Amrut Two Indies White Rum (India) – Review

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Dec 202024
 

Once again we are visiting India, to look at a rum made by the world-famous whisky producer, Amrut Distillers. The story of this remarkable company has been told already so I won’t rehash it here — but it behooves us to note that for all the ballyhoo about its whiskies (for which it is mostly and justly famed), Amrut has been making rums for far longer, dating back to its initial  establishment in 1948. Also, in a departure from Mohan Meakin (of Old Monk fame), Amrut did not descend from a British-run company from colonial times, but was and remains entirely home grown.

In years past I have looked at two rums from the company – the Old Port Deluxe, and the Two Indies rums; however, this was many years ago, and as I lurch obliviously into doddering and drooling dotage, my memory fails sometimes, so I’ll revisit those — or their current iterations — soon.  Today, however, we’ll fill a small gap in the minimal company rum stable, and review the Two Indies White, which I found at the 2024 Paris Whisky Live — this edition was issued in 2023 —  displayed with a complete lack of fanfare off to the side of more famous whiskies, on the ground floor booth of the company.

“Two Indies” is a moniker given to show off the rum’s antecedents from distillate produced both in the India (the east Indies), and the Caribbean (the west). The white rum is made somewhat at right angles from the two Two Indies variants, original and Dark, which both have at least three Caribbean components (Jamaica, Barbados, Guyana) to add to the Indian part. This one has some Jamaican rum – the distillery is never mentioned – added to a blend of Indian made sugarcane juice rum and jaggery-based rum. 

The source of the juice is the Bangalore facility where the company HQ is also located, from cane grown in their backyard, and the jaggery1 is sourced from India’s sugar city of Mandya, SW of Bangalore. All three parts are pot still distillates, which, after being made, are blended and aged for a short eight-months-to-one-year period in ex-bourbon casks. And, as is usual for India, it’s released at 42.8%, which is the Imperial 75 proof from colonial times that was never abandoned.

Although I’m sure the intentions were well meant, the rum noses as thin and weak. Initially one can sense candy floss and marshmallows, plus some light white fruits (pears, watermelon, papaya), some sweet coconut water, leavened with bananas, caramel, and some lemon zest. Behind all that are wisps of vanilla, cinnamon and cardamom, which one has to really strain to notice at all. One wonders where the Jamaicans are hiding, because weren’t they there to provide some oomph and kick and attitude?  Doesn’t feel like that at all. And the distinctive aggro of a pot still product is decidedly muted (if not absent altogether), which is disappointing, to say the least.

This general sense of puling wimpiness pervades the palate as well. The website and promo materials talk about a “herbaceous” and “vegetal” profile, which I ignore, because it certainly doesn’t taste that way. Oh, we have some easygoing pears and guavas, an intriguing series of notes that channel fresh Danish cookies and pastries, and a light set of spices, but the crisp grassy notes of a true agricole are not in evidence. On the contrary, it’s underpowered and the profile suffers for that; this thing needs to be stronger, otherwise the whole thing, including the finish, is like unsatisfying coitus — brief, barely noticeable as an experience, and by the time you get a head of steam going, it’s over. There are some light fruity notes and a bit of spearmint gum as consolation for disappointed participants – I guess that’s something.

Granted the rum is relatively cheap and made for the cocktail and backbar circuit (it costs about €30), so as an interested reviewer I guess I’d buy it, try it … and then trade it or sample it off. The low strength and general youth and lacklustre profile are not to the rum’s advantage, and whatever the Jamaican portion of the blend is — on the website they stated it was added to “infuse the blend with its powerful, fruity esters” – it’s too little to put an exclamation point to the rum’s taste. It tries to take the best of three different rum styles, and succeeds at none of them, which suggests to me that perhaps it would be better to try and keep the rum as a pure Indian expression rather than try and jazz it up as some kind of exotic blend. Keep this rum on the bar as a mixer if you want, but me, I’d keep it there for something to juice up a cocktail, nothing more.

(#1102)(75/100) ⭐⭐½

Other notes

McDowell’s No.1 “Celebration” Matured XXX Dark Rum (India) – Review

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Dec 092024
 

N4026

Background

In the various reviews of the rums made by Old Monk, Camikara, Makazai, Amrut and Rhea, the observation was made (several times) that Indian rums don’t really have that good a reputation outside their country of origin, especially recently with the move towards greater transparency and purity. The rums there just never really go critical outside the diaspora and are viewed in many quarters inside and outside India as (at best) second tier also-rans.

There are several reasons for this. For one, In India itself rum has always been seen as a commoners’ drink, not a premium one, with all the snobbery this implies (it’s no accident that Amrut supercharged its whiskies’ reputation by first making them reputable outside India). Secondly, the financial incentives are minimal when the companies that make these products have what amounts to a near captive market of many hundreds of millions of local drinkers – why would they export when they can make easier money selling in-country?  And thirdly lack of awareness and lack of perceived quality go hand in hand with a dearth of information about how the rums are made – few companies give out any kind of information about that aspect of things (although colourful origin stories are legion).

Yet the country cannot be ignored forever. Companies like Piccadilly, Mohan Meakin, Amrut and United Spirits (owned by Diageo) are global sellers and massive conglomerates, irrespective of what they make. And so it behooves us to know more about the rums they make, be they ever so humble. This is one of them.

The Rum

Although “humble” may not be the exact word to use for McDowell’s No.1 “Celebration”, the flagship rum made by United Spirits (of which Diageo owns a controlling stake). The rum, first introduced in 1990, is one of only a few made by the company – the others are a white rum called “Caribbean,” a Gold called “Cariba”, and an aged “Old Cask” about which little is known except it was first released in 2004. There are likely others – we just don’t see them very much. But the Celebration is touted as the top selling rum in the world and I’ve seen news articles that proclaim the millions of cases it sells annually, so certainly it’s an elephant among field mice, and does brisk business.

That said, there’s the usual annoying paucity of production details. We know it’s made from molasses, though some dispute this and suggest jaggery may be the true source material. My understanding is that for such mass-market rums, a multi-column still uses molasses to get to 95% ABV or so, and then it’s aged, coloured and blended. What it’s blended with is a subject of some debate – it’s been said that “real” spirits are added, spices, flavourings, take your pick – the lack of disclosure is a common feature in the country were a bottle of this stuff can retail for under two bucks. Also, McDowell’s has 36 manufacturing centres across India and a score or so distilleries, so where exactly it’s made is unclear – Chip Dykstra, in a 2011 review, said it was made in Goa, without attribution. And it’s released at 42.8%, which, as I noted before, is a standard in India and equates to 75 degrees proof in the old Imperial system, which was never quite abandoned.

Even with the slightly-over-living-room-strength, it’s thin pickings on the nose. It smells vague, even indeterminate, first of plastic and detergent, and then of warm caramel drizzled over vanilla ice cream. A few fruits – cherries, ripe red grapes, tangerines – disturb the flow, but after a few minutes it’s paint on new drywall, plasticine, and the scent of a well oiled leather couch that’s old enough to leak some stuffing. It is, in short, a very weird smelling rum and one can only wonder how it beat out Old Monk, which is somewhat more “traditional” in its aromas.

Anyway, on tasting it, that thin profile persists – it’s as scrawny as a hungry cur in a dark alley. Yet some flavours make it through, and this is where we can detect some spices: cardamom, vanilla, salted caramel are the predominating notes; there’s damp tobacco and black tea, a touch of brine (no olives), and not a whole lot of fruitiness, crisp or tart or otherwise. There is some sweetness to it, but not a lot (and a hydrometer tests it as clean), and it goes down easily enough, just without any sort of flavours to excite the palate. Even the finish displays that sort of lacklustre “it’s okay” kind of vibe – short, easy, unaggressive, lots of caramel and vanilla and a few spices to round off the dram.

Reading the notes above, you can see why — even if it is the top selling rum in the world — it is met in the west with a shrug and a meh (if not outright disdain). One must concede that it’s a rum made originally for the indigenous market, where a different mindset exists on how it should be made, or taste like — and where those tastes are considered desirable; those who adhere to its unthreatening, easy charms won’t worry too much about disclosure or distillation or additives. Myself I just wish they would tell us – I mean, my God, we’re almost in 2025, dammit, why does this continually have to something we have to beg for?

Summing up this overlong piece, let’s just say that yes, it’s a reasonable rum, sure it is, just not one that rings the bells and makes for happy “wow!” moments and high fives. You can sip it easily enough and it tastes decent enough, if somewhat different than the norm. It simply lacks what one lady I know tartly refers to as “seriousness.” It’s all promises and no follow through, resting its dandified laurels on the bartop, while resolutely refusing to pony up when the bill comes due. If this rum was her boyfriend, she’d tolerate it for a while, and dump him the following week.

(#1100)(79/100) ⭐⭐⭐

Other notes

Company Bio (summarized from a longer work in progress)

McDowell’s has its origins way back in 1826 when Angus McDowell founded the firm in what was then called Madras (now Chennai). Initially the company didn’t make anything, just imported liquor, tobacco products, and various other consumer goods into India for the expatriate British population. It was clearly successful enough to form itself into a Limited company in 1898 and continued trading until after Independence – however, in 1951 Vittal Mallya of United Breweries Group bought the company and named the combined entity United Spirits Limited. 

The first distillery was built in Kerala in 1959 and initially USL made spirits under contract. By 1963 they were confident enough to launch their own brandy (called “Golden Grape”) and slowly expanded their capacity by buying other spirits making companies, while also building new distilleries and distribution networks.  However, so far as I can tell, rum was never a branded product in the portfolio identified with USL – what was produced stayed with the acquired companies’ already established brands.

The next generation of the family began to become active in 1973 when Vijay Mallya became a director of McDowell’s (as the subsidiary continued to be called – there was no opprobrium attached to the company name as had attended Dyer Meakin, so no reason, apparently, to change it), and ten years later he took over the whole company as chairman. The Celebration branded line of rums came out during his tenure and their distribution had expanded to the point where by the 2010s they had not only exceeded Old Monk’s sales, but had actually overtaken Bacardi as well.

Cash flow problems and declining sales (as well as some poor business decisions and scandals) in the early 2010s eventually forced Vijay Mallya to sell a majority stake in the Group to Diageo, and that’s the situation today.

 

Don Q Gold Puerto Rican Rum – Review

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Oct 222024
 

Americans know the Puerto Rican company of Don Q quite well (it is named after Don Quixote, which always struck me as odd, but never mind), and are usually quite enthused with it since it’s an alternative to the ubiquitous Bacardi, as well as supplying them with another Cuban-style rum. Europeans on the other hand, know of the brand without being overwhelmed – they do, after all, have access to better tipple than most — and the rest of the world, I would imagine, falls somewhere in between.

Still, it’s worth keeping an eye on companies that at first sight seem to be aping Bacardi’s mass market appeal and rum-making style. Distileria Serrallés, after all, predates Bacardi on the island — the family patriarch was there since 1820 and his son produced Serrallés’s first rum in 1865 — and is considered to be the most popular rum in Puerto Rico. And the stuff they make regularly turns up on many lists of good rums to try, rums to start with, or to always have on the shelf.

Not too long ago I went through a fair bit of the company’s bottlings, so in this upcoming series of reviews, I’ll start low and work my way up. Today’s rum is simply called the Gold and is part of their “traditional” range which also includes the white Cristal and the stern overproof of the 151. After that everything except the flavoured range is lumped into the Serrallés Collection, but pretty much all of what they make is short-fermentation, molasses-based, column-still product. The variations come from post-distillation barrel and wood management, not earlier stages in the production process, which is par for Latin / Spanish style rons.

The Gold is a rum blended from components aged from 1½  to 5 years in ex bourbon barrels, and is bottled at a mild living room strength of 40% – in that sense it’s similar to the (filtered) Cristal, except that they note it’s been distilled to have more flavour (and then filtered). This suggests that they are using the first column of the 1934 Vendome still to producer a heavier aguardiente to blend into the final product, which makes sense.

But does that translate into a profile where this is evident? To some extent, yes – as long as expectations are tempered to begin with. Consider the nose — the website talks about “rummy flavours” (with all the usual additional superlative adjectives) but here, that’s pretty much what you’re getting. The majority of the aromas revolve around notes of caramel, toffee, vanilla, some cinnamon and a touch of oakiness – can a more standard rum profile be described? Even after standing for a while, there’s not a whole lot more, unless it’s some weakly aromatic light flowers and watery fruits…pears, mostly.

The way it tastes follows on from there. It’s similar to the nose perhaps a bit more tobacco and oak forward. The word that occurs to me is “bright” – it has a sort of scintillating sharpness to the way it tastes that is ameliorated by the easy strength, and the flavours are reasonably distinct: vanilla, toffee, salt caramel, not much more, except a very slight and sharp citrus line. And so the finish cannot be expected to provide more, and it doesn’t – it’s quick, light and gone in no time.

As a sipping rum, this is too thin and light to appeal, but of course it’s in a mix that it shines. It’s perhaps too much to expect a very young blended column still rum to wow my socks off – few Gold rums ever have. They tend to be mass-market mid- to low-range efforts: almost always blends, relatively young, very affordable, found just about everywhere. Their job is not to be a sipping agent but a basic bar staple, and their quality varies wildly. In this example, what we have is a rum I wouldn’t drink neat, one that hints at more upscale work elsewhere in the company’s stable: it has the glimmering of a complex nature that for itself, never quite comes to the fore.

(#1095)(78/100) ⭐⭐⭐

Other notes 

El Dorado 2012 12YO LBI/DHE High Ester Blended Rum – Review

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Sep 172024
 

More than ever it has become clear that DDL has found a way to fold special editions into its core El Dorado range. I had remarked in the video review of the PM 2009 12 YO that until relatively recently, special limited bottlings did not get much attention from the company, or the public: the Rare Editions which replaced Velier’s iconic Demeraras did not always get serious traction, consumers did not cotton on to the “Colours” quartet, and the 15 YO and 12 YO wine-finished releases were at best modest sellers. 

Yet to have cask strength limited editions that showcased the heritage stills had to have been seen as the path forward in the drive to premiumization. And by the early 2020s, we began to see El Dorado rums popping up on the shelves and being touted at rumfests. They were stronger than the norm, remaining in the 12-16 year age range, and showcasing (for the most part) the heritage stills. It did, however, remain the province of the independents to issue truly esoteric marques (not just PM, VSG, EHP or ICBU) like AN, KFM or SWR.

Until, that is, this one came on the scene in 2024. 

In one fell swoop DDL tried to marry an almost unknown marque with a high ester rum. Previously high ester spirit had just been pushed into the major aged blends, though any Guyanese would know that the Superior High Wine (which was only sold locally) was mostly from that little-known small still. And LBI (La Bonne Intention – it’s an estate on the East Coast of the Demerara) is enormously obscure, with only a couple of Velier releases from The Age (1985 and 1998 vintages) and a very occasional indie like Nobilis or Nectar of the Daily Drams ever demonstrating the style. As you can imagine, the geek crowd went slightly ape when this came on the scene.

Now for the trivia nuts, permit me a small digression: LBI had a distillery since the 1800s, and a rum from there was judged at the Calcutta International Exhibition back in 1883. Rum continued to be produced until at least 1959, and sometime in the early 1960s distillation was rationalised by Bookers into Uitvlugt (along with several others), with the distillation apparatus that could not be used being mostly scrapped. The distillate in this release must therefore have been put together on a currently existing still, based on stored production records since no still remains in existence from the original estate.

Enough background, then. Quick facts: French Savalle Still for the LBI part, 57% ABV, 12 years old, blended with a high ester rum from Diamond’s John Dore double-retort copper pot still (not the PM, which is of wood). Difford’s notes “in excess of 1500 g/hlpa” for the DHE component, which is unconfirmed elsewhere, but even so…ouch. We are not given details of the proportion of each…not that I expected any, but it would have been nice. Aged in ex bourbon for 12+ years, and that’s all we need.  And of course, the question after all that is – what’s it like? 

The nose is, in a word, outstanding. It comprises three major components.  The first aromas one notices are the esters and congeners, those sweet acidic notes like gooseberries, bubble gum, strawberries and pineapple, with something like attar of roses in the background, and some burnt pimentos, balsamic vinegar and ginger. The second is a more pastry-like smell, of hot croissants daubed with salted butter, fresh from the oven, biscuits and damp sawdust, behind which can be sensed some leather, floor polish, linseed oil and glue. And after all that is said and done and you hang around for a while, you’ll get some sweet spices – cloves, cardamom, cinnamon and vanilla. There is a lot to be unpacked here and it rewards the patient.

The palate is simply strong and very firm, fortunately without any kind of bitchy sharpness. It’s more like a very hot very sweet and very strong black tea. There’s salt, honey, olive oil, brown sugar, salted caramel ice cream, orange peel, sweet soya, and then a repetition of the sweet spices, freshly baked pastries, coffee grounds and unsweetened chocolate…and more of the spices mentioned above.  The rum as a whole presents as somewhat dry, but it all leads to a really long, dry, aromatic that sums up the profile quite nicely, but without introducing any new elements.

Well. I must say, I’m happy that this is not a rum which was twisted into some semblance of conformity by some moron’s idea of a formula. It’s quite original, while still hewing to a profile that is recognizably Demerara. To do so was probably the right decision, since, overall, the rum works extremely well. The high ester component  is less assertive than the Jamaicans have led us to expect (that’s not a criticism, just an observation), yet it does well to balance off the more traditional flavours provided by the LBI, which, even back then, always seemed to be somewhat indeterminate. Honestly, because of the obscurity of the LBI marque and my interest in any DDL high ester rum, I would have preferred to see each released as an individual bottling. However, it is possible that the LBI distillate didn’t turn out to be anything spectacular, so a blending choice was made to marry the two and create something (possibly) better than either on its own.

I can only say that the final product is really quite good.  It costs about a hundred dollars in Canada, so it won’t break the bank; and seems to have distribution in both Europe and the US, although unfortunately the outturn is unknown.  For that strength, that nose, those tastes and the overall quality, there’s nothing here that I don’t like. My suggestion would be to park the high ester expectations, enjoy the complexity of the blend, appreciate the strength, and maybe even drop the coin to get one for yourself.

(#1089)(88/100) ⭐⭐⭐⭐

Other notes

  • Video recap can be found here.
  • Historical notes come from Marco Freyr’s seminal historical work on the Guyanese distilleries, used with permission and thanks.
  • Not tested for sugar, but will add the statistic here when I get the bottle home and test it.

Makazai Gold “Tribute” Rum (Goa, India) – Review

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Aug 192024
 

For those of not actually from India or part of the extended diaspora, the only rums from the subcontinent which most of us ever knew about were the Old Monk, the Amrut Two Indies and Old Port, and maybe a smattering of others like MacDowell’s, Hercules, Contessa, and, more recently, the Camikara. Yet India has been making distilled spirits for centuries, including from sugar cane, and so it comes as no surprise that as the growth of rum as a premium spirit continues around the world, local entrepreneurs would look to establish small craft brands or distilleries of their own. Such spirits would go beyond the doctored mass-market hooch which permeates the local market and adhere to more exacting standards set by small microdistilleries around the world.

Whether the recently established company of Stilldistilling Spirits will be able to mine that vein of perceived quality remains to be seen. I do not hold out much hope when a company tells us little (or nothing) about sourcing methods, production, blending and ageing strategy. We do, on the other hand, get a lot of hagiographies about the founder, and much elevated rhetoric about inspirations, logo selection and mission statements. Which, to me, is less than helpful in assessing the rum itself.

Be that as it may, here is what is known about the Makazai Gold “Tribute” Rum. All ingredients and physical components of the bottle are Indian made. The actual source of the distillate is never disclosed, though it is implied to be Goa or Maharashtra, and is stated in a 2021 Rumporter article to be 2½ year old aged cane spirit from the Punjab (something of a problem since that could mean a neutral spirit or one from cane juice) combined with molasses spirit (ditto, except now we don’t know if there is any ageing involved here as well). Blending and bottling takes place in Goa where the owners have leased a facility to do so, and until recently the rum was only sold there. It’s 42.8% ABV, which is sort of standard strength over there, and equates to 75 proof (or “25 degrees under proof”) under the old Imperial system.

With this background dispensed with, what is the gold rum actually like?

Succinctly put, it’s a bit better than entry level, but not much. There you are.  You may cease reading.

The nose is immediately problematic because not much happens and what does happen is lacklustre  – which is a shame, because what little one does sense, is at least intriguing.  There’s ghee and cooking oil smoking in an overheated cast iron pan, plus turmeric and honey as the primary elements.  These are then added to with a slightly sweet aroma of stewed apples, cinnamon, light vanilla, cardamom and tinned peaches.  It’s all very delicate and vague, and there’s a thinness to it that doesn’t really work for me.

On the palate it’s no better: “thin and flat” read my terse notes. It’s somewhat akin to the let down of the Camikara 3YO (review coming soon to the unread blog near you) which was also 42.8% and had a similarly scrawny corpus. It is only with some effort that I can pick out honey, figs, biscuits in milky tea, and (oddly enough) some red currants – it’s nice but honestly, not enough either; and the finish, which is short in duration and quite easy, closes things off with something of a whimper: some indeterminate dark fruit, cinnamon, vanilla and a touch of brine and salty caramel chocolate

That there are so many notes to write down is to the rum’s credit, and there is a certain “tawniness” to it that I like – I’ve detected that ghur note in the profile of many Indian rums, suggesting a jaggery based source. The issue is that the various parts don’t play well together – the balance is off and it leans too much to the sweet spices side without a countervailing tart or sour aspect that would make it more interesting. Plus, the whole thing lacks body, heft, a certain force that would make it memorable. If they ever solve that issue – whether by naking it stronger or improving the blend or actually distilling their own rum instead of getting it from elsewhere and cobbling a blend together – then they may really have something to show off. For now, the rum train has limped into the station minus several cars.

(#1087)(79/100) ⭐⭐⭐

Other notes

  • My deepest appreciation to Nikkhil of WhiskyFlu, who provided the bottle gratis. His website and IG feed is always worth a look, and he’s a great guy to boot.
  • My hydrometer tests this out at 43%, so it’s clean from that perspective.
  • The now-usual video review of this rum is here

Company background

Makazai is actually a two word term “Maka Zai” meaning “I want” in Konkani, the language spoken in Goa and Maharashtra (in central-west India). It was made the brand name by the founder of the company, Katsuri Banerjee, who left a career in financial services to take up bartending in a bar named Koko, located in an upscale neighborhood in Mumbai called Lower Parel. 

Once she qualified as a bartender she wanted to also become a blender and create her own spirits – whether whisky or rum or gin is not entirely clear, though eventually, as we see here, it was rum that won out perhaps because the competition for premium craft rum space was less. After interning at an (unnamed) Indian distillery and settling on making a rum, Stilldistilling Spirits was incorporated in 2020 with funds raised from friends and family and managed to survive the global COVID shutdown by concentrating initially on branding and packaging, before emerging in 2021 with a white rum (the “Bartender’s Edition” geared to the mixologists) and a gold one (the “Tribute Edition” – it is meant to be a standard celebratory tipple for everyone). There is an aged limited edition called the Mesma with a mere 600 bottles in circulation, about which as little is known as the other two.

What little most non-residents know of alcohol in Goa comes about because they went there on a vacation, or tasted the local liquor called Feni. However it would appear that Goa has, of late, become something of a manufacturing hub for distilled homegrown spirits (Google maps shows around forty distilleries there), not least due to the ease of laws relating to liquor production and marketing which constrain other provinces in a still-conservative India. Whether these are new or old companies, at least some of the blend components of the rums released by the Makazai comes from one or more of these establishments, though it is my personal belief that some is sourced from elsewhere in India (the references to “heritage suppliers” suggests this). The company has leased a blending and bottling plant in Goa to handle the physical production, and has expended from and initial 200 cases of sales back in early 2021, to 2,000 in early 2022, at the time mostly sold in Goa, Karnataka, and Maharashtra (and expansion to other parts of India ongoing).

Opinion

While I appreciate the sheer guts, blood, sweat and tears that must go into getting an enterprise like this off the ground in India – especially for a female entrepreneur in what is a resolutely male dominated profession and tipple – I am somewhat impatient with Stilldistilling’s website and the press articles I’ve referred to in this article.  That stems from an excess of marketing folderol that’s all sound and fury signifying nothing, versus a paucity of facts that might help a consumer get, you know, some real info. This is the sort of thing that annoys me with rums from the Americas, but irrespective of location, for people who should have their fingers on the pulse of current trends in transparency to be pulling this kind of advertising-only crap on us when launching a new brand strikes me as shortsighted, and somewhat indifferent to us as consumers.

I deduct no points for lack of disclosure: however, the lack of details in what makes the rum what it is annoying. We don’t know too many things here. Which distillery (or distilleries) provided the distillate; data about the base source of cane juice, molasses or neutral spirit; what kind of still or stills made it; anything about fermentation; how long it was aged for and where and in what kinds of barrels; or what the outturn was. Not all of these things are necessary – indeed, one could cynically argue that none of them truly are, if all you want to do is drink the thing – but the fact remains that in today’s rum world where the scars of the sugar wars and battles over transparency still run deep, and cause elevated blood pressure to this day, it is ridiculous to not be provided at least some of it. And purported alco-bev veterans are supposed to be behind behind this rum? One wonders if they learned nothing from all the social media bloodletting over the last decade.

Modern consumers and producers who really want rum to be taken to the next level cannot be made or expected to accept a rum on trust, which has zero verifiable background info. Not in this day and age. Trust and reputation for square dealing and disclosure go a long way to establishing a company’s street cred and character.  If a new rum producing company claims to want to become a true craft premium rum producer, then it had better start making disclosure a priority – otherwise, like so many other Indian rums, it will remain there and never attain the global heights to which they aspire.

 

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.

Bumbu XO Blended Panamanian Rum – Review

 3 Responses »
May 032024
 

Sooner or later, even those rums that many regard as no more than the mangy spirituous curs, the spavined, rice-eating, lice-ridden mongrels of the rum world, need to be acknowledged. We all know who makes them, and who they are. To those who dislike them, they yap at the doorsteps of the rumhouse with an incessant sort of insistence day in and day out, and are dissed and dismissed with sneers and contempt at every turn. And yet there are those who swear by them with truculent blue collar appreciation as well: such rums have always existed, and have always invited disputation. They are part of the Great Rum Tree, and must be acknowledged at some point, if only to demonstrate what they are and why they elicit such strong reactions.

Bumbu, in spite of the suggestive narrative on their website, is not a distillery, it’s a brand owned by Sovereign Spirits which also owns similarly hyped and marketed sparkling wines, gins, liqueurs and three Bumbu products, two of which pass for rums with only the greatest of generosity. They are all aimed squarely at the cocktail crowd and show off slick press, cool looking bottles, celebrity endorsements, and make absolutely no imprint on the minds of those who actually know their drinks. And who is Sovereign? A family owned spirits company from NY founded in 1999 by ex-merchant banker and entrepreneur Brett Berish, with a wide marketing footprint around the world.

To understand exactly what excites the reactions to the brand that it does, one has to go back to the Original (which I’ve tried but never written about). This was a rum that emerged around 2017 or so and was supposedly made from a Barbados distillery in existence “since 1893”, which is to say, WIRD. Serge of WhiskyFun, in a savagely eviscerating review that awarded a contemptuous 15 points to this 35% “rum” (it is now marketed as being spiced, though it was not at the time) remarked that it was blended with other countries’ rums but I’ve seen no other corroboration of this claim. At 35% ABV and testing out at 40g/L of added sugar and tarnished by all the subsequent bad press WIRD’s owners got, and its undisclosed additives, it was no surprise that connoisseurs avoided it like the plague. Yet so popular did the rum prove – let’s face it, easy and non-complex and tarted-up spirits are catnip to those who just want to get hammered on something that tastes ok – that a mere couple of years later, the XO came on the scene.

The XO boasted the same slick marketing. Originating from Panama this time, words like “premium” “craft” “by hand” “artisanal” “120 year old distillery” and “18 years” were tossed around, the presentation was first rate and was competitively priced. No mention has ever been made about a solera style system (which is suspected by many since 18 YO rums do not usually got for €40), but parsing the language finds the usual weasel words of “up to 18 years old” on some websites, which nails it as a blend about which we therefore know nothing — especially the proportions — except that it comes from Don Jose distillery, is columnar still and made from molasses in the Latin/Spanish style. Aged in ex-bourbon and finished in sherry barrels. Being issued at 40% is, I guess, a step up for the producers, who trumpeted it as “full strength.” Right, But in an interesting turnaround, my hydrometer clocks this at 38.25% ABV…or 8g/L of something added, which is not a whole lot – it may be that they’ve been revamping the blend somewhat of later, who knows?

So, with all this introduction out of the way: does it work or not, and is it a “boring” piece of blah, as Wes Burgin remarked in his own 1½ star 2019 review?

Yes and no. It’s way better than the oversweet mess that was the banana confected coconut-tasting Original I recall from a traumatic tasting a few years ago. It’s crisper on the nose, with elements of banana, damp tobacco, ginger, molasses, brown sugar, coffee, vanilla and caramel.  All the usual hits are playing, in other words. The additives are there, while fortunately having a less than overwhelming impact in how it smells. 

It’s on the palate that it fails, I think. Here there’s much less to enjoy. Tannins, coffee grounds, caramel and vanilla, some molasses and sweet cherries…even the faintest hint of astringency. It’ll bite at the tongue somewhat, sure: what starts to happen as it opens up, however, is that the sugar (or whatever else they added in to smoothen things out) begins to flatten out the peaks and troughs of what could have been a much more interesting rum if left to develop on its own without it. It just starts to feel vaguely one dimensional after a few minutes and adding in “a single ice cube” as the web entry suggests is ludicrously self defeating — it closes up the drink so you get even less than before. The finish is almost nonexistent, whispering of ginger, coffee, tannins and tumeric, but honestly, it’s slim picking by this point.

Summing up, there’s some bite here, quite welcome and as the notes above demonstrate, you can sink your teeth into it and enjoy it…up to a point. I’m not sure making it stronger would help, frankly, there’s simply too little to work with.  Moreover, as with many such rums made in this way, there’s no sense of originality or something that would make you sit up and take notice. It could come from anywhere, be made by anyone, and exists to sell not to enjoy.

So: no real information on bottle or website; no age statement that can be trusted; flashy pizzazz and marketing; a profile that’s indifferent; standard strength; not a whole lot to be tasting. It’s the sort of entry-level rum that’s made to move by the cartload, and evidently it does. For those who actually know their rums or care that they are well made, it’s a product that is content to be boring, I guess, and one they would be happy to pass by for that reason.  Rightfully so in my view, because there’s too little here to make even that low price seriously attractive.

(#1069)(76/100) ⭐⭐⭐

FNQ (Mt. Uncle) Distillery Iridium “X” 10 YO Australian Rum – Review

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Mar 202024
 

We’ve heard of both Iridium and Mount Uncle Distillery before: there’s a five year old of that brand that was part of the 2021 advent calendar, and while I didn’t care overmuch for it, I did comment that at a higher strength might make it a better drink. The company – which spun off the rum making business into a separate little outfit called FNQ Rum Company – clearly knew that already, because with this one they amped up the age to 10 years, jacked the strength to 47% and then probably thinking something else was required, aged it in red wine hogsheads for ten years before giving it a last six-month finish in agave casks left over from whatever they were doing with tequilas that year. All this from a cane-syrup seven-day-fermented wash run through their Arnold Holstein 500L pot still.

All that is pretty nice and conforms to some extent to the 5YO as well: but with that rum, one of the issues I ran into was that it didn’t seem to know what it wanted to be: an aged agricole style rum or one more in tune with the broader profiles of the rum world based on molasses. The Iridium X, fortunately for us, navigates quite well between either one and becomes a decent rum by any standard

Take a sniff and you’ll see what I mean: pineapple tarts and cheesecake get together to tango with yoghurt and sour cream and – if you can believe it – ripe tomatoes. There’s a nice, crisp throughline mixing citrus, pineapples, sweetened red grapefruit juice, bitter chocolate, and the dry dustiness of the warm air coming off of vents that have not been used for some time. Oddly, there’s not a whole lot of brine and  heavy agave notes here coming from the casks, though I imagine for those more in tune with this spirit, some could be found.

Palate is a more settled experience, and becomes a clean and relaxed version of the nose. It’s rather tart and piquant, coating the mouth well, and there’s the same yoghurt, honey and citrus axis around which perambulates the lesser notes: these are mostly gingerbread cookies, unsweetened chocolate, olives (red ones) and some brine. If one hangs around and waits a bit, there are also hints of apple cider, figs and some licorice leavened with some toasted marshmallows, but that’s pretty much it.  Finish is nice enough – medium, aromatic, like a sweet balsamic vinegar sprinkled on a grape and tomato forward salad.

Did I like it? Yes indeed, quite a bit more than the 5YO. The complexity is more present and accounted for, and there’s a lot to unpack at one’s leisure. The parts are well assembled without coming to blows over their differences, and overall it’s as solid a ten year old rum as could come out of any of the usual major regions with which we are more familiar. It’s perhaps no accident that the Boutique-y Rum Company took a 12YO Mt. Uncle to be one of its first Australian releases in 2023 that wasn’t Beenleigh.  I haven’t tasted it but if it’s anything like this one it’s sure worth our attentions.

(#1064)(84/100) ⭐⭐⭐½

Other notes

  • From the 2023 Australian Advent Calendar, Day 15. 
  • The FNQ website is remarkably short on details historical or technical.  Much of the background is from my original research on the Iridium 5YO, which is worth reading in its entirety, as I’ve summarised a lot here.
  • No idea what the significance of the “Iridium” title is. I’ve sent a message along to ask.
  • Mt. Uncle is one of the most northerly distilleries in Australia. Devil’s Thumb (also in QLD) and the Hoochery (in WA) are further north, but not by much.
  • There’s a story that the 10YO is from two lost barrels of the Iridium 5, which is also repeated on the Mt. Uncle website.
  • Although it’s marketed as a limited edition, the exact outturn is unknown. The initial release was 2020 and apparently sufficient stock remains to provide an advent calendar in 2023.

Flor de Caña 12 YO Rum – Review

 3 Responses »
Jan 082024
 

This is the third time I am coming to the famed Nicaraguan rum producer’s 12 year old rum.  The first occasion was in 2011 when I was still somewhat wet behind the ears: then, I commented that it was a bridge between the sipping quality older expressions and the younger mixers of the bartender’s arsenal. In 2017 I picked up another bottle to see if my opinions had changed significantly after additional years of tasting and writing, a wider and somewhat more experienced palate and a better sense of the global nature of rums. They hadn’t. It scored around the same both times.

In 2022 I went through the 12, the 15 and the 18 yet again. There were several reasons for this. One was simply opportunistic — they were available all in a row (well, why not? It’s as good a reason as any). Two, the “Centenario” is relegated to much smaller type, there is a ‘Carbon Neutral Certified’ notation, the “slow aged” thing so many sneered at in years past is gone, and an unambiguous age statement is right there: 12 Years Old. So I was curious whether that translated into something more serious. And lastly, the reviewing game tends to focus on currently popular rums and bottlers, so to revisit an old standby is needed every now and then, perhaps to apply a corrective, to check out a change in blending philosophy, or simply to see how one’s own opinion may have developed. 

On the face of it, it’s not a substantially different rum. It remains a column still distillate from molasses made by the company’s facilities in Nicaragua. It adheres to the Latin/Cuban style of rum-making whereby a light distillate is sought and the real quality of the final product is demonstrated not by fermentation or still-tweaking, but by what happens after: by ageing in ex-bourbon barrels, marrying and skilful blending over time. I’ll take it on faith for now that it really is 12 years old.

By the standards above, the Flor 12 YO does not break much new ground or show off anything widely divergent from its predecessors, though it remains a tasty dram. It is gentle to smell, easy on the nose, well rounded aromatically and reminds of us of why it retains much popularity: some molasses and brown sugar notes, honey, almonds, cinnamon and light flowers. A touch of vanilla, polished leather and smoke, not much more. 

40% won’t ravage the palate and the age has sanded off most of the roughness. Again there is the caramel, bon-bons, light molasses and honey. The almonds and spices – vanilla and cinnamon – make a reappearance in the background and the florals recede somewhat, while lending a subtle and delicate counterpoint. White chocolate, orange peel and nougat round things out in a finish of no great length, intensity or complexity. Like the coitus of the young, it’s over quickly.

While not particularly disappointed by the 12 YO, I’m not really impressed by it either. There are few notes of distinction about it, little that is special which would elevate it above many other blended rums of similar age that compete more successfully in the same age space: El Dorado 12 YO, Bacardi Diez, R.L. Seale 10 YO, English Harbour 10 YO, Appleton 12 YO, all of which score the same or a bit higher. It’s affordable and it sells, and the fact that it remains available after all these years indicates something of its appeal and durability. But to me, it feels like something of an indifferent throwaway, a “merely necessary” rum that is needed to round out the portfolio…and thus, the kind of product one might find on a bottom supermarket shelf, where average rums go to die. 

(#1049)(80/100) ⭐⭐⭐

Other notes

  • All my Flor de Cana reviews, including those of the independents, can be found using this link. For my money, their best rum (aside from the 25 and 30 which I have not tried) has always been the blue bottled 15 YO “21”.
  • The Flor de Caña (flower of the cane) branded rum is made in Nicaragua by the Compañía Licorera de Nicaragua, which was formally established in 1937 (though workers of the San Antonio sugar refinery which was its basis  had been distilling their own festive hooch for local celebrations for maybe half a century before that, hence the “1890” dating on the label). The success of the distilling company led to expansion and to exporting rums to other countries in Central and South America by the late 1950s. Following on the heels of the trend established by DDL in 1992, they began to issue aged premium rums. In the mid-2010s the brand started to slip in popularity as independent bottlers, higher proof and special premium editions  became more popular. The the scandal of Chronic Kidney Disease around the same time was a huge reputational blow, and the company has reportedly addressed the major health issues which led to such damning reports, as well as pivoting to a more ecological production philosophy.

Clément Rhum X.O. Très Vieux Rhum Agricole (2010s)

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Dec 222023
 

Rumanicas Review R-161 | #1047

You want to careful ordering a Clement XO rhum because there is another one also named thus which is not this at all; and two others with the same bottle shape but different names. Fortunately the other XO has a different bottle style and a different strength and lacks the word “Très” (very) in the title, and the ones that do take the bottle design are called l’Elixir or Cuvée Spéciale XO. So just a little caution is all I’m suggesting.

In another odd circumstance, the subject of today’s retrospective also lacks almost any reviews in the online rumisphere aside from Rum-X (of course) and my own unscored 2010 review. In fact, it does not even appear on Clément’s own website under any of its various collections – Old, Tradition, Modern, Iconic Blue Cane or Cuvee. The closest one gets to it is the sales on auction sites and as far as I can tell, RumAuctioneer put one up a few times, the last time being in 2021 where it fetched a surprisingly modest £150.

What this is is one of the first of the premium blends the company put out and is a marriage of what they felt was three exceptional years’ production: 1952, 1970 and 1976, which were also released as individual millesime bottlings. It’s unclear those individual releases were issued before or after this blended XO (I only managed to acquire samples of each many years later). But since the 1952 component has now run out, the specific blend comprising the XO is now defunct and while the company uses the same sleek bottle for other XO rhums, the label is subtly different for each, denoting a different product.

Note also that whether the rum is composed exclusively of those three vintages or is a blend that includes them, is currently unknown. Dave Russell in his 2017 review thought the latter, and David Kanj on Facebook (who brought it to my attention) said he had never been able to confirm it with Spiribam either. Will update, if I can nail it down one way or the other.

Colour – Gold

Strength 44%

Nose – Luscious; deep fruitiness; persimmons, passion fruit. Herbs, cinnamon, vanilla, light toffee, apricots. Green apples and ripe dark grapes. Very appetising and aromatic, if not as crisp and clean as a modern agricole. Just really pungent and complex.

Palate – There’s a smoky, dry. leathery tang of an old port to the initial tastes, but it comes over nicely because of the heft and solidity n the tongue – the mouthfeel is really quite good. Apples, apricots, hard yellow mangoes on  the edge of going soft, and raisins and red wine. To be honest, after years of acclimatising myself to rums at 60% ABV or greater, the XO here no longer demonstrates sharpness (as I commented in my original review) but crisp solidity, even a touch of softness.

Finish – Just excellent. A fitting conclusion to a delicious dram. Crisp, slightly sweet, smooth, deep, dry and with yellow almost-overripe fruits at every turn.

Thoughts –  I was right not to score this at the beginning of my rum journey, since in 2010, the chops to evaluate it was lacking – to this day we still see too few agricoles in Alberta. Back then I commented on its sharpness and its taste without being too chuffed by it.  Coming back after a span of nearly fourteen years, I appreciate it much more for what it is: one of the best aged agricole blends I’ve been fortunate enough to try. Those who have a bottle squirrelled away have a real treasure in their cabinets, a delicious dram representing a time traveller washing up on our modern shores, from the far off Days of Ago.

(88/100) 

Other notes

  • The AOC was first established in 1996, so none of the component rhums conformed to the restrictions; irrespetive of the AOC on the label, then, those expecting a clean, grassy, herbal modern agricole might be somewhat taken aback by the profile, which has its own unique vibe. I assure you, however, it’s all to the good.

Ron Relicario Peated Finish Aged DR Rum – Review

 1 Response »
Dec 182023
 

Perhaps this rum was inevitable.  Maybe spurred on by the rising price of ex bourbon barrels, or the desire to experiment, or the curiosity about whether a peated whisky really is like a Caroni, or simply to attract those who can no longer afford the Octomores and other similar expressions of Islay, some bright spark at a rum distillery has finished his rum for six months in a peated (Speyside) whisky barrel.

Is that a real thing, or is it just a stunt? Commentary on Rum Ratings suggests a sharply divided audience on this and when you smell it, you can understand why – that peated barrel has a real influence here. You get the initial slap of iodine, antiseptic industrial hospital corridors and seaweed right away, only marginally offset by vegetable soup, some heavy overripe fruits,  caramel, smoky vanilla and leather. The odour of smoke and wet charcoal and ashes is discernible but remains restrained and stays back, and there’s a bit of rubbing alcohol that the ageing has not managed to dispel. It gets slightly deeper and more involved over time but too  my mind, that’s not enough to really elevate it to something top tier.

This is all fine, but it is rather off the beaten track: and if it’s one thing years of tasting new and experimental rums has shown me is that (as with electronics for example) while there are always some rabid early adopters, and those with tastes that go for something this off the wall, it takes rather longer to bring the average consumer along to accepting something so different. And it is different – it’s like Mhoba’s Bushfire, or some of the more radical rums experimentals that get aged in completely new woods that make them smell and taste like barbecue sauce, or a maple syrup.

Still, smell is one thing, but what’s the taste like? Maybe that has a profile more rum-like? Yes and no. The taste is light (the standard strength again, so that’s nice) and easygoing…up to a point. It has a musky and dark feel to it, with notes of bitter, damp and stale coffee grounds, cardboard and mouldy paper, cheap dry unsweetened chocolate left open in the bin at a grocery too long. Again there are some dark overripe fruits but not much and not many and it’s hard to pin them down – plums, dates, figs, I’d suggest. Also medicine, camphor balls, damp sawdust, ginger and a touch of cinnamon, followed by a short and clean finish that again returns to iodine, rubbing alcohol, some toffee and molasses.

So with that out of the way, when I sit back and reconsider it all: in fine I’m not sure that for the average rum consumer that this actually works. It’s a blend of column still distillates aged 5-10 years and tropically aged in American oak, so that part is fine. The 40% ABV keeps the aggro down to a minimum. I didn’t get a chance to test it, there’s something about the ease and rounded nature of it all – even with that delicate peaty bitterness in the background – that suggests it’s not entirely kosher and has been added to, however slightly (NB: however, not checked by me, so that is a completely personal opinion). 

But that peat…it’s is a love or hate proposition. Whisky drinkers would probably have no problems with this expression at all (and it was an anorak who gave it to me). Admittedly that aspect is not overdone and doesn’t take over the entire thing, but it is pervasive and never lets up, and lends a piquancy to the rum similar to (but quite different from) the profile demonstrated by good Caronis. Moreover, the more subtle fruity and wine-y notes imparted by wine, cognac, or other common finishing casks are pretty much absent, this upsets the balance of various elements and gives the impression the rum is not a vehicle to demonstrate the rum, but the whisky element. So with that in mind, it’s up to an individual drinker to decide whether that’s in her or his wheelhouse. Speaking for myself, I have to admit that it doesn’t entirely play in mine.

(#1046)(78/100) ⭐⭐⭐

Other notes

  • My thanks to Curt from Kensington Wine Market in Calgary who gave me the sample to try.
  • Relicario is a brand not a distillery. Made by Barcelo (now a brand within a larger corporate umbrella and no longer the original family’s enterprise) in the Dominican Republic, on the facilities of Alcoholes Finos Dominicanos, which is a new distillery built with EU funds and owned by several major shareholders and investment firms.
  • 1048 bottle outturn according to the label.  It’s a blended rum of several ages ranging from 5-10 years, not of any particular year.
  • Company legend has it that two bottles of an old rum were found in an old reliquary (which is a container made for holding holy relics like saint’s bones or hair) and the profile was replicated to form the line of the brand. I like a good backstory, but never really believe any of them.

Key Rums of the World – Plantation OFTD Overproof Rum

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Nov 102023
 

In 2015 an up and coming small rum maker called Plantation wanted to make a bar mixer to go beyond its decently regarded and well-selling Original Dark, which back then was primarily Trinidad distillate. The company had already made a name for itself in the bartending circuit with its blends like the Three Star, and its initial attempts at becoming an indie bottler got some decent reviews (mine among them). People liked them. The secondary maturation abroad and dosage, had not yet become issues. Their rums were deemed pretty good. 

To the end of filling a gap in the overproof dark rum segment of the mixing market, Alexandre Gabriele the owner, repeated the process he had used to make the Three Star – he consulted with people who were in the industry, and brought together six personages of the rum world whose experiences behind the bar and within the cocktail culture were such that their opinions held real weight:  Jeff “Beachbum” Berry from Latitude 29, Martin Cate from Smuggler’s Cove, Paul McFadyen who was then at Trailer Happiness, Paul McGee from Lost Lake, Scotty Schuder from Dirty Dick, and Dave Wondrich, a cocktail historian. Based on lots of samples and lots of tastings (and probably lots of cheerfully inebriated arguments) they set to work to make a mixer that it was hoped would elevate tropical cocktails and Tiki drinks to the next level, take on Lemon Hart and Hamilton’s overproof rums, and carve its own niche in the world.

Products designed by committee rarely succeed, but here may be the exception that proves the rule: from that beginning so many years ago, the OFTD, first released in July 2016, has become one of the most popular mixing drinks ever made, perhaps not quite rivalling Bacardi in ubiquity, but so versatile and affordable and let’s face it, even drinkable, that it has become a commercial and private bar staple. Even as the groundswell of dislike for Plantation has grown into ever more poisonous online discourse, the Old Fashioned Traditional Dark, made from rums deriving from Barbados, Guyana, and Jamaica, has flourished. It eclipses every other rum in the company’s “Bar Classic” series of the line (Stiggins’ Fancy and Xaymaca are popular for other reasons); it is a step above and much more interesting than the overly sweet “Signature” blends and surely easier on the wallet than the Single Cask, Extreme or Vintage editions.

What makes it so popular and so well regarded? To some extent it really is how well the blend works; the strength certainly helps, and for sure so does the lack of any additives – it is one of the few rums Plantation makes which is not dosed. When one looks under the hood, it’s really quite a bit more complex than at first seems to be the case: back in 2018 The ‘Wonk said that the makeup was Guyana (Port Mourant distillate aged 1-2 Years in new and ex-Cognac French oak), Barbados (WIRD distillate, 4 years in new French oak and 2-4 Years in heavy toasted American white oak); and Jamaica (Clarendon MLC 1-2 Years in new French oak, Long Pond TECC 1-2 Years also in new French oak, Long Pond STCE 8½ years in ex-bourbon and ex-Cognac, and lastly some Long Pond TECA 19½ years in ex-bourbon and ex-Cognac). All blended and tied up in a bow at 69% ABV, and while perhaps by 2023 the blend has shifted somewhat, that’s not an inconsiderable amount of taste profiles to be balancing against one other — that anything drinkable comes out at the other end is some kind of minor miracle, because my experience is that blends trying to do so much with so many things, often crash and burn.

Not here, I don’t think. The nose is no slouch and gets going immediately: hot fierce and sharp as befitting the strength, and starting the party off with banana (at one point I got banana bread, at another flambeed), caramel, and brown sugar damp with molasses. Coffee grounds, unsweetened chocolate, anise and allspice are there, leavened with coconut shavings, a touch of anise, brine, and even a mild pinch of citrus. It’s initially quite sharp and alcoholic and it’s recommended to let the glass stand a bit to let that burn off, and once you get there, it’s a nose that sticks around for a long time.

The palate is where one has to make a decision regarding the strength because it is young and it is rough at the inception – many reviews and write ups suggest adding a bit of water to tame it. I don’t think that’s really necessary but then, I have had a lot of rums north of 70% so maybe I’m just used to it. Anyway, the initial palate is all ethanol until it burns off; some rubber and licorice and damp sawdust (that may be the PM talking), molasses and caramel, bitter coffee grounds and chocolate again with traces of ripe mangoes, grapes and even some pineapple (which may be the Jamaican tekkin’ front).  There are some vanilla, bon-bons, citrus notes and black pepper here and there, and a finish that oddly reminded me of chocolate oranges mixing it up with salt caramel ice cream topped with a few strawberries…go figure, right?

Evaluating it after trying it maybe four or five times over a period of a year, I get why it’s popular: once you get past the initial burn, you can sip the thing. It is dark, strong, noses nicely and tastes a treat, and such burn and sharp stabs as it displays are, to me, just products of its relative youth (I doubt that there is a whole lot of the aged Longpond elements in there), and in fairness it is designed to be mixed, not sipped.  It makes a cool rum and coke of course, and does yeoman’s work in both a daiquiri and a mai tai as well as any other libation a creative bartender can come up with. On top of all that, the damned rum is really affordable: I’ve heard that bars are incentivised with huge cash-back enticements, and that the bulk capacity of WIRD helps keep production costs down, but all that is behind the scenes – this is a rum that subjects itself to the Stewart Affordability Conjecture and takes it seriously.

And if the taste doesn’t sway you, consider the popular statistics. It is a fixture on just about every “with what do I start stocking my home cocktail bar?” recommendation list I’ve ever seen, and the reddit comment sections are filled with people remarking that it’s a rum worth having on any shelf. There is almost no negative review on any subreddit that I’ve looked at, and even those that are less than complimentary usually concede that some aspects of it are fine, or that it has its points here and there and that it’s a moral decision for them not to buy it or stock it. Of the 185 consumer ratings on Distiller from 2016 to 2023, 95% are three-star or higher; on Rum Ratings, nearly 90% out of 257 raters gauged it at 7/10 or better and on Rum-X it has an average of 7.5/10 from 194 people who left a score. These are representative of wide cross sections of the rum drinking public and cannot easily be discounted, whatever one might think of the parent company (and nowadays that is almost all negative). Paul Senft, The Fat Rum Pirate and Rum Shop Boy have all written about it and liked it.

Summing up, the Plantation Old Fashioned Traditional Dark is a deserved yet unusual — perhaps even controversial — entry to the Key Rums series. It is a multi-country blend, not something that showcases a certain country.  Yes, it was deliberately created to do only one thing, and therefore its value as an all-round consumer drink is somewhat circumscribed; yes it’s really strong, and sure…in that segment it stays and plays.  Yet as I have suggested here, it has qualities over and above all that.  It supercedes the modest aims of its creators, to the point where it actually can stand by itself. It remains, nearly a decade after its introduction, one of the most reviewed, commented on and widespread rums around and if its shine is less now than it was when first introduced and now that it has stiffer competition, there is no reason to doubt either its many uses or availability.  It remains, for all its parent company’s woes, an incredibly popular and in-use bar staple and drinking adjunct to this day. It demonstrates, if nothing else, how well the Caribbean distillates work with each other in a way that is not often seen. And that’s no mean accomplishment for any rum – especially one made by this outfit – to claim. One can only ask why more of the company’s rums don’t adhere to its philosophy.

(#1038)(84/100) ⭐⭐⭐½

Other Notes

  • In this essay, I have made a deliberate decision to focus on the rum: not to get into the conflict and bad press Plantation gets (or why they get it), not to express my personal opinion on the issues surrounding the company, and to simply mention that such issues exist. There are sufficient resources around — reddit has some good if heated discussions on the matter — for anyone with an interest to find out what the story is.
  • I am unsure if any part of the ageing takes place in Europe and was unable to confirm it one way or the other.

Key Rums of the World – Old Monk Vatted 7 YO Blended Rum (India)

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Oct 232023
 

 

Originally published as a standalone review in October 2023; revised and extended to Key Rums series in January 2024

Few rums from India make a splash in the western world, and that’s a peculiar thing since it’s entirely possible they were among the first people to actually make any kind of spirit from sugar cane (although it’s likely the crown goes to the Iranians whose “good wine of sugar” Marco Polo supposedly enjoyed on his travels) and for sure have some of the best selling rum brands on the planet. We may not hear of them very often but McDowell’s No. 1. Contessa, Old Port, Hercules, Two Indies and a few others, have a huge market footprint out east.

Historically, rum in India has always been a down-market tipple for the masses, largely because it lacked the snooty pretensions of whiskies (though they, for decades, laboured under similar perceptions until they changed their game), and was made in large quantities using relatively easily available molasses, panela or cane juice. On a larger scale, rum was popular when made by distilling companies because its method of production was essentially column still near-neutral alcohol plus additives for taste: cheap and easy to make at scale, priced to sell. This made rum do well at the rural level — where the majority of Indians still live — but cut no ice at all in the rest of the world.

Among the first to break this mould was the company of Mohan Meakin (previously Dyer Meakin), which was established in the mid-1800s. They made at least some kind of rum all along, but it was the 1950s that were key: in December 1954 they released the first Old Monk rum to the armed forces in its signature Old Parr-style bottle, aged around seven years. It shattered class barriers by being marketed not just the rank and file jawans but to the officer class, and gave rum as a whole a boost by making it more socially acceptable, even respectable, up the social scale.

From that humble beginning sprang a brand of uncommon durability and popularity. For the next fifty years, anchored by huge sales to the military and canny placement in five-star hotels, Old Monk rum was the most popular brand of rum in India, with increasing sales abroad. It became the spirit of choice among university students for decades, and as these educated young people fanned out and emigrated across the world they brought their nostalgic love for the rum with them, establishing the brand in new countries where the company set up distribution arrangements in many countries to satisfy this demand. For a while, so strong was cultural attachment to Old Monk that the global diaspora regularly requested relatives bring some with them when they came visiting, or brought it back themselves when they did. 

Yet even if its sales were gargantuan (for decades, it was one of the five top selling rums in the world), outside a few major regional, internal and historical markets, it was never a truly global widespread seller; one rarely if ever saw the squat and tubby bottles at international spirits or bar expos, and though I’ve passed the vatted 7YO several times on local shelves in several countries, I’ve never seen it at a single festival. And the general opinion of those modern reviewers who have tried it is somewhat dismissive: adjectives like “crude”, “oversweet”, “rough” and “spiced” are common in most write ups I’ve seen, and it’s often relegated it to mixer status, with grudging compliments occasionally thrown in. The Old Monk series of rums, then – and there are quite a few – attract a curious mix of indifference, scorn and loving nostalgia from rum drinkers, some of which is understandable, some less so.  

It continues to be made, however, and continues to sell and for all intents and purposes remains almost a cultural institution in India, so its importance to understanding rum around the world must be accepted. Unlike Appleton, say, it doesn’t look like they have continually tweaked the recipe, and the bottle we see nowadays is recognizable the same as the original. It remains a vatted 7 year old rum from molasses, or that nutrient rich variant called jaggery, which we’ve met before (opinions vary, and the company isn’t telling).I don’t know what the original strength was back when it was first introduced, but at least for the last decade and a half I’ve only seen it sold at 42.8%. Let’s take it as it is, then, and move on.

As a rum it presses all the right buttons.  You can smell molasses, sandalwood, some tar, and overripe bananas, plus some tannics. That’s the first pass.  After opening up it reaches further and hits the spice jar: ginger, vanilla, cardamom, cumin, I would say, and some sweet paprika, all of which is nice and heavy and almost perfumed, while never losing sight of the fact that it’s a rum.

On the tongue the taste is dark and medium heavy, with strong notes of salted – almost bitter –  caramel and unsweetened chocolate, coffee grounds, molasses and licorice. The strength is just about right for all this smorgasbord of subcontinental notes and doesn’t burn a whole lot going down, so sipping neat is an option.  It’s not that sweet and there’s that vague spice shelf drifting in from the nose even here. The finish is like that as well,  being mild, short, breathy, warm, and again, redolent of licorice, caramel and spices, plus what the Little Big Caner called a mix of pepsi and jerky (go figure).

If pressed for a comparison, I’d suggest that the Old Monk has a fair bit in common with the dusky heaviness of the Demeraras, or perhaps Goslings and other dark molasses-forward rums. You can sense the similarities with the Amrut’s Two Indies or the Old Port as well; except that it has its own vibe and that might be because it is either (wholly or partly) made from jaggery, or because it really does have something added to it. We don’t know. Old Monk has always been looked at slightly askance, because it’s hard to shake the feeling this is not what we’re used to, not a rum that’s made completely “clean” and something’s been sprinkled in. But honestly, it’s not too bad, though it sometimes feels a little unfinished. I like the offbeat and unusual in rum, and in the main the Old Monk is very much like Amrut’s whiskies are: definitely what they’re supposed to be — a rum in this case —  just with a slight kink and twist to mark them out as noticeably different. On its technical merits and how it noses and tastes I can’t say my score is wrong: but since this is a rum from outside our regular area, there are bound to be variations. 

So with all that, does it deserve to be in the pantheon of those rums I deem “key” to understanding  the spirt? I argue that it is. Firstly it remains immensely popular and among more than just expatriate Indians, and needs to be seen for what it is. Secondly, it has a long history, both as a company and a brand, and shows something of how rum developed outside the more comfortingly familiar regions we extol in every other post on the subject. We need to understand and appreciate more than just rums from the Caribbean and Latin America, and have to learn about profiles that are at odds with our perceptions of how rum should be made, or should taste. No rum that has lasted this long without serious change and still sells this well, can be ignored just because it’s not in current fashion. It needs to be acknowledged as a rum from its region, for its people, maybe even of its time. Amrut conquered the whisky world by making whiskies to global standards.  Old Monk becomes a key rum by resolutely adhering to its own.

(#1035)(79/100) ⭐⭐⭐

Other Notes

  • I’m unsure how different the Old Monk Supreme XXX is from this one. Perhaps it’s just the bottle as both are supposedly 7 years old.
  • There’s a lot of backstory to the brand in the company profile, which I strongly recommend taking the time to read.

Romero Distilling Co. Dark Rum (Canada) – Review

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Oct 172023
 

So there I was walking around the impressively well organised Rocky Mountain Wine and Food Festival, which had boatloads of beers, wines and spirits and food (and precious few rums), all superbly arranged in terms of space and one’s ability to navigate. For a guy used to the tight confines and crowded booth frontage of European festivals, it was eye opening to be able to walk five abreast in any direction and join ten people in front of a display and not bump elbows. Every now and then I wandered back over to Karl Mudzamba and his compadre Ernie, who were manning the Bira! booth, to apprise him of any new finds, or just hang out and enjoy their company.

One of the few rums partaking this event was Romero Distilling Company, which is located in Calgary: it was founded in 2018 by Diego Romero, an engineer who came to the country from Spain in the 1960s and worked in the mining and mineral processing industries as an adult before moving on to what we can only imagine was a passion project. He opened the distillery with his son Tomas (it was he who was running the booth), bought a 2000-litre hybrid copper still, three 2000-litre fermenters and, if memory serves, uses Crosby molasses from Guatemala (by way of New Brunswick) to get things going.  The company only makes rum, opting not to dilute its focus with other kinds of spirits, as so many others do, and remains very little known outside Alberta.

Now, I’ve actually already bought a bottle of the Dark and the Amber rums, and I’ve written a few quick tasting notes on both, but have not gotten around to trying either one seriously, or doing any real research – so it was good to see a bottle available for tasting at the booth, and Tomas patiently led me through the basic details, which I’ll not discuss until after I give you the tasting notes.

The standard strength (40%) rum is, as its name implies, dark. It’s also got a nose that’s peculiarly tannic in a sweetish kind of way, slightly oaky, and quite crisp. There’s quite a dollop of spices hitting you right away – cardamom and vanilla are the most obvious, with some cinnamon, light licorice, rosemary and black unsweetened tea backing that up. It’s too tame to do any damage and it looks to have been aged a few years – more than that is hard to tease out.

It remains easy and quite soft on the palate, and the crisp cleanliness of the nose is retained. It’s flavourful and the sense of the spices continues: the mouthfeel is really nice, and I suspect that even if the label doesn’t say so, there’s more than just some barrel ageing going on here. There are some red wine and bourbon notes in the background, a touch of ripe peaches in syrup, and overall it’s quite pleasant, even if additional vanilla and cardamom and cinnamon seem insistent on making themselves felt.  Finish is quite short, but at least it’s clean, and repeats most of the spices, slight tannics, ginger and fruit reasonably well.

So, after all this, what is it? Based on the label, you’re not getting much: 40%, molasses based, batch number, aged in ex-bourbon barrels. The website is where you get more: ex-Woodford Reserve barrels, pot still distillation…and additional spices. Which spices? That’s not given. How long is it aged? Not provided either. Year of distillation? Nada.

Tomas on the other hand, was quite informative and outgoing. He confirmed the barrels, and said the Dark is made as a blend, consistently about two-plus years old (hence the lack of a year of make), with all natural ingredients, nothing artificial. And while he called his still a single-column still, the website entry for this rum mentions it’s a pot still, and an article in the Calgary Herald mentions a hybrid, which last makes more sense given its flexibility and the photographs I’ve seen.

Essentially then: the Dark is a spiced rum, even if it doesn’t say so explicitly.  This is a puzzle since the company does make an amber coloured Spiced version, so it’s unclear why the title was left off. Tomas said that they don’t emphasise the ageing because that just leads to preconceptions that young rums can’t be good ones and they wanted it to speak for itself.  Maybe so, but I suggest that in today’s climate of disclosure, nothing is really lost by providing consumers with what they need to make an informed choice when buying a C$75 rum, and if Renaissance proved anything, it’s that rums aged under five years can be pretty damned fine.

So. What did I think? For people like my vlogger friend Steve the Barman in the UK, who likes expounding on the joys of rums like this, it’s right in his wheelhouse. It’s decent enough. It’s tasty, sweetish and as an after dinner drink will work just fine. Those who like rums like the Kraken, Don Papa, AH Riise, Bumbu and Captain Morgan will find much to enjoy. As a rum on its own terms, I myself find it less successful, and the cardamom and vanilla in particular have a disconcertingly powerful impact on the overall profile, shouldering aside other and more delicate aspects. On the basis of these comments you can decide where your own preferences lie, I think.

(#1033)(Unscored)

Other notes

  • It would be remiss not to mention that the Dark has won several awards: a Gold Medal in the Frankfurt International Trophy 2022 as well as the competition’s Best Canadian Spirit that same year; and a gold and silver medal in the San Francisco World Spirits Competition 2021 and 2022 respectively (both in the Dark Rum category).
  • The company runs tour, tasting and blending sessions at its facility in Calgary, which I’ve heard from friends of mine who went, are quite good.
  • There’s a fair bit of marketing copy on the website and other promotional materials, about rum running in Canada during Alberta’s own Prohibition era, but this is local colour and has no bearing on Romero directly.
  • The crow on the logo reflects the Crowsnest Pass in the south of Alberta, through which moonshine was supposedly transported on its way to the US in the bad old days.

Opinion

It’s no secret that spiced rums hold no particular appeal for me. Though occasionally their taste is nice enough, there is no yardstick by which to judge them —  some sort of baseline by which to assess their profile, the levels of what’s put in, how many different spices, where those come from, and to what spirit exactly such additions are made.  In other words, it becomes impossible to judge value or effectively compare one with the other. Are you paying for what is touted as an all-natural product (always a plus in these organic-everything times)? The hard-to-get (and therefore expensive) spices and flavourings? The exclusivity or age or quality or source of the rum stock it’s put into?  The length of time it all marries in casks, leading to additional price hikes? 

Who knows these things?  Nobody except the producer, that’s who. And therefore, I can’t tell whether a given spiced rum is neutral alcohol gotten on the cheap to which stuff has been added (perhaps to get around the costs of a years-long barrel-ageing program), or a youngish rum topped up with all-natural ingredients that make for a nicely flavoured drink. Both could conceivably be sold at a premium with all sorts of glib explanations.

Years of looking at spiced, flavoured or infused rums (yes, I do try them) have left me with a certain cynicism regarding what goes on a label, and at end, it comes down to this – in the absence of a common, agreed-to standard, no matter how informal, I just don’t trust them. I have no doubt that small and upcoming distilleries like Romero suffer from a lack of regional (let alone global) recognition, but they’re not helping themselves by the lack of proper disclosure here either (though it may be completely inadvertent). It’s not an inconsequential issue for a consumer being asked to pay that price, and hampers a more serious consideration of a distillery that really does make some interesting rums, another of which I’ll tell you about next time.

 

Don Q “Cristal” White Rum – Review

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Sep 222023
 

Don Q is the other big brand from Puerto Rico that many believe has bragging rights over the Big Bad Bat when it comes to quality, yet somehow does not inhabit as a deep a mindspace as Bacardi does. The brand is very well known in the US and Canada (though I don’t see it for sale out west very often) but I get the impression it’s somewhat less of a thing in Europe or Asia – probably because they have plenty of brands of their own and so don’t exist in the same spirituous desert.

Don Q is the flagship brand of the other huge distilling operation on the island of Puerto Rico, Destilería Serrallés: like Bacardi it was founded by a Catalan emigre in the 1860s, though they lacked the international ambitions of the larger company and have stayed within Puerto Rico the whole time. Destilería Serrallés produces three main tiers of this branded rum: the Traditional range of mixing agents (Cristal, Gold and 151); a series of flavoured rums, and the more upscale “Serrallés Collection”, which is where the aged, finished and stronger premiums live. Don Q as a brand is named after Don Quixote (one wonders where Sancho Panza is lurking), but the reason has little to do with the wannabe over-the-hill knight and more to do with the author and his masterwork (see below).

The Cristal is a white rum from the Traditional range: it is of course nothing like the robust white brawling full proof rums whose praises I have extolled in past lists of Great Whites, the ones that go out there sporting an attitude, showing off their glutes and spoiling for a fight. In point of fact it’s a light rum coming off multiple distillation runs on a five-column industrial still, aged in ex-bourbon barrels for between one and five years, filtered to colourlessness, blended, and then bottled at standard strength (40%). Therefore it adheres more to the ethos of relaxed and affordable backbar general mixers, a sort of workhorse of daiquiris and mojitos, hearkening back to the light rum period of the previous century, than something more primitive and elemental.

The tasting notes show why the above paragraph can be written. There’s vanilla, coconut shavings, some nail polish and brine.  Also, after some time, one can pick out citrus, light cream soda, cherries, some ripe juicy pears. It just kind of fades away at this point and there’s little more to be gained by hanging around

The palate shows off a similarly light and easy island charm: sweet, light, creamy, with some watermelon, papaya, cream soda, ginger, and again, the pears, maybe a couple of bananas.  A dusting of cinnamon can be discerned with care, and the finish is as expected – short, prickly, a touch of honey and coconut shavings set off by that slight twist of lemon. 

The Cristal, then, is a completely serviceable rum with just enough taste in there to lift it (slightly) above more anonymous fare that tries less, and I can see why some consider it a step above other whites, including Bacardi’s. There’s a bit of edge lurking behind the inoffensive first taste, a hint of undiscovered character. That said, the strength makes that difficult to come to grips with, and rums like this are never going to be my go-tos unless I just want to get econo-hammered. Overall they display too little of interest, being quite content to stay in the background, sink in the cocktail, and disappear. Thus, they play it safe and take no chances – the alcohol is delivered, the drink is ok, it goes down easy, no fuss, no bother, mission accomplished. 

That will work fine for people who don’t care, and I don’t cast any aspersions on either buyer or seller in this matter – the purpose of the review, then, is less to pass judgement than to simply tell you what you’re getting when you fork over your two bits. As with Bacardi Superior, Lamb’s and other lightly aged, filtered white rums, the answer is, “not a whole lot”.  But then, that’s also why you don’t pay a whole lot – it’s quite cheap, and you’re not getting a dated, decades-old rum of complexity and age which is old enough to vote and will take your an hour to come to grips with…just a relatively neutral, inoffensive rum that serves its limited purpose, and delivers exactly what you pay for, plus a few cents extra.

(#1027)(76/100) ⭐⭐⭐

Other notes

  • The rum is cheap, yes: this also comes not only from economies of (large) scale, but from the impact of the cover-over tax rebate the company receives, which keep prices down.
  • This is not a much-reviewed rum; the Fat Rum Pirate rated it two stars in 2017 and he commented on its neutrality – he wasn’t impressed. Spirits Review gave it 7 olives out of 10 in an undated review probably coming from around 2010 (the design of the bottle is an earlier variant). Honestboozereviews, writing in 2018, figured it rated around 6.5 points and mentioned it mixed well, was easy to find, and cheap. Lastly, Dave Russell of the dormant site Rum Gallery scored it 8.5 points in 2012 and said that he asked Robero Serralles about the name Don Q, and was told it linked the brand — made by the descendants of Spanish Catalans — to Spain and its preeminent work of literature, and both were masterpieces.

Woods Old Charlie Jamaica Rum 70° Proof (1970s)

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Sep 152023
 

Rumaniacs Review R-158 | #1025

Most people in the UK are familiar with the Woods brand and the rise of online auctions over the last years spread knowledge further, so it’s become reasonably common knowledge that Woods was founded in 1887 and bought by William Grant & Sons from Diageo in 2002 along with OVD and Vat 19. However, Diageo’s ownership seems to have been rather recent – they acquired the Woods brand from Seagram in 2000 when that company merged with Vivendi and divested some of its properties.

1955 Advertisement for Wood’s Old Charlie

Seagram’s acquisition of Woods was much earlier, though: there is a reference that in during the Second World War, Seagram “imported rum from Puerto Rico and Jamaica, which led to the purchase of distilleries in the Caribbean that produced Captain Morgan, Myers’s, Wood’s and Trelawny rums.” This is probably Longpond and Clarendon in Jamaica (the  Puerto Rico operations are outside the scope of this article); and a 2009 paper by Graham Taylor notes that “Between 1952 and 1956, Sherriff & Co. of Jamaica, Wood & Co., Ltd., Robert Legge & Co., Ltd., and Myers Rum Co., Ltd., of Nassau were all added to the Seagram empire.”

Whoever owned it and whether a company favoured Jamaica or Guyana for the releases, Wood’s remains a successful brand on sale to this day – supposedly still using the original recipe for Navy rum (which is unlikely, but ok, that’s marketing for you). For the most part they have acted as merchant bottlers, blending and bottling rums from  the British Caribbean, primarily Jamaica and Guyana – the current Old Navy Rum is all Guyana, for example while there is no sign of a Jamaica – and vacillated between 40% and 57% ABV over the decades, depending on what they were making.

Not much has changed since I first wrote about Woods 100 Navy Rum ten years ago – the site remains a receptacle of no-information. We have no sense of who the movers and shakers of the original company were, what other rums they made, how the labels changed over the years, the different bottlings, the heritage, the history, the 2002 sale, nothing. And to add insult to injury, there’s not even a mention of the Old Charlie rum, let alone who he was, and nowadays, this version is neither made nor listed on the website. Stuff like this makes me despair for the next generation of rum writers and researchers.

Colour – Amber

Strength – 70° Proof / 40% ABV

Nose – Solid aromas here…but initially quite peculiar. Peeling wallpaper, tatty paper, cardboard and old books in the bookshelves of back alley second hand bookstores where you might find a first edition of Rums of the Eastern Caribbean gathering dust. Chocolate, vanilla, coffee, brine, cream puffs, ginger bread cookies, lemon meringue pie…a sort of olfactory dessert table, accompanied by enough faux leather to outfit a bunch of wannabe hoods doing a doo-whop on the corner. Or maybe Adam West just flew by in new rubber threads, who knows – the rum is old, it could be anything

Palate – Not bad.  Iodine, ethanol, acetone, all burning off fast. Some licorice (rather light), caramel, vanilla, toffee, all the usual that suggests something of a nascent Appleton from Ago but which remains hard to define precisely. Brine, hot black tea, fish oil, olives. It’s not very sweet, rather more like tart. Nuts and too-old, too-strong, too-bitter percolated coffee, yet for all that, I liked it.

Finish – Short. Nothing special here, a recap at best. Dry, some ripe fruits, raisins, chocolate, coffee.

Thoughts –  It’s okay. A lot of muskiness, a sort of dry spiciness, not so much in the funk department. It’s hard to pinpoint the rums origin as Jamaican beyond doubt (although there’s no real reason to) because the crisp clarity of today’s funky island rums which we have learned to grade so well, is missing — and so to say which estate distillery made it, or even that it’s Jamaican at all, is harder than it appears. Still, the general profile of the rum remains consistent with others from the brand I’ve sampled over the years, and if auction sites come up with these older 1970s and 1960s and earlier Woods rums, I’d buy them on general principles, and not just for the history.

(82/100) ⭐⭐⭐½

Other Notes

  • My thanks and deep appreciation to Nicolai Wachmann who sent me the sample, knowing of my love and interest in older and almost forgotten rums.
  • The exact dating and bottling of the rum is unclear. Given the source, I think 1970s is a reasonable estimate – a bottle from the 1960s strikes me as being too rare on the secondary market and by the late 1970s the ° Proof symbol was replaced by % ABV.
  • Age is unknown, still unknown, estate/distillery is unconfirmed to be (possibly) Long Pond or Clarendon.

St. Nicholas Abbey 5 YO Single Cask Overproof Barbados Rum – Review

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Sep 012023
 

Foursquare and WIRD and Mount Gay grab the lion’s share of social media attention from which originates so much of our news from Barbados, and so we sometimes overlook the fourth rum maker on the island, St. Nicholas Abbey.  They are a small boutique distillery that became famous a decade ago for their lovely etched squarish bottles which you could once get refilled at a discount if you presented it at the distillery (maybe no longer now, alas).

SNA remains tiny in comparison with the other distilleries, run as part of a heritage site of the same name, and managed by the Warren family (see my original reviews here and here for some details), and at the beginning, bought rum stock from Foursquare down the road to get their program off the ground – Richard Seale also provided support and advice.  Initially they issued 5, 10 and 12 YO aged rums — these were the first reviews of their line that I did —  and over time this trio has been added to and developed into some much more high end hooches: a 15 and 18 and 20 YO and (heaven forbid) even a 23 YO…which admittedly I’ve never seen or tried (but want to). The rums were (and to some extent remain) rather more expensive than is the norm for similarly aged rums, which I know from personal experience; yet they sold and continue to sell, and these days SNA cultivates its own cane and makes its own rums rather than buying externally.  What this has inevitably led to is a suite of younger rums like the unaged white, a white overproof — and a different 5YO than the one I sharpened my tasting buds on all those years ago. 

The stats for this 5YO, then: a lightish rum deriving from cane syrup (made in small batches from cane juice – so really, a sort of it-which-must-not-to-be-named agricole), coming off a pot-column hybrid still at 92% and then taken down to 65% or so for setting into ex-bourbon barrels. Like the white overproof it is a massive 60% ABV – and it’s a smart move to do so, since it allows the aficionados to get their intensity fix, while having exactly the same rum but weaker, sold to the general marketplace.

What surprises then, bearing in mind the tech sheet, is how relatively subdued the nose is at the beginning: some light and sweet honey, mead, plus a smorgasbord of white fruits (because of course there are); gradually one senses fanta, soda pop, 7Up, a little citrus, vanilla, and the slightly sour but still piquant sense of oranges gone off. The light fruits are always there, set off to some extent by brine, olives, unsweetened chocolate and the rich scent of overripe cashews (the ones with external seeds) which always reminds me of tequila for some reason.

The nose is somewhat rough, admittedly, and this is also the case on the palate.  What saves it is the rich and multilayered texture and intensity of the tastes that are handed over. Green peas, peaches, fruits, fleshy and ripe and juicy; a very firm profile, quite spicy.  Some unsweetened chocolate again, orange marmalade and a dusting of mint and vanilla, yet one misses the vaguely herbal and grassy notes which the source material suggests might be there. But anyway, it’s quite good, and the finish ends well: long, sweet and a little sour, some pineapple-in-syrup notes in the rear, mostly a nicely done fruit salad drizzled with Malibu and some fresh lime juice.

Chosing between the unaged overproof and this 5YO beefcake is pointless – they’re both good rums and serve different purposes.  Trying them together, I enjoyed each of them…in different ways. I felt that overall the unaged white held somewhat more character and likely made a better cocktail, because it had not yet been changed or tamed by age or wood; on the other hand, it was lacking the additional complexity and sharp firmness the 5 YO OP was showcasing. In a pinch I’d try to get the pair.  As for scores, well, back in the day I scored the standard strength 10-12-15 trio higher than I’m scoring this one now (if not by much): but whatever the score is, ultimately I think that this young overproof – with its level of controlled intensity and low-key voluptuousness – is pretty much on par with those venerable starter guns that SNA used to make its name all those years ago.

(#1022)(85/100) ⭐⭐⭐½

Other notes

  • The rum is a blend without any years of distillation or bottling. They are evidently going for a long term consistent taste profile and specific barrels from specific years are the province of more premium bottlings up the line. The ‘single cask’ in the title suggests they decant a whole lot of rum into many casks at the same time, and blend them together over time within that set (otherwise they really would have years of make in the title)
  • The bottles remain the same, with glass etching of the abbey house engraved on each, and a mahogany tipped stopper.

Mandakini Malabari Vaatté, Unaged Sugar Cane Spirit – Review

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Aug 292023
 

The real question is not so much how good this Malabari Vaatté, is, where it originates, or what it purports to be…but what exactly it is. Part of the issue surrounding the Mandakini is that the wording on the label could equally well be describing a real rum, a disguised alcoholic beverage claiming to be one, a spiced spirit, or some peculiar amalgam of all of the above. 

The rum (I’ll use the term for now) is made in Canada, and therefore falls into the rabbit hole of the country’s arcane liquor laws, one of which, like Australia’s, states that a rum — assuming it meets the basic criteria of being made from cane derivatives like molasses, juice or vesou — can only be so labelled if it is aged for a minimum time of one year. That’s all well and good except for this catch: the same terms one would use to describe a true rum not quite meeting the criteria (for example by being a completely unaged one), are also used to describe a neutral spirit that is doctored up to be more palatable. In this case it is labelled as being an “unaged spirit from sugar cane extract” which could be either one or the other, or neither. So which is it, exactly? The producers never say. 

After scanning all available sources without resolution, I finally picked up the phone and asked them directly. The bottom line is that the Mandakini derives from a wash of blackstrap molasses fermented with natural yeast for two weeks or more, and is then double-distilled through a third party’s pot-still, after which a small amount of neutral spirit is added to the mix and it’s diluted down to 46%. There’s a reason for the addition, according to Abish Cheriyam, one of the founders who very kindly took the time to tell me all about it – it’s to bring the price down so it’s affordable to the target audience, as well as smoothening out batch variation.

Trying it out (with three other Indian rums on the table as comparators) makes it obvious that this is not a rum of the kind we know, even taking into account its heritage. The nose is all sweet light candy and icing sugar, some vague sugar water, swank, lime peel, peppermint, bananas, and the kind of weak syrupy essence they dash into your flavoured coffee. Unfortunately the neutral spirit takes away from what could otherwise develop into much more interesting drink: it smells too much like a lightly sweet vodka. Those who are into Jamaican high ester beefcakes or strong unaged indigenous white rums will not find the droids they’re looking for here, and will likely note that this does not channel a genuine product made by some village still…at least not what they’ve come to expect from one.

The taste also makes this point: it is quite inoffensive, and it doesn’t feel like 46%, which to some extent is to its credit. Light, sweet, a little sharp, yet the downside is that there is too little to distinguish it. Some light florals, sugar water, coconut shavings, bananas and maybe the slightest touch of allspice. There is nothing distinctive here, and the rum feels too tamped down and softened up. I try to keep an open mind and am not exactly looking for the raw nastiness and sweat infused crap that real moonshine (like, oh, say, clairin) is often at pains to provide – but at least a hint of such brutality would have been nice. It shrugs and coughs up a touch of mint, alcohol, medicine, cotton candy, it flexes its thin body a bit, and that’s pretty much the whole ball game. The finish is short, light, has some alcohol fumes, white fruit and light candy floss to recommend it, but alas is gone faster than my paycheck into Mrs. Caner’s hands when purses are on sale.

While members of the Indian diaspora would probably get this, the rum does not channel the subcontinent to me, and that’s not a guess, because Mandakini, irrespective of its Indian origins (all three of its founders are from the southern state of Kerala), is actually made by a small craft distillery called Last Straw, in Ontario. This is a small family outfit that was founded in 2013 as a whisky distillery with two small stills; it makes all kinds of spirits on its own account — whisky, vodka, gin, rum and experimentals (including the fragrantly named “Mangy Squirrel Moonshine”) — and nowadays also does contract distilling, designing products from scratch for any client with an idea.

Clearly Abish Cheriyam, Alias Cheriyam and Sareesh Kunjappan – engineers all, who have worked and lived in Canada for many years – had such an idea, one that they felt deeply about, though unlike the Minhas family in western Canada, they had no background in the spirits business aside from their own enthusiasm. They did however, identify some gaps in Canada’s liquor landscape: there was very little Indian liquor on the shelves aside from Amrut’s whiskies or their Two Indies and Old Port rums, and Mohan Meakin’s Old Monk; and none at all that was an Indian equivalent to vaatte, a locally distilled liquor native to Kerala (also called patta charayam or nadan vaattu charayam), which, though banned in the state since the late 1990s (a holdover from pre-independence days when the Brits forbade local liquor so as not to damage sales of their own), retains an underground popularity almost impossible to stamp out. Rural folks disdain the imported whiskies and rums and gins – they leave that frippery to city folks who can afford it, and much prefer their locally-made hooch. And like Jamaicans with their overproofs or Guyanese with their High Wine, no wedding or other major social occasion is complete without some underground village distiller producing several gallons to lubricate the festivities.

Since they could not afford to launch a distillery or wait for the endless licensing process to finish, they went to Last Straw to have them create it, and after experimenting endlessly with various blends and combinations, launched in August 2021, calling it a Malabari Vaatté (the similarity of that word to “water” is likely no accident), and aiming at the local Sri Lankan and Indian diaspora. Both the shape of the bottle and the lettering in five languages (Malayalam, Hindi, Punjabi, Tamil and Telegu) is directed at this population and the fact that the first batch sold out within days in Ontario – at the distillery, because they had not gotten a deal with the LCBO at the time – suggests it worked just fine. People were driving from all over the province to get themselves some.

In Kerala, Malabari vaatté is often made from the unrefined sugar called jaggery or from red rice like arrack, and also with any fruits or other ingredients as are on hand; it has a long and distinguished history as a perennially popular underground hooch, and that very likely comes from its easygoing nature which this one channels quite well. It shares that with other Asian spirits, like Korean shojus, Indonesian arracks, Cabo Verde grogues, or Vietnamese rượu: in other words, it is a (sometimes flavoured) drink of the masses, though Abish was at pains to emphasise that no flavourings or additives (aside from the aforementioned neutral alcohol) were included in his product.

As a casual hot weather drink and maybe a daiquiri ingredient, then, I freely admit it’s quite a pleasant experience, while also observing that true backwoods character is not to be looked for. To serious rum drinkers or bartending boozehounds who mix for a living, that’s an issue — some kind of restrained unhinged lunacy is exactly what we as rum drinkers want from such a purportedly indigenous drink. A sort of nasty, tough, batsh*t-level taste bomb that leaves it all out there on the table.

That said, I can see why it sells — especially and even more so to those with a cultural attachment for it – Old Monk tapped into that same vein many decades earlier. But that to some extent limits the Mandakini to that core audience, since people without that connection to its origins might pass it by. For all its good intentions and servicing the nostalgia and homesickness of an expatriate population far from their homelands, the Mandakini does not yet address the current market of the larger rum drinking population. It remains to be seen whether it can surmount that hurdle and become a bigger seller outside its core demographics. I hope it does.

(#1021)(74/100) ⭐⭐½

Other notes

  • Video review on YouTube is here
  • The name “Mandakini” is a common female name, familiar to most Indians from north or south. It was chosen not to represent anyone in particular but to instantly render it relatable and recognizable.
  • The “Malabari” in the title refers to Kerala’s Malabar Coast, famed for its spices: it’s where Vasco da Gama made landfall in 1498 after rounding Africa.
  • There is currently a 65% ABV version of the Mandakini called “Malabari 65”, available at the distillery in Vaughn. This is one I wouldn’t mind trying just to see how it compares. If they were to make a high ester version of that, my feeling is it would fly off the shelves.
  • The range is now expanded to the original Malabari Vaatté, the 65, a Spiced Vaatté, and a Flavoured Vaatté. The latter two are apparently closer to the kind of drinks the founders initially envisioned and which are popular in Kerala, having ginger, cardamom and other spices more forward in the profile.

Killik Handcrafted Rum “Gold” (2023) – Review

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Aug 252023
 

Killik distillery, located in the east of Melbourne, is one of the “New Australian” outfits I have an eye out for: like others located up and down the east coast of Australia (and elsewhere), they are seeking to bootstrap a homegrown rum industry into something greater by applying modern techniques to old-style rum-making and adding an occasional dash of crazy to set themselves apart. So far it’s mostly local sales that keep these small and often family-owned operations afloat, yet slowly their reputation is spreading beyond the Bundies and Beenleighs everyone knows. The Boutique-y Rum Company’s recent bottlings of Black Gate and Mt. Uncle distilleries speaks well for the future of antipodean rums, and Killik is sure to be a part of that movement.

Readers with pachyderm-level memories will likely recall that we’ve looked at a Killik Gold (rum) before – that one was a year or so old and matured in Chardonnay casks, while this one is of somewhat more recent vintage, no finishing or fancy cask, and a different age. When I addressed this question to the Brothers Pratt (the owners), they remarked that although the overall production process remains the same — they continue to tinker with wild yeast fermentation and Jamaican high-ester-style rum making as a core ethos — the small size of their output means that until they expand it to larger sizes, batches are and will be strikingly varied, and those batches come out quite often. In that sense they are somewhat like the six-month ageing-and-output cycle Nine Leaves in Japan used to have.

One thing to look out for is the label. Now recall, Australia has that 2-year rule that states a cane based spirit cannot be called rum until it is aged for at least two years (producers are trying to address a potential revision to this outdated law through the courts)…so strictly speaking Killik should only be able to call it – as before – a “gold” or a “cane spirit” or some variant thereof.  However, in what I personally consider a stroke of marketing genius, they trademarked their name and the image of the anchor device together, as “Killik Handcrafted Rum,” and cheerfully added that to their labels, right above the word “Gold”.  They therefore stayed within the law while simultaneously skirting it and unambiguously stating what they’re making.

This particular version — it’s hard to identify it precisely since there is no notation on the label or the website — was confirmed to me to be at least twice as old as the version from 2022 that had come from the 2021 advent calendar. It is therefore a completely different rum, still made on a hybrid still, with dunder and wild yeast part of the recipe pushing the congener count up.  It is also a blend – of 75% original stock rum now aged to 3 years, plus 25% of one year old fresh make. As before, the barrels are from a local cooperage and I have an outstanding query as to whether it was used or new barrels and if used, what they previously held.

Bottled at the same 42%, the Gold takes a few more chances than the original did – it noses as slightly richer, rounder, fuller. And while the funk and congeners remain as muted as before, there’s an overall sense of something slightly richer here: paint and furniture polish, a touch of wax, acetones and new plastic.  This dissipates over time and is replaced by some middling-sharp fruity notes — apples, green grapes, diluted lemon juice, apricots, pineapples and unripe peaches. There are also, after some minutes, hints of vanilla, cherries, lemon key pie, hot sweet pastries, cookies, and unsweetened yoghurt – very nice for something so relatively young.

The palate maintains that sense of something more complex and richer than its predecessor, even if the strength undercuts that somewhat. And yet overall still it tastes pretty good — green apples, light pineapple slices, bananas, pine tart and grapes, combine nicely with the sense of pastries steaming fresh from the oven, vanilla, light sugar water, lemon zest, and bitter chocolate and crushed walnuts. The finish wraps up the show as best it can, and sums up the tart and creamy fruits and pastries vibe quite well – it is quite easy drinking with a bit of a sour edge, occasionally sharp, not too hot. More cannot really be said here.

Overall, I think the low strength hamstrings a decent rum that could actually be even better — that 42% is okay for casual drinking, but for more appreciation you do need more oomph. The relatively young age is something of a mixed blessing as well, since along with the slightly added complexity comes a bit of roughness — and so I can’t completely recommend it as a sipping rum. That said, the thing makes a really fine daiquiri, and on that front, with those sharp fruity notes leaning up against the warm pastries, the rum walks down strange and interesting yet hauntingly familiar paths inhabited by hot Jamaican patties and fierce white overproofs served in plastic tumblers at backcountry rumshops —  and if nothing else, those are the qualities which define it as a rum too good to walk away from. 

(#1019)(83/100) ⭐⭐⭐½

Other notes

Doorly’s “Macaw” Barbados White Rum (Late 2010s)

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Aug 222023
 

Rumaniacs Review #R-157 | #1019

Somehow, in all this time of reviewing rums from around the world, from around Barbados, and from within the Foursquare oeuvre, I never got around to looking at the Doorly’s “Macaw” white rum. Not the new 40% 3YO and its 47% ABV sibling which is in line with the redesigned and now-consistently labelled range as it currently exists (3YO, 5YO, 8YO, XO, 12YO and 14YO, and if this piques your curiosity just head over to Alex’s excellent vertical review of the lot) but the rather older and more venerable one at 40% and a sky blue label. Maybe it’s just in time, because it’s now been quietly discontinued.

Note the care with which I define the rum: in spite of several online references to it, it is not, as sometimes described, a three year old rum, but a blended NAS (no age statement) workhorse of the bar industry that goes back a fair bit. It is a mix of various pot-column distillates some of which (according to Richard Seale, who was as forthcoming as ever) are in the three-years-or-so age range, but often with a jot of something older for oomph.

In a reorganisation of the Doorly’s line a few years ago, the idea was to replace this with a true 3YO and beef up the proof a bit; what ended up happening was that the 40% proved so durable and popular that the 3YO was released in two strengths, the standard and the now main edition, the 47% (no other rum of the line has this double release as far as I know)…and each of those is slightly different from the other one in terms of its blend profile. That, however, left the older Macaw as the rum that got overtaken by the times, as the light, inoffensive white rum style pioneered by the Bat became less popular, and more muscular and distinctive whites began to climb in favour. It’s a rum that if you like it you need not necessarily fear of running out any time soon, as it still remains reasonably available (as of this writing in 2023)…but a stock-up might not be a bad idea.

Colour – White

Strength – 40%

Nose – Quite soft and easy, like a cream soda or rock-shandy soda and a whiff of vanilla. A little strawberry bubble gum. Quite clean, though somewhat alcoholically sharp at the inception. Some mild glue and acetones and white fruits. 

Palate – Again, that cream soda like taste, light fruits, cucumbers, melons, papaya and maybe a ripe pear or two. Freshly grated and still damp coconut shavings, vanilla, bananas, an interesting melange of soft and sharp. Could be stronger.

Finish – Faint and short and easy. Mostly vanilla, sugar water and some mild fruitiness.

Thoughts – The Macaw remains what it always was: a mixing white rum from yesteryear that actually shows some character, and a profile more than just stuck in neutral. It shows what could have been done by all those bland and anonymous rum producers who slavishly aped Bacardi in the previous century, had they possessed some courage. I’m not a complete fan of the rum, but when compared against so many bland blends that characterised the period — soulless, tasteless, flavourless, characterless – it bloody well shines in comparison.

(#1019)(76/100) ⭐⭐⭐

Other notes

  • Alex Sandu of the Rum Barrel blog met up with me in Berlin after this year’s rumfest, and we had a private tasting session where he very kindly brought this along.
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