Helios Distillery “Kiyomi” White Japanese Rum – Review

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Jun 032019
 

The Kiyomi white rum is made by the Helios Distillery, the same outfit in Japan that makes the very tasty five year old Teeda rum we looked at before. Formed by Tadashi Matsuda in the postwar years (1961) at a time of economic hardship and food privation for Okinawa , the decision was made to distill rum because (a) it could easily be sold to American soldiers stationed there (b) Okinawan sugar was readily available and (c) rice, which normally would have been used to make the more popular local sake, was needed as a food source and could not be spared for alcohol production.

That the company succeeded is evidenced by the fact that it is still in existence, has expanded its operations and is still making rums.  The two most popular are the Teeda 5 YO and the Kiyomi Unaged White, which do not share the same production process: while both source Okinawa sugar cane which is crushed to juice, the Kiyomi rum is fermented for longer (30 days instead of two weeks) and run through a double column still (not the pot).  It is then left to rest (and not aged) in steel tanks for six months and gradually reduced from 60% ABV off the still, to the 40% at which it is bottled.

I’ve never been completely clear as to what effect a resting period in neutral-impact tanks would actually have on a rum – perhaps smoothen it out a bit and take the edge off the rough and sharp straight-off-the-still heart cuts. What is clear is that here, both the time and the reduction gentle the spirit down without completely losing what makes an unaged white worth checking out.  Take the nose: it was relatively mild at 40%, but retained a brief memory of its original ferocity, reeking of wet soot, iodine, brine, black olives and cornbread. A few additional nosings spread out over time reveal more delicate notes of thyme, mint, cinnamon mingling nicely with a background of sugar water, sliced cucumbers in salt and vinegar, and watermelon juice. It sure started like it was out to lunch, but developed very nicely over time, and the initial sniff should not make one throw it out just because it seems a bit off.

It was much more traditional to taste – soft, gentle, quite easy to sip, the proof helping out there. After the adventurousness of the nose which careened left and right and up and down like your head was a pinball machine, this was actually quite surprising (and somewhat disappointing as well).  Anyway it lacked any kind of aggressiveness, and tasted initially of glue, brine, olives, gherkins and cucumbers – the ashes and iodine I had sniffed earlier disappeared completely. It developed with the sweet (sugar water, light white fruits, watermelon juice) and salt (olives, brine, vegetable soup) coming together pleasantly with light florals and spices (cinnamon, cardamom, dill), finishing off with a sort of quick and subdued exit that left some biscuits, salt crackers, fruits and rapidly disappearing spices on the tongue and fading rapidly from memory.

This is a rum that started with a flourish but finished…well, not in first place.  Though its initial notes were distinct and shown off with firm emphasis, it didn’t hold to that line when tasted, but turned faint, and ended up taming much of what made it come off as an exciting drink at the inception. That said, it wasn’t a bad one either: the integration of the various notes was well done, I liked most of what I did taste, and it could as easily be a sipping drink as a mixer of some kind.  What makes it noteworthy in this respect is that it doesn’t entirely become some sort of anonymously cute and light Cuban blanco wannabe you forget five minutes after putting down the glass, but retains a small spark of individuality and interest for the diligent. A shame then, that all this makes you think of, is that you’re holding an unfulfilled and unfinished promise — a castrated clairin  if you will — in your hand. And that’s a crying shame for something that’s otherwise so well made.

(#630)(82/100)

Sampan Rhum Vietnam Overproof – Review

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May 262019
 

The Sampan Vietnamese Rhum is made by the Distillerie d’Indochine: and Antoine Pourcuitte, a long haired Frenchman who seems to be channelling Fabio and who lives in Vietnam, is the man who bootstrapped his desire to make good rums into a business that combines a small hotel and bar close to the beach with a distillery he pretty much built himself (officially it opened for business in late 2018). This newly constructed establishment, which produces one of those excellent white rhums which must be causing the French islands conniption fits, is his brainchild… and it can take its place proudly in the league of small and new fast moving ops who are taking a pure rhum approach to distillation in Asia.

Vietnam’s common tipple of choice is rượu (ruou), a local artisanal spirit somewhat akin to arrack of Indonesia, made from fermented rice or molasses or cane juice and run through backroad, backwoods or back-alley alembics and home-made stills that puff and fart and produce some low grade (but very palatable) moonshine. Like in other rural regions of the world which have a long history of indigenous small-scale spirits manufacture – Africa, Haiti and Mexico come to mind – these are largely individual enterprises not regulated or even acknowledged by any authority.

Mr. Poircuitte, who came to rum via wine and not whisky (something like Florent of the Compagnie) put a bit more professionalism into his company, and production cycle is not too different from the Caribbean islands, all in all.  The cane is all organic, pesticide free, grown in the area around Hội An, in the Qu lang Nam province, harvested by hand and then transported within 24 hours to the distillery, which is 40km away from the fields, for crushing. The resultant juice is fermented for 3 to 4 days, resulting in an initial wash of about 11% ABV, which is then run through their 11-plate single-column copper still that torques things up to around 70% ABV. Three varieties of this rhum are produced, at various strengths: 45% standard, 54% overproof and the 65% full proof.

What’s interesting here is that Sampan does not bottle it straight off the still, but lets it rest for something under one year in inert inox tanks, and this gives the resultant rum – which is not filtered except for sediments – a taste of serious fresh-off-the-still juice.

Consider first the nose of this blanc, which is stuffed into the bottle at a beefy 54% ABV. It’s musty, redolent of freshly turned sod and grass.  I could say it smells dirty and not mean it in a bad way, and that is not all: it also smells briny, olive-y, balanced off with clear, fresh, 7-Up and lemon juice and sugar cane sap, plus a smorgasbord of light fruits like pears, ripe apples, and white guavas, a little vanilla and cookies.  The strength doesn’t hurt it at all, it’s strong and firm without every being too sharp to enjoy as it is.

Thankfully, it doesn’t sink on the taste, but follows smoothly on from what had been discerned on the nose. Here, we didn’t just have a few olives, but what seemed like a whole grove of them. Again it tasted dirty, loamy, and also pungent, with initially clear notes of sweet sugar cane juice and sweet yellow corn, to which are added some lemon sherbet, vanilla and aromatic light fruits (pears, watermelon, strawberries) plus herbs – dill and basil.  Soft and lightly sweet, and there’s a background hint of anise as well, or licorice, really nice. Throughout the tasting it stays firm and assertive on the tongue, with a near silky mouthfeel leading to an exit that is pleasantly long lasting and with closing notes of fruits, vanilla, coconut water, and breakfast spices.

This is a really nice white rhum – it married the freshness of an agricole with the slight complexity of an entry level vieux and the balance between the various elements was very nicely handled. That pungent opening clearly makes the case that even with the resting period, it was an unaged rhum, something like the Sajous, the Paranubes, A1710, Toucan, Barbosa Grogue, HSE Parcellaire or others of that kind – I liked it a lot, and if it didn’t win any medals, I firmly believe it should at least win a few wallets.

Many of the older Asian rhums which have sold  gangbusters in their countries of origin for decades, catered to indigenous tastes, and cared little for western styles of rum.  They were (and are) sometimes made in different ways, using different materials in the process, are sometimes spiced up and almost always light column-still blends issued at standard strength. We are seeing a gradual change here, as a wave of small distilleries are setting up shop in Asia and producing small quantities of some really interesting juice. This one from Vietnam is now on my radar, and I look forward to seeing not only what they come up with in the future, but what that Overproof 65% of theirs tastes like — and if it blows my hair back and my socks off, well, then I’ll consider it money well spent…as I did with this one.

(#627)(84/100)

Other Notes

  • The company is named after the slow moving boats similar to Chinese junks, which ply the Mekhong River and the coastal areas around South East Asia.
  • My intial review noted that it was aged for 8 months in ex-French-oak casks, based on my conversation and scribbled notes at the Paris rhumfest (not with Mr. Poircuitte but with his pretty assistant, in the maelstrom of the first day’s crowds) – I was later contacted directly to be advised this was a miscommunication, that the rum rested for 8 months in steel tanks, and so I have amended the post for the correction.

Laodi Pure Sugar Cane Rhum (White) – Review

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May 202019
 

The word agricole is nowadays used indiscriminately to refer to any cane juice distillate, no matter where it is made, and by consumer and producers both.  Discussions have recently popped up on FB arguing that appropriating the term under such circumstances was (and is) theft of reputation and quality, which the French Island rum makers had garnered for themselves over long decades (if not centuries) of quality rhum-making, and was therefore being ripped off by any producer not from those islands who used the term.  And here comes a rum company from the Far East, Laodi, seeming to have found an admirable way of getting around that issue, by referring to their hooch as “Pure Sugar Cane Rhum,” which I think is just missing the word “juice” to be completely accurate.

Laodi, whose parent company is Lao Agro Organic Industries, was formed in 2006 by Ikuzo Inoue, a then-52 year-old Japanese engineer, who, with a local Lao partner, acquired a distillery located in the village of Naxone in Laos, just north of the Thailand border — it’s actually just a short drive away from the Issan Distillery (which is south of the border).  The distillery previously made local spirits like lao-lao (based on fermented rice) but the new owner decided to switch to rum, utilizing sugar cane from one of two 10 hectare plots of land (one always remains fallow and they are rotated), and going determinedly with juice rather than molasses.

The cane is cut and transported to the factory where it is crushed (1 tonne cane = ~400  liters juice) and set to ferment in steel vats using dehydrated wine yeast, for between 3-4 days. The resultant wine is about 9% ABV and is then run through a vacuum distillation machine – using this apparatus reduces the boiling point of the liquid by lowering the pressure within the apparatus, supposedly leading to less degradation of the wine in a shorter timeframe; the separation of heads and tails and extraction of the heart remains the same as for traditional methods.  

Initially the resultant spirit came out the other end at 47% and early versions of the Laodi / Vientiane rums were bottled at 42% – the white rum was rested for two years in stainless steel tanks and slowly reduced to that strength – clearly they’ve done some upgrading since then, as by the time one of them walked through my door and into my glass, they already were beefing it up. That rum (or rhum if you like), was the 56% Vientiane Agricole rhum I looked at two years ago, which seems to be discontinued now (or replaced by this one – note the strength which is the same, and the loss of the word “agricole”…somebody is clearly paying attention).

How does this iteration smell?  Very pungent and very powerful – it’s unclear whether their vacuum distillation method is bolted on to a pot or column still, but for my money, based on the profile, it’s column (query to the company is pending).  It smells simply massive – salty, dusty and lemon-grassy all at once, quite herbal and earthy, of musty loam, rain on hot clay bricks. This was just the opening salvo, and it was followed swiftly by other notes of acetones, polish, cinnamon, anise, sugar water, cucumber and some watermelons, papayas and white guavas.  I thought I sensed some vanilla in there somewhere, but could have been wrong – overall, for that strength, it behaved remarkably well.

The taste was excellent too: it glided across the tongue with controlled force and without trying to scrape it raw.  It tasted initially dry and pungent, of glue and furniture polish, linseed oil (the sort I used to oil my cricket bat with, back in the days when I dared to lift one), and also of brine and olives and coconut water, cider and vinegar, cucumbers in a mild pimento sauce, and behind it, the citrus zest. And on top of all that, there was a peculiar creaminess to the experience, like a snow cone with syrup and condensed milk drizzled over the shaved ice. This all led up to a very pleasant finish, crisp and citrus-like, redolent of more brine, cider, guavas, mangoes, nicely spicy, nicely tasty and an all round excellent close, which stuck around as long as regular guests at a Caner Afterparty.

Dredging back through my memories of the original Laodi Vientiane and what I thought of it back then, I think that even though the strength was the same, this was and is a different rhum, an evolution in the quest to raise the bar, up the game.  It controls its strength well, yet loses none of the force of its ABV, and isn’t trying to be bitchy or sharp or uncomfortable. We may not call it an agricole, yet its antecedents are clear – it’s a cane juice rhum, strong, well made, properly delicious, with just enough edge to keep you hopping. And made in a part of the world we should seriously start to look at, in the constant search for quality artisanal rums that fly under our western radar..

(#625)(83/100)

Other notes

  • Laodi comes from the two words — “Lao” for the country and “Di” meaning “good”
  • The company also makes a lightly-aged brown-coloured rum (with an interesting variation on the ageing process), as well as a set of “married” rums which are infused or spiced and released at lower proof.
  • Rumporter magazine has an excellent 2017 article by Damien Sagnier on the company and its production techniques, which I drew on for the more technical aspects – the assumption is that these have not changed since then, of course.
  • The label is a masterpiece of minimalism, but the counterpoint to that is that it doesn’t actually provide much in the way of information – most of what I’m telling you comes from brochures, webpages and a meandering conversation at the booth at the 2019 Paris Rhumfest where I filched a hefty sample.  

Barbosa Grogue Pure Single White Rum – Review

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Apr 242019
 

Although the grogues of Cabo Verde have been seeping through our rumconsciousness for years now, it’s a curious thing that there are almost no reviews to be found online at all. All we have is rumours and quiet whispers in the dark corners of smoke-filled tiki-bars, random small comments on FB, and stories that Luca Gargano of Velier has been sniffing about the islands for years, perhaps putting together another series of organic, pure single rums designed to wow our socks off.

2019 might at last, then, be the year to change that, as grogues were quite visible in the Paris rhumfest in April, and one of them was the Barbosa grogue, which I just so happened to try at the Habitation Velier booth, where, after exchanging pleasantries with Daniel Biondi, I rather cheekily helped myself to a hefty shot of this thing and sat back to await results. Not without a little trepidation, mind you.

Because, you see, the lost world mystique hanging around them creates an aura about these almost unknown rums made in remote lands in traditional ways, in a way that make them rums of real interest. They’re supposedly throwbacks to the way “rums ought to be,” the way “they were once made” and all sorts of stuff like that. Artisanal, untamed, simple rums, brewed the same way for generations, even centuries, akin to Haiti’s clairins or the original cachacas. Which may be why Luca keeps going back to the place.

Such preconceptions made the tasting of the Barbosa grogue (or, as it is noted on the label “Amado & Vicente Barbosa Grogue Pure Single Rum”) an odd experience – because in reality, it conformed to few of the profile markers and tasting notions I was expecting, based on the remarks above. The nose of the 45% white was decidedly not a sledgehammer to the face, and not an over-amped nostril-shredder ready to give week-long nosebleeds. Instead it was actually quite gentle, almost relaxed, with light aromas of olives in brine, green grapes, pineapples, apricots (minus the sweet syrup), grass, cooking herbs like dill, and quite a lot of sugar water, more than in most blancs I’ve tried. It wasn’t hot, it wasn’t fierce and it wasn’t feral, just a real easy rum to appreciate for smell alone.

This was also the case when tasted. The bright and clean fruity-ester notes were more in evidence here than on the nose — green apples, sultanas, hard yellow mangoes, thyme, more pineapples, a bag of white guavas and watery pears. There was a hint of danger in the hint of cucumbers in white vinegar with a pimento or two floating around, but this never seriously came forward, a hint was all you got; and at best, with some concentration, there were some additional herbs (dill, cilantro), grass, sugar water and maybe a few more olives. I particularly liked the mild finish, by the way – clear and fruity and minty, with thyme, wet grass, and some almonds and white chocolate, sweet and unassuming, just right for what had come before.

The Barbosa grogue is produced by Montenegro distillery in Santiago, the main Cabo Verde island, and derive from organically grown sugar cane grown very close to the sea, in Praia Mangue. The cane is harvested manually, crushed right away and naturally fermented for six to ten days before being run through small wood-fired 350-liter copper pot stills (see picture here) – this version is the first 2019 batch, unaged. The manager and co-owner of the distillery, Manuel Barbosa Amado, is a 47 year old agronomist and his family has been in the sugar cane and grogue business for the last fifty years or so – in what might be seen as a peculiar honour, it is the only grogue in Velier’s 2019 catalogue. I was told they might have called their product Montenegro after their own distillery, but ran into trademark issues with an Italian amaro maker of the same title and so named it for illustrious family members Vicente and Amado Barbosa, about whom I know unfortunately nothing

All that out of the way, what to make of this interesting variation of rum, then? Well, for one thing, I felt that 45% strength was perhaps too light to showcase its unique nature…jacking it up a few extra points might be worth it. It started off gentle, and underneath the sleek and supple silkiness of that initial taste you could sense some serious animal lurking, waiting for its own moment to come out and claw your face off. But this never happened. It stayed low-key and seemed surprisingly reluctant to come out and play with any sort of violence. So, a tasty and a fun drink, the purity evident, the unmessed-with nature of it a blessing…yet not different enough from better-known and better-regarded French island blancs to carve out its own niche in a market with ever increasing amounts of artisanal white rums competing for eyeballs and shelf space.

I’m not saying it must have madness and fury to succeed; nor does it need to rack up street cred by being like the Mexican Paranubes or the Sajous, the other poster children for cheerfully nutso white rums. We must accept that the Barbosa grogue lacks that distinctive spark of crazy which would immediately set it apart from any other rums on the planet, something specifically and seriously its own. But I also believe you can buy it and love it exactly as it is and you won’t be disappointed – because it is a more civilized and elegant rum than you might expect. And it’s worth a more serious look and maybe a buy, just to sample the sippable, approachable and enjoyable charms it presents, and get a whiff of something interesting, even new.

(#618)(81/100)

Other notes

  • Grogue is the local creole version of the word grog, and it hails from the same source.
  • Cabo Verde (or Cape Verde) is a group of ten Atlantic islands off the west coast of Africa due west of Senegal.  They are part of the same geographical eco-region as the Canaries and Azores and Madeira. Unlike them, Cabo Verde is independent and not an autonomous part of any European nation.
  • Three kinds of cane are harvested: Nossa Terra Pieta, Nossa Terra Branca, and Bourbon varietals.

Domaine de Séverin Rhum Agricole Blanc (1990s)

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Mar 262019
 

Rumaniacs Review # 095 | 0611

As noted in the biography of the Domaine de Séverin, what we’re getting now from the new owners is not what we were getting before.  The company’s distillery changed hands in 2014 and such rums as were made back in the day immediately became “old”, and more obsolete with very passing year.  From the old style design of the labels, I’d hazard that this one came from the 1990s, or at the very latest, the early 2000s, and I have no background on ageing or lack thereof – I would imagine that if it slept at all, it was a year or less. Over and beyond that, it’s a decent blanc, if not particularly earth shattering.

Colour – White

Strength – 50% ABV

Nose – Starts off with plastic, rubber and acetones, which speak to its (supposed) unaged nature; then it flexes its cane-juice-glutes and coughs up a line of sweet water, bright notes of grass, sugar cane sap, brine and sweetish red olives.  It’s oily, smooth and pungent, with delicate background notes of dill and cilantro lurking in the background. And some soda pop.

Palate – The rhum does something of a right turn from expectations. Dry and dusty, briny and sweet.  Vegetable soup and maggie cubes mixes up with herbal / fruity notes of cucumber, dill, watermelon juice and sugar water.  Somehow this crazy mish-mash sort of works. Even the vague hint of caramel, molasses and lime leaves at the back end add to the pungency, with the dustiness of old cardboard being the only off note that doesn’t belong.

Finish – Warm, smooth, light, oily, a mix of sugar water and 7-up which is the faintest bit dry.

Thoughts – Guadeloupe is free to mess around with molasses or cane juice, not subscribing to the AOC that governs so much of Martinique, and the bottle states it is a rhum agricole, implying cane juice origins.  Maybe, though those odd commingling tastes do make me wonder about that. It’s tasty enough and at 50% almost exactly strong enough.  But somehow, through some odd alchemy of taste and preference, the odd and uncoordinated way the sweet and salt run apart from each other instead of providing mutual support, it’s not really my glass of juice.

(82/100)

 

That Boutique-y Rum Co. O Reizinho White Agricole Rum (Batch 1) – Review

 14 Responses »
Feb 042019
 

Last October, I ran into Pete Holland of the Floating Rum Shack at the Berlin Rum Fest (literally – I tripped and nearly fell into his shelf of rums, and he saved them by interposing himself so they would not be damaged, even if I was).  Although we, as long-existing rum bloggers, knew of each other — all of us know each other in the Oasis — we had only met once before, so I bee-lined over to see what he was doing. It turned out he was stewarding the line of rums from the cheekily named “That Boutique-y Rum Company” (hereinafter referred to as TBRC) a division of Atom Brands, which in turn runs the Master of Malt online spirits shop (and which also self releases and self reviews the Cornelius Ampleforth rum, if you recall). Pete steadied me, indicated the whole range on display, and asked what I wanted to try.

I looked at all the familiar countries, ignoring most, looking for the unusual, not the standard – something the brand has done that takes us into new territory to awe and enthuse (the way Foursquare has done with the ECS, L’Espirt is doing with its 2019 whites, Rum Nation did with the Supreme Lords, and Velier did with…well, just about everything).  These days, I want something weird, off-kilter, new, exciting, different – and still tasty.

Alongside the Bajan, Mudland, Jamaican and other suspects (all of which had arresting and brightly-drawn, brightly-coloured labels that took Bristol Spirits’ colour scheme out back and whupped it), there was one from Travellers (Belize) and Bellevue (Guadeloupe)…this looked promising.  But after five minutes of chatting, I was having difficulty making a decision so, I asked him: “If you had one rum out of this entire selection you’d want me to try, which one would it be?”

Now you could tell that Pete, who is a consultant for the company, not an ambassador, really liked pretty much everything, which is why he kept his glass on the go the entire time from different bottles (under the pretext of helping out the bright-eyed but inexperienced rum chums swirling around the booth). “Yes mon, me drinkin’ de same rum dat me showin’ you, so it gotta be good,” you could easily imagining him saying as he avoided braining passers-by with his tasting glass using graceful moves of the arm, never spilling a drop.  So I was curious what his own favourite was, shorn of the need to sell anything to me.

He hesitated, seeing the trap, but then grinned, sipped again, and then pointed at a bottle off to the side, sharing the same colour scheme as the Enmore and the Bellevue. It was from O Reizinho, a Madeiran outfit of which I knew nothing except that it was from Madeira (which, as an aside, is an EU-recognized agricole producer). “That one.”  And without losing his glass in the one hand, he proceeded to pour me a shot with the other, hefty enough to render me catatonic, then stood back to observe the results (much the way The Sage had done years back when I had tried my first clairin, the Sajous).

Strictly speaking, the rum is not that strong – “only” 49.7%, which is a couple of whiskers away from standard. It was made in Madeira, which intrigued me, as I really enjoyed the Engenho Novo rums made by Hinton and Rum Nation; and it was a pot still rum, an unaged rum, and a “white,” all pluses in my book.  And anyway, how could you not want to sample a rum named “The Kinglet”? I know I did, and not just because of his recommendation.

It didn’t disappoint, starting out with a firm aroma of salt and wax, very powerful.  Earth mustiness, cardboard, loam, olives, bags of salt. Like a clairin, but softer. Fresh and deep, edging “crisp” by a whisker, and while the herbal notes of dill and grass and fresh sugar cane sap were there, they were not so much dominant as coexistent with the other notes mentioned before. A really outstanding set of aromas, I thought, with an excellent balancing act carried off in fine style.

And the taste, the mouthfeel – wow, really nice.  Warm, sweet, dry and fruity, with raspberries, bananas, pineapple, papaya, salt olives all dancing their way across the tongue, without any sharp nastiness to spoil the enjoyment: I like rums north of 60%, of course, but there was no fault to be found in the strength that was chosen here because even at that low power, it thrummed across the palate and still managed to provide a clear demo of all the proper notes.  Excellent sipping dram as long as you’re okay with a not-so-furious amalgamation of sweet-brine-soya-miso-soup admixture. If it faltered some, it was on the finish – and for the same reason the nose and palate were so good, i.e., the muted strength. That didn’t invalidate it (to me), and it was pleasant, sweet, soft, warm, firm and fruity, with just a little edge carrying over to complete the experience.

O Reizinho means “Little King” or “Kinglet” depending on whose translator you use, and is a small distillery perched on a hillside on Madeira’s east coast by Santa Cruz.  It is run by Joao Pedro Ferreira, who returned from a sojourn in South Africa some years back to go into the rum business with his father. They source cane locally, crushing it in one pass only (no messing around with a 2nd pass or adding water) and then let it stand in a week-long fermentation period.  Then it’s run through a wood-fired steam-injected pot still, which on a good day can provide a dozen runs. So French island nomenclature notwithstanding, this is an agricole spirit, and it adheres to all the markers of the cane juice rhums, while providing its own special filip to the style.

Initially, to get things going for the first release, TBRC bought some of those rums from a broker (Main Rum) the way so many new and old independents did and do.  But this one was bought direct from O Reizinho, and the intention in the future is to continue to do so, and to go with both aged and unaged products from this tiny distillery.  If they keep bottling — and TBRC keeps issuing — juice as fine as this, then all I can say is that the future is a bright one for them both, and I look forward to trying as much as I can from TBRC’s extended range of rums generally, and O Reizinho specifically.  They’ve enthused me that much with just this one rum.

(#596)(86/100)

Other notes

  • Batch 1 of this rum is 487 bottles
  • Just for the record, I really enjoyed the brightly coloured, lighthearted design of the labels, which are a nice counterpoint to the minimalist “facts-only” labels currently in vogue. The artist is from the outfit Jim’ll Paint It (FB Link)(Website)- ATOM brands came up with the brief, then Jim brought it to life.  In his work he reminds me somewhat of Jeff Carlisle, who did “Another Night at the Warp Core Cafe.“

Key Rums of the World – Barbancourt Réserve Spéciale 8 Year Old Rhum (Haiti)

 1 Response »
Jan 222019
 

Haiti is unique as a nation because it is where the only successful slave revolt in the world took place, at the turn of the 18th century. Sadly, it is now the poorest country in the western hemisphere, and successive dictatorships, foreign interference and natural disasters have left the place in shambles.

That any businesses manage to survive in such an environment is a testament to their resilience, their determination, their ingenuity….and the quality of what they put out the door. The country has become the leading world producer of vetiver (a root plant used to make essential oils and fragrances), exports agricultural products and is a tourist destination, yet perhaps it is for rum that its exports are best known, and none more so than those of Barbancourt, formed in 1862 and still run by the descendants of the founder.

Until the mid 20th century, Barbancourt was something of a cottage industry, selling primarily to the local market.  In 1949 they relocated the sugar cane fields of the Domaine Barbancourt in the plaine du Cul-de-Sac region in the south east, and by 1952 ramped up production, increased exports and transformed the brand into a major producer of quality rum, a distinction it has held ever since.  

The rhum, based on sugar cane juice not molasses, used to be double-distilled, using pot stills in a process similar to that used to produce cognac (Dupré Barbancourt came from the cognac-producing region of Charente which was undoubtedly his inspiration); however, nowadays they use a more efficient (if less character-driven) three-column continuous distillation system, where the first column strips the solid matter from the wash and the second and third columns serve to concentrate the resultant spirit…so what is coming to the market now is not what once was made by the company.

Haiti has no shortage of other rhum producing companies – but smaller outfits like Moscoso Distillers or LaRue Distillery are much less well-known and export relatively little, (and back-country clairins are in a different class altogether)…and this makes Barbancourt the de facto rum standard bearer for the half island, and one of the reasons I chose it for this series. This is not to dismiss the efforts of all the others, or the the artisanal quality of the clairins that Velier has brought to world attention since 2014 — just to note that they all, to some extent, live in the shadow of Barbancourt; which in turn, somewhat like Mount Gay, seems in danger of being forgotten as a poster boy for Haiti, now that the pure artisanal rum movement gathers a head of steam.

The current label of the 8YO

Barbancourt’s rhums are not issued at full proof: they prefer a relatively tame 40-43%, and every possible price point and strength is not catered to.  The company has a relatively small stable of products: the Blanc, the 3-star 4 Year Old, the 5-star 8 Year Old and the flagship 15 year old (Veronelli’s masterful 25 year old is a Barbancourt rhum, but not issued by them).  Though if one wanted to get some, then independent bottlers like Berry Bros., Bristol Spirits, Duncan Taylor, Cadenhead, Samaroli, Plantation and Compagnie des Indes (among others) do produce stronger and more exacting limited offerings for the enthusiasts.

Yet even with those few rhums they make, whatever the competition, and whether one calls it a true agricole or not, the rhums coming from Barbancourt remain high on the quality ladder and no rumshelf could possibly be called complete without at least one of them.  After trying and retrying all three major releases, my own conclusion was that at the intersection of quality and price, the one that most successfully charts a middle course between the older and the younger expressions is the 5-star 8 year old (I looked at it last way back in 2010, as well as one earlier version from back in the 1970s) which remains one of the workhorses of the company and the island, an excellent mid-level rum that almost defines Barbancourt.

It does display, however, somewhat of a schizophrenic profile. Take the nose, for example – it almost seems like a cross between a molasses based rum and an agricole.  While it certainly possesses the light, herbal aroma of a cane-juice distillate, it also smells of a light kind of brown sugar and molasses mixed up with some bananas and vanilla (it was aged in French oak on Haiti, which may account for the latter). There’s also a sly briny background, combined with a pleasant hints of nougat and well polished leather, plus the subdued acidity of green apples, grapes and cumin.  Not all that intense at 43%, but excellent as an all-rounder for sure.

What the nose promises, the palate delivers, and yet that peculiar dichotomy continues.  It’s soft given the strength, initially tasting of caramel, toblerone, almonds and vague molasses and vanilla (again).  Brine and olives. Spices – cumin, cinnamon, plus raisins, a certain delicate grassiness and maybe a plum or two (fruitiness is there, just understated).  Nope, it doesn’t feel like a completely cane juice distillate, or, at best, if feels like an amalgam leading neither one way or the other, and the close sums all that up.  It’s medium long, with salt caramel ice cream, vanilla, a bit of raisins and plums, a fine line of citrus, a little cinnamon dusting, and a last reminder of oaky bitterness in a relatively good,  dry finish.

What makes the Barbancourt 8 YO so interesting — even unique — is the way the makers played with the conventions and steered a center line that draws in lovers of other regions while not entirely abandoning the French island antecedents. It reminds me more of a Guadeloupe rhum than an out-and-out agricole from Martinique, with perhaps a pinch of Bajan thrown in.  However, it’s in no way heavy enough to invite direct comparisons to any Demerara or Jamaican product.

So, does it fail as a Key Rum because of its indeterminate nature, or because it lacks the fierce pungency of a clairin, the full grassy nature of a true agricole?

Not at all, and not to me.  It’s a completely solid rhum with its own clear profile, that succeeds at being drinkable and enjoyable on all levels, without being visibly exceptional in any specific way and sold at a price point that makes it affordable to the greater rum public out there. Many reviewers and most drinkers have come across it at least once in their journey (much more so than those who have tried clairins) and few have anything bad to say about it.  It’s been made for decades, is well known and well regarded — not just because it’s from Haiti, but because it also has a great price to value ratio. There’s a lot of talk about “gateway” rums, cheaper and sometimes-adulterated rums that are good enough to enjoy and savour, that lead to more and better down the road. It’s usually applied to the Zacapas, Zayas, Diplos and younger rums of this world, but if you ever want to get more serious about aged agricoles, then the Barbancourt 8 YO may actually be one of those that actually deserves the title, and remains, even after all these years, a damned fine place to start your investigations.

(#592)(84/100)

Other Notes

In a curious coincidence, a post on reddit that did a brief review of this rhum went up just a few days before this was published. There are some good links contained within the commentary.

A1710 2017 “La Perle” Martinique White Rhum – Review

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Jan 072019
 

After the initial flurry of articles attendant on the forming of the first new distillery / rum brand in Martinique in, oh, I don’t know, forever, there’s been a surprising drop in attention for A1710. The big guns like Neisson, Bally, HSE, Trois-Rivieres, Depaz et al, with decades (or centuries) of brand awareness underlying their name and fame, continue to issue their excellent agricole rums, of course, but it’s almost like A1710 dropped by the wayside.  Yet this tiny outfit makes rums with a lot of zip, zap, zowee and swoosh, and should not be ignored just because it’s small.

A1710 is the first attempt in a long time to shake up Martinique’s well known rum industry, being created in 2016 as a micro-distillery for Habitation Le Simon (not to be confused with the distillery of Simon, though they’re close by), which rubs shoulders with Clement on the mid eastern side of the island.  The estate’s roots go back to 1710 when the founder, Jean Assier, arrived on the island (hence the “A” in the title) and founded the sugar plantation, which seems to have been family owned and operated as a sugar estate ever since. Yves Assier de Pompignan, the 50-year-old who created the brand and founded the distillery in 2016, first made a career in stationery and office supplies before accepting his True Calling, perhaps channelling the family heritage — a great-grandfather owned the current factory of Saint-James, a grandfather owned of rum brand, his father is a cane agronomist and he has connections with the Hayot family as well.

What distinguishes the small distillery is that it did not chase the AOC designation (they have creole column still, ferment juice for around five days and reap cane year round, to name some points of divergence), and its organic focus, which eschews the more mechanized bulk approach taken by bigger competitors.  I usually nod and smile at such statements, but when the results are as good as these, who am I to rain on their parade? Besides, it’s canny – there’s a market for such niche products made as free from technological interference as possible, and I’m sure A1710 knew and bet on that. 

And after all is said and done, the white rum they make is excellent.  Just nosing this 2017-issued 54.5% product makes that clear: it’s sparkly, sprightly sugar water with a light tinge of brine. Olives, nail polish remover, turpentine, floor wax, freshly sawn lumber and sawdust.  Cider gherkins and apple cider. Very impressive because it never loses sight of the creole still origins and even after half an hour it still coughs up some earthy notes, well polished leather and a lovely thread of green apples.

Moving on, the flavour profile on the palate is nothing short of impressive. It comes smooth and warm across the tongue, providing warm notes of sugar water, watermelon, papaya, licorice, sweet bonbons, grass, and pungent lime leaves in a thai curry.  The rhum displays real potency without overcrowding the taste buds with either too much power or excessive complexity, a perfect combo of sweet and salt and herbals in a complex interplay of citrus, grass, cilantro and 7-up. It’s almost cachaca-like, minus the bitterness of strange Brazilian woods. The finish was okay but things start to slow down here, and it (fortunately) stops just shy of being bland – the heat carries off some of the taste and closing aromas but there was lime leaves, gherkins and sugar water, getting sweeter and more delicate (but always crisp) over time. It reminded me a lot of the J. Bally Blanc agricole, but was a smidgen better, I’d say.

When Cyril of DuRhum rendered one the first online opinions of A1710 and both their 2016-edition whites and aged rum selection, he wrote honestly (and disparagingly) about the flowery marketing push and the price, especially the aged ones. Fast forward a year or two and the online-store costs for the 2017 white written about here are pretty much in line with others of their kind; and the marketing, well, every company under the sun trumpets its niche advantage and special something – I yawn through the usual adjectives and hyperboles anyway so it doesn’t trouble me unless it’s an out-and-out falsehood and has no real info behind it. Putting that aside, what I appreciated about A1710 was the courage it took to open the eighth distillery on the island at all, against some formidable competitors.  What emerged at the other end was a white rum of real quality which possessed a solid taste profile and whether known or not, can take its place without apology alongside all the other blancs that may be better known and sell more. That’s a real achievement, for a company this young.

(#586)(85/100)

Seven Seas Japanese Rum – Review

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Dec 302018
 

Take this as less a review, than a description of my experience with a rum I didn’t know what to do with.

*

I have been sitting on this review for over a year, alternately confused and disgusted and wondering and puzzled.  It was a rum like nothing I’d ever had before, tawdry and smelly and meaty, an open sewer of a rum, a discarded tart’s handkerchief, yet I could not believe it could actually be so.  No reputable company – no company period – would willingly release such a product into the wild without reason, so what was I missing? Was it me and a degraded sense of smell and taste? Was it – as initially described in my notes – one of the worst hogo-laden bastards ever made, was it a contaminated sample…or a vanguard of the the taken-to-weaponizable-extremes dunder detonations of the New Jamaicans?

It took the Velier-issued NRJ TECA specifically for me to go back to this one sample (sent to me by that connoisseur of Asian rum junkies, John Go, who I’m sure is grinning at my experience) and give it another shot a year later, and perhaps it was also the complete faith I had that Luca Gargano would never release a substandard rum, which made me finally come to grips with the TECA’s Japanese equivalent and understand that perhaps they had been ahead of the curve all along. Or perhaps not.

Because for the unprepared (as I was), the nose of this rum is edging right up against revolting. It’s raw, rotting meat mixed with wet fruity garbage distilled into your rum glass without any attempt at dialling it down (except perhaps to 40% which is a small mercy). It’s like a lizard that died alone and unnoticed under your workplace desk and stayed there, was then soaked in diesel, drizzled with molten rubber and tar, set afire and then pelted with gray tomatoes.  That thread of rot permeates every aspect of the nose – the brine and olives and acetone/rubber smell, the maggi cubes, the hot vegetable soup and lemongrass…everything.

And much of that smell of sour funk persists on the taste (you better believe I was careful with it, even at standard strength), though here I must say it’s been transmuted into something more bearable.  It’s hot and thin and sharp, reminding me of Chinese 5-spice, coriander, aji-no-moto and ginger with a little soy and green onions sprinkled over a good fried rice, plus sugar water and watery fruits like papaya and pears.  Under it all is that earthy and musky taste, not so evident but always there, and that to some extent spoils the overall experience – or enhances it depending on your tolerance for high levels of dunder in your rum. The finish was relatively short and intermediate, with some teriyaki and sweet soya and very faint molasses…and the memory of that lizard.

All right so that sounds like crap right?  Sure it does. My initial sentiments were so negative I was afraid to score the damn thing.  I had never had an experience of such intensity before, of such off-the-wall tastes that I could not seriously associate with rums.  And for the record, nobody else I spoke to (those who had tried it) felt the same way about it.

So it became a question of seeing who made it and how it was made, to see if that shed any light on the matter. I talked to a few of my correspondents in Japan and came up empty.  Yes they knew of the rum, no they had not heard any reports of anything such as I described, and no there was nothing particularly unusual about the production methods employed by Kikusui Shuzo distillery on Honshu, using Shikoku sugar cane which they process on a column still and age for three years.  In fact, these boys are the ones making the Ryoma 7 year old rum, which I remembered having similarly odd (if not as feral) smells and tastes, but much gentler and much better integrated into the overall drink. Seven Seas rum is now imported into Germany, but I can’t entirely rid myself of the feeling that it’s really not meant for the export market, which might explain why it’s not mentioned much.  On the other hand, maybe rum reviewers are keeling over left and right after a sip but before they get anything to print, so who knows?

Anyway, enough of the snark.  Bluntly, I tried the Seven Seas in 2017 and didn’t like it and felt it was over the top, a badly made product that was off on balance, complexity and taste.  In 2018 Velier’s National Rums of Jamaica convinced me there was method behind the madness, I had perhaps been ignorant and too harsh and that something in the production methodology paralleled the high congener and ester levels of the TECA, even if I could find no confirmation of the matter.  Because of the uncertainties I’m going to officially leave it as unscored, because I feel my original 65 was too low but I don’t know enough and feel too ambivalent to rate it higher. Assuming my ideas are correct, then I’d ramp it up to 74….but no more. Even properly made as a true rum, it’s not enough to convince me I want to buy the bottle. I’m fully prepared to accept that my experience may have been unique to me; and I love the funky Jamaican style — but neither point is quite enough to make me want to risk this Japanese rum a third time.

(#585)(Unscored)

St. George Spirits California Agricole White Rum (2014) – Review

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Dec 282018
 

Just as we don’t see Americans making too many full proof rums, it’s also hard to see them making true agricoles, especially since the term is so tightly bound up with the spirits of the French islands.

Agricole, let it be remembered, is the French term for agricultural rums made from pure sugar cane juice, and called such to distinguish them (not without a little Gallic disdain, to be sure) from traditionnels, or traditional rums, which are made from molasses, a by product of the sugar making process. For the most part, having much to do with the finances, molasses rums are much preferred by producers, because the issues of storage and spoilage which afflicts cane juice (it can go bad in just a few days) – that’s one reason why agricoles are closely associated with actual sugar estates with a distillery nearby – not always easy in a country the size of the USA where there is much greater separation between the two. (Note also: by EU law (but not that of the US) the term “agricole” can only be used by French Overseas Departments (Martinique, Guadeloupe, Reunion and French Guiana) and Madeira…nobody else. A lot of distilleries the world over ignore this in practice, until time comes to sell their product in the EU)

St. George’s, a 1982-established California distillery much better known for its gins, absinthes, vodkas and whiskies, get their fresh cut cane from Imperial Valley just to the east of San Diego along the Mexican border, and when a load comes in, they crush it immediately, add the yeast and ferment (duration unknown) before running it through a pot still (Josh Miller spoke of a hybrid pot/column still when he visited them in 2013 but St. George’s wrote to me and said “pot” for sure).  The resultant spirit is rested for a short while in stainless steel tanks, with some being drawn off to age for a few years in oak, the rest being bottled at 43%. My version was based on the 2014 harvest according to the sample info, and was therefore issued in that year.

On the nose…oy!  What was this? Vegetable soup, or (take your pick) meatballs, dumplings, dim sum or spring rolls…that kind of thing.  Also vinegar, soy, pickles and fish sauce, a pot of brine and what felt like three bags of olives. Behind all that is a sharp edge, like a red wine gone off somehow, and whatever fruits there were took a reluctant step back – so much so that the first thoughts that ran through my mind as I smelled the rum was it was a low rent clairin that tried for the brass ring but ran out of steam.  Still – nice. Adventurous. Different. I like that in a white rum.

Alas, the palate, after that jarringly original overture that so piqued my interest, seemed to go to sleep, a function of the 43% ABV maybe, and a reminder that pungent rums like unaged whites don’t always succeed when dialled down to a somnolent standard strength.  Still, it did wake up after I ignored it for a bit, and gave a twitch of sugar water and watermelons, fresh-cut pears, vanilla and citrus, very light and very pleasant. Yes there was a sort of creaminess and black bread, behind which lurked the brine and olives (lots of both), but the rum seemed to have problems deciding whether it wanted to be a crowd pleaser or something truly original such as the nose had promised, and the finish – long, dry, salty, lightly fruity, sweetly watery – just followed the palate into a docile conclusion.

Truth is, the whole experience was schizophrenic – it started off with fire and smoke and major f**ken attitude, then just lost its mojo and sagged against the wall.  For all the unbalanced helping of crazy with which it opened, I liked that off-kilter nose a lot better than everything that followed because it showed all the potential that failed to be realized later on. An unaged pot-still white should be a little off-base – anything else and you have a mere cocktail ingredient and there are already enough of those around.

That said, it’s not that I actively disliked the rum…just that I felt there was nothing serious here: nothing badass that dared to offend…or inspire (say what you will about the TECC and TECA rums from NRJ and their barking-mad taste profiles, they had real balles).  So, at end, it’s a light alcohol with great promise (how it smelled) and too little follow-through (palate and finish). Cyril of DuRhum reviewed this same edition, scored it at 77 and provided some great details on the company, and it was tasty enough to make Josh Miller wax rhapsodic in 2013 when he visited the place, tried some and recommended it highly both by itself and in a Ti-punch (you need to read his 10/10 scored review as a serious counterpoint to mine and Cyril’s) – but here I have to be somewhat less enthusiastic based on my own tasting five years down the road.

(#583)(76/100)

Other notes

  • Neither this rum or its lightly aged brother is listed on the St. George’s website.  When I touched base with them, they sadly informed me that because of the difficulty of acquiring fresh cane, they have ceased rum production for “a number of years,” though they remain on the lookout for new and stable sources.  For the moment, they’re not making any.
  • An irrelevant aside to this review is that I inadvertently tried it twice: once in 2017 based on a sample sent to me (totally blind) by John Go; and the second time in 2018, this time one I bought on a whim.  In both cases my tasting notes were practically identical, and so was my score.  I think this is an innovative, intriguing rum from the US which can and should be tried if possible.

 

HSE Rhum Blanc Agricole 2016 Parecellaire #1 – Review

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Dec 182018
 

White rhums – or blancs – were not products I paid much attention to back in the day, but over the last five years they have continually risen in my estimation, and now I consider them one of the key building blocks of the entire category.  Not the lightly-aged, blandly filtered and softly murmuring Spanish-style cocktail staples, you understand – those I regard with relative indifference. No, I mean stuff like the Mexican Paranubes, the Haitian Le Rocher, the Guyanese Superior High Wine, Japanese Nine Leaves Clear, Tahitian Mana’o White or the Surinamese Toucan White, to say nothing of the new crop out of Asia – Samai, Issan, Laodi, Sampan, Chalong Bay…

What elevates these blancs and all their cousins above the regular run of whites is the way they often maintain a solid connection to the distillate of origin and the land from which they came.  They are usually unaged and unfiltered, commonly around 50% or better. Sometimes they’re raw and pestilential and shockingly rude, at other times they’re almost placid, hiding their bright tastes and clear profiles behind a wall of easy and deceptive complexity that takes time to tease out properly (and for both reasons causes them to be occasionally under-appreciated, I think).

Which brings me to the 55% ABV Habitation Saint-Étienne (HSE) Rhum Blanc Agricole that was distilled in Martinique in 2016 and bottled in 2018 (it rested in steel tanks for the duration and can therefore be seen as unaged). We haven’t talked about HSE for a while, but that doesn’t mean that the Martinique brand has been resting on its laurels, because it continues to produce much good rhum – all AOC compliant – and even taken the whites in a new direction. In this case, perhaps channelling Velier’s Uitvlugt East Field 30 from all those years ago, they selected a special type of sugar cane (canne d’or says the bottle, or “gold cane”, varietal designation R570) not just from their sugar estate in the middle of Martinique, but from a specific part of it – the Verger and Coulon plots of land, issued as a rhum they call Parcellaire #1.  So it’s a sort of micro version of HSE as a whole, showcasing a very small part of its terroire.

Aside from HSE, Longueteau, or the new kid on the island block — A1710 and their white La Perle — such atomized drilldowns into smaller subunits of an estate are almost unknown…but they are intriguing to say the least (even though it may all just be cool marketing – I like to think otherwise). Fortunately the way it smelled and tasted skated over such concerns.  The nose, for example, was quite fragrant, starting off with slightly rotten fruits (bananas), rubber, sawdust, set to a background of soft wax candle, all very restrained. Overall it was a little sweet and relaxed, and as it opened, additional notes of nuts, cereals, almonds and nougat came forward. There was also a hint of olives, brine, pineapple, sweet green peas and ripe oranges in an excellent melange that combined themselves very well, without any single aspect being particularly dominant.

Blanc agricoles’ tastes are usually quite distinct, showing variation only in the details.  This one was slightly different — very smooth, very light, the usual herbs and light citrus and grasses starting things off, just less crisp than one might be expecting. This seemed to be kind of nothing-in particular, but hold on a bit — the other, more complex flavours started to creep out.  Dill, sugar water, olive oil, cucumbers, watermelon, light pimentos and gherkins, all sweet enough not to be off-putting, salty/sour enough for some character. I thought it was really quite tasty, giving aged offerings from the same house some serious competition, and finishing things off with a fade that provided last memories of sweet sugar water, light delicate notes of cumin and watermelon and papaya.

Does that all work? Are the specific plots of origin really that clear? I suggest that as a showcase for such a tiny bit of land, for the general rum drinker, not really.  The differences between the regular run of blancs from HSE and this one can be chalked up to miniscule divergences deriving from batch variation rather than anything so refined.  Admittedly though, I’m not a professional sommelier, and lack the experience such people bring to sensing gradations of wine hailing from neighboring vinyards in France – so someone with a more finely tuned snoot may take more away from this than I did.

But I liked it.  I liked it a lot. Above, I wrote that really good whites are either cheerfully rude or deceptively polite:  this one tilts slightly more towards the latter while still remembering its objurgatory antecedents. It’s a enormously drinkable dram, near perfect strength, with wonderfully delicate and strong tastes mixing up both sweet and salt in a terrific white rhum.  You could drink it alone or mix it as you please, and you’d enjoy it either way, with nothing but a nod of appreciation for what HSE have achieved here with such seeming effortlessness. And for its price? This thing may just be an undiscovered steal.

(#580)(86/100)

Other notes

The Habitation Saint-Étienne is located almost dead centre in the middle of Martinique.  Although in existence since the early 1800s, its modern history properly began when it was purchased in 1882 by Amédée Aubéry, an energetic man who combined the sugar factory with a small distillery, and set up a rail line to transport cane more efficiently (even though oxen and people that pulled the railcars, not locomotives). In 1909, the property came into the possession of the Simonnet family who kept it until its decline at the end of the 1980s. The estate was then taken over in 1994 by Yves and José Hayot — owners, it will be recalled, of the Simon distillery, as well as Clement —  who relaunched the Saint-Étienne brand using Simon’s creole stills.

Issan White Rum (Thailand) – Review

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Nov 272018
 

Thailand doesn’t loom very large in the eyes of the mostly west-facing rum writers’ brigade, but just because they make it for the Asian palate and not the Euro-American cask-loving rum chums, doesn’t mean what they make can be ignored; similar in some respects to the light rums from Puerto Rico, Dominican Republic, Panama and Latin America, they may not be rums du jour, yet they continue to produce for their own local audiences and sell very nicely worldwide, thank you very much.  There’s a market for the profile, and given the enormous population of Asia, it’s no surprise that they can make rums for themselves, and sell them, without always worrying too much about the hot topics of purity, additives, ageing and terroire that are so much discussed elsewhere.

That’s not to say that Issan, the company that makes this low-key white rum, doesn’t adhere to such principles.  They certainly do. Located just a short distance from the Laotian border in the north east of Thailand, a stone’s throw from the town of Vientiane (which makes its own rum), Issan uses handcut, hand-peeled cane (grown without herbicides or pesticides, sourced from its own farm and from small farmers around the area), its own strain of yeast, and a small copper pot still imported from Europe.  Like the French Caribbean islands, cane is cut and pressed to cane juice and set to ferment within 48 hours (for 3-4 days), and the waste cane is used as both fuel and fertilizer in an effort to be both ecologically sound and environmentally sustainable. The operation is somewhat more primitive than Chalong Bay (for example), but one can’t argue with the philosophy of artisanal production espoused by founder David Giallorenzo, a Frenchman from Abruzzo, who relocated to Thailand to start Issan in 2011 after a career in the financial services industry.

With export licenses taking a year to put together, the still arriving in December 2013, the next year started with just under a thousand bottles of production, and then initial exports were limited to a thousand bottles to France, Italy, Switzerland, Andorra and Belgium.  This was not large, but the company got a boost in 2014 when it won a silver medal in Hong Kong International Wine & Spirit Competition (and again in 2016), as well as bronze and gold medals in the Paris Rhumfest in 2015. By 2018, the target was ten thousand bottles of production, new stills had been ordered (for greater capacity) and with continued market increase in Europe and exposure by online magazines and bloggers, its rumprint is sure to escalate in the years to come.

Aged rums (or rhums, if you like) are not a major part of the program at this stage (though they do age their rums for a minimum of six months which suggests some level of filtration), and the one I tried was their 40% white, about which I’d heard quite a bit over the years but never got a chance to try — John Go sent it to me, knowing of my fondness for juice from Asia.  And for a product that was more or less still in swaddling clothes compared to its agricole competition in the Caribbean, it wasn’t half bad.

The nose was very very briny, accompanied with what seemed like an entire basket of olives, and alongside that was the dry mustiness of dried rice paddy and sacking (similar to the TECC and Cambridge Jamaicans, remember those?), yoghurt, and sweet flavours – swank, mangoes, green peas fresh out of the can, very delicate fruits which had to do major lifting to get themselves past the wall of salt.  There was also some faint acidic notes which balanced things off, light citrus (tangerine, let’s say) and also cereals, biscuits and oatmeal cookies and some buttermilk, all of which got slightly sweeter after everything opens up. In other words, it took the aromas of any good agricole, and then went their own unique way with it.

The nose was pretty good — the palate was where it was somewhat weaker. This was, I suppose, to be expected — standard proof rums have to be remarkably intense to get one’s attention these days and that goes as much for whites as any other.  So – it was watery and quite light, in no way aggressive, warm and sweet, and actually quite pleasant. You could mix it, but why bother? It had the light sugar water, light lemon zest, light pears and white guavas, and light spices….cumin, a suggestion of nutmeg, little else aside from a pinch of salt.  There’s a finish of sorts, short, sweet, watery and slightly fruity, and about all that could reasonably be expected.

Still, given that I walked in expecting even less, it was a really enjoyable product, akin to a softer clairin.  My personal experience with Asian spirits suggests they tend to be less in-your-face, smoother, a shade sweeter – sometimes additives perform the function of making it palatable.  As far as I know, Issan issues what comes of the still into the bottle without any messing around except to reduce it to 40% and some filtration, and they do a pretty good job here…I can only imagine what a more potent full proof version would be like (probably knock my socks off, I’m thinking, and if they could get it past Thai legislation which forbids bottling spirits north of 40%, and out to the West, more medals would be in the offing for sure).  

The Issan isn’t out to change the rumiverse, doesn’t want to reinvent the pantheon of rums (white or otherwise), and is a left-of-straightforward, relatively light, eager-to-please white rum — and deceptive in that you only think it’s weak when you start…then it grows little fangs and shows some aggro, and you realize there’s rather more here than was immediately apparent.  It’s a neat drink, well made, a slow-burn white, perhaps made for those who walk in believing they’re getting a gentle sundowner…and are then suckered into enjoying something just a shade more potent.

(#572)(79/100)

Rum Nation Ilha da Madeira Rum Agricole White – Review

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Oct 252018
 

No, that’s not another typo in the title, it’s just the way the bottle spelled “rum” so I followed along even if it is an agricole-style product and by convention it might have been better termed “rhum” (though the words mean the same thing – it’s purely a matter of perception).  Since looking at the Engenho Novo aged rum last time, I thought it would be fitting to stick with the island of Madeira and see what one of their whites would be like, especially since I had been so impressed with the RN Jamaican Pot Still 57% some years ago….would this one live up to to the rep the Caribbean one garnered for itself?

Curiously, there isn’t much to go on as regards the background aside from the obvious: we know it is 50% ABV and made from cane juice in a column column still…but it come not from Engenho Novo (which is to say, the reconstituted William Hinton, and the source of the rum for  Rum Nation’s Rares), but from Engenhos do Norte in Porto da Cruz – Fabio remarked in an email tome that he liked it better for this purpose than the Novo). It’s unclear whether it’s unaged and unfiltered, or lightly aged and then filtered to clarity…and if the latter case is what happened, then what kind of casks. We’re not sure what the “Limited edition” on the label actually means. And, as always with RN, there’s also the question of any additions. We can however infer that based on the chubby, stubby bottle and label style, that the rum is part of their standard lineup and not the higher-proofed, higher-quality, higher-priced Rares (as an aside, I hope they never lose the old postage stamps incorporated into the design), and possibly from the word “crystal” used in their website materials, that it has been filtered. But I’ll amend the post if I hear back from them.

Anyway, here’s what it was like. The nose of the Ilha da Madeira fell somewhere in the middle of the line separating a bored “meh” from a more disbelieving “holy-crap!”.  It was a light melange of a playful sprite-like aroma mixed in with more serious brine and olives, a little sweet, and delicate – flowers, sugar water, grass, pears, guavas, mint, some marzipan. You could sense something darker underneath – cigarette tar, acetones – but these never came forward, and were content to be hinted at, not driven home with a sledge. Not really a brother to that fierce Jamaican brawler, more like a cousin, a closer relative to the Mauritius St. Aubin blanc (for example). What it lacked in pungency it made up for in both subtlety and harmony, even at 50%.

It was also surprisingly sippable for what it was, very approachable, and here again I’ll comment on what a good strength 48-52% ABV is for such white rums.  It presented as sweet and light, perfumed with flowers, pears, green grapes and apple juice, then adding some sour cream, brine, olives and citrus for edge. There were some reticent background notes as well, cinnamon mostly, and an almost delicate vein of citrus and ginger and anise. It tasted both warm and clean and was well balanced, and the finish delivered nicely, redolent of thyme, sweet vinegar dressing on a fresh salad, and green grapes with just a touch of salt.

Average to low end white mixers – still occasionally called silvers or platinums, as if this made any difference – are defined by their soft, unaggressive blandness: their purpose is to add alcohol and sink out of sight so the cocktail ingredients take over. In contrast, a really good white rum, which can be used either for a mixed drink or to have by itself if one is feeling a little macho that day,  always has one or more points of distinction that sets it apart, whether it’s massive strength, savagery, rawness, pungency, smooth integration of amazing tastes, funk, clarity of flavour or whatever.

Honestly, I expected more of the latter, going in: something fiercer and more elemental…but I can’t say what was on display here was disappointing. In October 2018, when I asked him what rums he had that was of interest, Fabio actually tried to steer me away from this one (“It’s good, but not so interesting,” he laughed as he pulled down a Rare Caroni).  But I disagreed, and think that what it really comes down to is that it’s a solid addition to the white portion of the rum spectrum and certainly a step above “standard”. It’s tasty and warm, and manages the cute trick of being dialled down to something really approachable, while still not forgetting its more uncouth antecedents. And if it is not of the pungent power that can defoliate a small patch of jungle, well, it may at least blanch a leaf or two, and is worth taking a second look at, if it crosses your path.

(#560)(83/100)

Other Notes

From the 2017 release season

Rum Nation Small Batch Collection – Engenho Novo 2009 8 YO Rum – Review

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Oct 222018
 

The mark of the successful long-term independent bottler in the public perception rests upon two main pillars – one is of course the quality of the rums they put out the door (and perhaps, how consistently); and the other is the level of originality they bring to the game.  By that I mean how often do they stray from the mainstream of the standard pantheon and go in new directions, seek out different maturations, different ages, different barrels, different distilleries (or whole countries). It is because Velier nails both of these aspects that they are as successful as they are, though I would certainly not discount Samaroli, Compagnie des Indes or Rum Nation (among others).

Rum Nation, also from Italy, has been somewhat out of the public eye of late, but the point about originality does apply to them – think back on the Jamaican White 57% rum, for example, or the Supreme Lord series, or the 20+ year old Demeraras, or their Peruvian and Guatemalan rums, the latter of which most other indies don’t often go near. In the last few years Fabio Rossi, the founder of the brand, went in yet another direction by issuing a new limited-edition series called the “Small Batch Rare Rums” … and one of them was this intriguing little number from Madeira, from a distillery called Engenho Novo – they are the boys behind the William Hinton brand of rums which have recently become more available in Europe over the last few years.

I’ll provide some more background detail in the Other Notes below, but for the moment let’s just read off the fact sheet for the rum which is very helpfully provided on the Rare Rums website and on the bottle label itself. This is a cane juice distillate and can therefore be classed as an agricole-style rhum; distilled 2009 and the four barrel outturn from a column still was aged in Madeira casks, providing 570 bottles in 2017, with a strength of 52%.

For those not into their lighter spirits, “Madeira” is a fortified wine made in the Portuguese islands of Madeira off the African coast, and can be either dry or sweet.  Given the entire ageing period of the rum took place in such casks, I expected to see a substantial divergence from both an aged agricole or any other kind of “standard” ex-bourbon-barrel profile. In fact, swirling the dark brown rum in the glass made me wonder if some caramel hadn’t been added to colour it…or whether the casks were completely dry of wine before pouring the good stuff in to age.

Still, the nose delivered, if not precisely that clear-grassy-herbal aroma characteristic of the French islands.  Oh no. This was more like one of those mated with a drowsy Demerara from Port Mourant: it smelled of dark ripe cherries and coca cola, fleshy stoned fruits and red licorice, plus unsweetened cooking chocolate, hot black tea, raisins and wasn’t that a bit of brine and olives down the back end?  Sure it was. And very nice too.

And even at 52%, after an initial whiff of its cane juice origins — it began somewhat fresh and crisp before relaxing — the rum proceeded quite softly on the palate, and suggested a taste reminiscent of a stack of old books in a dusty library nobody now visits, the dry mustiness of barnyard hay.  This was set off by the taste of a Haagen-Dasz dulce de leche ice cream (the Little Caner loves that stuff and I pinch it from his tub every chance I get), as well as brine, more olives, licorice, prunes, red wine, citrus peel, cider and the vague tartness of gooseberries and unsweetened yoghurt.  It was quite rich and flavourful, a nice drink, finishing with with warm notes of cherries, raisins, a little herbal, and cider, salt caramel and sour cream.

So where does that leave us?  Well, with a rather peculiar product.  It is unique in its own way, giving you the odd-but-pleasant experience of tasting a well-assembled agricole-Demerara blend, or maybe a molasses-based Guadeloupe rhum.  That may be a Madeiran thing – I can’t tell, since I have not had enough from there to make the claim with assurance (yet). But in any event, Rum Nation doesn’t make bad rums – they’re too professional an outfit for that, and I’ve thought so ever since I ran into them in 2010 and bought that entire year’s output at once. They stratify their products into the starter rums, sweeter ones (the Millonarios), high-end aged rums (the Demeraras and Jamaicans) and these higher proof Rares for the cognoscenti. This one isn’t the best or most original rum they’ve ever made, but it does show Fabio Rossi forging ahead in his own way to expand his company’s range, producing new and fascinating rums for us all to try — and it’s definitely a rum to sample if you’re ever bored with the regular islands’ rums and want to try something different…but not too different.

(#559)(85/100)

Other notes

  • Wes, who reviewed it back in January 2018, rated it as 50% ABV on his hydrometer, which equates roughly to 10g/L dosage, give or take.
  • The sugar factory and distillery was founded in 1845 by William Hinton; it reached a peak production of 600 tons of cane processed per day in 1920, but closed in 1986 (no reasons are given on their website, but perhaps falling sugar prices contributed, or the expense of maintaining extensive sugar cane fields).  It was restarted by Hinton’s heirs in 2006 as Engenho Novo de Madeira.

Longueteau Rhum Blanc Agricole 62° – Review

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Oct 112018
 

In the last decade, several major divides have fissured the rum world in ways that would have seemed inconceivable in the early 2000s: these were and are cask strength (or full-proof) versus “standard proof” (40-43%); pure rums that are unadded-to versus those that have additives or are spiced up; tropical ageing against continental; blended rums versus single barrel expressions – and for the purpose of this review, the development and emergence of unmessed-with, unfiltered, unaged white rums, which in the French West Indies are called blancs (clairins from Haiti are a subset of these) and which press several of these buttons at once.

Blancs are often unaged, unfiltered, derive from cane juice, are issued at muscular strengths, and for any bartender or barfly or simple lover of rums, they are explosively good alternatives to standard fare – they can boost up a cocktail, are a riot to drink neat, and are a great complement to anyone’s home bar…and if they occasionally have a concussive sort of strength that rearranges your face, well, sometimes you just gotta take one for the team in the name of science.

The Longueteau blanc from Guadeloupe is one of these off-the-reservation mastodons which I can’t get enough of. It handily shows blended milquetoast white nonsense the door…largely because it isn’t made to sell a gajillion bottles in every low-rent mom-and-pop in the hemisphere (and to every college student of legal age and limited means), but is aimed at people who actually know and care about an exactingly made column-still product that has a taste profile that’s more than merely vanilla and cloves and whatever else.

Doubt me?  Take a sniff. Not too deep please – 62% ABV will assert itself, viciously, if you’re not prepared. And then just think about that range of light, crisp aromas that come through your schnozz.  Speaking for myself, I noted freshly mown grass, sugar cane sap bleeding from the stalk, crisp apples and green grapes, cucumbers, sugar water, lemon zest, brine, an olive or two, and even a few guavas in the background.  Yes it was sharp, but perhaps the word I should use is “hot” because it presented an aroma that was solid and aggressive without being actually damaging.

Taste? Well, it’s certainly not the easy kind of spirit you would introduce to your parents, no, it’s too badass for that, and individualistic to a fault.  Still, you can’t deny it’s got character: taking a sip opens up a raft of competing and distinct flavours – salt, olives, acetones, bags of acidic fruit (green grapes and apples seem to be the dominant notes here), cider, lemon zest again, all toned down a little with some aromatic tobacco and sugar water, cumin, and even flowers and pine-sol disinfectant (seriously!).  That clear and almost-sweet taste runs right through into the finish, which is equally crisp and fragrant, redolent of sugar water, lemons and some light florals I couldn’t pick apart.

There you are, then. Compare that to, oh, a Bacardi Superior, or any filtered white your barman has on the shelf to make his usual creations.  See what I mean? It’s a totally different animal, and if originality is what you’re after, then how can you pass something like this by? Now, to be honest, perhaps comparing a visceral, powerful white French island rhum like this to a meek-and-mild, easygoing white mixing agent like that Bacardi is somewhat unfair — they are of differing styles, differing heritages, differing production philosophies and perhaps even made for different audiences.

Maybe. But I argue that getting a rum at the lowest price just because it’s the lowest isn’t everything in this world (and in any case, I firmly believe cheap is always expensive in the long run) – if you’re into this curious subculture of ours, you almost owe it to yourself to check out alternatives, and the Longueteau blanc is actually quite affordable. And for sure it’s also a beast of a drink, a joyous riot of rumstink and rumtaste, and I can almost guarantee that if you are boozing in a place where this is begin served, it’s one of the best blanc rhums in the joint and probably the most exciting thing going that week.

(558)(85/100)

Other Notes

J. Bally Rhum Agricole Blanc – Review

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Sep 102018
 

How this blanc J. Bally succeeds as well as it does is a source of wonder.  I tried it and was left blinking in appreciation at its overall quality. Like all Bally rums made these days, it’s AOC certified, half pure alcohol (50% ABV), and unaged (rested for a few months in stainless steel tanks before bottling), and I honestly expected something a lot more aggressive than it actually was.  In that ability it had to walk the tightrope between ageing and no aging, between too strong or too weak, between jagged edges and smooth gentling lies a lot of its appeal.

Some time ago when I wrote a small roundup of  21 Great Whites, I remarked on the fact that most of the best white rums out there are bottled without any ageing at all, right as they come dripping off the still.  Whatever filtration such rums are subjected to, is to remove sediment and detritus, not the sort of chill filtration, reverse osmosis or activated charcoal filters that leave an emasculated and flaccid excuse for a rum behind, which is then relegated to the poor-doofus-cousin shelf of a barman’s cabinet, used only for cheap mixes.  You certainly would not want to drink one of those indifferent, milquetoast whites neat to savour the nuances, which is why they have inexorably slipped to the bottom of the rankings of white rums in general, their place taken by purer, cleaner, stronger stuff — like this cool Martinique product.

Bally no longer exists as an independent, completely integrated entity in its own right. After being acquired by Remy Cointreau in the 1980s, the distillery operations were closed and shifted to the centralized Simon Distillery, though the original recipes for their rhums remains intact, and sugar production continues at Lajus, as does the bottling and ageing up the road at Le Carbet. As with many French island products, it retains a certain cult following, and a cachet all its own.  Suffice to say they have made some really good rums, and this one may either be the real deal poised for mass market export or some kind of off-the-wall local tipple trotted out for exposure at various Rumfests (which is where I tried it, mostly out of curiosity). It’s reasonably widely available, especially in Europe.

Well, that out of the way, let me walk you through the profile.  Nose first: what was immediately evident is that it adhered to all the markers of a crisp agricole. It gave off of light grassy notes, apples gone off the slightest bit, watermelon, very light citrus and flowers.  Then it sat back for some minutes, before surging forward with more: olives in brine, watermelon juice, sugar cane sap, peaches, tobacco and a sly hint of herbs like dill and cardamom.

The palate was more dialled down, less aggressive…tamer, perhaps; softer. And that’s saying something for a 50% rum.  It was sleek, supple, smooth and sweet, and went down easy. Tastes suggested fanta and 7-Up in an uneasy combination with rained-upon green grass.  A little menthol, thyme and sugar water. A sort of light fruitiness pervaded the drink – watermelon juice, white guavas, pears, combined with sugar water, underneath which lurked a cheeky element of brine that never entirely came out and took over, and was hinted at, never outright disclosed.  Finish was nothing special – a little salt, a little sugar, a little water, a little fruit, but not hot at all, mostly an easy going wave goodbye as it exited the premises.

There’s little to complain about here, and much to admire.  To me, what sets this rum apart is its how many things it accomplishes in the same bottle, the same shot.  Unlike many whites that are now making headlines, Bally’s blanc doesn’t want to rip your face off or try to show off its package in an effort to show it’s bigger, bolder and more badass than all the others.  It’s also an uncommonly restrained white rum, retaining both elements of its youth, as well as having its rough edges sanded down a shade. It’s a white rhum that is demonstrably an agricole, a vibrantly young sprout of some character and depth, and tailor-made for both those now dipping their toes into the white-rum sea (and don’t want anything too savage), and those who like white agricoles on general principles. That it does all these things at once and with such unassuming style, is nothing short of a tiny miracle.

(#548)(84/100)

Stubb’s Queensland White Rum (1990s)

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Aug 212018
 

Rumaniacs Review #082 | 0541

Although the Ministry of Rum speaks to Stubb’s as being made from molasses, the label of the bottle itself says it’s made from cane juice, and I think I’ll go with that. And in spite of the retro-style design of the label, it seems that it was created from scratch in the 1990s with a view to capturing some export market share from Bacardi, and after being introduced to the market, fell flat and was discontinued. And while both Peter’s Rum Labels and the Ministry make reference to the fact that Beenleigh Distillery is the holder of the brand, Beenleigh’s own website makes no such assertion, and there are trademark records of a 1990s company called William Stubbs & Company (which is now dead) bearing a very similar logo to the one shown here.

That said, a most helpful gent named Steve Magarry managed to contact Beenleigh directly, and confirmed that it was “…made for the USA and England for IDV. Fermented from syrup and distilled in a three-column still at 95% ABV; (it is) unaged, and exported during the early 1990s…it did not take off as they hoped.”

So we can therefore say with some assurance that the rum was Australian, released in the 1990s, column still, meant for export, and is now defunct. That’s more than we usually have, for a rum this obscure, so huge thanks to Steve and the others who chipped in.

Colour – White

Strength – 42.5%

Nose – Quite sharp, with light fruit and estery aromas immediately evident.  Some cucumbers in vinegar, dill, grass and watery pears, together with sugar water.  The profile does indeed point to a sugar cane juice-based rum rather than one of molasses.

Palate – Watery and sweet, oily almost, with a touch of brine and light olives.  Not a whole lot going on here – sugar cane sap, a hint of musky maple syrup, vegetals, dill.  It feels a little unrefined and rough around the edges, and not so different in profile as to suggest something off the reservation (the way, for example, Bundie is always at pains to demonstrate).

Finish – Relatively long and aromatic, floral, with sugar water and tinned pears in syrup, plus a pinch of salt.

Thoughts – Unspectacular, probably filtered rather than issued straight off the still. Its misfortune was to be released at a higher than usual price just as an economic slump hit Australia, and sales dipped, causing it to be discontinued before the new millenium dawned. Nobody seems to miss it much.

(79/100)

Clairin Le Rocher Unaged White Rum (2017) – Review

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May 072018
 

#509

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

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

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

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

(85/100)

Other notes

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

Paranubes Mexican White Rum – Review

 1 Response »
May 012018
 

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#507

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

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

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

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

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

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

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

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

(81/100)

Other notes

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

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

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Apr 252018
 

#505

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

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

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

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

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

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

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

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

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

(85/100)

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