check it and anyway like I said, I tend to reserve judgement on this until I actually try the final product.

The nose is quite interesting: it opens with an initial aroma of dusty drywall, paint, varnish, rubber tyres and new leather upholstery of a car that sat too long in the sun (so maybe there’s an unsupervised house repairman running around the distillery?). This is balanced off by chocolates, nuts, vanilla, cardboard, rye bread, light fruits (papaya, pears, light green grapes, which is pleasant), and treacle over hot fresh pancakes, so there’s quite a bit to parse here.

The taste is a little less complicated. At 47.5% it’s firm and assertive, not particularly sharp, quite soft, a little sweet, and initial flavours are of honey plus fruits – bananas, pears, grapes, and guavas (the white ones), with some green apples providing that slight tart bite to cut the experience. There are also some light caramel and breakfast spices, vanilla and cinnamon, but one has to strain to pick those out and it’s hardly worth trying, as the finish does provide a summary of that as well, and overall it finishes quietly

This is a really nice, easygoing hot weather rum, the sort that’s quite sippable. If I had an issue with it at all it’s that it is too tame, not particularly complex and could showcase a bit more. It’s pleasant without attempting any exceptionalism, and what it succeeds at is not pissing anyone off – there is absolutely nothing wrong with it that a person who likes easier Spanish style rums would find fault with. For those who want something more brawny and uncompromising, this isn’t for you: for everyone else, it’s fine.

(#1076)(84/100) ⭐⭐⭐½

Other notes

  • From the 2023 Australian Advent Calendar Day 16
  • More details may be added later about the distillery background and production process, as I have some outstanding queries to them.
  • I was told there was some light dosage here but have not confirmed this
  • The five minute video recap is here.

Caroll’s Distillery RHE High Ester White Rum – Review

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May 262024
 

I’ve made no secret of my disdain for the cheap mass produced uninteresting blah of the regular run of filtered standard strength white rums made and sold in Canada. They are mostly tasteless, cheerless, charmless and graceless, and their only purpose is to get you – as economically as possible – as high as a giraffe’s butt. Perhaps we should be grateful that they do this one thing so well.

If you wonder at my snark, it’s because I know that it’s possible to make an economical white rum that is much better and has real flavour, a real character, and doesn’t require the whinging about Canada’s archaic rules on what can be called rum (minimum one year ageing is a much-derided requirement for any rum in the country). Just look at all the interesting rums being made in the UK by small distillers like Sugar House, J. Gow, Islay Rum Distillery, Ninefold, Retribution, Outlier and others. Or the New Wave of Australian distillers like Cabarita, JimmyRum, Tin Shed, Hoochery, Boatrocker, Killik et al. They have their issues as well but you don’t see them holding back do you? F**k no, they’re running full speed into the damned wall is what they’re doing.

Into this dronish mess of undifferentiated alcoholic rose water that constitutes the Great White North’s white rum landscape, comes a small New Brunswick outfit (founded as a hobby distilling project in 2016 and established a fucntional distillery three yeasrs later) called Carroll’s. It has a labelling aesthetic that is really quite lovely, and a single rum off to the side that channels the most atavistic, cheerfully fiendish impulses of the owner, Matthieu Carroll. With that rum, somewhat at variance with the others he makes, he leveraged a pot still shoehorned into his family’s bakery, did a nine day closed fermentation and brewed this popskull to amp up the ester count to 567 g/hlpa, and knock the pants off unsuspecting reviewers, most of whom don’t know what the hell to make of this thing.

Think I exaggerate? Permit me to illustrate: it’s 65.1% and packs a hell of a one-two nasal wallop – both for strength and for the congeners, which have no hesitation making themselves felt. There’s candy. Lots of sweet sugared sour candy, sour kimchi, candy floss, icing sugar on a cake and so on. There’s aromas of strawberries, pineapples, chewing gum and citrus juice from a bottle. That’s the nice part, and indeed, it’s sweet — a bit delicate even; but the countervailing muskier and deeper undernotes are missing and this throws the balance off somewhat, as does the mouth puckering sour.

There are reservations on the nose, then, though it’s decent enough, but the initial the palate is where it comes into its own. Strawberries and wet hay, anise, some very tart pineapple notes, and again the candy – though some of the tasting crew opined it is really too much now. They may have a point. The real aspect of the taste that may discombobulate, is that an increasingly dominant thread of red licorice comes stealing out of the night. Once this thing gets going, it’s red licorice all the way and it overwhelms everything else and again, there’s no balance. A bit more restraint on this, perhaps some more darker, heavier notes and it would have rated higher, I think, and a rather disappointingly short finish demonstrates a blurt and a blast of quick intense sweet-sour flavour with a rapid drop off.

So where does this leave us? Tasted solo it might be more of a success. Tasted with several other high ester Jamaicans in the vicinity, its lack of multi-dimensionality is more pronounced, and the crew of Rum Revelations’ 2023 face off were far more unsympathetic about it in s daiquiri (they gave it more slack on the neat pour). Yet for all that, it’s a good dram, tasty enough. Like Romero’s Cask strength rum, this one elevates the potential of Canada’s distillers and shows they can muscle into territory held by better known and more successful exporters from the islands or others from elsewhere who are dabbling in the Jamaican high ester style. Rated against them it’s not as good, now – yet Carroll’s remains on my radar as a distillery to watch because almost alone among all the local distilleries, they dare to fail in style, and that’s something deserving of more respect than others have given so far.

Because, the rum may be colourless and have its faults, but let me tell you, in spiritous tasting terms, compared to the milquetoast stuff we see from its competitors, the damn thing glows like a neon tarantula on a wedding cake. And after you take it out and kill it, you shudder at the way it made your skin crawl and your palate pucker and your tongue shrivel up and cry…yet an hour later you’ll still be saying, with equal parts disbelief and admiration, “Bai, dat ting got some really braddar badassery, nuh?” Neil C. one of the Tasting Squad in the joint the day this thing was trotted out, grudging said “It smells like sweet sh*t but damn it tastes phenomenal.”

That’s Carroll’s for you. I really can’t put it any better than that.

(#1073)(84/100) ⭐⭐⭐

Other notes

  • The RHE mark refers to “red high ester”
  • Outturn unknown
  • Although under Canadian regulations this cannot be called a rum since it is not aged, to call it “High Ester Content” as per the label strikes me as confusing and does not represent what it truly is, so I’m calling it a rum.
  • Tried against several other high ester rums, mostly from Jamaica.
  • Six minute video synopsis is here.

Karu Distillery Outcask Rum (Batch 1)(Australia) – Review

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May 212024
 

It would be easy to think that the Karu Distillery in New South Wales has some connection to South Africa’s karoo, given the gin with the cheetah on the label which the founding Australian couple – Nick and Ally Ayres – have added to their lineup. You’d be wrong – in point of fact the word karu is of Estonian origin, like Ally Ayres herself, and means “bear,” and was a concept they wanted to embody (it also means “Eye” in Maori).

The distillery is of relatively recent vintage, having been established in 2017: and while in parts of SE Asia it’s almost a cliche that micro distilleries are established by itinerant Frenchmen with a love of wine or cognac, well, in the antipodes one could argue that the equivalent is the husband and wife team, of which he have met several in our sojourns around Australian distilleries.

Nick Ayres (who was in the movie business — he was a grip/ camera rigger/ crane operator, among other hats) and his wife Ally (who hailed from a company accounting background) initially intended to open a bar, but by 2014 they knew that they were more interested in distillation. They spent the next three years puttering around gathering experience and putting together funds and equipment: in 2017 the opened up the Karu distillery and issued their popular Affinity Gin a year later, followed quickly by the full proof Lightning, after which, in 2019 — following a masterclass held by none other than Richard Seale, because of course, it had to be him — they turned their attentions to rum. Needless to say, there were a lot of messy experiments in the skunkworks Ally ran, before the kinks started to be ironed out: this rum is the result.

Using the same Australian-made 600L pot still they call “Calcifer” (which we can only hope is named after Miyazaki’s film) as they do for the gins, but without the reflux (fermentation is two weeks in summer four weeks in winter, using a Caribbean yeast in ex olive and pickle barrels), they set their first rum to age in 2021, in ex-Australian-whisky barrels fragrantly (and with puns fully intended) named Bungholio, Barilyn Monroe, Master Splinter, Barole Caskin, Stavid Attenborough…and, well, you get the point (somebody over there is just full of vim, vinegar and enough sass to stun an elephant, that’s clear – and I want to meet whoever that is). Anyway, what came out in 2023 was the first batch, this one, and they moved so fast that by the end of that year they were already up to Batch #3.

New labelling

Original label. Photo courtesy of Mr. & Mrs. Rum

So there’s the intro, and what we get when all is said and done and distilled and put to sleep with the barrel, is a lightly aged 46% ABV rum that presses some interesting buttons. Take the nose, for example: it’s crisp, medium light, sweet, clean and clear, like the pure water chuckling over the rocks in an outback creek, or a really dry white wine…chardonnay perhaps. Light green grapes, just on this side of sweet, a touch of lemon peel, caramel and chocolate oranges. A dash of coffee grounds, with some vanilla and fruit going off in the background.

The palate is really no slouch either, and sports a good mouthfeel that encourages one to sip it – not always the case for a rum this young. It tastes of honey and a light tequila, mead, with that light salty-sweet cashew note that so distinguishes that drink. Ripe juicy fruits just bursting out of their skins – mangoes, cashes, cherries, with a dusting of nutmeg and cinnamon, vanilla beans and some strawberry marmalade and custard. Quite nice. Finish is short and crisp and ends things with the clear snap of a breaking glass rod, without adding anything to the party we have not sensed before.

With all that assailing the nose and the tongue and wafting back up on the fading close, it suggests not only an undiscovered steal but a veritable diamond in the rough, a sort of “where was this all my life?” vibe. Yeah…but no. Not quite. The youth of the rum is still evident in a slight rough sharpness to the way it initially assails, however well it smoothens out afterwards. The aromas and tastes are there, yet don’t flow smoothly, don’t do the tango together in harmony – stuff gets getting mixed up and the steps falter and it doesn’t all come together in a cohesive whole. On those levels it stumbles and this makes the entire experience less.

Don’t get me wrong, for a first effort — no other rums seem to have ever been made before this one — it’s an impressive release. The swath of prizes it won are a testament to how much judges vibrated to its frequency. Speaking for myself, however, I think it could still do with some tweaking, some strengthening, some more development: and maybe the best is yet to come in one of the subsequent releases, which, hopefully, we will be fortunate to enjoy as well.

(#1072)(83/100) ⭐⭐⭐½

Other notes

  • From the 2023 advent calendar Day 12
  • Outturn unknown
  • In six years of operation, the company has been awarded some 100 medals including a Platinum Medal at the Las Vegas Global Spirits Awards 2023 and a High Silver 93 Points in IWSC 2023, as well as an innovation award

Helios Distillery “Teeda” Blended Japanese Rum – Review

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May 142024
 

Although of late I have been unable to source many rums from Japan, one company’s juice does make it over to Calgary, and that’s the Helios Distillery’s “Teeda” brand. So far neither the 5YO nor the white are to be found here (though both have been reviewed in these pages based on their coming out party in Paris a few years ago); however, we have seen the amazing 21 YO, and the rather deceptive, blended “standard strength” rum which we are looking at today.

For the benefit of those who want to know more about Helios, it is arguably the oldest rum making distillery in Japan, having been operational since 1961. Then, it was called Taiyou, and made cheap rum blends from sugar cane, both to sell to the occupying American forces, and to save rice for food and sake production. In the decades since, they’ve branched out — and aside from beers and awamori, for which they are better known in Japan, rums continue to make up a good portion of the portfolio.

The dark-yellow coloured blended rum (it’s just called “Teeda Japanese Rum” on the label) is an interesting piece of work. For one, it doesn’t present as any kind of special, and has no fancy advertising flourishes to hit you over the head with its awesomeness. It’s 40% ABV and doesn’t even bother to tell you how old it is. In the west that would be called indifference: in Japan it’s a marketing strategy. Because the rum is actually an agricole-style rum, made from cane juice. It’s made on a pot still. It’s aged a minimum of three years in American oak. These are not the sort of stats to excite yawns these days.

Nor should they, because the rum is quietly excellent (and this comes from a guy who’s tried the whole range and liked quite a few). Just look at how it opens when you smell it. You get tart fleshy fruits — apricots, ripe mangoes, ginnips and soursop — mixing it up with the sourness of a seriously tasty ashlyan-foo, ripe red grapes, and a touch of rotting oranges. Oh and there’s bananas, lychees, and even (get this!) some freshly peeled potatoes and dark rye bread. One may not recognize all the scents that come wafting out of the glass, but there’s no denying there’s quite a bit of originality here.

And it also develops well on the palate. It does this by never straying too far from what we might call a “rummy” profile. It’s slightly sweet and the ex-bourbon barrels in which it was aged provide the requisite backbone of vanilla, leather, and light molasses and tannins. Here the sour notes from the nose have been dialled down, to be replaced with a mildly funky note, some tart fruits (strawberries, orange peel), honey and a nice mild cane sap of the sort you get when you split a stalk of sugar cane with your teeth (and I should know). The finish isn’t all that long lasting or intense, just flavourful and pleasant and channels most of what has been described above – it’s the most forgettable part of the rum

Overall, I think this is one of the most original and interesting young rums I’ve tried in a long while, excluding the unaged white brawlers with which I wrestle quite often. It shows the benefits of a fermentation- and still-based approach to rum making, as opposed to the Spanish style of light-off-the-column-still, barrel-influenced rons. Those are good for what they are and of course have their adherents (especially in their countries of origin) – I just don’t find them quite as interesting, as representative of their lands.

The fact that the Teeda Blended Rum presents so well even with so few years of ageing, builds a head of steam to finish in such style, suggests there is a sweet spot where the rambunctiousness of youth intersects perfectly with a little of the wisdom of age. Neither aspect is completely eliminated here, and with this rum, I would suggest that Helios found a nice middle in which to showcase both. What a lovely, unassuming and understated rum it is indeed.

(#1071)(85/100) ⭐⭐⭐½

Other Notes

  • Accompanying 5-Minute Video Review
  • Both this rum and the 21 YO remain available in Canada. For some reason the White and the 5YO never got imported.
  • The colouring of the rum and the printed-on bottle make the label very hard to take pictures of. The back blurb is just marketing stuff and does not say anything useful about the rum itself. The front is pretty minimal.

Wild River Mountain Distillery 3YO Australian Rum – Review

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Apr 232024
 

That we get as many interesting rums out of Australia as we do is some kind of miracle. A lot of the current crop of micro-distilleries that have emerged in the last decade have to jump through ten different kind of hoops just to get off the ground, obtain the plant and pay their way while stuff is being made, and that almost presupposes that juice has to be made fast and quick. Some manage to survive the lean early years, almost all diversify, and others try to put something unique on the table.

A good example of all of this is the Wild River Mountain Distillery, located in the far north of Queensland in the Atherton Tablelands (rum distilleries Devil’s Thumb, Mt. Uncle and Bingil Bay are neighbours). Looking at their portfolio, there are 16 products being made: a vodka, a liqueur, 4 rums, 4 whiskies and 6 gins. Somebody is making sure all the bases are covered, and since there’s a fair amount of medals attending these, one can assume they’re not going out of business any time soon.

That said, the distillery, established in 2017 by the Wes Marks and his wife Amy, clearly is whisky-centric in its approach, and that’s where the enthusiasm lies: many years of experimentation (I like to think of it as taking place in a home-brewing and moonshine-type setup) to make a genuine Australian whisky and a Tennessee style hooch from local maize, predated the establishment of the formal operation. Brewing, yeast, fermentation, still-making and all sorts of other tinkering are part of this distillery’s DNA, and while rums are being made and the ever-present gins are there, it’s more like they are there for sustaining capital and cash flow than a passion in and of themselves.

Picture (c) Wild River Distillery

The rum under review today is a straightforward aged expression, and looking at the stats, it completely straightforward without any frippery: molasses-based using their signature yeast (duration not given), spring water, run through a pot still (size not known) and then set to age in ex-Bourbon barrels for about three years before being bottled at 46% — the strongest rum they currently make.

The nose is generally workmanlike and doesn’t stray too far from what’s expected. There are traces of vanilla, very ripe, squishy oranges and citrus peel, honey drizzled over nearly burnt toast, the salt of ripe cashews, and some sweet, which is almost – but not quite – like the syrup in the jar after the cherries have been taken out. Plus a banana or two, maybe an unripe apricot for kick. This sounds like a fair bit, but when you have to take the better part of an hour to nail it down, maybe not so much.

The palate, in contrast, is much nicer, with a good mouthfeel that is solid and tawny and honey-like, offset by some tart fruits, unsweetened yoghurt, cinnamon and a touch of coffee grounds. It’s not precisely sweet, but the heaviness of the way it samples gives that impression, which is a good thing; and the finish, while short, does channel and sum up most of what has gone before quite well…without, however, making an emphatic statement for itself.

That last point is key. It’s a rum, it’s decently made, it’s tasty — but somehow finishes as a less than impressive dram. There’s little that’s new, original or exciting here, and reminds me of the straightforward (and sometimes indifferent) American rums I keep running into, where so-so efforts that do the job are made, yet which lack a sense of real passion and verve, the marks of distillers committed to this product line. Oh sure, it’ll liven up and give the alcohol jolt to a cocktail, but at the end, this is the sort of rum you shrug at, and reflect that it channels about as much real character as parking lot with two cars in it.

(#1068)(75/100) ⭐⭐½

Other notes

  • From the 2023 Australian Advent Calendar, Day 8
  • Irrespective of this middling review, if you look at their instagram feed you’d see that they sure seem to have a lot of fun over there. I can think of worse places to work.

Holmes Cay Barbados 2002 20 YO Pot Still Rum – Review

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Apr 192024
 

To hear the social media commentary pouring out of the rumisphere last year, Eric Kaye pulled out some sort of magical rum rabbit from his jock and wowed the rum world with a magnificent one-of-a-kind, once-in-a-decade, 20-YO-rum from Foursquare. And not just any rum, but a pot still rum, which, as any fan or Foursquare junkie knows, is rare as hen’s teeth (the distillery is world famous for its pot-column blends, not single still distillates).

Holmes Cay is the brainchild and 2018 creation of the above-named Mr. Kaye (he was getting out of the music business at the time and looking around for other opportunities), and it’s at the forefront of a trend that hopefully gathers strength: indie bottling in the USA. Personally I’ve never understood why, given the higher startup and PP&E costs, American entrepreneurs go all out into launching distilleries, as opposed to taking advantage of more modest outlays to get an indie bottling operation off the ground. No sourcing materials, no experimentation, no technical expertise, just the selection of widely varying rums from around the world supplied by brokers who are happy to oblige and service a much less crowded market (although the insane permits, licences and bureaucracy remain the same).

Initially, to get things off the ground with a bang, Eric picked a couple of Foursquare barrels from 2005 (this was deliberate), and the speed at which they sold out in the US in 2019 assured him of the viability of the concept: he went all in, started sourcing more and began popping up on the festival circuit quite regularly to both learn and promote. By 2024 there were some 31 different bottlings in the portfolio, encompassing Mhoba in South Africa, Belize, Fiji, Guyana, Jamaica, Mauritius, Australia, Barbados, Trinidad and Reunion, and there’s no end in sight. Not to discount the sterling work Ed Hamilton did with his Hamilton rums from Guyana and Martinique and Jamaica that blaze the trail of indie imports to the US, it is no exaggeration to say Eric’s brand has probably allowed more Americans to buy a wider diversity of rums than just about anyone else around.

All of which led, if you want to mythologise it, to the sourcing of one of the twelve remaining barrels (out of an original twenty) of pot still distillate which Richard Seale sold to Main Rum back in 2002. Competition was fierce — everyone wanted a piece of something like this, no surprises there — and eventually, through threats, tears, bribes, blandishments and a lot of judicious begging (or so the storyteller in me likes to imagine), Eric managed to score one. He dressed it up nice as an exclusive edition, and released somewhat less than 200 bottles – it’s probably still possible to find one here or there, and can go for north of US$350 so it’s not for the light of purse.

Unsurprisingly, given the source distillery’s reputation, it was hailed as unique and all the usual encomiums followed in a rush from all the usual parties. But in truth it’s not the only rum of this provenance that appeared in the 2022-2023 release season – both Colours of Rum (out of Poland) and Royal Cane (a brand of Infinity Spirits from Amsterdam) also put out 20YO 2002 pot still rums from the distillery, albeit with somewhat less fanfare (and of course Habitation Velier did do a couple of its own pot still editions some years ago). But never mind: these days, when this 2002 4S vintage is mentioned, it’s Holmes Cay that gets the kudos and all the press.

And perhaps they should. The damn thing is rare enough and, while it doesn’t really follow Velier’s path of fully tropical ageing — it was aged in Europe — twenty years is twenty years and the final result succeeds like nobody’s business, with 51.1% ABV helping it along to make its presence felt. Consider the way it opens: right from the beginning we are getting cedar shavings, fresh sawdust, that sense of sweet damp woody aromas. The fruits follow: citrus, prunes and apricots and other ripe stoned fruit. There’s a surfeit of kitchen spices lurking inside the bouquet: cinnamon, sandalwood, cardamom, turmeric, fenugreek, rosemary and all sorts of other savoury aromas that defy easy classification. Honestly, if I was asked…if you pressed me… I would have to say what it really reminded me of is an old spice soukh in Saudi or Dubai or Kuwait. It’s that good.

The way it tastes is no slouch either, and presents initially with a nice light series of floral notes. It’s a melange of fruits, leading with watermelon, papaya, then moving to strawberries and sweet Indian mangoes. Some smoky paprika and bell peppers freshly sliced. It has the warm taste of sweet pastries sprinkled with crystal sugar, cinnamon and bubble gum, and the entire time I’m sipping it I’m think appreciatively how well balanced the whole construct is, with no one flavour dominating. The finish closes up shop really well, with a soft swelling intensity — and all I can think as I taste this rum, savour the crisp tang of ripe fruits and spices, is that it’s nothing shy of spectacular.

When I taste rums, I see colours and memories alongside the aromas and tastes. My imagination goes all over the place, the more so with a good rum that shows us something different, something fascinating, something old done in a new way. Perhaps I would not be able to pick this out as a Barbados rum – let alone one from Foursquare – if I tried it blind. But it would stay in the mind, remain a mile marker in my appreciation of the brand, as it has ever since I first came across it. In a way I can’t quite explain, it reminds me of love and tenderness and desire, and a bright image of a soft kiss I want from the woman who inhabits my dreams. Any rum that can evoke such feelings is not merely spectacular, it may be nigh priceless. And while admittedly I’m a certifiable romantic and your own mileage will vary, that’s the way I feel about it and to some extent, why I rate it as I do.

(#1067)(91/100) ⭐⭐⭐⭐½

Other notes

  • For a deeper dive into Holmes Cay and this release, check out Rum Revelations’ article, and their interview, as well as Rumcast’s two episodes, one on the founding of the brand here, and a follow up later (mostly about the Fiji release) here.
  • Looking at various online reviews (and there aren’t a whole lot), I seem to be the one who likes this rum the most. Go figure.

Retribution Distillers 2 YO (So far) Aged Rum – Review

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Mar 292024
 

It’s not often that a rum aged just a few years that remains in development is as good or better than its own unaged white predecessor, but somehow, Retribution from the UK has done a fair dinkum job of it. Their white rum was unpretentious, eager to please and a decent drink that did not try to rearrange your innards (as so many feral whites try to do), and I quite liked it. Its slightly aged cousin is just a smidgen better, and it still isn’t finished or in open release yet.

Retribution is a small distillery in Frome (a town in Somerset county, in the south west of the UK) that was started relatively recently in 2019, by a brewer named Richard Lock, who wanted to go beyond the suds he had been making to that point. Something of an auto-didact, he took courses in brewing and distilling at the Herriot-Watt University, and eventually switched over to a distilling operation. He then proceeded to issue a gin as his first product before branching out to whisky and rum. The latter (as of 2024) sports three editions: the white, a spiced and a-still-in-the-barrel aged rum, all made in relatively small quantities for now – it is this last we’re looking at today.

Technical details are the same as for the white rum: the molasses based wash is fermented between one and two weeks using a French sparkling wine yeast; double distillation through the two pot stills — first the one named “Big” (recent acquisition, 1800L) for the stripping run, and then a spirit run through “Little” (400L) — which results in an 80% ABV distillate that was then put to age in ex bourbon barrels in 2021, and diluted down to 44% for a sample exhibit. No additives, or other mucking about, of course, that goes without saying.

Even with the knowledge that this was a work in progress at the time it was tried, I think it was and remains a pretty nifty product. The nose had a nice, crisp citrus-y tang to it, which went well with hot pastries, caramel and vanilla. Oh but it doesn’t stop there: brine, olive oil, steamed cabbages and crisp tom yum soup notes proliferate, before swiftly receding, to be replaced by a more fruity and balanced profile – cherries, mangoes, ripe apples – some 7-up, cloves and greek yoghurt. Not too shabby for something this young and one can only wonder what it would be like were it stronger.

The ABV is more of an issue on the palate, where many rums with good aromas falter. For now, what is tasted is pretty good: the citrus through-line remains, showcasing lemongrass, lime leaves and zest; it is accompanied by unsweetened laban, olive oil, a light briny touch and black rye bread with sour cream and salt (a weird combo, I’ll grant you). Coriander, coconut milk, sour and hot vegetable soup, bitter strong chocolate, toffee, some herbs and soya complete the profile for me, and the finish pretty much sums up everything rather quickly before disappearing.

This is a rum that was brought to the 2023 TWE Rum Show in London for evaluation, and Richard gave me some to try as I was perambulating for two days straight in the most exciting room in the joint.4 I thought it was really quite something, and while it clearly needed some more time to come to a better fruition, even as it was there was little to complain about (Alex Sandhu, in his excellent bio of the company, made a similar point in his review of the still strength sample). The rum will be issued formally in mid 2024 as part of a subscription-based Rum Club release Cask #001, and I hope that it sells well and makes it possible for there to be others of higher and age and even better quality, to come. This one is a really good start.

(#1066)(85/100) ⭐⭐⭐½

 

Other notes

  • The question is, why review something not on the market? Whatever comes out the other end in 2024 will surely be different since it’s had another year (at least) of ageing. But it’s actually not the first time I’ve done this: Helios’s Teeda 21 YO Japanese rum was based on an unreleased sample, and so was Mia’s 2018 rum from Vietnam, and there are a few others. I think there are simply some cases where a little pre-release hype and banging of the drum is justified and that’s especially so for micro-distilleries.
  • The logo of the company references the owner’s maritime background and the ship-in-a-bottle models.

Retribution Distilling Co. Unaged White Rum (Batch #2) – Review

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Mar 242024
 

For a distillery with a name as ominous as Retribution, the owner and distiller or record is actually a fairly genial, easy going gent, who gives off vibes of an avuncular uncle who retires after a hard day’s work wherever, to his cottage in the countryside, where the faithful hound fetches his slippers. Or so the story teller in me supposes.

The man behind the company is Richard Lock, who incorporated the micro distillery in 2019 after deciding to go beyond the beers he had been making to that point. His first product was a gin, released in February 2020, with the first rum following a year later and…well, I’d tell you more, but Alex Sandhu of the Rum Barrel has done such a sterling job of biographing Retribution and Mr. Lock, on a physical visit to the distillery, that it would be taking away from his work, and so I provide the link to his company profile for the curious. It’s too bad we don’t get more of these.

In brief, the production notes are as follows: fermentation of the molasses wash is between one and two weeks using a French sparkling wine yeast; and then run through both pot stills (humorously named “Big” and “Little”) which results in an 80% ABV white corker that is then diluted down to a shade above living room strength, 44%. No additives, or other mucking about, which has become almost a badge of honour with these newly established micros, and very welcome.

So let’s get right to it, beginning with the nose. Sweet sugar water, unaggressive but aromatic watermelon and papaya, green apples, grapes, green pears from a can and a general mild vibe that suits the owner quite well. The aromas take some time to come together, and finally open up into mild fruits, strawberry jam, white chocolate, and some tart creamy notes, firm without ever being overbearing. In short, it smells pretty good.

Tastewise it’s also quite a bit more restrained than the rutting white ester stallions of yore which have blotted these pages (well…this website at any rate) and made themselves known. The rum presents as dry and fruit forward, with strawberries, green apples, grapes and some more jam (so the nose, in taste form if one wishes to be accurate), plus some pears, melons, peas and a very faint note of wet earth and vegetables which carries on to an easy finish.

Trying to analyse this and nail down the profile, I want to just say that for an unaged rum it’s really quite fine. A lot of pleasant aromas came out of those pot stills, more than is apparent at first blush, yet nothing too barbaric or strange; and it’s distinguished by having little of that aggressive in-your-face stuff, just some edge, good taste and a mild eagerness to please. That works here in a way that with others, doesn’t always.

Retribution has to some extent been overshadowed by the more hi-falutin’ aggressive fast-moving micro distilleries run by young social-media-savvy entrepreneurs who have received more attention and loom somewhat larger in people’s minds. If you’re thinking of the New Brits and their UK distilleries, Retribution is likely not the first to spring to mind. But my advice is not to count out this little outfit just yet. Pot-still, unaged white rums are still not all that common, most are fierce little brawlers – so there’s space for something more restrained like this one.

It takes gumption and grit to start a distillery of any size in Europe or the UK. It takes skill to make a good low cost, unaged, white rum right out of the gate, And it takes a rare kind of courage to keep at it without the benefit of the cool social media press, even when stuck in a small corner of a big festival, overlooked by many. This is a company we should pay more attention to when festival season comes rolling around this year…because its rums are nothing to sneeze at. Especially this one.

(#1065)(84/100) ⭐⭐⭐½

San Juan Artisan Distillers Ron Pepón Blanco Puerto Rican Rum – Review

 1 Response »
Mar 152024
 

In the previous review I remarked that the slightly aged añejo from the relatively new San Juan Artisan Distillers in Puerto Rico, did not impress me very much. This was in spite of the fact that on paper they looked like they had all the plant, equipment, and resources they needed to make something better. A fair number of online comments supported this view: most thought it was a barrel thing, although I did get one remark that resonated, stating (paraphrased) that it’s not a good idea to assume that the physical pieces alone are what make the product great or stand above the hoi polloi. That aside, I closed with the observation that with what they had under the hood and bringing to the table, it was unlikely they could stay in the kiddie pool for long.

This white rum, bottled at the same strength, proves that point nicely and demonstrates yet again – as if it needed to be – that unaged white rum really is in a class by itself and should never be shrugged off just because it looks the same as the filtered white bar staple that gives the “category” a bad name. The production stats aren’t significantly different from the añejo: it’s cane juice derived, fermented for a few days (as best as I can ascertain – this is subject to verification) then double distilled in the charentais pot stills. No ageing.

From that almost stereotypical agricole-style beginning comes a very nice rum indeed, with a pungent, salty, sweaty, earthy, loamy nose. It smells of grit and damp potter’s soil, and behind that lurks a sort of vague funky aspect that suggests a low-end congener count, like, oh the LFCH or OWH from Hampden, or WPL from Worthy Park. Some nice fruity notes attend, like tangerines, strawberries, bubble gum, mint…that kind of thing. But it’s very low key and in no way aggressive – the 43% ABV it pulls in with mitigates against any kind of harsh or stinging profile.

The palate corrects some of that is missing when you smell it, most particularly the grassy and herbal notes the nose didn’t seem to want to fork out. The taste provides a sweet, firm, green and grassy profile, with a touch of tart unripe pears and soursop, some yoghurt and even a little aggressive (in a good way). In my mind I genuinely see some rums with colours when tasted – this one would be white and green (channelling Slytherin or something, who knows?), and can be summarised by saying it’s like an addled 7-up with some added mojo. The finish is short but quite solid and fruity, with brine and olive oil and I swear there was a pimento lurking behind there someplace, sensed but never actually confirmed.

Altogether, then, a really solid white rum of the kind I prefer. It must be mentioned that drinking the anejo and the blanco side by side is a useful exercise and it shows how treatment and ageing – transformation, if you will – doesn’t always make for a better rum (I know, I know, this from a guy who loves rums aged four decades and over). It also demonstrates how white and unaged rums without the filtration and bleaching that so infantilizes Bacardi and Lambs and their ilk have no analogue in the whisky world, but are almost unique to rums, and should be given more serious attention.

This blanco is one of the better whites out there, and redeems my initial opinion of the distillery, which I originally felt was channelling just another Latin style rum with the twist of being from cane juice but without any of the flair. The blanco, however, is pretty damned fine: it has taste, it has aromas, it has character, and I kid you not when I say that it was one of the best things on the table the day I had it. Hopefully the distillery makes more like it, and stronger.

(#1063)(85/100) ⭐⭐⭐½

Other notes

  • Once again, my deep appreciation to Jazz and Indy Anand of Skylark in London. Hanging out at their place to talk and check out rums is always a high point of any trip I make to the UK.
  • A brief company bio can be found below the añejo review.
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