Rum Nation Guatemala Rum Gran Reserva – Review

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Oct 292020
 

Aside from Zacapa, Botran is the other big rum name we know which comes out of Guatemala.  Both have lost some of their lustre in the last years (though probably not their sales), the former for its sweetness, the latter because it got left behind by the fast moving indie world and cask strength ethos that gradually took over the top end.

That certainly did not stop Rum Nation though, because they happily took some of the distillate from Botran’s Destiladora del Alcoholes y Rones SA (also known as DARSA) and aged it for around four years (minimum) in the Hondo River region of NE Guatemala in ex-bourbon white oak barrels.  The story goes that this area is quite humid and the warmest part of Guatemala which allowed for some interesting effects on the final distillate, a light, fruity result that was then bottled in 2018 and remains in their core lineup. 

Well, ok. I’ve had a fair bit of Botran’s lineup and if Rum Nation decides to go this route of in-country ageing to get a nice little 40% sipper, I’d love to try it.  I do after all have a lingering fondness for one of the first indies I ever had a chance to try, and retain a desire to try two other old rums from Guatemala they issued — a 1982-2005 and a 1984-2007.

Rum Nation’s own background notes say this is “one of the lightest rums in our collection” and they weren’t kidding (they omit mention that it’s also one of those rums Fabio Rossi would call a “starter rum”, but never mind). The nose just confirms this assessment: it is delicate to a falt, very light, channeling the clean white softness of a freshly laundered pillowcase hung to dry in the sun. It’s lightly sweet, fruity with the aromas of green grapes and raisins, and has a tuch of cola, mint, caramel and some vanilla, plus an additional hint of orange peel and perhaps some anise after a few minutes. A nice and easy sip to start the day’s sundowners.

The palate built on this quiet foundation.  It remained soft and warm – 40% couldn’t really provide much more – and initially tasted of candy, creme brulee, caramel and vanilla ice cream, as well as an odd and subtle mineral note. A little salt, brie, citrus, vanilla, more caramel and a touch of spite from the wood. Others have remarked on a  more pronounced licorice element, but  didn’t sense much of that.  The finish is everything we can expect: a summation of all the preceding, no new ground, a light, breathless wisp of vanilla, fruit and caramel.

Fabio Rossi no longer owns the Rum Nation brand (he sold it to a group of Danes in 2019 or thereabouts) yet his fingerprints remain all over this one.  For years he tried to find a light, fragrant, fruity distillate that would take on Zacapa and the two rums alluded to above were part of that exercise, even if eventually he found what he was looking for in Peru, not Guatemala. I think he liked what Botran was doing, though, and put in an order that resulted in this delicate standard-strength blend.  By the time it came out he was already retreating from Rum Nation, leaving it as one of the last rums he had a hand in creating.  

It’s too delicate and light and breathy for me, and as you know, these days 40% doesn’t work for me any longer. That should not, however, stop adherents of the Botrans and soft Latin style rums from giving it a try, because it sure pushes all the buttons I know they like: easy, light and clean, reasonably and subtly tasty, made to have by itself. For those drinkers not entirely won over by today’s stronger and more puissant full proof releases, this may be the fruity marshmallow they never knew they wanted.

(#773)(80/100)

Other Notes

  • I didn’t get to test for sugar, but I’m sure there’s some in here…it just tastes that way.
  • As far as I know, completely aged in Guatemala, and it’s a blend, not a solera.

Tres Hombres No.8 La Palma Ron Tradicional Anejo XVII Años Solera – Review

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Oct 212020
 

Before delving into the (admittedly interesting) background of Tres Hombres and their “fair transport” concept, let’s just list the bare bones of what this rum supposedly is, and what we do and don’t know.  To begin with, it’s unclear where it’s from: “Edition No. 8 La Palma” goes unmentioned on their webpage, yet Ultimate Rum Guide lists a rum with the same stats (41.3% ABV, la Palma, Solera) as Edition No. 9, from the Domincan Republic.  But other La Palma rums made by Tres Hombres list the named rums as being from the Canary islands – Aldea, in point of fact, a company we have met before in our travels. Beyond that, sources agree it is a blended (solera) rum, the oldest component of which is 17 years old, 41.3% and the three barrels that made up the outturn spent some time sloshing around in barrels aboard a sailing ship (a 1943-constructed brigantine) for which Tres Hombres is renowned.

Well, Canary Islands or Dominican Republic (I’ll assume The Hombres are correct and it’s the former), it has to be evaluated, so while emails and queries chase themselves around, let’s begin. Nose first: kind of sultry and musky.  Green peas developing some fuzz, old bananas, vanilla and grated coconut, that kind of neither too-sweet nor too-salt nor too-sour middle ground.  It’s a little spicy and overall presents as not only relatively simple, but a little thin too, and one gets the general impression that there’s just not much gong on.

The palate, though, is better, even a little assertive.  Certainly it’s firmer than the nose led me to expect. A trace briny, and also quite sweet, in an uneasy amalgam akin to tequila and sugar water.  Definite traces of ripe pears and soft apples, cardamom and vanilla.  Some other indiscernible fruits of no particular distinction, and a short and rather sweet finish that conferred no closing kudos to the rum. It’s as easily forgettable and anonymous as a mini-bar rum in a downmarket hotel chain, and about as exciting.

Tres Hombres is now up to No. 34 or something, includes gin in the lineup, still do some ageing onboard for a month or so it takes to cross the Atlantic and certainly they have not lost their enthusiasm — they include rums from Barbados, DR and the Canary islands. Whether this part of their business will carry them into the future or forever be a sideline is, however, not something I can answer at this time – the lack of overall publicity surrounding their rums, suggests they still have a ways to go with respect to wider consciousness and acceptance.

And with good reason, because to me and likely to others, complexity and bravura and fierce originality is not this rum’s forte – smoothness and easy drinkability are, which is something my pal Dave Russell has always banged me over the head about when discussing Spanish style rums, especially those from the DR – “they like their stuff like that over there!” And so I mention for completeness that it seems rather delicate and mild – the low strength is certainly responsible for some of that – and not completely displeasing….just not my personal cup of tea. 

(#771)(75/100)

Other Notes & Background

This is one of those cases where the reviewer of the rum has to firmly separate the agenda and philosophy of the company (laudable, if somewhat luddite) from the quality of the rum they sell. In no way can the ideals of one be allowed to bleed over into the perception of the other, which is something a lot of people have trouble with when talking about rums made by producers they favour or who do a laudable public service that somehow creates the uncritical assumption that their rums must be equally good.

Tres Hombres is a Dutch sailing ship company begun in 2007 by three friends as a way of transporting cargo — fair trade and organic produce — across and around the Atlantic, and they have a sideline running tours, daytrips and instructional voyages for aspiring old-school sailors.  In 2010, while doing some repairs in the DR, they picked up 3000 bottles of rum, rebranded it as Tres Hombres No. 1 and began a rum business, whose claim to fame was the time it spent — after ageing at origin — abroad the ship itself while on the voyage.  Not just old school, then, but very traditional…more or less. The question of where the rum originated was elided – only URG mentions Mardi S.A. as the source, and that’s a commercial blending op like Oliver & Oliver, not a real distillery.

What the Tres Hombres have done is found a point of separation, something to set them apart from the crowd, a selling point of distinction which fortunately jives with their environmental sensibilities. I’m not so cynical as to suggest the whole business is about gaining customers by bugling the ecological sensitivity of a minimal carbon footprint – you just have to admire what a great marketing tool it is, to speak about organic products moved without impact on the environment, and to link the long maritime history of sailing ships of yore with the rums that are transported on board them in the modern era.  

Compagnie des Indes Dominican Republic 2000-2016 15 YO Rum – Review

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Sep 212020
 

Photo courtesy of and (c) Mads Heitmann of romhatten.dk

One of the interesting things about the Compagnie des Indes Dominican Republic rum we’re looking at today, is that we don’t often see rums from the half island go into anything except a mild standard strength blend.  It’s rare to see a single cask version and even rarer at this kind of power – 64.9%. Here is a rum that at that level of oomph had to be a special edition for Denmark only (see other notes), probably because nobody back in the day wanted to take a chance on a rum and a country not known for individualistic excess of any kind.

In 2020, of course, when new indies are popping up everywhere and cask strength is considered almost a new standard, such a thing is the sort of amusing tale we relegate dismissively to “them old days”, but it’s instructive to note how recently the situation actually was – the rum was released in 2016.  Another peculiarity about it is the lack of information about who made it – none of this “Secret Distillery” business, just a cryptic note of “various” distilleries – this tells us that it was likely procured from either one or more of the “Three B’s” – Bermudez, Barcelo or Brugal – or Oliver & Oliver (who produces such indeterminate blends).  The assumptions this also forces us to make are that it is from column stills, a blend, and blended prior to ageing, not after. Knowing the Compagnie, I don’t think it’s a stretch to suggest ageing was continental.

Still, I do appreciate the extra intensity the 64.9% brings and the ageing of fifteen years is nothing to sneeze at. The nose bears this out in some ways – it’s powerful, yes, but very light and clear, with a clean and somewhat sweetish nose. Fruits like peaches, cherries, a slice of pineapple and a red grapefruit are present, though oddly muted.  To this is added tannins, oak, shoe leather, citrus, and aromatic port-infused cigarillos, which nose well but seem tamped down, even tamed, not as furiously pungent as might have been expected.

Photo courtesy of and (c) Mads Heitmann of romhatten.dk

The palate is pretty good, though.  The tart and sweet nose gives way to a more musky, nutty and coffee-like flavour, with chocolate and mocha, a bit bitter. The sweetness noted on the aromas was less prominent here, while, with some water, the fruity component went up, and developed hand in hand with an interesting salty tang, nuts, dates and teriyaki sauce (go figure). Finish is good but not exceptional: medium long, fruity aromas of ripe mangoes, pineapple and sweet soya sauce, and a whiff of salt caramel.

A single cask full-proof rum from the Dominican Republic is harder to find nowadays, even from an independent, and my impression is that CdI (or Florent – to speak of one is to speak of the other as is the case with most small indies) found it uneconomical to release such a rum which in any event lacked precision – it had been blended before it went into the cask in 2000, and then aged for 15 years, releasing a mere 293 bottles.  It’s likely that though it sold and he didn’t lose money, he found it more efficient to go more seriously into blended rums, like the well-received Dominidad series of Dominican/Trinidadian hybrids which did away with the limited outturn of the DR 2000 and expanded his sales (he has remarked that blends outsell the single cask offering by quite a margin, an experience shared by 1423 in Denmark).

Well, whatever. Moving away from this single-country, multi-distillery type of rum was probably the right decision – because although CDI has made a few others from the DR, younger ones, they are not well known, probably for the same reason this one has faded from our senses: overall there’s something indeterminate about it, and it lacks an element of real distinctiveness that might make you run to find your credit card. In other words, while the CdI DR 15 YO is too well made to ignore completely, there’s also nothing specific enough here to recommend with real enthusiasm.

(#763)(82/100)

Other Notes

  • On FB, others gently disagreed with my assessment. Nico Rumlover commented it was the best DR rum, for him (of the 14 DR rums I’ve written about, only two score higher, so I’d suggest he has a point); and Mikkel Petersen added that he felt it was one of the best gateway rums for people who wanted to get into cask-strength additive-free juice. I hadn’t considered that, but do agree.
  • Florent has told me it’s definitely not Oliver & Oliver, and identified at least one of the distilleries in the blend. I respect his reticence and therefore will not mention it either.  
  • The rum has no additives and is not filtered. Interesting then, why it tastes sweet.
  • Back in 2014-2016, Danish bars and importers liked the Compagnie’s bottlings but having a bunch of rabid rum fans clamouring for stronger juice, asked Florent to sell them some at cask strength.  Florent told them he could do that, but for tax and other reasons could only sell them the entire outturn from a whole barrel, and this is why there are various older bottlings with the “Bottled for Denmark” on the label.  By 2016 others got into the act, these releases became more popular and more common and distribution was widened to other countries – so the label was changed to “Cask Strength” and after another year or two, the matter was dropped entirely.

Watson’s Trawler Rum – Review

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Sep 102020
 

It’s been many years since the first of those blended dark-coloured UK supermarket rums dating back decades crossed my path – back then I was writing for Liquorature, had not yet picked up the handle of “The ‘Caner”, and this site was years in the future.  Yet even now I recall how much I enjoyed Robert Watson’s Demerara Rum, and I compared it positively with my private tippling indulgence of the day, the Canada-made Young’s Old Sam blend — and remembered them both when writing about the Wood’s 100 and Cabot Tower rums.

All of these channelled some whiff of the old merchant bottlers and their blends, or tried for a Navy vibe (not always successfully, but ok…).  Almost all of them were (and remain) Guyanese rums in some part or all. They may be copying Pusser’s or the British heritage of centuries past, they are cheap, drinkable, and enjoyable and have no pretensions to snobbery or age or off-the-chart complexity.  They are a working man’s rums, all of them.

Watson’s Trawler rum, bottled at 40% is another sprig off that branch of British Caribbean blends, budding off the enormous tree of rums the empire produced. The company, according to Anne Watson (granddaughter of the founder), was formed in the late 1940s in Aberdeen, sold at some point to the Chivas Group, and since 1996 the brand is owned by Ian McLeod distillers (home of Sheep Dip and Glengoyne whiskies). It remains a simple, easy to drink and affordable nip, a casual drink, and should be approached in precisely that spirit, not as something with pretensions of grandeur.

I say “simple” and “easy” but really should also add “rich”, which was one of the first words my rather startled notes reveal.  And “deep.”  I mean, it’s thick to smell, with layers of muscovado sugar, molasses, licorice, and bags of dark fruits.  It actually feels more solid than 40% might imply, and the aromas pervade the room quickly (so watch out, all ye teens who filch this from your parents’ liquor cabinets). It also smells of stewed apples, aromatic tobacco, ripe cherries and a wedge or two of pineapple for bite. Sure the label says Barbados is in the mix, but for my money the nose on this thing is all Demerara.

And this is an impression I continue to get when tasting it. The soft flavours of brown sugar, caramel, bitter chocolate, toffee, molasses and anise are forward again (they really wake up a cola-based diet soda, let me tell you, and if you add a lime wedge it kicks).  It tastes a bit sweet, and it develops the additional dark fruit notes such rums tend to showcase – blackberries, ripe dark cherries, prunes, plums, with a slight acidic line of citrus or pineapple rounding things out nicely.  The finish is short and faint and wispy — no gilding that lily — mostly anise, molasses and caramel, with the fruits receding quite a bit. A solid, straightforward, simple drink, I would say – no airs, no frills, very firm, and very much at home in a mix.

It’s in that simplicity, I argue, lies much of Watson’s strength and enduring appeal — “an honest and loyal rum” opined Serge Valentin of WhiskyFun in his review. It’s not terrible to drink neat, though few will ever bother to have it that way; and perhaps it’s a touch sharp and uncouth, as most such rums aged less than five years tend to be. It has those strong notes of anise and molasses and dark fruit, all good.  I think, though, it’s like all the other rums mentioned above — a mixer’s fallback, a backbar staple, a bottom shelf dweller, something you drank, got a personal taste for and never abandoned entirely, something to always have in stock at home, “just in case.” 

Such rums are are almost always and peculiarly associated with hazy, fond memories of times past, it seems to me.  First jobs, first drunks, first kisses, first tastes of independence away from parents…first solo outings of the youth turning into the adult, perhaps. I may be romanticizing a drink overmuch, you could argue…but then, just read my first paragraphs again, then the last two, and ask yourself whether you don’t have at least one rum like that in your own collection.  Because any rum that can make you think that way surely has a place there.

(#759)(82/100)

Cadenhead Green Label 25 Year Old Guyana Rum – Review

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Sep 072020
 

Cadenhead just refuses to depart the rum scene, which is probably a good thing for us.  We see rums too rarely from Berry Bros & Rudd, Gordon & MacPhail or AD Rattray, who were among the first introductions many of us ever had to fullproof single cask rums (even if they were sadly misguided whisky bottlers who didn’t know where or what the good stuff truly was). And there’s Cadenhead, persistently truckin’ away, releasing a bit here and a bit there, a blend or a single cask, and their juice goes up slowly but steadily in value (e.g. the fabled 1964 Uitvlugt which sold on RumAuctioneer a few months back for a cool three grand).

Cadenhead has always marched to its own tune and idiosyncratic, offbeat bent.  They never really created a consistent feel for their rums, and had a number of different rum lines, however small, however similar (or peculiar). There’s the blended one-off of the Classic Green Label rum, there is the whole “standard” Green Label range with their cheap-looking, puke yellow/green labelling design and occasional playful experimentation; there’s the green box and more professional  ethos of the 1975 Green Label Demerara, and then there’s the stubby yellow- label “dated distillation” bottlings of the single casks, which carries three- or four-letter marques on them, about which I have always joked they themselves never knew the meanings.

Usually I go after the single casks, which seem to be made with more serious intent.  But the lower-end Green Labels have some interesting ones too, like that Laphroaig finished Demerara 12 YO, or the Barbados 10 YO (no it’s not a Foursquare).  Even the Panama 8 YO had its points for me, back when I was still getting a handle on things. So to see a 25 year old “Guyanan” rum (that term irritates me no end) is quite enough to get my attention, especially since this is the top end of a small range-within-a-range that also has an 8 and a 15 year old. Alas, age aside, there are few details to be going on with – no still, no year of distillation or bottling, no outturn.  It is 46% and non filtered, not added to, and I think we can take it for granted that it’s continentally aged.

As with all Guyanese rums where the provenance is murky, part of the fun is trying to take it apart and guessing what’s inside when it’s not mentioned.  The nose gives a few clues: it’s warm and fruity, with ripe prunes and peaches right up front.  Some nuttiness and sweet caramel and molasses the slightest bhoite of oak.  But none of the distinctive wooden-still glue, pencil shavings, sawdust and anise are in evidence here. Actually I find the smell to be rather underwhelming – hardly the sort of power and complexity I would expect from a quarter century in a barrel, anywhere.

Perhaps redemption is to be found when tasting it, I mutter to myself, and move on actually drinking what’s in the glass. Mmmm….yeah…but no. Again, not quite spicy – initial tastes are some toffee, toblerone and gummi bears, dark fruits (prunes, plums and raisins for the most part, plus a slice of pineapple, maybe an apple or two).  Molasses, smoke, leather, a touch of licorice, brine, olives.  With a drop of water, it gets drier and a tad woody, but never entirely loses the thinness of the core profile, and this carries over into the finish, which is sharp and scrawny, leaving behind the memory of some fruits, some marshmallows, some softer white chocolate notes, and that’s about it.

Leaving aside the paucity of the labelling, I’d say this was not from any of the wooden stills, and very likely an Uitvlugt French Savalle still rum.  There seems to be quite a bit of this washing around Cadenhead in the late 1990s, so I’ll date it from there as a sort of educated guesstimate. 

But with respect to an opinion, I find the rum something of a disappointment.  The deeper notes one would expect from a Guyanese rum are tamped down and flattened out, their majestic peaks and valleys smoothened into a quaffable rum, yes, but not one that does much except exist.  Part of the problem for me is I honestly don’t think I could tell, blind, that this thing was 25 years old, and therefore the whole point of ageing something that long (no matter where) is lost of the drinker can’t sense and enjoy the voluptuous experience and rich complexity brought about by chucking something into a barrel until it’s old enough to vote. With this 25 year old, Cadenhead implicitly promises something that the rum just doesn’t deliver,  and so it is, while drinkable, not really one of their stellar must-haves.

(#758)(82/100)

Other notes

It’s surprising how there is almost no reference to this rum online at all.  It suggests a rarity that might make it worth getting, if the taste was not a factor.

Cadenhead Uitvlugt 1964 36 YO Guyana Rum (PM) – Review

 1 Response »
Aug 052020
 

The Cadenhead 1964 Port Mourant is one of the great unicorns of our time, a rum whose 36 years of ageing sail majestically across the senses, impervious and indifferent to the up-and-coming claimants for the crown of “oldest” and “strongest’ and “bestest” and “mostest”.  Not since the Age of Velier have we seen anything like this and in some ways it supersedes even those behemoths we had all ignored back in the day, because they were “too expensive.”

And expensive this is: in June 2020 a variant bottle of this thing (bottled in 2000, 70% ABV) was bid up past all reason on Rum Auctioneer until it went under the hammer for a cool £3,000, which makes it pricier than rums from the 1930s and 1940s sporting amazing pedigrees of their own (though still less than a Velier Skeldon 1978). There’s another one now available in the August 2020 auction (the one I’m writing about here, bottled in 2001). Such prices dissuade all but the most foolhardy, the deep-pocketed or those who “clan-up” — and rightfully so, for surely no rum is worth that kind of coin, and who in this day and age has it anyway? 

And those stats, whew! 36 years old, pre-independence 1964 distillation (this, when finding anything from as recently the 1980s is already a problem fraught with the potential susurration of rapidly emptying wallets), Port Mourant distillate at a time when it was still at Uitvlugt, 69.3% of turbo-charged thrust – these things suggest an extraordinary rum, which usually fills me with dread as a reviewer: for, how could any rum live up to that kind of hype? Yet somehow, against my fears,  Cadenhead has indeed released something exceptional.  

Consider the nose: I loved it. It smelled like it was reared in an ultramodern Swiss lab and fed a diet of woodchips from DDLs stills and given only liquid molasses runoff to drink to dilute the raw caramel. It was a smoothly powerful rush of wood, well-polished old leather, smoke, licorice peas, stewed apples, prunes, and oak tannins. No rubber, no acetone, no paint stripper, just controlled thick ferocity. Some salted caramel, and molasses, flowers and as I stayed with it the subtler aromas of fennel, rosemary, masala and cumin and a twist of lemon zest all emerged. 

Clearly unsatisfied with just that, it toughened up something serious when tasted.  It showcased less a sense of shuddering sharpness aiming only to inflict careless pain, than the surefooted solidity of a Mack truck piloted high high speed by a really good stuntman.  It’s creamy, hot, redolent of caramel, sweet bon bons and molasses.  Anise.  Whipped cream in a fruit salad of raisins, prunes and caramelized apples.  Just a flirt of salt, and also some pine-sol mixing it up with soft flowers, coffee grounds and macadamia chocolate cookies. None of the ageing was wasted, and it did exactly what it meant to, no more, no less, with grace and power and the sense of complete control at all times. Even the finish demonstrated this: it was enormously long lasting, coming together at the last with a sort of burly, brutal rhythm of toffee, toblerone, almonds, coffee and citrus that shouldn’t work, but somehow manages to salvage real elegance from all that rough stuff and full, firm tastes.  It’s a great conclusion to a seriously well aged rum.

The Cadenhead Uitvlugt 1964 followed all the traditional ways an indie has of producing a rum, except then it proceeded to dial it up to 11, added steroids, horse tranqs and industrial strength factory cleanser, and released it to just about zero acclaim (I mean, have you ever herd of it?).  It’s excellence lay in how it came together over time, I think – it started at a low idle, then gained force as it moved along. The early tasting notes and impressions could come from any one of a dozen rums, but as it developed we see a great original product coming into focus, something we have perhaps tried before, and which remains buried in the recesses of our tasting memories, but which we rarely recall being done this well.

So, circling back to the original point, is it worth the money?  If you have it, yes, of course.  If you don’t, maybe you can dream, as I did, of scoring a sample. “To me this is the Holy Grail” remarked Gregers Nielsen when we were discussing the bottle, and now, having tried it, I can completely understand his unrequited love (or should that be lust?) for it.  Maybe, if I could, I’d pawn the family silver to get it as well — but in the meantime, for now, I was simply happy to have received the generosity of Alex Van Der Veer, and toasted him happily as I drank this really quite superlative piece of rum history.

(#750)(91/100)

Other notes

It goes without saying this is continentally aged,  The outturn is unknown.

1423 S.B.S. Versailles 2003 12 Year Old Guyana Rum – Review

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Aug 032020
 

The three wooden stills now all gathered at DDL’s Diamond facility are called Heritage stills, their wooden greenheart components regularly serviced and replaced, and the questions they pose about the matter of Theseus’s ship are usually ignored. That’s not really important, though, because they may be the three most famous stills in existence, and the taste profiles of the rums they create are known by all dedicated rumistas, who enjoy nothing more than relentlessly analyzing them for the minutest variations and then bickering about it in a never-ending cheerful squabble.

My own preference has always been for the stern elegance of the Port Mourant, and the Enmore coffey still produces rums that are complex, graceful and sophisticated when done right.  But the Versailles still is something of an ugly stepchild – you’ll go far and look long to find an unqualified positive review of any rum it spits out.  I’ve always felt that it takes rare skill to bring the rough and raw VSG pot still profile to its full potential…none of the familiar indies has had more than occasional success with it, and even Velier never really bothered to produce much Versailles rum at the height of the Age.

This brings us to the Danish company 1423: it makes many mass-market rums for the broader supermarket shelves in Europe, but is perhaps better known worldwide for its boutique rum arm the Single Barrel Selection, which specializes in single cask, limited bottlings. These aim squarely at the connoisseurs’ palates and wallets, and have gained a quiet reputation (and a following) for their quality rums and geographical range.  The Diamond 2003 is a case in point – it’s 12 years old (bottled in 2015), has a finish in marsala casks, comes off the Versailles single wooden pot still and is bottled at a completely solid 62.8% with an outturn of 264 bottles. And it’s quite a hoot to drink, let me tell you

“Something is rotten in the State of Diamond,” I wrote cheerfully after a good deep sniff, “…and just enough to make it interesting.” Which was quite true – it smelled of fruits and vegetables starting to go off, and added some deep oak tannins which thankfully did not get overbearing but receded rapidly.  To this was added almonds, peaches, prunes, anise, strawberries, some light vanilla and raisins, all tied together in a neat bow by a briny note and some zesty citrus.  

The palate was also quite good, irrespective of how much (or how little) additional taste the finish provided.  It had the creaminess of salted caramel ice cream, the dark fruitiness of raisins and prunes and black cake and overall struck me as a deceptively simple, very solidly-constructed rum. The good stuff came from around the edges – you could sense some fennel and licorice and vanilla, and perhaps some nuttiness, red wine, indian spices and cloves, all dancing around that central pillar without taking center stage themselves. The finish didn’t try for anything new or exotic, but was content to sum up all that had gone before, and gave last notes of toffee, cumin, masala spice, caramel, dark fruits and brine, a nice sweet-salt amalgam, without any sharpness or bite on the exit at all.  Nice.

There has been occasional confusion among the stills in the past: e.g. the SBS Enmore 1988 which I am still convinced is a Versailles; but this is (in my opinion) neither a PM nor an Enmore and if there’s any further confusion it may derive from the marsala cask whose influence is faint, but enough to skew one’s mind away from a pure VSG kind of aroma.

And it’s good, very good indeed. Even Duncan Taylor with their 27 YO 1985 couldn’t better it, DDL’s own Rare Release wasn’t significantly better (I’ve heard the Mezan and Samaroli variations are excellent but have not tried them). But it seems to me that the VSG marque is really not meant to be a standalone except for purists and deep divers – it works much better as part of a blend, which is indeed what DDL uses it for in its aged releases, rarely issuing it on its own.  

Summing up then, with all those difficulties in trapping the best profile out of a notoriously temperamental still, it’s completely to its credit that 1423 managed to wring as much flavour and class out of a relatively young Versailles distillate aged in Europe as they did.  Perhaps their 1988 Enmore was in fact from that still also, but this one is no slouch on its own terms, has less ambiguities about its origins to boot and is an all ’round fine drink to have on the shelf.

(#749)(85/100)

Other Notes

  • The length of finish in marsala casks is unknown, if SBS responds to the query I sent, I’ll update.
  • Thanks to Nicolai Wachmann for the sample.

Rum Nation Panama 18 YO 2009 Edition – Review

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Jul 162020
 

The Rum Nation Panama 2009 edition exists in a peculiar place of my mind, since it’s the unavailable, long-gone predecessor of the 18 YO Panamanian which RN released in 2010; this in turn was one of the first Panamanian rums that I had tried that wasn’t an indifferently blended bland blah, that possessed more years  and complexity than I had heretofore experienced, and was an all round lovely drink…or so I thought at the time. Nearly a decade later, my opinions of Panamanian rums is no longer so stellar: but in all honesty, to see a rum from Rum Nation that predates the current age of rum we’re living in is reason enough sometimes, to just grab the bottle, whip out the notebook, and spend an hour or so putting the pour through its paces.

Rum Nation itself needs no introduction, though you can read the bio of the company Fabio Rossi founded in 1999 and sold in 2019 here if you’re interested. They have always had three kinds of rums: [i] the ‘starter’ rums [ii] the multi-decade-old Demeraras and Jamaicans, and [iii] the Rare Collection of upscale limited releases.  Especially in the starters, there have always been justified grumbles and accusations about dosage, however minor, but of late this practice has been discontinued.  I was unable to test this one, unfortunately, but based on how it profiled, I would suggest that yes, it had a little something extra, just not enough to make it a competitor for AH Riise.

That dealt with, let’s get right into the rum. Considering the nose and the smell, the first word I wrote was “light.” It had a nice mixup of bitter tree bark, strong black tea, crushed walnuts, and a nice layering of butterscotch, vanilla and salted caramel. It developed with further hints of leather, some smoke, light molasses and seemed to be a completely decent exemplar of the lighter latin column-still style that was so in favour when it was made and now so disregarded, by so many.  For its strength, 40%, I quite liked it.

That was the smell, but what did it taste like?  Eighteen years in a barrel must, after all, show its traces. To some extent, yes: again, light is the operative word, though gentle can work too. Nuts, leather and butterscotch, a bit of brine and molasses started the party going. The other band members joined in later – vanilla, white guavas, figs papaya, watermelons, watery pears, and even coconut shavings, cloves, white chocolate, almonds and molasses.  But in spite of these good beginnings, they just started big…and then dropped rapidly off a cliff.  All those tastes literally disappeared in seconds, and made a mockery of the finish, which only displayed a short, briny aftertaste of peanut butter, almonds and caramel. Essentially, not much action in the jock and you can see how far the rum world has progressed when you compare something like this to today’s solid offerings.

In fine, the 40% strength is part of the problem, and it’s it’s too thin, too wispy, too fleetingly easy.  I suppose it can be classed as a soft evening sipper but even within that quiet profile there’s too little going on, and I remember liking the 2010 edition much more – but then, those were more innocent times and we had experienced less.  The Rum Nation 2009 says rather more about my changing tastes than about itself. Up to about 2014 I liked 40% blends and the smooth slinky Central American rums from Panama and Nicaragua quite a bit.  For example, Rum Nation’s own 21 YO Panamanian scored 89 points in early 2013; another high point came with the Panamonte XXV, to which I awarded what would be a now-unthinkable 87 points that same year; and the last one I remember scoring that well was the Peruvian Ron Cartavio XO at 88 a year later.  But by then I had started gravitating towards stronger, clearer and more forceful rums that tasted off the scale and gradually moved away from the somnolent ease of the Spanish style. 

Had I tried this Rum Nation product back at the beginning, I believe 84-86 points would have been its lot: now, with so many years of trying, tasting, and thinking about rums from all points of the compass, it ranks higher for providing a window to the world of Ago than purely for taste and enjoyment (although I did like it enough, let me be clear about that).  It’s a rum from those uncritical uncynical times at the dawn of the rum renaissance and deserves to be written about in that vein…but alas, the big-eared, bright-eyed and bushy-tailed newb who should do that has left the building…and his successor is a little harder to please.

(#745)(80/100)

Other Notes

As far as I know, the rum stock comes from Varela Hermanos, who make the Abuelo brand, and aged in American oak ex-bourbon barrels.  Awaiting some feedback from Fabio Rossi, and will update the post if needed.

Habitation Velier Monymusk 2010 EMB 9 YO – Review

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Jul 012020
 

As the memories of the Velier Demeraras fades and the Caronis climb in price past the point of reason and into madness, it is good to remember the third major series of rums that Velier has initiated, which somehow does not get all the appreciation and braying ra-ra publicity so attendant on the others. This is the Habitation Velier collection, and to my mind it has real potential of eclipsing the Caronis, or even those near-legendary Guyanese rums which are so firmly anchored to Luca’s street cred.

I advertise the importance of the series in this fashion because too often they’re seen as secondary efforts released by a major house, and priced (relatively) low to match, at a level not calculated to excite “Collector’s Envy”. But they are all pot still rums, they’re from all over the world, they’re all cask strength, they’re both aged and unaged, and still, even years after their introduction, remain both available and affordable for what they are. When was the last time you heard that about a Velier rum? 

Since there is such a wide range in the series, it goes without saying that variations in quality and diverse opinions attend them all – some are simply considered better than others and I’ve heard equal volumes of green p*ss and golden praise showered on any one of them. But in this instance I must tell you right out, that the EMB released in 2019 is a really good sub-ten year old rum, just shy of spectacular and I don’t think I’m the only one to feel that way.

The first impression I got from nosing this kinetic 62% ABV rum, was one of light crispness, like biting into a green apple.  It was tart, nicely sweet, but also with a slight sourness to it, and just a garden of fruits – apricots, soursop, guavas, prunes – combined with nougat, almonds and the peculiar bitterness of unsweetened double chocolate.  And vanilla, coconut shavings and basil, if you can believe it.  All this in nine years’ tropical ageing?  Wow. It’s the sort of rum I could sniff at for an hour and still be finding new things to explore and classify.

The taste is better yet. Here the light clarity gives way to something much fiercer, growlier, deeper, a completely full bodied White Fang to the nose’s tamer Buck if you will.  As it cheerfully tries to dissolve your tongue you can clearly taste molasses, salted caramel, dates, figs, ripe apples and oranges, brown sugar and honey, and a plethora of fragrant spices that make you think you were in an oriental bazaar someplace – mint, basil, and cumin for the most part.  I have to admit, water does help shake loose a few other notes of vanilla, salted caramel, and the low-level funk of overripe mangoes and pineapple and bananas, but this is a rum with a relatively low level of esters (275.5 gr/hlpa) compared to a mastodon channeling DOK and so they were content to remain in the background and not upset the fruit cart. 

As for the finish, well, in rum terms it was longer than the current Guyanese election and seemed to feel that it was required that it run through the entire tasting experience a second time, as well as adding some light touches of acetone and rubber, citrus, brine, plus everything else we had already experienced the palate.  I sighed when it was over…and poured myself another shot.

Man, this was one tasty dram.  Overall, what struck me, what was both remarkable and memorable about it, was what it did not try to be. It didn’t display the pleasant blended anonymity of too many Barbados rums I’ve tried and was not as woodsy and dark as the Demeraras. It was strong yes, but the ageing sanded off most of the rough edges. It didn’t want or try to be an ester monster, while at the same time was individual and funky enough to please those who dislike the sharp extremes of a TECA or a DOK rum – and I also enjoyed how easily the various tastes worked well together, flowed into each other, like they all agreed to a non-aggression pact or something.  

It was, in short, excellent on its own terms, and while not exactly cheap at around a hundred quid, it is – with all the strength and youth and purity – a lot of Grade A meat on the hoof. It stomped right over my palate and my expectations, as well as exceeding a lot of other more expensive rums which are half as strong and twice as old but nowhere near this good…or this much fun. 

(#741)(86/100)

RomDeluxe R2 “Wild Jaguar” Enmore 17 YO – Review

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Jun 282020
 

On the first day and at the opening hour of the 2019 Berlin Rumfest, a motley collection of scruffy rum folks met at the back of the hall. Alex Sandu (the young Oxford-based Romanian barman who’s now making a name for himself on the Rum Barrel site) was talking with me about what it takes to manage and maintain a rum site. Indy and Jazz Singh of Rumcask and Skylark Spirits drifted by and sat down, and we all sighed rapturously with the memory of a rum session we had had at Lebensstern rum bar the evening before. Nicolai Wachmann, anonymous rum ninja from Denmark, having left us earlier to go look for junk food outside, rejoined us while still furiously chomping at the semi-masticated remains of his fifth burger, and we all amused ourselves shouting cheerful and childish insults at Gregers Nielsen, who was running the 1423 stand a few feet away. This is the way we soberly conscientious rum chums keep the flag of Rumdom flying high. People must know we take our duties seriously.

Things calmed down when Johnny Drejer approached, though, because in his fist he carried a bottle a lot of us hadn’t seen yet – the second in Romdeluxe’s “Wild Series” of rums, the Guyanese Enmore, with a black and white photo of a Jaguar glaring fiercely out. This was a 61.5% rum, 17 years old (2002 vintage, I believe), from one of the wooden stills (guess which?) — it had not formally gone on sale yet, and he had been presented with it for his 65th birthday a few days before (yeah, he looks awesome for his age).  Since we already knew of the elephantine proportions of the Wild Tiger Release 1, we all immediately tried to elbow each other out of the way in our hurry to thrust our glasses at him, and demanded our rightful shares. And to his credit, Johnny, gentleman to the last, shared generously without hesitation or charge before hastily retreating to more civilized areas of the ‘Fest where rabid aficionados would not assault his immaculate person or pinch his birthday prize, and might remember he was actually only 50.

Now, 61.5% might seem like a lot, and indeed — if you’re not ready for it —  it will try its best to take your face off. But nosing it with no more than the usual care suggests that it really is quite civilized…creamy, even.  Certainly one can inhale rich aromas of pencil shavings, butterscotch, sawdust and licorice, all standard for Enmore distillate. I can’t say I sensed much in the way of florals or citrus except as a brief background hint; most of the secondary wave consists of black bread, dark fruits, brie, cereals, almonds, anise and crushed walnuts. Maybe a whiff of mocha if you strain. 

All this is fairly common, even boilerplate. It’s on the palate that it rises to the occasion and shows some more chops.  Now the label notes it was primarily continentally aged so some tropical ageing can be inferred; it’s just shy of hot on the tongue, extremely robust, and very tasty indeed…yet also not rough or sharp.  You can taste unsweetened chocolate, anise, blancmange, salted caramel and coffee grounds to start with, and as it relaxes and opens up and you get used to its bold profile, musky, dark fruits like raisins, prunes, not very sweet but with a lot of body.  I like the damp sawdust and licorice, the way I always do in an Enmore-still rum, and the long, fragrant finish was pleasant to a fault.  Johnny, who had measured the strength of the rum and was mentioned on the label, had gotten himself a pretty nice dram.

Romdeluxe in Denmark is – or started out as – more a commercial rum club that makes private label bottlings and runs promotions, than a true independent bottler — but since they have issued several releases, I’ll call them an indie and move right on from there.  Their “Wild Series” of rums has evinced a lot of attention, not just because of its variety but because of the beauty of the stark black and white photography of the large cats with which they adorn their products.  

So far there is a tiger (R1 Hampden, Jamaica), jaguar (R2 Enmore, Guyana), puma (R3 Panama), black panther (R4 Belize), lion (R5, Bellevue, Guadeloupe) and leopard (R6 Caroni, Trinidad). I don’t know whether the photos are commissioned or from a stock library – what I do know is they are very striking, and you won’t be passing these on a shelf any time you see one.  The stats on some of these rums are also quite impressive – take, for example, the strength of the Wild Tiger (85.2% ABV), or the age of the Wild Lion (25 years).  These guys clearly aren’t messing around and understand you have to stand out from an ever more crowd gathering of indies these days, if you want to make a sale.

Still, perhaps because I’ve had so many of rums from the Enmore still, my impression is that this one doesn’t ascend to the heights. It’s a completely decent rum and at that strength you’re getting flavour and a reasonably complex profile. However, it isn’t really unique, and won’t wow your socks off – originality is not its forte, and it seems, rather, to be a restatement of much that has gone before. So it’s easy to like and appreciate, but conversely, leaves no lasting imprint on the mind.  A month from now, like just about everyone who was there that afternoon sampling this thing, you won’t recall many memorable characteristics of the rum itself, or much that made it stand out…except perhaps for the fact that it was nice. Oh yeah, and that boss design. If that’s what makes you buy it, then I guess its work is done. Me, I’m saving for some of the others.

(#740)(83/100)

SMWS R 11.3 Worthy Park 7YO Rum (“Crème Brûlée Flambé”) – Review

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May 272020
 

Anyone from my generation who grew up in the West Indies knows of the scalpel-sharp satirical play “Smile Orange,” written by that great Jamaican playwright, Trevor Rhone, and made into an equally funny film of the same name in 1976.  It is quite literally one of the most hilarious theatre experiences of my life, though perhaps an islander might take more away from it than an expat. Why do I mention this irrelevancy?  Because I was watching the YouTube video of the film that day in Berlin when I was sampling the Worthy Park series R 11.3, and though the film has not aged as well as the play, the conjoined experience brought to mind all the belly-jiggling reasons I so loved it, and Worthy Park’s rums.

You see, Hampden catches a lot of kudos and eyeballs and attention these days – their publicity blitz for the last few years is second to none, and they are rightfully renowned for the quality of their pot still rums issued with and by Velier, the ones that fans collect with a sort of obsessive good cheer which perhaps Ringo Smith might admire (and plan a long con around). But this leaves the other New Jamaican distillery of Worthy Park and its own pot stills seeming to pick up footprints, when in fact its rums are equally good, just different. Their confidence is, in my opinion, not at all misplaced, since the SMWS R11.3 — fragrantly named “Crème Brûlée Flambé” — is the best of those first three WP rums (I own but haven’t tried the second trio so far).

Consider how it opened, with a nose of pencil shavings, sawdust and wood chips in a sawmill, glue and bright sweet-sour acetones that made me look rather amusedly at the bottle to confirm it wasn’t an R2.x series Enmore or something. It developed real well from there: honey, cardamom, cloves and ginger to start, followed by a wave of tart fleshy pears and apricots.  There was a nice hint of avocados and salt and citrus juice, and when I let it stand for ten minutes (was watching the waiter training scene), I got last and light aromas of salt caramel ice cream, chocolate chip cookie, and butterscotch bon bons.

I remarked on the R 11.1 and R 11.2 that they were young and somewhat raw at times, not entirely cohesive, and Simon Johnson in his review of the R 11.2 also noted they lacked a certain elegance which the aged blends released by WP themselves displayed.  This was not an issue here at all – the palate was more approachable and rounded than its two predecessors – lots of both tart and ripe fruits, plus citrus, mint, salt caramel, rye bread, cream cheese and flowers in a good combination.  The taste is not quite as complex as the nose had been but it was close – at any rate it was both meatier and slightly thicker and sweeter than those, and for once, I think the SMWS had the title of the thing exactly right.  Finish was long, flavourful and zesty, mostly flowers, honey, fresh baked cheesecake, caramel, and some dry dusty notes of jute rice bags.

The distillation run from 2010 must have been a good year for Worthy Park, because the SMWS bought no fewer than seven separate casks from then to flesh out its R11 series of rums (R11.1 through R11.6 were distilled May 1st of that year, with R11.7 in September, and all were released in 2017).  After that, I guess the Society felt its job was done for a while and pulled in its horns, releasing nothing in 2018 from WP, and only one more — R11.8 — the following year; they called it “Big and Bountiful” though it’s unclear whether this refers to Jamaican feminine pulchritude or Jamaican rums.

Anyway, this is a rum that matches its siblings and goes a step beyond them. “Grace under pressure under a hot sun” wrote Richard Eder of the New York Times about the film “Smile Orange” in 1976, describing Ringo’s equanimity towards his travails.  The way the R11.3 cheerfully unfolds, without hurry, without bombast, taking its weaknesses and strengths in stride, suggests that the phrase could equally apply to the rum. After all, the best rums aren’t only the ones that are well made and taste good, but those which enrich and enhance life experiences, call back great memories of times gone by, allow you to skate past the problems and vicissitudes of reality. My experience and enjoyment the day I drank this rum, completely proved that point.

(#730)(88/100)

SMWS R 11.1 Worthy Park 7YO Rum (“Spicy Sweet Goodness”) – Review

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May 142020
 

The Scotch Malt Whisky Society is no longer, as outlined in the brief biography of the organization, quite any of those things, not really.  It has offices way beyond Scotland, it’s not restricting itself to bottling malts, has moved past releasing only whiskies, and can just barely be considered a society (more of an independent bottler). This is especially so since they have begun to not just buy aged casks from whisky producers but also new-make spirit so they can age their own.

This last development has not yet occurred in the fields of their rums, though it wouldn’t really influence my purchasing decisions – I’ve been a fan for years, ever since I was fortunate enough to snap up three of their rums in Canada in 2013. That’s around the time when they started to take rums even marginally more seriously than before, and now in 2020, they have 13 different distilleries’ rums, of which the R 11.1 represents one of the New Jamaicans many fans are currently salivating over.

The Society is no stranger to Jamaica – the very first release R1.1 was a Monymusk, and thereafter they added R5 (Longpond, from 2012), R7 (Hampden, from 2016) and in 2017, they scored with Worthy Park as R11. And since I’ve unconscionably ignored the ‘Park for quite some time, I think I’ll begin the slow accretion of SMWS rum reviews with them – also because they’re pretty damned good. This one is a relatively young 7 years old, bottled in 2017 at a firm 57.5% (308-bottle outturn) and has the evocative title of “Spicy Sweet Goodness”, which is very much in line with the Society’s equally amusing and puzzling label descriptions that many have drunk themselves in to stupors trying to understand or follow.

Nose first. Yep, it’s definitely a Worthy Park and a pot still rum, such as I remember with such fondness from the Compagnie des Indes’s two 2007 WP editions, the 7YO and the 8YO, both of which were really good. It’s sweet and crisp and snaps across the nose with a light and sharp esteriness: my first written notes are “fruits, flowers and honey on white bread, wow!” But there’s also a light glue background, some cereals, ginger, cumin, lemon peel and pineapple all coming together in a very precise amalgam where each note is completely distinct. It has the freshness of a newly sun-dried white sheet with the sunshine still aromatic upon it.

This is one of those rums where the taste is even better than the nose. What it does is settle down a bit, and if it loses something of the initial clean clarity that nose displayed, well, it gains a bit in depth and overall complexity. The white bread has now been toasted, the cereal is almost like Fruit Loops, but the honey (thankfully) remains, golden and tawny and thick. These core notes are joined by brown sugar, toblerone, almonds, fleshy fruits like papaya, peaches, apricots and ears, as well as a peculiar background of beef bouillon, maggi cubes and crackers and (if you can believe it) powdered laundry detergent, y’know, like Tide or something. The light citrus (it really does remind me of Fanta at times) is there to balance everything off, acting as something of an exclamation point to the palate. The medium-lasting finish is surprisingly simple in comparison to the smorgasbord we just waded through, but it is elegant and has the main food groups well represented – fruity, sweet, salty and tart, all at the same time. 

Well, this was quite something. I liked it a lot. I have no idea how so much was stuffed into the ex-bourbon barrel the rum was aged in, especially given such a young age and what was (I believe) a continental ageing regimen. There are discordant bits here and there (minor ones) in the way the flavours don’t always harmonize completely; and sure, you can taste the youth in its brash liveliness and the initial sharply crisp attack – yet I’m not convinced that a few more years would have done much more than enhance it marginally. 

Most of the rums I’ve tried from WP are relatively young, and relatively good — it seems to be a real peculiarity of the estate to produce rums that other companies ageing their rums for twice as long would have been proud to bottle. In fine, the SMWS R11.1 is a jaunty young rumlet, made with verve and style by an outfit which seems somehow to regularly put out single-digit aged rums – for themselves and for others – which are consistently and uniformly better than conventional wisdom says they should be. To do that is to Worthy Park’s credit. To recognize it and bring it to us, is that of the SMWS.

(#726)(85/100)

Other Notes

  • Inadvertent loss of my original photo required me to make some adjustments which I’ll replace when I retake that picture.

1423 S.B.S. Brazil/Barbados 2019 2YO Blended Rum – Review

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Apr 202020
 

It’s not often we see a multi-country or multi-style blend released by an independent bottler. The trend in IBs in recent years has more been towards the exacting individuality of a single cask from a single place (or a single still, in the case of the Guyanese rums). And that makes sense, especially for up-and-coming new micro-indies, who work with one barrel at a time, for economic reasons if nothing else.

That hasn’t stopped some companies from trying to push the envelope, of course, in the never ending Red Queen’s race to wring a few extra points of taste out of a barrel. Finishes or second maturations or fancy-cask ageing regimes have been the most common method and have grained broad (though not always uncritical) acceptance — that technique is practiced by many companies, old and new, large and small (like Renegade, or Foursquare). Blends from multiple stills, pot and column, are more common now than they used to be. And in some cases, blends have indeed been made by IBs, though quite specifically — multiple barrels from a single distillery. Velier, Rum Nation and others have all practiced this, quite successfully.  In a more restricted fashion, they follow the blending practices of the large international producers who keep their house marques stable for long periods and deal in hundreds or thousands of barrels.

Occasionally this tried and true recipe has been tampered with more fundamentally.  Navy rums from whoever have mixed up Guyanese, Jamaican and Trini pieces in differing proportions on an effort to cash in on the famed profile.  A few brave souls have messed around with different “style” blends, like mixing British and French island rums, or bringing Spanish-style rons to the party. The winning entry so far might be Ocean’s Distillery, which mixed nine different rums from across the Caribbean to produce their Atlantic Edition, for example.

1423, the Danish indie, has taken this concept a step further with their 2019 release of a Brazil / Barbados carnival — it comprised of 8- and 3-year old Foursquare rums (exact proportions unknown, both column still) to which was added an unaged cachaca from Pirassununga (they make the very popular “51” just outside Sao Paolo), and the whole thing left to age for two years in Moscatel wine casks for two years, before being squeezed out into 323 bottles at 52% ABV.

What we would expect from such an unusual pairing is something of an agricole-Bajan marriage. Those are devilishly tricky to bring off, because the light, clean, crisp cane juice taste of an unaged cachaca needs careful tending if it wants to balance itself off against the molasses profile of an aged column-still Foursquare. 

What surprised me when nosing it, is how little of the cachaca was noticeable at all – because it was new make spirit none of those peculiar Brazilian woods were part of the aromas, but neither was any sort of serious cane juice clarity. I smelled caramel, chocolates, a bit of light lemon zest, some ginger, and weak molasses.  When rested somewhat longer, there were dates, brine, some low-key fruity notes, brown sugar, even a touch of molasses. Were you to sniff it blind you would not be entirely sure what you were getting, to be honest. Not a Barbados rum, for sure.

All this did not entirely work for me, so I turned to the tasting, where tawny brown flavours mixed themselves up in abundant profusion.  The palate was not sweet or clear, so much, but like having a dessert meal of dates, nuts, nougat, and a strong latte doing a tango with a weak mocha.  The moscatel wine finish was problematic because here it become much more assertive, and provided a sweet red-grape and floral background that contradicted, rather than supported, the softer muskier flavours which had come before.  And as before, separating out the Barbados component from the Brazilian one ended up being an exercise in frustration, so I gave up and concentrated on the finish. This was relatively tame, medium long, mostly latte, breakfast spices, ginger, some pears, nothing really special.

When I asked why such an odd blend, Joshua Singh of 1423 remarked that they had such success with a Calvados aged rum in a previous advent calendar, that they thought they would try expanding the concept, and more were likely coming in the years ahead. Clearly 1423 were after a more adventurous taste-profile, and wanted to push things, go in interesting directions. Well…“interesting” this certainly was.  “Successful”, not so much, unfortunately. But for a company that has bottled as many good rums as they have, I think it might be worth following them down a dead-end rabbit hole once or twice, for the destination at least, if not the journey.

(#720)(79/100)

Gordon & MacPhail Demerara 1974-2003 29 Year Old Rum – Review

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Apr 162020
 

Photo (c) Henrik Kristoffersen, RunCorner.dk

1974 was clearly a good year for barrel selection by the Scottish whisky maker Gordon & MacPhail.  So good in fact that they were able to release several exceptional rums from that year – one was in 1999, the near spectacular 25 year old, which my Danish friends kicked themselves for missing when it came up for a tasting one year in Berlin. They got their own back at me by locating this slightly older version that was laid to sleep in the same year, emerged 29 years later (in 2003), and which is also a quietly amazing aged Demerara rum — every bit as good as its predecessor. 

It’s too bad we don’t know enough about it.  Oh, there’s all the usual labelling information that would have been satisfactory a short time back: 50% ABV, distilled in 1974, bottled in 2003 from two casks (#102 and #103), and that’s certainly better than what I grew up having to be satisfied with back in the day.  But we’re greedy wretches, us rum writers, and now I want to know where it slumbered and which still it came from, what the total bottle-outturn was, and how much time it spent ageing where. That I don’t have such info is something of a minor irritant, but we forge ahead with what we have.

Where the still is concerned, we can certainly guess from the profile.  I mean, just nose the thing – heaven. Deep, fruity, wooden-still action all the way. Anise, blackberries, oak, ripe tart apples and overripe cherries, apricots and prunes.  This is followed by molasses, dust, hay, well-polished leather upholstery, aromatic tobacco…and coffee grounds, lots of ‘em. An excellent nose, very rich, very pungent, very dark. 

It tastes as good as the nose leads one to expect, and may even exceed the nose.  The rum is a very dark brown, bottled at 50% ABV, just about the perfect strength for something so old and thick: enough to bring the flavours out with authority and some kick, not so strong as to burn you in the process. Here, the dark fruit panoply continues: blackcurrants, cherries, overripe mangoes. That’s joined by coffee, unsweetened chocolate, licorice, molasses, nougat, nuts and caramel. And then there’s a subtle third layer, very delicate, hinting of cinnamon, nutmeg, fennel and a freshly baked load of rye bread. The balance of the thing among these three components is really quite something, and if I had a whinge, it’s that the dry and warm finish, flavourful as it is – tobacco, leather, caramel, coffee, anise and breakfast spices – feels somewhat…less. It sums up everything that came before quite well, but brings nothing new to the party for a rousing encore, and is a. A minor point, really.

My first guess would be that the rum is from the double wooden PM pot still, because it lacks the rough wildness of the Versailles, or the slightly more elegant nature of the Enmore (which also tends to have a bit more lumber — at least a few pencils — in the jock, so to speak).  But really, at this age, at this remove, does it really matter except for us who want every single detail? I call it a Demerara, as G&M do, and am happy to have been given the opportunity to try it.

Henrik Kristofferson, who runs that somnolent and suspirant site Rum Corner (and the source of the sample) remarked in his own review that with rums this old, from that far back and for this rarity, price-to-value calculations are meaningless, and he’s right.  This is a rum that’s available now probably only through sample networks, which makes it unlikely that anyone will ever get a complete bottle (let alone a complete set of all the 1974s G&M have released) unless it pops up for auction again. But I must admit, it’s good. In fact, it’s as good as the other one I tried, nearly on par with some of the Velier Demeraras from the Age, or Cadenhead’s 33 YO or Norse Cask’s amazing 32 YO (both from 1975). I wouldn’t go so far as to tell anyone who sees a bottle for many hundreds of pounds, Euros, dollars or whatever, to go drain the back account immediately and buy the thing…but if you can get a taste, get it.  Get it now, and get fast, because rums like this are a dying, vanishing breed, and it’s an experience worth savouring, to see how the rums of today compare against hoary geriatric whitebeards of yesteryear, like this one. We may not see their like again any time soon.

(#719)(89/100)

Other notes

There was a third G&M 1974 bottled released in 2004 that went for auction at around £600 in 2017 (which gives you some idea how these three-decade-old vintages are appreciating), and yet another one released in 2005.

Compagnie des Indes Nicaragua 1998 17 YO Rum – Review

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Apr 132020
 

Of all the Central American rums I’ve tried, Nicaraguan rums from the Flor de Caña facilities probably are the least like that light Spanish style so popularized by Bacardi. They inhabit a tasting style niche that isn’t quite Latin (or Cuban, if you will), but something that blends the light column still taste with something a bit deeper and richer. It makes for a nice amalgam, though it must be said that their own rums don’t always showcase that effectively, and sometimes it takes an indie to make the point with a single barrel expression. Not as a rule, not consistently, but occasionally, like here, yes.

Black Adder had done some intriguing work with their 12 YO back in 2015, and the Compagnie des Indes has released another Nicaraguan single barrel rum I quite liked, the 2004-2016 11 YO which illustrated the depth of such rums nicely. That one was fruit-forward with background notes of tobacco and spices, and possessed a certain plush softness I wasn’t expecting (previously my experience had been with Flor de Caña’s main line of commercial blended rums). So I was curious how a 17 year old rum from the Compagnie ranked against those two, and whether that additional five or six years of ageing (continental) made a discernible difference.

It did, I think. It almost seemed like there was some pot still action going on behind the scenes, upon a first sniff – rubber, salt, esters and acetone, a little paint thinner. Also a nice olive and briny note, set off by sweeter aromas of tinned peaches or apricots in syrup. Some nuts and cereals backed up the chorus, and the real takeaway was the impressive manner in which the balance among these competing aspects was maintained, with no single scent dominating the experience. Even a vague salty rottenness of of overripe cashew fruit (the ones with the external seeds), added rather than detracted from the overall complexity and it was quite a bit better than the 2004 11 YO I brought out of mothballs to do the comparison.

On the palate the rum started off with something of a different vibe: the estery fruitiness I had smelled changed to a delightful sprightly young bubble gum, mint and menthol combo which opened the show in fine style.  The rum felt thinner than the nose had suggested, and sharper, but that was likely just a function of the high ABV (64.9%) and again, it felt like it had more richness and depth than either the Blackadder or the 11 YO I was using as comparators.  With water, additional notes crept out: honey, dates, nougat and apricots (minus the tin or the syrup this time). There were some vague sensations of oak tannins, aromatic tobacco, caramel, vanilla and a little bit of molasses backing things up, leading to a very long, dry finish of fruits, nuts, honey and coconut shavings.

My personal opinion is that some water might be useful to aid in taming the beast and bringing out subtler flavours that might otherwise be cowed (and there are a lot of those). This is one of those cases where perhaps toning the rum down to an ABV more in the mid-fifties might have paid dividends: nevertheless, I can’t complain with what Florent has achieved here, which is to coax a sterling profile out of a difficult and complex high proofed spirit. And although the Danes were the only ones who got this rum at this strength back in the day, Nicaraguan rums at full proof remain a staple of the Compagnie’s releases, all of which can trace their descent back to the quality of what was envisioned five years ago, in this deserving and near unnoticed release.

(#718)(85.5/100)

Other notes

  • 240 bottle outturn, from Barrel #NCR-30

Chantal Comte Rhum Agricole Extra Vieux (Depaz) 1975 – Review

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Mar 092020
 

In a time of exploding visibility of masterful ladies in the rum world – Joy Spence, Maggie Campbell, Trudiann Branker, Karen Hoskins, Dianne Medrano, and so many others – it’s good to also remember Chantal Comte, who bottled her first rum in 1983 (it was a Depaz, and possibly even this one, though I’m still tracking that down), who has fiercely and doggedly stuck with her first love of the French islands’ rums in all the years from then to now.  She is, in my opinion, along with Tristan Prodhomme, one of the undiscovered treasures of the indie bottling scene. 

Yet her rhums remain peculiarly elusive: it’s rare to find a review of anything the woman has released, let alone any of the older bottlings, and this in spite of the fact that the quality of her wares is beyond dispute.  A few years ago a newspaperman in Trinidad wrote about a secret handshake that united the underground lovers of Luca’s Caronis, but the statement really should be applied to hers – and most especially for the one she herself considers her favourite, the Depaz 1975, which is almost as good as the utterly spectacular Trois Rivieres 1980 I was fortunate enough to find all those years ago.

The full and rather unwieldy title of the rum today is the Chantal Comte Rhum Agricole 1975 Extra Vieux de la Plantation de la Montagne Pelée, but let that not dissuade you.  Consider it a column-still, cane-juice rhum aged around eight years, sourced from Depaz when it was still André Depaz’s property and the man was – astoundingly enough in today’s market – having real difficulty selling his aged stock. Ms. Comte, who was born in Morocco but had strong Martinique familial connections, had interned in the wine world, and was also mentored by Depaz and Paul Hayot (of Clement) in the late 1970s and early 1980s, when Martinique was suffering from overstock and poor sales.. And having access at low cost to such ignored and unknown stocks allowed her to really pick some amazing rums, of this is one.

Still, if we disregard the bottle and just do the pour, the mud-brown liquid does not, at the inception, inspire. That misleading first impression lasts about as long as it takes the nose to take the first sniff. Because it’s thick, it’s fruity, it’s juicy and it feels solid enough to get your teeth into.  The whole thing is a smorgasbord of fruits – ripe pineapple and mangoes for sure, pears, white guavas and papaya (all the light hits of the agricole pantheon)…but also more dark fruits than we usually associate with rhums – black grapes, kiwi fruits, rich plums, dates. No tartness here, though a whiff of citrus peel pervades the background, just a combined fruit smoothie in harmonious combination with a trace of molasses, cereal and chocolate brownies

And that’s not all: the palate is equally complex and well-crafted, and at 45% – usually a middling strength which can be too soft or delicate or thin if done indifferently or badly – it expands the tableaux of observable notes. It melds the soft smell of old leather satchels with pears, herbs, spices, coffee grounds and a touch of brine, and if you hang around long enough the light acidity of citrus peel and tartness of sour cream coil behind and lend some texture and depth.  Which is to say nothing of the delicate grassiness and softer caramel hints that you can almost, but not quite, taste – they are sensed rather than experienced, and just enhance the supple, smooth drinking experience. I would have preferred the finish to be a little longer and perhaps a shade more emphatic, but overall, the closing notes of prunes, apricots, ginger, 5-spice and light sugar water was quite enough to give the rhum a lovely, low-key send off. 

Clearing away the dishes – this is not a rum that revels in strength and furious points of power.  It lacks decisive and clearly discernible tastes like funk or woodsiness. What it does do, and well, is subtly combine the component profiles while at all times allowing the drinker to pick up some element that pleases, and identify it precisely within the amalgam. It’s interesting that Ms. Comte remarked once that she felt a product (rums) so complex and of such quality could not – should not! – possibly be overlooked or despised the way it was, just around the same time as Luca Gargano was coming to similar conclusions over at Saint James: one gets the impression she’s followed that principle ever since, of not worrying about singular taste profiles, but more pleasing symphonic harmonies.

Anyway, the Depaz 1975 is, at end, a rum that reminds us what a long journey agricoles have made since back in the 1980s when it came out.  It starts off by seeming quite ordinary, an agricole like many others we’ve tried — then it gathers force and power, it gets better with every passing sip, and by the time you’re done it will take its place as one of those rums you can’t imagine yourself forgetting. Deservedly so, in my opinion, for here is one of a series of bottlings which raised the bar for the French Caribbean islands, indie bottlings and La Maison de Chantal, and forced everyone to sit up and pay attention. We have never forgotten, and they have never looked back, and that’s all as it should be.

(#709)(89/100)

Other Notes

  • Many thanks to Sascha Junkert and Johnny Drejer for their forbearance – they both know why 🙂
  • Outturn unknown, exact age unknown – I think it’s around 8-10 years old.  A query is pending.

Doctor Bird Jamaican Rum – Review

 4 Responses »
Feb 192020
 

The strangely named Doctor Bird rum is another company’s response to Smith and Cross, Rum Fire  and the Stolen Overproof rum. These are all made or released in the USA (Stolen hails from New Zealand but its rum business is primarily in the US), but the rums themselves come from Jamaica, and there the similarity sort of breaks down, for the Doctor Bird is one of the few from Worthy Park — one of the New Jamaicans which has quietly been gaining its own accolades over the last few years — and not from Hampden or Monymusk or Longpond or Appleton.

The quirky Detroit-based Two James Distillery — whose staff include, variously, an ex-guitar-maker, ex-EMT, ex-Marine and ex-photographer and who state openly and tongue-in-cheek that they have no problems with people stalking them on social media — is a full-fledged distillery, with a 500-gallon (1892 liter) pot still leading the charge.  But while they produce gin, rye whiskey, bourbon and vodka on that still, it’s really irrelevant here because – again, like Stolen – they didn’t bother to make any rum themselves but imported some barrels from Worthy Park. This is a departure from most American distillers styling themselves rum makers, many of whom seem to think that if they have a still they can produce anything (and are at pains to demonstrate it), but few of whom ever think of buying another country’s spirit as Stolen and Two James have.

That aside, moving on: Worthy Park you say?  Okay. What else? Pot still, of course, 50% ABV, so that part is good.  Hay yellow. It’s finished in moscatel sherry casks, and that kinda-sorta bothers me, since I retain bad-tempered memories of an over-finished Legendario that was well-nigh undrinkable because of it – though here, given the zero reading on a hydrometer, it’s more likely the finishing was a short one, and not in wet casks.

Certainly the sherry influence seemed to be AWOL on initial sniffing, because my first dumbfounded note-to-self was wtf is this? Salt wax bomb just went off in the glass. Sharp funk is squirting left and right, acetones, furniture polish, rotting bananas, a deep dumpster dive behind an all night take-out joint. Harshly, greasily pungent is as good as any to describe the experience. Oh and that’s just for openers. It gives you kippers and saltfish, the sweet salt of olive oil, varnish, paint thinner. Thank God the fruits come in to save the show: sharp nettlesome, stabbing, tart unripe green bastards, to be sure – gooseberries, five finger, green mangoes, soursop, apples, all nose-puckering and outright rude.  But overall the sensation that remains on the nose is the brine and rotting fruits, and I confess to not having been this startled by a rum since my initial encounter with the clairins and the Paranubes. 

Thankfully, much of the violence which characterizes the nose disappears upon a cautious tasting, transmuted by some obscure alchemy into basic drinkability.  It stays sharp, but now things converge to a sort of balance of sweet and salt (not too much of either), crisp and more fruity than before. There’s wood chips, sawdust, varnish, glue, retreating to a respectable distance. Sweet soya sauce, vegetable soup, dill and ginger, gherkins in a sweet vinegar, followed by a parade of crisp fruitiness. Pineapple, lemon peel, gooseberries, green apples, all riper than the nose had suggested they might be, and the finish, relatively swift, is less than I would have expected — and simpler — given the stabbing attack of the nose.  It provides salt, raisins, the citric spiciness of cumin and dill, exhaled some last fruity notes and then disappears.

Well now, what to make of this? If, as they say, it was finished in a sherry cask, all I can say is too little of that made it through. The light sweet muskiness is there, just stays too far in the background to be considered anything but a very minor influence, and aside from some fruity notes (which could just as easily come from the rum’s own esters), the sherry didn’t habla. Maybe it’s because those Jamaican rowdies from the backdam kicked down the door and stomped it flat, who knows? The strength is perfect for what it is – stronger, and morgues might have filled up with expired rum drinkers, but weaker might not have exhibited quite as much badass.

I think the challenge with the rum, for people now getting into Jamaicans (especially the New ones, who like their pot stills and funky junk dialled up to “11” ) might be to get past the aromas, the nose, and how that impacts what is tasted (a good example of how polarizing the rum is, is to check out rumratings’ comments, and those on Tarquin’s sterling reddit review. This is a rum that needs to be tried carefully because to the unprepared it might just hit them between the eyes like a Louisville Slugger. Personally I think a little more ageing or a little more finishing might have been nice, just to round things out and sand the rough edges off a shade more – this is, after all, not even a six year old rum, but a blend of pot still rums of which a 6YO is the oldest. And those high-funk, ester-sporting bad boys need careful handling to reach their full potential. 

The Jamaicans have been getting so much good press of late – especially Hampden and WP – but the peculiarity of this fame is that it has led to the belief that anyone can just buy a barrel or ten from them, bottle the result and voila! – instant sold-out. Yeah, but no. Not quite. Not always. And no, not here.

(#703)(83/100)

Other Notes

  • “Doctor Bird” is not a person, and is not supposed to be “Dr. Bird.” It is, in fact, the national bird of Jamaica, a swallow-tail humming bird, only found there. Folklore has it that it was named because of the resemblance of its black crest and long bifurcated tail to the top hat and tails worn by country doctors back in the old days.
  • Big hat tip to Cecil Ramotar, ex-QC part-time rum-junkie, who made sure I got a sample of the rum to try.

Berry Bros. & Rudd Hampden 1990 17 YO Jamaican Rum – Review

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Feb 052020
 

Hampden is now one of the belles du jour of the New Jamaicans, but it’s been on the horizon for much longer than that, though sadly much of its output from the Elder Days was sold outside Jamaica as a sort of miscellaneous bulk item, to be bastardized and mixed and blended and lost in the drab ocean of commercial rums that made up most of what was sold up to ten years ago. Never mind, though, because these days they’ve more than made up for that by issuing rums under their own estate brand, getting the single-barrel limited-edition treatment from Velier, and getting better every time I try ‘em.

This BBR bottling predates those more recent tropically-aged estate releases and hearkens back to what I sort of suspect will be a fond memory for the annually increasing number of Old Rum Farts – those days when all of Hampden’s output was sent for further ageing and bottling to Europe and only independents were releasing them at cask strength.  Berry Brothers & Rudd, that famed spirits establishment which has been in existence in London through just about all of Britain’s imperial and post-war history, certainly channels that genteel, old-world sense of style, with its prim and near-Edwardian-style labels.

What those labels don’t give us is enough data – by our rather more exacting current standards anyway.  We know it’s Jamaican, Hampden, distilled in 1990, 46% ABV, and from the osmosis bleeding through Facebook, we also know it’s a completely pot still rum, bottled in 2007, a continentally-aged 17 year old.  Marius of Single Cask Rum whose article on Hampden is worth a read for the curious, wrote that the 1990 bulk export batch – there was only one or two a year, rarely more – was of marque C<H> “Continental Hampden”, which would place it in the high range of ester-land… 1300-1400 grams per hectoliter of pure alcohol (g/hlpa); only the DOK is higher, going to the legal maximum of 1500-1600.

From those statistics we can expect something pretty dense and even feral, bursting with flavour and happily squirting near-rancid and over-fruity esters from every pore. It does indeed do that when you nose the yellow rum, but initially what you smell is a lot of glue, rubber, new vinyl, the fake upholstery of a cheap car and, more than anything, it reminds me of sliding a brand new 33 LP fresh out of its sleeve. Then there’s wax, sugar water, light fruits – pears, guavas, papaya – nougat, orange peel and an interesting sub-channel of sake and tequila, some brine and olives, followed up at the last by lemon meringue pie with a good bit of crust and creaminess thrown in for good measure.

(c) Barrel Aged Mind, with thanks to Marco Freyr

Yet overall, it’s not fierce and demanding and overdone. The palate, like the nose, also demonstrated this admirable self-control, and together with the lower strength, this allowed the glittering blades of over-fruity sharpness that usually distinguishes such rums, to be dialled down and savoured more than feared or watched out for. The profile was coruscating notes in a complex almost-sour fruit salad consisting of pineapples, kiwi fruit, green grapes, unripe apples and pears, sprinkled over with cardamom and a pinch of camomile.  It is also rich and creamy, tastes a bit nutty, and the lemony background went well with the vaguely salty background that gave the whole thing a tequila like aspect that somehow worked really well. The finish was medium long, mostly wrapping up the show content to stay pretty simple and straightforward – lemon zest, salt butter, pineapple, caramel and a twist of vanilla. Lovely.

Summing up, the BBR Hampden is not like the high end muscle-beach monsters of the TECC and the TECA, or even a dialled down DOK; nor is it like those New Jamaicans high-proofs that are coming out now, which sport lots of tropical ageing and dense, deep profiles. You can spot the core DNA, though, because that’s too distinct to miss – it’s gentler, lighter, yet also crisply fruity and very precise, just not as forceful as those 60%-and-over ester fruit bombs.  I wonder whether that’s the strength – probably, yes.  

But if you’ll forgive the metaphysical license here, what it really does is evoke and bring to my mind long unthought memories: of rummaging through and inhaling the scent of just-arrived vinyl LPs in Matt’s Record Bar in GT when I was a kid with no money; of overstuffed sofas and armchairs covered with thick smelly plastic sheeting, resting in old wooden houses with Demerara shutters and Berbice chairs where the men would sip their rums and “speak of affairs” on hot Saturday afternoons and me hanging around hoping for a sip and a word. The Japanese have a word for this – natsukashii – which refers to some small thing that brings you suddenly back to fond memories — not with longing for what’s gone, but with an appreciation of all the good times. I don’t want to make out that this is the experience others will have, just that this is what it did for me — but  in my opinion, any rum that can do this even half as well, for anyone, is definitely worth a try, even leaving aside the lovely scents and tastes which it presents.

(#699)(88/100)

Other Notes

Two other reviewers have looked at  this rum in the past:

L’Esprit Beenleigh 2013 5YO Australian Rum – Review

 1 Response »
Jan 232020
 

The French-bottled, Australian-distilled Beenleigh 5 Year Old Rum is a screamer of a rum, a rum that wasn’t just released in 2018, but unleashed. Like a mad roller coaster, it careneed madly up and down and from side to side, breaking every rule and always seeming just about to go off the rails of taste before managing to stay on course, providing, at end, an experience that was shattering — if not precisely outstanding.

It is bottled by L’Esprit, the Brittany-based company that provided two of the most powerful whites I’ve ever tried (from Fiji and Guyana); and distilled by the Australian distillery Beenleigh, which is practically unknown outside of Oz, but which has been in operation since before 1884 (see other notes, below) and which I’ve mentioned briefly in two heritage Rumaniacs reviews, the Stubbs Queensland White, and the Inner Circle “Green Dot” rum. And it’s stuffed into specially hardened glass at a palate-dissolving, tears-inducing 78.1%, which is sure to  make any lover of machismo grin, flex the glutes and the pecs, and dive right in.

To say it’s hot may be understating the matter.  This thing noses like an unexpected slap from your loved one, the sweet force of which has to be watched out for and mitigated as best one can. It’s sizzling, it’s sharp and quite sweet – caramel, butterscotch, apricots, peaches and cherries in syrup…on the icing of a vanilla cake. And even with the strength I could, after a while, smell very ripe, almost spoiling mangoes and kiwi fruit, with cereals, cinnamon, and milk…plus more chopped fruit. 

The palate, well, this was very nice.  Initially it’s all passion fruit, five-finger, sorrel, tart soursop, salt caramel ice cream (Hagen-Dasz, of course).  It remains hot and sharp to a fault, which you can navigate with your sanity and glottis intact only only via paranoid caution and really small sips. It presented as nutty, creamy, fruity (of red, yellow, ripe variety, so choose for yourself), not crisp per se, just damn solid, as firm as a posturepedic mattress on sale at your local furniture store. Plus the headboard, which hits you several times, hard. Unsurprisingly, the finish is a DeMille-style biblical epic, long, hot, breathy, practically ever-lasting, leaving behind good memories of cereals, cream, salt butter, and thick ripe fruit.  These were admittedly somewhat standard, and perhaps unexceptional…but it certainly didn’t sink the experience.

I still remember how unusual the Aussie Bundaberg had been back in the day (as I recall all traumatic rum encounters in my genuflectory come-to-Jesus moments) but no matter how polarizing it was, you couldn’t deny it had real balls, real character. L’Esprit’s Beenleigh was nowhere near that kind of opinion-inducing love-it-or-hate-it style, but that aside, I must say that it channels Conrad well, it’s major sound and fury, a mad, testosterone-addled wild-eyed piece of the rum zeitgeist, with wild pendulum swings from the sedate to the insane, the smooth to the storming, and a hell of a lot of fun to try. I don’t know how I missed including it in my list of the most powerful rums of the world, but for sure I’ve updated the list to make sure it’s in there.

L’Esprit remains one of my favourite independents. They lack the visibility and international reputation of better-known (and bigger) companies which have snazzy marketing (Boutique-y), a long trail of reviews (Rum Nation), ages of whisky and other experience (Samaroli) or visionary leaders of immense and towering reputations (Velier) – but somehow they keep putting out a rum here and a rum there and just don’t stop…and if they don’t always succeed, at least they’re not afraid of running full tilt into and through the wall and leaving an outline of Tristan Prodhomme behind. The Beenleigh is one of the rums they’ve put out which demonstrates this odd fearlessness, and ensures I’ll continue seeking out their rums for the foreseeable future. Both L’Esprit’s, and those of Beenleigh themselves.

(#695)(81/100)

Other Notes

  • Sugar cane growth had been encouraged in Queensland by the Sugar and Coffee regulations in 1864, the same year as the Beenleigh plantation was established (it was named after its founders’ home in England). Initially sugar was all it produced, though a floating boat-based distillery called the “Walrus” did serve several plantations in the area from 1869 and made rum from molasses – illegally, after its license was withdrawn in 1872, continuing until 1883 when it was beached.  Francis Gooding, one of the founders, purchased the onboard still and gained a distilling license in 1884 from which time such operations formally began in Beenleigh. Through various changes in ownership, Beenleigh as a distillery continued until 1969 when it shut down because of falling demand, then relaunched in 1972 under the ownership of Mervyn Davy and his sons; they didn’t hold on to it long and sold it to the Moran family in 1980, who in turn disposed of a controlling share to Tarac Industries in 1984. All the post-1969 owners added to the facilities and expanded the distillery’s production to other spirits, and it was finally acquired in 2003 by VOK Beverages a diversified drinks company from South Australia, in whose hands it remains.
  • Tristan confirmed that this rum was completely pot-still. Although the majority of Beenleigh’s rums come from a column still, the old copper pot still they started with all those years ago apparently is still in operation – I would not have thought a pot still could get a proof that high, but apparently I’m out to lunch on that one. Other than that, it is not a single cask but a small batch, and technically it is a 3 YO, since it spent three years in wooden casks, and two extra years in a vat.

That Boutique-y Rum Company Bellevue 1999-2018 19YO Guadeloupe Rum – Review

 4 Responses »
Jan 202020
 

In spite of being “just” a consultant, Pete Holland of The Floating Rum Shack is so completely identified with the rums of the cheekily named That Boutique-y Rum Company, that we sometimes overlook the fact the outfit is actually part of Atom Brands which runs the Masters of Malt online spirits establishment. The curious matter of his being seen as the face of the brand can be directly traced to two things – his consistent promotional work for TBRC online and off, and the irreverent paintings by Jim’ll Paint It that adorn the labels of the bottles, many of which feature Peter himself.

In a field ever more crowded with new bottlers, new distilleries and new (supposedly improved, but not always) offerings from the old houses, all vying for our limited attentions spans and slim, wife-approved budgets, one can hardly fault such an in-your-face marketing strategy, you can only admire how well it’s done. It helps, of course, that Peter really is a fun guy to hang out with, drink with and make jokes with (or at) – and that the rums the company has released so far have been pretty damned good.

Take this one, which proves that TBRC has a knack for ferreting out good barrels. It’s not often you find a rum that is from the French West Indies aged beyond ten years — Neisson’s been making a splash recently with its 18 YO, you might recall, for that precise reason.  To find one that’s a year older from Guadeloupe in the same year is quite a prize and I’ll just mention it’s 54.2%, aged seven years in Guadeloupe and a further twelve in the UK, and outturn is 413 bottles. On stats alone it’s the sort of thing that makes my glass twitch.

Still, with the facts out of the way, what’s it like?

Very nice…if a little off the beaten track. Now here is a rum based on a batch of molasses (so it’s not a true cane juice agricole), and it starts off not with grassy and herbal and citrus aromas, but with crackers, caramel, and breakfast cereal (Fruit Loops, I say, from the experience of buying tons of the stuff for the Baby Caner back in the day).  Which I like, don’t get me wrong…once I adjust my mental compass away from agricole territory. The nose also displays toffee, nougat, nuts, almonds and mixes that up with a softly emergent slightly sharp and piquant fruity bouquet that’s quite simply delectable. The balance among all these elements is really good, negotiating that fine and tricky line between muskiness, sweetness, crispness and sharpness in a way we don’t often see.

The palate confirms that we’re not dealing with a cane juice rum in any way – the wood is more evident here, there’s some resin-like backtaste, smoke, vanilla, molasses and brine, offset by light flowers, and a sort of subtle fruity sweetness. The fruits are kinda tough to pick apart – some red grapes, I suppose, pears, papaya – it’s all very light and just a tad acidic, so that the combined profile is one of a seriously good rum, concluding with a reasonably long finish that is sweet, salt, wine-y, and crisp, just the slightest bit sour, and overall a really welcome dram to be sipping after a tough day at the rumfest.  

Guadeloupe rums in general lack something of the fierce and stern AOC specificity that so distinguishes Martinique, but they’re close in quality in their own way, they’re always good, and frankly, there’s something about the relative voluptuousness of a Guadeloupe rhum that I’ve always liked. Peter sold me on the quality of the O Reizinho Madeiran a while back, but have my suspicions that he has a soft spot for this one as well.  Myself, I liked it a mite better, perhaps because there was just a bit more going on in the background and overall it had a shade more complexity which I appreciated. It’s a really delectable dram, well aged, damned tasty and one to share with all your friends.

(#694)(87/100)

Other Notes

Peter told me that the label was a little misleading. The initial image on the bottle I tried makes a visual reference to the (Gardel) distillery on Marie Galante, but it was actually distilled at Damoiseau’s Le Moule facility, from a batch of molasses rum produced on their creole column. The label has been redrawn and there’s a movement afoot to re-label future iterations — Rev 2.0 adds Peter to the artwork and pokes a little fun at the mistake.

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