Doorly’s Finest Old Barbados 3YO Rum – Review

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Jul 162024
 

Over the years I’ve somewhat revised my initially indifferent stance towards Doorly’s, which at various times I sniffed at as lacking in seriousness, bereft of real character, a relic of a bygone and more innocent era, or various other rather dismissive comments. To me, Doorly’s always seemed to be a genuflection to the mass market instead of something more exactingly made. The entire line, even with its heritage, paled in taste and significance when rated against the rums that Foursquare became known for: the ECS series, the Velier Collaborations, the pot still aged rums and the occasional Master Distillers releases.

Yet, slowly, quietly, the line got better and began to be more than just a back bar staple that incurious barmen reached for when they needed a cheaper aged Barbados rum. It rose in my estimation over the years. I named the 12YO a key rum of the world, and quite enjoyed the 14YO. But much to my surprise, it was this 3YO which exceeded its expectations so handily that it actually went toe to toe with the 14YO (albeit for different reasons). Now there’s a surprise for you.

Let’s start at the beginning: Doorly’s is the mass market export brand of Foursquare Distillery, which needs no further introduction (and if it does, you’re not really into rum); they had initially acquired the brand in the early 1990s and kept it in place because of its name recognition – it has now grown into one of the most recognizable Barbados brands in the world. The rum is a pot and column still blend, aged three years in ex-Bourbon (older casks), is issued at two strengths, 40% and 47% – this review is based on the stronger one.

Normally a 3YO rum is a cocktail ingredient, and priced to move. Sometimes also called Amber, Gold or Ambre, it’s coloured artificially on occasion, though here, given the pale yellow hue, that’s unlikely and it’s all barrel derived. The initial nose is remarkably crisp, without being sharp or bitchy, which is welcome: it’s buttery, briny and flowery, with coconut shavings and vanilla hogging the scene, accompanied by almonds, coffee grounds, cloves and a touch of black pepper.

On the palate it’s also quite good, firm and well balanced, not at all sharp. It opens with salt butter and Danish cookies, vanilla, hot pastries, licorice, pine tarts, with a gradually discernible background of raisins, citrus, coconut shavings, coffee grounds, charcoal and sour red licorice. It all leads to a decent medium long finish that wraps up the show nicely and sums up the preceding notes without adding new. It’s just…hefty. And quite a tasty dram, let me add.

I would never pick the 40% edition if this was available as an option. The combination of the flavours is all well handled, and there’s a force to it imparted by the higher strength that’s impressive. The other day I tried the Sunshine & Sons Australian rum that was a little over half+- this rum’s age and about the same strength, but had to strain twice as hard to get a fraction of what this rum so effortlessly put out the door without looking like it was even trying. Moreover, it moves between cocktail ingredient and sipper with startling ease – you can use it for either one – and shows that even a 3YO can show flashes of elegance that elevates it over rums years older. This is one hell of a young rum.

(#1081)(84/100) ⭐⭐⭐½

Other notes

Beenleigh XO Rare 10YO Rum 2023 (Australia) – Review

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May 312024
 

Although it’s slowly changing, it’s still a good bet that if the average rum drinker were asked to name any Australian rums and the companies that made them, the two most common responses would be Bundaberg and Beenleigh. And whether or not one was a native of Australia, the general consensus would also be that the Bundie (located some distance north of Brisbane in Queensland) is foul hooch for the masses while Beenleigh (just south of Brisbane) aspires to something more highbrow and makes somewhat better regarded rums. Both export a lot and are known around the world, with Beenleigh having an edge in the indie bottling scene where several different expressions have come out in the last few years, as issued by various bottlers like Cadenhead, TBRC and others.

These simple statements are, however, somewhat at odds with the reality on the ground. For sure the downmarket Bundies don’t have a good reputation and often get savagely skewered (including by me), but starter-kit Beenleighs sold locally aren’t exactly hot-snot bees-knees either. Both have — in the last decade or so — diversified their rum portfolios to cater to all price points and issue rums of various ages and strengths, as well as special editions and anniversary releases and just simple experiments that some happy distiller decided to mess with one day and see what happened (if it didn’t detonate in his face first). And these are, in many cases, not half bad, no matter which outfit releases them

Take this one for example, which is one of the best rum from Beenleigh I’ve ever tried. It’s a ten year old rum, molasses from Queensland, and pot distilled according to the company website but both the label and the advent calendar notes say pot-column blend and so confirmed by Steve Magarry, so there you have it. The “rare” portion of the title comes from its limited edition status – it came from a blend of only four barrels – and the barrels themselves, which were ex-Australian-brandy, and ex-bourbon American oak. The exact outturn is not stated but I would hazard that it’s around a thousand bottles.

For a 46% ABV rum it noses really well, combining both sweet and sour in an amalgam that presents the best of lychees, ginnips, gooseberries and ice wine. There are also apricots peaches and some very ripe dark cherries, buffeting the nose in solid pungent aromatic waves, accompanied – as the rum opens up later – by honey, freshly buttered hot croissants, and some dusty cardboard that is far from unpleasant. This is seriously one fine nose.

The taste is great stuff. A lot of what one senses when smelling it comes back for an encore here: the sweet solidity of honey, lychees, pineapple slices, cashews, ripe apples and pears, combined with subtler tastes of watermelon and papaya. Into this is mixed cinnamon, vanilla and caramel, some olive oil (!!) and a last flirt of ripe red grapes and cardamom helps make the finish an easy and memorable one.

The achievement of being able to represent so many flavors considerable when one considers the 46%, and I wonder whether it was the same 2013 batch of juice that La Maison & Velier released last year. It is soft yet firm, tasty without being threatening, and its only drawback may be the price (AUS$160 / about US$110) which is somewhat high for a ten year old…but maybe not, given the hoops we’d have to jump through to get any.

I have not tasted a whole lot of Bundabergs recently, yet looking at their portfolio these days, I’m not seeing a whole lot they’re making that can catch up with this one. Be that as it may let’s just give Beenleigh the plaudits they deserve here. I think the rum is great, really well assembled, tastes wonderful and isn’t bottled at some stratospheric proof that leaves you gasping, or with so few bottles you’ll never see any. It’s something to drink sparingly and with great enjoyment, if one turns up on your doorstep.

(#1074)(87/100) ⭐⭐⭐⭐

Other notes

  • From the 2023 advent calendar Day 18

L’Esprit Foursquare 2005 15 YO Barbados Rum – Review

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Mar 032024
 

It’s not entirely clear why the little Brittany-based independent bottler L’ESprit – for which I have retained an enormous fondness over the years – advertises so little and keeps such a low profile. One never sees them at rum festivals, Tristan Prodhomme is practically unknown among the pantheon of small-company personalities, the company is more wedded to whisky than to rum…and yet the rums this one little outfit does release have a really good track record, people do treasure the ones they get and I would always take a second look myself, if one crossed my path: it’s one of the few indies whose wares I actively seek out and keep an eye open for.

L’Esprit has, since its inception, gone through the whole gamut of what’s possible: they have released aged and unaged rums, standard strength or still strength, represented pretty much all the major rum producing countries out there (and a few minor ones), and in a nice touch, sometimes issue the same rum at two different strengths – standard and full proof. Today’s rum comes from Foursquare: it’s the usual pot-column blend characteristic of the famed distillery, distilled in November 2005, bottled in October 2020 (so a neat 15 years old), 60.5% and as far as I know, aged in ex-bourbon barrels.

From those stats you can guess it’s a rum of furious and tasty brutality, and that’s not far off. The nose lunges from the bottle in an initial attack of pungent nutty and fruity notes, very intense. It is, one should note in passing, extremely nice too; it follows up with an uppercut of caramel, salt, acetones and the boiling scent of an “under final touch ups” stage of a new house in the hot summer — acetones, plastic turpentine and floor wax (clearly more pot still in action here). Then it seems to want to calm down and more restrained aromas come through – strawberries, unsweetened chocolate, tinned fruit syrup, dark honey, leather and port infused damp tobacco. That’s quite a lot for any rum to be providing, no matter who makes it.

Clearly slowing down is not in this bottle’s bag of tricks: it continues to go strongly, like a bat out of hell, on this and every subsequent tasting (the glass is with me for the best part of a full day): it’s sweet, dry, aromatic, tasty. Green peas, syrup again, pears, stewed apples, tinned peaches, which is all pretty much what one could expect. But it does have some kinks as well, tastes that are somewhat odd — pleasant enough but almost unfamiliar, the way these components come together. Plastic, kerosene (just a touch), balsamic vinegar, mangoes in a very hot pepper sauce, that kind of thing. The edge and savagery is always just behind the sweet and more aromatic side of the profile, waiting to pounce if you treat it with anything less than respect. It all leads to a medium short finish (which, admittedly, is surprising for something that has to this point been going full steam), with not a whole lot more. Fleshy stoned fruits, some caramel and vanilla, strawberries, and the glue and wax make a short bow before scampering back offstage.

And that’s it. It’s the sort of neat pour that will leave you gasping a bit but also pleased to have been able to finish it. Overall it’s solid, and easily buffs the credentials of both producer and bottler to a brighter gleam. It has a seriously good nose with everything we like included, which is then sanded to a shine and bolted on to an anvil-heavy series of tasting notes that don’t seek to reinvent the wheel (or Foursquare), but simply present the best of which this particular barrel is capable. It’s like Tristan found a barrel he liked so much that it was only by the most supreme effort of will that he didn’t slap an ECS label on it – because that’s the only thing I can compare it to, and that’s what it really is. I call mine “Truculentus”.

(#1061)(86/100) ⭐⭐⭐⭐

Killik Handcrafted Rum “Gold” (2023) – Review

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Aug 252023
 

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

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

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

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

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

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

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

(#1019)(83/100) ⭐⭐⭐½

Other notes

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

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Aug 222023
 

Rumaniacs Review #R-157 | #1019

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

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

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

Colour – White

Strength – 40%

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

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

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

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

(#1019)(76/100) ⭐⭐⭐

Other notes

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

Bundaberg Overproof Extra Bold Australian Rum – Review

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Aug 102023
 

Bundaberg — or “Bundie” — may the most globally famous rum from Australia, the rum that (according to the local wags) coke, ginger beer and weekends were invented for. Even if you’ve never seen a bottle or tried it, you’ve likely heard the name. Aussies seem to love hating on it with a sort of gruff affection, but God help the gronk or the pom who disses the thing – then you get comments like Gunnar’s, which, I have to be honest, made me laugh harder than the closing sentences of the latest Plantation diss. Though they have something of a hammerlock on low end rum sales in Australia (especially Queensland), they don’t do that well outside Oz (many know the brand, though fewer have tried it), since they have not, to my knowledge, ever bothered to sell bulk abroad, cultivate a serious export market, or delve into specialised bottlings of their own until very recently – even with the deep pockets of Diageo, which bought the brand in 2000.

Yet Canada gets some, from time to time, and I’ve tried a couple. It’s been more than a decade since Keenan and I suffered the agonies of our tonsils being tied into pretzels by the original Bundaberg, but that merely exemplified what a deficient knowledge of Australian rums we possessed back then, because, well, what the hell did we know? I did try the Black labelled “Reserve” some time later; and thought it was better…still, I felt no particular urgency to take it further, acquire more, taste more widely, not even when my desire to highlight Australia became more pronounced a few years ago. It took Gunnar’s cheerfully bellowing and sneering comment on that first review the other week to reignite my curiosity: enough for me to run out, and buy the only other available Bundie in my local market,

The rum I bought was the Overproof. As far as I know it’s been in commercial production and distribution for most of this century, and though the website doesn’t say so and details are surprisingly thin on the ground, it’s a pot-column still blend of a rather indeterminate age, likely less than five years old. It’s also rather good, with a solid 57.7% strength that provides a wallop that really allows the flavours to pop.

Walk with me here. I can’t speak for you but I still recall the buttery tequila and rotten cashew fruit taste of the Original and to a great extent this is what people remember with such distaste now – it’s “rough as a badger’s arse” according to one redditor just a year ago. Little of that is in evidence on the nose of the Overproof. What you do get is overripe green grapes, hard and too-sweet bon-bons gone stale in a dusty room, salt and a slight agave note: nothing near as overpowering as before, just enough to recall the low end Bundies of yore. Also ginger snaps, a little rubber, light molasses, lemongrass and squishy bananas in hot weather. Not normal, no….not bad either, however.

The taste is where it all hangs in the balance, and here it falters. “Oh wow, this actually hurts going down,” said The Little Big Caner who was helping me do tasting notes, and had little experience with the care needed in testing stronger fare. This is not a rum he likes, apparently. Yet there’s pepsi, hot buttered scones and pastries, olive oil, overripe soft brown bananas, damp brown sugar and molasses. A slight sweetness, vanilla, caramel, some florals. The strength requires some care, and once one is acclimatised it comes across as reasonably smooth, distinctive and not completely unpleasant drink. The finish is long and aromatic – cola, ginger, some vanilla, anise and that faintly sickly sweet-salt-sour — thick — sense of a dosed tequila. That’s the DNA of this thing and allows it to be tied to all its forebears – if I didn’t know better (or knew more) I’d say this was the local terroire.

So…what to make of it? Well, I believe that the Bundaberg Overproof is a kind of exceptional low grade Rummus Maximus, the sort of in-your-face, colourful, fiery, vegemite-munching experience you really can only appreciate to the fullest after having been bludgeoned into catatonia by its low-rent everyschmuck predecessors. It’s difficult to convey the scope of the (minor) achievement the rum provides because most of us lack a good frame of reference: we have all tasted dozens of Barbadian, French-island, Fijian, Venezuelan, Cuban, Guyanese or Jamaican rums (to name just a few), but Bundies? … not so many.

Comparisons with other Bundies aside, however, I consider the Bundie Overproof “Extra Bold” to be a strong, vulgar, distinctive and uncouth rum…and still a fine and interesting rum to try at least once. And if it retains the vestigial taste profile that so many Aussies claim to detest, I at least can assure you it’s not excessive and you won’t soon forget its unique brand of crazy. It may not have been “suckled straight from a breast of the finest proportions,” as Gunnar rhapsodized, but I see no reason to doubt his claim that many a night of vile debauchery and shenanigan fun has been fuelled by this beverage. In fact, I think my bottle will accompany me to the very next party I attend…just to check.

(#1015)(83/100) ⭐⭐⭐½

Historical Background

Bundaberg Distillery was founded in 1888 by seven Queensland sugar mill owners of the time, at the dawn of the sugar industry there. Within a couple of years it was being sold around the country; and shortly after went belly-up in one of the many disasters to befall the place. Bought out of receivership by three of the original investors in 1894, it again went under for seven years in 1907 (a bad fire), and would you believe it, once again in 1936 (after yet another fire which ruptured the storage area so badly that the Burnett River nearby ran overproof for months).

Yet already by that time it had become a peculiarly Australian and hugely popular libation. In 1899 Bundie accompanied the Aussie soldiers to the Boer War. The distillery was rebuilt in 1914 in time for the Royal Australian Navy and the British Royal Navy to commandeer their entire output and yes, it was there wherever Australians were in WW2 as well.

With the economic downturn of the post-war years, Bundaberg struggled with drought, higher taxes and lessening sales. Yet they continued to produce rum, selling it for the most part as an overproof to local agents who bottled it themselves and it was only in 1974 that they began producing rum under their own branding, using the now-famous square bottle, three-piece label and the polar bear iconography (meant to imply that a Bundie could ward off the deepest cold) which had been introduced in 1961.

Diageo bought the brand in 2000 and moved the entire operation to Sidney in 2014, while spending millions in an expansion plan to meet an increasing global demand. The standard Original flagship was thereafter joined by several different Bundies – Red, Black, Extra Smooth, Black, Reserve, and even a limited edition 18 year old. Say what you will about the pernicious effects of cold hearted cost-cutting accountants rationalising distilleries by closing them, Diageo has both grown Bundaberg’s sales and expanded the lineup of rums the company produces. To this day, however, the majority of sales remain regional, with Queensland still being the biggest single consumer. It remains to be seen if they can ever grow a worldwide audience.

Ron Añejo Pampero Deluxe Venezuelan Rum (1980s)

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May 152023
 

Rumaniacs Review R-148 | 0996

Pampero is a lesser known Venezuelan rum brand founded in 1938 by two friends, Alejandro Hernández and Luis Toro, who established their distillery in Caracas, and soon became one of the more popular brands in the country with their light, golden rums. In keeping with the times they eschewed really serious long term ageing, and stuck with the mid range, producing various youngish rons like the Añejo “Extra”, “Dorado”, “White”, “Especial”, “Premium Gold” and so on. These various brands have gone through several name changes over the years and nowadays the line is made up of the Añejo Especial (also known as “Oro” for the yellow label), the Aniversario (well known for its bottle in a leather pouch – I actually have one in my mythical basement somewhere and have yet to open the thing), the Blanco and the Selección 1938 Ron Añejo.

The cowboy on the rearing horse logo is to some extent chanelling a misconception: Venezuelan prairies are referred to as llanos, not pampas, the latter and its gauchos being Argentinian terms, yet this is the image that gives the brand its name. In Venezuela I am led to understand the rum and its brand – still popular after all these years – is called Caballito Frenao (“Rearing Horse”), and sells briskly…even though the brand is no longer in local hands.

In 1991 when the company was sold lock stock and barrels (95% of it all, to be precise) to United Distillers, then a subsidiary of Guinness and which eventually became Diageo, Pampero claimed to be the bestselling golden rum in the world, a claim hardly likely to be either proveable or refutable, even then (you’ll forgive me if I doubt it). United Distillers evidently had some differing opinions on how to market their acquisition, for in the next year some of their stock was shipped to Europe for the indies to play with, which is why we have two Secret Treasures 1992 editions of the Pampero, as well as others from Duval et Cie and Moon Import, also from that year. However, these days it’s all branded sales, most of which takes place in Europe (Spain and Italy) and inside Venezuela, with a smattering of sales to other countries like the US.

Modern production is molasses based, triple distillation on column stills to near absolute alcohol (96%) and subsequent ageing in white oak cask: they clearly adhere to the light Spanish style rons for that portion of their blend. However, it should be noted that according to their website, their triple distillation process “combines continuous column (light rum), kettle batch (semi-heavy rum) and pot still (heavy rum) to produce a high-quality alcohol,” so it would seem they have more than just a bunch of heavy duty industrial sized columnar stills churning out bland nothingness. However there are few if any references available to speak more to the subject, and even less that tells what the process was like pre-Diageo, to when this version was made.

The little bottle I found was made for the US market in the 1980s by a spirits importer called Laica, which disappeared from view by 1990; and since the US was still using ounces as a unit of measure on bottle labels until the late 1970s, I’m okay dating this to the decade of big hair, shoulder pads and breakdancing.

Strength – 40%

Colour – Gold

Nose – Nothing excessive or overly sharp. Subtle dusty and cereal-y aromas start the ball rolling. Pleasant — though rather restrained — notes of honey, chocolate, nuts, almonds and molasses, More piquant fruits enter the aromas after some minutes, mostly cherries, bananas and overripe soft apples.

Palate – It’s too thin to make any kind of statement, really, and a lot of what was nosed just up and vanishes. Molasses, some brown sugar, red wine, vanilla, and just enough of a rum profile to stop it from being a throwaway

Finish – Weak, short, faint, is there and gone too quickly to make itself felt. Disappointing.

Thoughts – By now I’ve had enough rums from South America, and from that era, to be unsurprised at how bland the experience is – their skillset is in light age and consummate blending, not fierce hogo or still-bestowed character. One can reasonably ask if back in the day they had added any of that heavier pot still juice to the blend, the way they do now – one suspects not, and unfortunately that leaves a rather anonymous rum behind, which starts decently enough but which ends with a whole lot of nothing to report.

(72/100) ⭐⭐½

Plantation Barbados Grande Reserve Aged Rum – Review

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Apr 102023
 

At first I thought the Barbados Grande Reserve Aged Rum was a replacement for the five year old Barbados rum from Plantation which I had tried many years ago, but further investigation showed them to be quite separate. Both, however, are part of the Signature blends which include the Barbados 5, the XO, Grand Anejo and Xaymaca — these are what one might infer are entry level rums for the curious (to call them ‘premium’ would be a stretch). They are neither bartenders’ mixing staples like the Three Star, OFTD or Original Dark, nor expensive limited editions like the upscale Extreme, Single Cask or Vintage series, and exist in a kind of everyman’s universe where “reasonableness” is the watchword.

That said, the production ethos of the company pervades even this introductory rum. It originates from the West Indies Rum Refinery in Barbados (we all know Ferrand, Plantation’s parent company, owns it) where it is blended from pot/column still molasses-derived rums aged from one to three years, before being shipped off to France and aged in Ferrand’s facilities there for another year. It’s released at 40%, the sweetening is glossed over, and overall, like most rums of this kind from this house, it attracts equal parts dislike and appreciation depending on who’s doing the talking.

It’s not my intent to rehash the polarising nature and background of either the company or its production practises here, except insofar as to note there aren’t many reviews of this rum to be found1, and wonder if the vitriol surrounding the company may have an impact on any writers’ desire to get sucked in. Be that as it may, the rum has to be tried sooner or later, and for new rum drinkers who wet their beaks for the first time with it, there’s little to actively dislike: it’s as good a rum to start one’s journey with as any, and better than quite a few I’ve looked at of late.

So, let’s get started. Nose: an introduction of crisp yet ripe fruit, like raspberries, red currants, pineapples, around which coils a waft of stinky sweet bubble gum in hot weather. Brown sugar and molasses and coconut shavings are discernible, plus some mushy bananas and tangerines that have seen better days. Nice enough nose, with enough going on not to be categorised as simply an entry-level molasses based product: it’s a bit better than that.

The palate now…not too shabby. No, seriously. A touch sharp going in at first sip, then it steadies: sweet and sour pork, hot black tea sweetened with condensed milk and cardamom (bush tea, we called it and I still make a mug a few times a month), light fruits plus a touch of unsweetened salt caramel, vanilla, cinnamon, honey, orange juice and even marzipan. The problem is it tastes a bit…flattened, even dull, like Emile’s sense of taste compared to Remy’s in Ratatouille. The music is there but the bass is too high and the top- and mid-range notes don’t come through clearly enough and this is also the case when considering the finish; which turns out to be nothing we haven’t seen before, and is even a bit boring — slightly briny, sweet, coconut shavings, vanilla, light citrus and some chocolate.

It goes down easy without reaching and that may be the key observation. Overall, it’s a relatively simple rum compared to others I’ve had (including some from Plantation themselves), yet a rum one can, with care and lowered expectations, have neat without too many issues. To be honest, I thought the rum was better than it had a right to be considering the sweetening Plantation is known for (I tested it after the session, not before…so the level was unknown to me while trying it).

The Grand Reserve stops short of being a cloying muddle, and is fortunately a ways from being a complete sugary mess — yet the additives/sugar do spoil it and make for a lesser experience, especially if one knows what one is looking for. For someone now getting into rum, it’s serviceable and they could use it as a stepping stone to get more into the field, though for getting into the Barbados style it’s useless, so forget that aspect. Those with more experience can use it as a bellwether for what to look for in Plantation’s successively more upscale (and expensive) offerings; and for those who’re really into rums, well, there’s not much to say to them, since they already know all there is to know.

(#987)(78/100)

Other notes

  • The Plantation website has no details on any of the Signature rum series at all (the “learn more” link does not work)
  • Most articles mention 15-16 g/L sweetening, or “dosage”. My hydrometer shows 36% ABV when measuring the rum, which works out to 15 g/L
  • Leaving the empty glass in the sink to evaporate overnight leaves a slightly sticky residue to be found the next morning.
  • The rum has been in production for a very long time, hence the various label changes. The first reference I can find for it dates from 2008, and is on one of the first rum review websites, Refined Vices, run by an old friend from Finland, Tatu Kaarlas (who now lives in Australia). That Grand Reserve Barbados rum had a label which stated it was from cane juice (felt by most at the time to be unlikely) not molasses…and came from Foursquare. Yeah, that’s not happening now, for sure.

Doorly’s Fine Old Barbados 14 Year Old Rum – Review

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Feb 172023
 

Last year Chris Seale and I were talking at Paris’s WhiskyLive and he mentioned that he had read some of my earlier work on the Doorly’s line of rums and thought I had been unnecessarily rough on the brand. I responded that this was very true — it’s hardly something I could pretend was not — but it faithfully reflected my feelings and opinions from more than a decade ago and of course, I’ve moved on to developing a real appreciation for Foursquare in the many years between then and now – especially the new Habitation Velier LFT and pot still editions, and the ECS series, to say nothing of the Collaborations. That said, I did remark I just found the Doorly’s brand as a whole too lackluster – most are public-facing and mass-market: the low-cost components of the house. They’re too weak, too easy, to everyman-pleasing; they are therefore not aimed at me but at those who are closer to starting their journey.

While completely acknowledging the house’s impact and importance, especially to the bourbon crossover crowd who I believe to be among the brand’s most fervent admirers (next to the Brits), I think it’s taken the Doorly’s 14 year old 48% pot-column blend (a part of the blend was aged in ex-Madeira, though specific details are lacking) released around 2019, to make me accept that finally there’s one of the line I can get serious about and introduce to my mommy. It presses more buttons than all its siblings – it’s stronger, has a bit more pot-still oomph, more decisive tastes and is to me, at the perfect age for what it is. Close your eyes and you could be drinking any top flight indie bottling.

Consider how it opens: the nose begins with the attack of light skirmishers – varnish, glue and brine, quicky gone, not sharp or aggressive, just making themselves felt. Next comes the light cavalry on the flanks: green apples, grapes, papaya, watermelon, pears, a touch of soursop, and then the heavy infantry masses to take over, and here the more traditional aromas of caramel, vanilla, toffee, blancmange, molasses, supported by the spices of cumin, rosemary, and cinnamon.

Once we start tasting the thing, the palate is where the battle is joined. Flavours vie for dominance – brine and olives and some nail polish duke it out with sweeter fruity notes of ripe red apples, pears and peaches in syrup, and very ripe dark cherries. On the flanks the molasses, toasted coconut and musky port-infused tobacco are having their own separate argument with a miso soup and kimchi, but the key takeaway is that when all is considered together, the whole palate is well-balanced between sweet, salt and sour. And the finish concludes this nicely by closing off the show with a spicy, long, dry, fruity and aromatic exhalation that somehow doesn’t give any side a win but shows off the best part of all of them.

This sounds like a lot, sure, but then, I tend to give Doorly’s more attention than most, precisely because thus far I’ve been less than impressed with the line. When the dust finally settles and the tally is made on the 14 YO, I consider this a very good sipping rum for us proles and the one Doorly’s I have no problem recommending to anyone, without resorting to a lazy and overworked references to bourbon or Pappy that just chases away those who have no interest in either. In fact, what this reminds me of quite closely is the ECS Criterion.

And yet, curiously, although my belief is that the rum is pretty damned fine not everyone agrees or goes that far. The rum garners positive reviews, yes, just not raves of the sort that more exclusive limited editions of the Collaborations or the ECS line get almost routinely (score aggregators cluster most user evaluations of the D14 at around the mid eighties with the others trending higher). Overall I think it’s a good rum, well made, well assembled, succeeding on every level without reaching for the moon, a sipper for every occasion for any income bracket, and frankly, I believe it’s an ECS edition in all but name. I call mine “Misnomer.”

(#973)(84/100)

Cadenhead’s Green Label Demerara 10 Year Old Rum (Late 1990s)

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Dec 082022
 

Rumaniacs Review #142 | 0957

As noted before (and repeated below for the curious), Cadenhead has three different bottle ranges, each of which has progressively less information than the one before it: the Dated Distillations, the Green Labels and the Caribbean blends.

The Green Label releases are always 46% and issued on no schedule; their labels and the company website provides so little information on past releases that one has to take some stuff on faith — in this case, my friend Sascha Junkert (the sample originator) noted it was a 10 YO bottled in 2000, although even the best resource on Cadenhead’s older bottlings, Marco Freyr, cannot verify the dates in his detailed post on the company and the accompanying bottle list, and Rum-X only mentions one distilled in 1998. There are only a handful of Green Label 10 YO rums from Guyana / Demerara at all, and the 2000 reported date doesn’t line up for any other published resource – when they bother, most mention 1998-2002 as distillation dates. So some caution is in order.

What’s particularly irritating about the label in this instance is that it lacks any information not only about the dates and the still(s), but also the casks – and so here one has to be careful, because there are two types of this 10YO Demerara: one “standard” release, and one matured in Laphroaig casks. How to tell the difference? The Laph aged version is much paler and has a strip taped vertically across the screw top like a tax strip. Hardly the epitome of elegant and complete information provision now, is it.

The Laphroaig aged expression. Note the identifying strip at top.

Colour – Pale yellow

Strength – 46%

Nose – Dry, dusty, with notes of anise and rotting fruits: one can only wonder what still this came off of. Salt butter, licorice, leather, tannins and smoke predominate, but there is little rich dark fruitiness in evidence. Some pencil shavings, sawdust, glue and acetone, and the bite of unsweetened tea that’s too strong.

Palate – Continues the action of the sweet bubble gum, acetones, nail polish and glue, plus some plasticine – not unpleasant, just not very rum-like. Also the pencil shavings, sawdust and varnish keep coming, and after a while, some green fruits: apples, soursop, grapes. At the last, one can sense candied oranges, caramel bon bons, and more very strong and barely-sweetened black tea teetering on the edge of bitterness.

Finish – Reasonably long, reasonably flavourful, quite thin. Mostly licorice, caramel, tannins and a touch of unidentifiable fruit.

Thoughts – It’s not often appreciated how much we pre-judge and line up our expectations for a rum based on what we are told about it, or what’s on the label. Here it’s frustrating to get so little, but it does focus the attention and allow an unblinking, cold-eyed view to be expressed. In fine, it’s an average product: quite drinkable, decent strength, enough flavours not to bore, too few to stand out in any way. It’s issued for the mid range, and there it resolutely stays, seeking not to rise above its station

(82/100) ⭐⭐⭐½

Other Notes

  • The three ranges of Cadenhead’s releases are:
    • The cask strength, single-barrel Dated Distillation series with a three- or four-letter identifier and lots of detail on source and age; I submit these are probably the best and rightly the most sought-after rums from the company (aside from a 1939-distilled Green Label from Ago). The only question usually remaining when you get one, is what the letters stand for.
    • The Green Label series; these are usually single-country blends, sometimes from multiple distilleries (or stills, or both), mostly from around the Caribbean and Central/South America; a few other countries have been added in the 2020s. Here you get less detail than the DDs, mostly just the country, the age and the strength, which is always 46% ABV. THey had puke yellow labels with green and red accents for a long time, but now they’re green for real, as they had been back in the beginning.
    • Classic Blended Rum; a blend of Caribbean rums, location never identified, age never stated (anywhere), usually bottled at around 50% ABV. You takes your chances with these, and just a single one ever crossed my path.
    • Strictly speaking there is a fourth type sometimes referred to as a “Living Cask” which is a kind of personalized shop-by-shop infinity bottle. I’ve only tried one of these, though several are supposedly in existence.
  • These older Cadenhead’s series with the puke yellow and green labels are a vanishing breed so I think the classification in the Rumaniacs is appropriate.
  • The pot-column still tagging / categorization is an assumption based on the way it tasted. I think it’s an Enmore and Versailles blend, but again, no hard evidence aside from my senses.

 

Velier Foursquare 2005 16 YO Rum “Magnum No.1 – Elliot Erwitt” Series – Review

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Nov 102022
 

The new rums of Velier’s first edition of the Magnum Elliot Erwitt series of rums are only four in number, and it’s too early to tell whether future editions will materialise. Honestly, I don’t see any need to create a new series at all: both the Hampden and Foursquare rums already have well established collaborative series of their own, Saint James could have been folded into the 25th AOC Anniversary bottling and I’m sure a home could have been found for Mount Gay somewhere. The Magnum photographic connection — to rum, Velier or the distilleries — is tenuous at best and even the selected photographer is a relatively obscure choice.

Still, if the intent was to release four rums that stand out in an arresting and visual fashion, then that works, and surely Velier is treading on familiar ground they themselves have helped establish. And there have been one-offs and smaller series before, like the original Damoiseau 1980, or the twin Basseterre rhums, or the two Indian Ocean series releases. Nothing says it needs to be an ongoing multi-year effort like, oh, Rom Deluxe’s “Wild” series. Next year there will likely be yet another one and I do enjoy looking for and at those distinctive designs.

What thoughts like these suggest, however, is a diminishment of the importance of a rum range that retains a quality and consistency level over long periods. The Demeraras, the Caronis, the HV series of rums — even the 70th Anniversary Collection — are all examples of successful and important long term ranges Velier has created. By making a series of short-lived “little” series like Warren Khong, Indian Ocean, Japoniani, Villa Paradisetto (among others), one wonders if there really is an overarching philosophy at work, some kind of through-line that makes each range truly unique in some individual fashion, over and above the arresting designs and colours.

I make this observation because of the four rums in the first collection, the Foursquare is the one that, to me, stood out the least (I tried all four together). The production stats, on paper, are all sterling: pot-column-still blend (the website calls it a “100% pot still pure single blended rum” but that’s a contradiction in terms, and I confirmed it is indeed a blend of the sort Foursquare is known for), distilled in 2005, double aged in ex-bourbon and sherry casks for sixteen years, then released with an outturn of 1200 700ml bottles and 600 1.5L magnums at 61%. A serious, old tropically aged rum. The distillery doesn’t make much that’s older than that.

What it doesn’t do is break new ground in any significant way. The nose is light for the strength, for example, and feels consistent with my memory of other ECS releases. Dusty and somewhat papery at first, before the more usual salt-caramel, vanilla, and aromas of grapes, peaches and ripe apples emerge. There’s a creamy, briny, almost tart laban background, macaroons, some nuttiness, a touch of orange peel and cinnamon, a bit of basil and rosemary herbs. A decent nose, about what is expected.

It tastes about the same. The texture is great, very solid and emphatic, and channels fruitiness well: mostly cherries in syrup (minus the excessive sweet), ripe red grapes and apples and peaches; there’s also brown sugar, vanilla, coconut shavings, some molasses, white chocolate and nuttiness, set off with just the suggestion of citrus. The finish sums all that up, adds little additional complexity and its major claim to fame is that it it is really quite epically long, with notes of unsweetened yoghurt, caramel, vanilla and some indeterminate fruitiness.

Overall, it’s good. That said, it didn’t move me much — what’s missing is something of the exceptionalism, the blazing fire and shoot-the-moon excellence that define Velier’s best collaborations with Foursquare, and that distillery’s own finest ECS editions. This is a hyped limited release with serious artistic pretensions; the profile is consistent, the taste is good, it adheres to most of the markers that we seek in a limited edition Barbados rum…and yet it’s one that doesn’t ring my bells, doesn’t make me sit up in stunned wtf-level amazement and then head straight over to wherever is selling it so I can get me a bottle and consider myself fortunate to pay three figures for the privilege. Barbados rum lovers will not be disappointed, of course (it would have to be a real dog for that), and investors will continue to buy it because of the limited outturn, so it won’t fail in the market. For me though, it’s a pass at the price.

(#949)(84/100) ⭐⭐⭐½

Other Notes

  • From the Velier Mount Gay “Magnum EE” Review: The Magnum series of rums capitalises on the same literary concept as the seven founders of the famed photo agency wanted for their own organisation when they created and titled it in 1947, namely the multiple meanings and connotations of the word — greatness in Latin, toughness in the association with the gun, and celebration in its champagne mode (it’s just a happy coincidence that when discussing the matter they always drank magnums of champagne). Since Luca Gargano is a photo buff himself, I’m sure the references resonated with him. Four photographs made by Elliot Erwitt — an American photographer who was asked by Robert Capa to join the agency in 1954 — grace the four (black) bottles of the first release, but they have no direct relationships with the contents of the bottles in any way, and were likely chosen simply because they were appreciated as works of art.
  • This is particularly the case here, where the label photograph is of the Peace Memorial Park in Hiroshima, taken in 1970. What that has to do with the rum or either of the involved companies, is simple: nothing.
  • Others’ opinions of this rum are almost exactly reversed from the Mount Gay Magnum edition which I liked more. Just about everyone who has written in about it loves this one, while I think it less. Secret Rum Bar rated it 92 points, WhiskyFun gave it 86, while Rum-X has an average of 88 points off of 25 ratings, with several topping 90.

Foursquare “Destino” 2003 14 YO Rum (General Release) – Review

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Oct 172022
 

Foursquare’s Exceptional Cask Series gets the lion’s share of the attention showered on the distillery these days, and the Doorly’s “standard line” gets most of the remainder, yet many deep diving aficionados reserve the real gold for the Foursquare-Velier collaborations. And while some wags humorously remark that the series’ are only excuses for polysyllabic rodomontade, the truth is that the collaborations are really good, just not as visible: they are released less often and with a more limited outturn than the big guns people froth over on social media. So not unnaturally they attract attention mostly at bidding time on online auctions, where they reliably climb in price as the years turn and the stock diminishes.

There currently eight rums in the set, which have been issued since February 2016 (when the famed 2006 10 YO came out): they are, in order of release as of January 2023, the 2016, Triptych, Principia, Destino (whether there’s only one, or two, is examined below), Patrimonio, Plenipotenziario, Sassafras and Racounteur. All are to one extent or another limited bottlings — and while they do not form an avenue to explore more experimental releases (like the pot still or LFT Foursquares in the HV series, for example), they are, in their own way, deemed special.

On the face of it, the Destino really does not appear to be anything out of the ordinary – which is to say, it conforms to the (high) standards Foursquare has set which have now almost become something of their signature. The rum is a pot-column blend, distilled in 2003 and released in December of 2017: between those dates it was aged 12 years in ex-Madeira casks and a further two in ex-Bourbon, and 2,610 of the “standard” general release edition were pushed out the door at a robust 61%, preceded by 600 bottles of the Velier 70th Anniversary edition at the same strength.

What we get was a very strong, very rich and very fruity-winey nose right off the bat. It smells of sweet apple cider, strawberries, gherkins, fermenting plums and prunes, but also sweeter notes of apricots, peaches are noticeable, presenting us with a real fruit salad. A little vanilla and some cream can be sensed, a sort of savoury pastry, but with molasses, caramel, butterscotch all AWOL. Something of a crisply cold fine wine here, joined at the last by charred wood, cloves, soursop, and a vague lemony background.

The citrus takes on a more forward presence when the rum is tasted, with the initial palate possessing all the tart creaminess of a key lime pie, while not forgetting a certain crisp pastry note as well. It’s delicious, really, and hardly seems as strong as it is. Stewed apples, green grapes, white guavas take their turn as the rum opens up: it turns into quite a mashup here, yet it’s all as distinct as adjacent white keys on a piano. With water emerge additional flavours: some freshly baked sourdough bread, vanilla, dates, figs, with sage, cloves, white pepper and cinnamon rounding things out delectably.

The finish is perfectly satisfactory: it’s nice and long and aromatic, yet introduces nothing new: it serves as more of a concluding summation, like the final needed paragraph to one of Proust’s long-winded essays. The rum doesn’t leave you exhausted in quite the same way as that eminent French essayist does, but you are a bit wrung out with its complexities and power when you’re done, though. And the way it winds to a conclusion is like a long exhaled breath of all the good things it encapsulates.

So…with all of the above out of the way, is it special? Several of the ECS releases are of similar provenance and have been rated by myself and others at similar levels of liking, so is there actually a big deal to be made here, and is there a reason for the Destino to be regarded as something more “serious”?

Not really, but that’s because the rum is excellent, and works, on all levels. It noses fine, tastes fine, finishes with a snap and there’s complexity and strength and texture and quality to spare. It does Foursquare no dishonour at all, and burnishes the reputation the house nicely (as if that were needed). The rum, then, is special because we say it is: viewed objectively, it’s simply on a level with the high bar set by the company and is neither a slouch nor a disappointment, “just” a very good rum.

Sometimes I think Richard may have painted himself into a corner with these rums he puts out: they are all of such a calibre that to maintain a rep for high quality means constantly increasing the quality lest the jaded audience get bored. There is a limit to how far that can be done, but let’s hope he hasn’t reached it yet — because know I want more of these.

(#944)(86/100) ⭐⭐⭐⭐

Other Notes

  • There is a “47” and a “17” on the “Teardrops” box’s top left and bottom right tears. They reference the founding of Velier in 1947; and the issuance of the rum and 70th Anniversary of the Company, in 2017. There are total of seventy tears, of course. The numbers are repeated on the back label
  • Wharren Kong the Singaporean artist, designed the Teardrops graphic.
  • The pair was tried side by side three times: once in 2018, again in December 2021 in Berlin (from samples) and again at the 2022 Paris WhiskyLive (from bottles).

Addendum – The Two Destinos

Are the two expressions of the Destino — the general release “standard” and the Velier 70th Anniversary Richard Seale “Teardrop” edition — different or the same? The question is not a mere academic exercise in anal-retentive pedantry of interest only to rum geeks: serious money is on the line for the “Seale” release. The short answer is no, and the long answers is yes. Sorry.

What happened is that as the Destino barrels were being prepped in 2017, Luca called Richard — some months before formal release — and asked for an “old rum” for the 70th Anniversary collection. Richard, who doesn’t do specials, anniversaries or cliches, initially refused, but after Luca practically broke down in tears (I exaggerate a little for effect), Richard raised his fists to heaven in a “why me?” gesture (I exaggerate a little more), grumbled a bit longer, and then reluctantly suggested that maybe, perhaps, possibly, just this once, it could be arranged to have six hundred bottles of the Destino relabelled and reboxed with the Velier 70th Anniversary colours. This was initially estimated as two casks of the many that were being readied for final blending. Luca agreed because the deadline for his release was tight, and so it was done. The label on the “Teardrops” was prepared on that basis, way in advance of either release.

Except that for one thing, it ended up being three casks, not two, and for another, “Teardrops” was in fact decanted, bottled and released a couple of months earlier than “Standard.” Yet they both came from the same batch of rum laid down in 2003, and aged identically for the same years in ex-bourbon and ex-Madeira … in that sense they are the same. The way they diverge is that three barrels were separated out and aged a couple of months less than the general release. So, according to Richard, who took some time out to patiently explain this to me, “In theory they are ‘different’- like two single casks – but in reality it’s the same batch of rum with the same maturation.”

Observe the ramifications of that almost negligible separation and the special labelling: on Rum Auctioneer, any one of the 600 bottles of “Teardrops” sells for £2000 or more, while one of the 2,610 bottles of the standard goes for £500. People claim “Teardrops” is measurably better because (variously) the box is different, the taste is “recognizably better”, or because the labelling says “selected two of his oldest Rum casks” and “very old ex-Rum casks” and not ex-Madeira and ex-bourbon. Or, perhaps because they are seduced by the Name and the much more limited 600 bottles, and let their enthusiasm get the better of them.

Yes the box is different and the labelling description is not the same: this is as a result of the timing of the box and labels’ printing way in advance of the actual release of the rum, and so some stuff was just guessed, or fluff-words were printed. We saw the same thing with Amrut catalogue-versus-label difference in 2022), but I reiterate: the liquid is all of a piece, and the rums within have the miniscule taste variation attendant on any two barrels, even if laid down the same day and aged the same way. Maybe one day I’ll do a separate review of Teardrops just because of that tiny variation, but for the moment, this one will stand in for both.

 

Inner Circle Navy Strength “Green” Rum (Australia) – Review

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Aug 042022
 

It’s been a few years since I last looked at Beenleigh’s Inner Circle rum from Australia, and while that iteration from around 2004 was the same strength as this one — 57.2% — there are several differences between it and the current version. For one, it is no longer named “Overproof” but “Navy Strength” (incorrectly, in my view, but maybe that’s just semantics), and uses molasses from three separate sugarcane regions along the east coast of Australia 2 to produce its own distillate from Beenleigh’s column and pot stills, while back in the day it was (supposedly) pot still distillate from Fiji. Too, the older rum was aged just about two years, and the new one sports five – both slept in ex bourbon casks – and is now topped off with a smidgen of Beenleigh’s “best ten year old”. The green dot on the label, a heritage design item reflecting the strength of the rum, remains, which is nice.

All of this is fairly basic, and for those who want something deeper, I include more historical background after the review, including what the coloured dots are all about. For the moment, it should simply be noted that I had not been particularly impressed with the earlier Inner Circle Rum, commenting rather acidly that it was “as vague as a politician’s statements,” and was surprisingly mild for something at such a strength, with faint tastes that left me rather indifferent.

No such issues afflict this one, which asserts a formidable nose that reeks nicely of dust, sawdust, some acetones and a smorgasbord of fruits from all over the map. The aromas range from a mild raspberry yoghurt, squishy yellow mangoes, dark and ripe cherries, to a dusty and somewhat woody background dusted over with pine needles, some tannins, toffee and vanilla. Plus there’s ice cream, pears, coca cola and even some freshly-ground coffee beans, all of which is reasonably distinct, front-facing and not at all meek and mild.

The taste is thick, fruity and nicely aromatic, and just a bit spicy – for a five year old it is therefore entering sipping territory if one judges solely on mouthfeel and stays there if it’s taste that’s your criterion. First off there’s the thick herbal-sweet aroma of damp tobacco leaves, fresh coffee and very strong black tea into which an inordinate amount of condensed milk has been dunked (this used to be one of my favourite “food-drinks” as a student, and I remember it well). The fruits are also well represented, musky and sweet fleshy ones – pears, sapodilla, kiwi fruit, overripe bananas, and apricots. With some effort one can make out blueberries, vanilla and some chocolate, not much more, and a citrus tang is oddly absent throughout. The finish is quite pleasant and gives a soft send off, redolent of some brine, dark fruits, raisins, vanilla, cinnamon and a mild touch of wet sawdust.

Overall, it’s a pretty good five year old. While not a complete success as a sipping rum, it remains more than good enough for Government work: its minor drawbacks are the relative simplicity, some tastes that don’t entirely gel, and the occasionally rough heat which has not entirely been sanded down by the oak (it succeeds better with a touch of water to tone it down). Beenleigh has its own flagship rums and this is an old brand name with some heritage and history that came through a convoluted road to their distillery, so it may succeed better in Australia, where memories and tradition ensure a certain familiarity with the product, than in other countries which don’t know anything about it.

Other than that, there’s no real reason for avoiding the rum if a slightly different taste profile is what you’re looking for to wake up your latest cocktail, you don’t want to spend a huge amount of money to get something interesting, and are curious about an aged rum from Down Under. This one fits the bill nicely on all of those.

(#927)(84/100) ⭐⭐⭐½

Other notes

  • Inner Circle’s website notes it is a pot still rum (“small batch pot distillation”) but other sites and Steve McGarry (lately of Beenleigh), contend it’s a pot-column blend that copied the original process that was historically also a mix of column and pot still distillates.
  • Limited outturn of 2700 bottles.
  • As always, my appreciation to Mrs. and Mrs. Rum for the 2021 advent calendar, and I’m keeping my fingers crossed that there will be another in 2022.

Historical Background

Inner Circle was originally made by a now-defunct company called the Colonial Sugar Refinery, which had a long history pretty much unknown outside its country of origin. Formed in 1855, CSR established refineries in Australia, New Zealand and Fiji by the 1890s, and in 1901 they opened a distillery in Sidney, using pot stills to make rums from Fijian and Australian cane. The Inner Circle brand name, which first appeared in 1950, came from the limited high-quality rums they made for distribution to the favoured elite of the company and its clients, and around 1970 it got a broad commercial release in Australia: at that time it was bottled in three strengths, which in turn were identified by coloured dots – Underproof (38-40%, the red dot), Overproof (57% or so, green dot) and 33% Overproof (73-75%, black dot).

The distillery was sold off in 1986 to Bundaberg and the brand disappeared, though CSR remains as a company involved in manufacturing of building products, no longer rums. The Inner Circle brand was resurrected in 2000 by Stuart Gilbert (the Australian Olympic yachtsman) in concert with Malcolm Campbell, one of the distillers of the company who had the original recipe, and I believe they did so with the financial backing of the Australian VOK group, which also took over the Beenleigh Rum Distillery in 2003. The rums was un-retired and is now a Beenleigh product, thought it seems to be kept as a separate brand and line of rums from their regular releases, judging from their individual and separate websites.

 

Foursquare “Premise” 2008 10 YO Rum (ECS Mark VIII) – Review

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May 092022
 

One of the downsides of working and living where I do is that the latest newest releases pass by and can’t be tried in time to catch the initial wave of advertising and consumer interest. Sometimes whole years pass by between the much ballyhooed arrival of some interesting new product and my ability to write the review…by which time not only has the interest flagged but also the supply, and a whole new raft of fresh rums are hogging the limelight. This is particularly thorny with respect to the very limited issues of independent bottlers who do single cask releases, but fortunately is not quite as bad with primary producers who keep their flagships stable for long periods of time.

A well-known company which falls in the middle of the divide between extremely small batches of single barrel rums (of the indies) and much more plentiful globally-available supplies (of the major producers) is Foursquare, specifically their Exceptional Casks Series. These are regular releases of many thousands of bottles…though they are finite, even if some are more plentiful than others. Fortunately they are widely dispersed geographically which is why one does see a small but steady trickle of posts on social media about somebody picking up this or that bottle at what remains a reasonable price for the age and supply.

One of these is the “Premise” which was released along side the “Dominus” and the “2005” in 2018 and had a substantial 30,000-bottle outturn 3 – it was ECS Mark VIII, one of the “red line label” low-alcohol sub-series of the line which include the Port Cask, Zinfadel, Detente, Sagacity, Indelible, etc. I touched on it briefly as one of the eight bottlings which made me see the series as a Key Rum of the World, an opinion which has only solidified over the years. Recently I was able to try it again, and it’s interesting how the summary notes made three and a half years ago remain relevant…there really isn’t much I would change, except perhaps to fill in and expand the details.

It’s a pot/column still aged blend, made up of three years’ ageing in ex-Bourbon casks and seven in sherry casks, released at 46%, and let me tell you, this is one case where the lower strength really is an advantage, because there is a bright sprightliness of a warm spring morning about the nose, redolent of flowers and a basket of freshly picked fruit. There’s the spiciness of cumin, vanilla and masala, mixed up with apricot and green apples (which somehow works real well) plus grapes, olives and a nice brie. A bit salty, a bit tannic, with a touch of the sour bite of gooseberries.

Tastewise, the low ABV remains solid and presents as quite warm and spicy, with a clear fruity backbone upon which are hung a smorgasbord of cooking spices like rosemary, dill and cumin. Also brine, some strong green tea, to which are added some faintly lemony and red wine notes from the sherry, merging well into vanilla, caramel and white nutty chocolate and then smoothly leading into a delicately dry finish, with closing notes of toffee, vanilla, apricots and spices.

“Straight sipper?” asked Ralfy (probably rhetorically). “Absolutely!” And I agree. It’s a great little warm-weather sundowner, and if it treads ground with which we have become familiar, well, remember what it was like four years ago when blended rums this good from major houses in limited release were the exception, not the rule. If I had to chose, I would rate it ahead of the Zin and the Port Cask, but not as exciting and fresh as the superlative Criterion 4(which admittedly, had more sock in its jock, but still…). However, this is semantics: I enjoyed it, and moreover, everyone has their own favourites from the lineup, so mine will be different from yours

Now, it’s long been bruited around that Foursquare, more and better than most, makes rums that particularly appeal whiskey anoraks – the dry, woodsy, fruity core profile makes it a good rum to entice such drinkers (particularly those into Bourbon) away from the Dark Side…and given the popularity of their rums in the US, surely there’s some truth to that. The overused term “gateway rum” is one I don’t like much, but here is a rum that actually does deserve the title. Like others in the red line ECS series, the “Premise” has a very large outturn that allows most who want it to get it; that combines an approachable strength (for the cautious) with an accessible price (for the impecunious); for newcomers it’s soft enough not to intimidate and for aficionados it’s complex enough to appreciate. There’s something for everyone here, all in a single bottle and believe me, that is no small feat for any one rum to achieve.

(#906)(84/100) ⭐⭐⭐½

Other Notes

A “premise” as a noun, is A statement or proposition from which another is inferred or follows as a conclusion, or as a verb, means to base an argument, theory, or undertaking on. The evocative name of the rum was not chosen by accident: back in 2017 when the rum was being finalized, Richard Seale was making a specific point, that a rum could be additive free and unmessed-with and still be a good rum. This was the place he started from, the basis of his work, and although even as late as 2018 it was mostly the UK bloggers who were singing the company’s praises, the conclusion that the Mark VIII left behind was surely a ringing endorsement of the core premise: that confected rums need not be held up as ideals to emulate or be seen as ends in themselves, when so much quality could be achieved by adding nothing at all.

Revisiting the Plantation Barbados XO 20th Anniversary Rum

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May 012022
 

It’s an old saw that time grants experience at the expense of youth, and indeed the entire review of the El Dorado 21 YO rum was an extended meditation on this theme. But perhaps, had I wanted to illustrate the issue more fully, it would have been better to reflect on the descent of the Barbados 20th Anniversary XO in my estimation over the intervening years since I first tried and wrote about it in 2012. Back then I awarded it what by contemporary standards is an unbelievable 88.5 points and my opening blurb naming it “one of the top sipping rums of my 2012 experience” can in no way be repeated a decade later without causing howls of disbelieving and derisive laughter from all and sundry, and a recent re-tasting of the rum shows why this is the case.

The rum’s nose opens with a light, medicinal sort of aroma reminiscent of quinine, except that it’s sweet and not sharp at all. It develops into hints of honey, caramel, blancmange and soft ripe fruits – flambeed bananas, raisins, apples on the edge of spoiling – that combine into a softly congealed sweetness that hides the sharpness one suspects may be lurking beneath it all. There are marshmallows, coconut milk, sweet pastries with a surfeit of icing sugar, but little acid bite or edge that would balance this all off. It’s a heavy dull, sweet nose, covering the senses like a wet blanket.

The deepening disappointment I feel about the rum has nothing really to do with the War of the Barbados GI (as I’ve heard it described), or the choice of Plantation as a brand name (with all its subsequent negative connotations), or some of the questionable business practices of the company. Those matters have been discussed and dissected at length and will continue to raise blood pressures for years to come. It doesn’t even have anything to do with Ferrand’s careful marketing, problematic labelling and the cold-eyed sales strategy, none of which, after all, is personal – it’s just business. But all these dodgy issues aside, the fact remains that if ever there was a poster child for how tastes evolve and how what was once a real favourite can turn into a symbol of so much that no longer works, this rum is it.

On the palate, the initial sensations suggest all is well. The tastes are nicely fruity: sugar cane sap, vanilla, coconuts shavings, white chocolate, giving one the impression of a liquid Ferrero Raffaello Confetteria (but not as good). And yet, all the fruits striding forward to centre stage are too ripe, here – yellow mangoes, peaches, apricots, cherries. Thickly sweet tastes overwhelm the sharper rummy notes of caramel and light molasses with a barrage of marshmallows, candy floss and sugar water and blattens everything flat.

That profile as described might surprise many emergent rum fans from America in particular. After all, if one were to consult those three great repositories of crowdsourced rum opinion – Reddit’s /r/rum, Rum Ratings and Rum-X – the vast majority of the respondents just love this thing, as the high consolidated scores on those platforms attest (the last one is the lowest with a 79 point average from 414 ratings).

And on the surface, there’s no question that it presses many of the right buttons: it’s been widely available (since 2007) at a slightly-higher-than-cheap price, has got that faux-ultra-premium bottle and gold etching; and it’s not part of the “standard backbar line” of the 3-Star, OFTD or Original Dark but one level higher (the “Signature Blends”). It remains bottled at 40% ABV and continues to be touted as being a blend of “quintessential extra-old rums from Barbados”. The company website provides disclosure: the various ages of the blend, the pot/column still makeup, the dual-ageing regimen, and of particular note is the 20g/L “dosage” element, which is considered to be the sugaring that makes it sweet (it’s not, really, but serves as a useful shorthand). So all that provision and declaration and presentation, and it’s all good, right?

The finish is smothering, though light, and thankfully escapes the kiss-of-death word “cloying”. There’s stuff going on here and it’s delicious: caramel, honey, brown sugar, vanilla, raisins, honey and even some tamarind, but there’s not enough of it, and what is sensed remains covered over by a sort of placid languor, a dampening effect of the sweetening that provides a sweet and warm conclusion, just not a memorable one.

Not entirely. For all its current disclosure, Plantation sure wasn’t talking any more than anyone else, back in 2012 and it was only after 2014 that they started to come up to scratch (trust me, I was there). That’s when they and many (but not all) others belatedly came out of the closet in a come-to-Jesus-moment and said “Yeah, but we always did it this way, it’s been a long standing practice, and it makes the rum better.”5.

What’s often not addressed in the denunciations of dosage is exactly why the sugaring was and remains considered such a bad thing, so here’s a recap. A common refrain is that it destroys the purity of rum, the way spicing does, so one is not getting an original experience – and worse, one may be paying a higher price for a cheap rum cunningly dosed to make it seem more premium. Secondly there’s a lesser but no less important point of reasons related to fitness and health. But those matters aside, it really is because rum chums hate being lied to: the practice was never disclosed by any producer, while being fiercely denied the whole time. These and other social issues surrounding the parent company go a long way to explaining the despite the rum gets, though at end, much of this is window dressing, and it’s how the rum works (or not), and perhaps how it’s classified, that’s the key issue, since disclosure is now provided. Other than that, the matters above don’t — or shouldn’t — impact on any evaluation of the rum at all (though no doubt many will disagree with me on this one).

By that exacting, laser-focused and narrow-bore standard, then, all the markers suggest a rum with luscious potential…but one which doesn’t deliver. It is really too faint to be taken seriously and too sweet to showcase real complexity — although this is precisely what many new entrants to rum, weaned on Captain Morgan, cheap Bacardis, Kraken, Bumbu or Don Papa, consider smooth, sippable and top end. As with earlier El Dorado rums, nowadays for me the real question is not the dosage per se (after all, I can simply chose not to drop my coin on the rum) just why it continues, since it is really quite unnecessary. The rum is discernibly fine and can be better with less additions, or no sweetening at all; and I think that the state of the rumiverse generally is now sufficiently educated and aware – in a way we were not back in the early 2000s – for it to be re-released as an adulterated / spiced rum or reissued without the dosage as something more serious…rather than pandering the way it does and having the best of both worlds.

That might make me a purist…but I chose to believe it’s more that I don’t think that a rum that’s already intrinsically decent needs to have such embellishment, which we never asked for, no longer need and really no longer want. It cheapens the whole category and lessens any kind of serious consideration of the spirit as a whole

All that, and it really is just too damned sweet.

(#904)(76/100) ⭐⭐⭐

Other notes

  • My hydrometer tested this out at 35.07% ABV, which works out to just about 20g/L so the website is spot on. This is a reduction from the decanter version I had originally reviewed a decade ago.
  • In this retrospective, I have deliberately chosen not to go deeper into the theme of “separating the artist from the art”, as that is a subject requiring a much more nuanced and opiniated exploration. It is, however, on my radar, and not only for this company.
  • What exactly the “20th Anniversary” is, remains debated. Some say it’s of Mr. Gabriel’s becoming a master blender, others have differering opinions. It’s not the age of the rum, though, which is a blend of 8-15 YO distillates. It may of course be simply a number put there for marketing reasons, or something of significance to Maison Ferrand.

Key Rums of the World – St. Lucia Distillers Chairman’s Reserve (Original)

 1 Response »
Apr 032022
 

Of all the rums that St Lucia Distillers makes, perhaps the best known and most widely drunk is the line of Chairman’s Reserve. It was already well regarded when I started this gig in 2009, and it remains a workhorse brand of the company today, more than twenty years after its debut. The Bounty brand is below it, the Admiral Rodney was once above it (in perception if nothing else) but the Chairman’s Reserve always held a cachet all its own, even when it was represented by just that single expression that started the cart rolling.

Made as a blend of pot and column still distillate with around five years ageing, the Chairman’s Reserve aims at a middling sort of profile that eschews the extremes of either light Latin ease or hard-edged funky uniqueness. The rum was created in the late 1990s when Laurie Bernard (the Chairman himself) felt it was time to create a premium rum that would showcase what the island had to offer – more than just bulk rum shipped elsewhere, more than merely the local or tourist trade island rums like Bounty and Denros…something a bit more upscale. I don’t doubt that some inspiration was taken from the enormous success of the 1992 release of the El Dorado 15 year old and Mount Gay’s own experiments with premiumization, but what was created was so good and remained so popular, that even two decades in, the rum has not lost its lustre.

Which is not to say the rum stayed the same, or that others did not come along that changed the marketing. In 2011 the Chairman’s Reserve “Forgotten Casks” rum was released; the Admiral Rodney and the annually reformulated “1931” limited editions were trotted out at roughly the same time, all aimed at taking the distillery brand more upscale. This process continued — perhaps even accelerated — in 2017 when SLD was acquired by GBH (Spiribam) and a game of musical rums began. They expanded and switched around the Admiral Rodney rums, from being a single rum positioned between the Bounty and the Chairman’s Reserve, to several older and named “ship” expressions at the top end. The yearly 1931 series was discontinued entirely (No. 6 was the last one), the profile was locked into a single stable “1931” (it’s got about 9% cane juice, I’ve heard), and was moved to the top of the premium line with the words “Chairman’s Reserve” added to the labelling.

Now, Chairman’s Reserve – that one single special rum they had started with – had to that point been seen as the premium face of SLD, the recognized face of the brand’s exports, right back from the time of its introduction in 1999. However, when the portfolio was being rationalised, it was likely felt that it was a little too staid, maybe no longer top-tier…and so it was decided to expand it, a lot. The Reserve became a whole range in its own right, a series varying in both quality and price – when last I checked there were nine separate rums bearing the imprimatur of Chairman’s Reserve: the Original, Forgotten Casks, “2005”, “2009”, “Lewellyn Xavier,“ “White Label”, Legacy” “1931” and the “Masters Selection.” They range from about twenty pounds for the Original, to over a hundred for the Master’s Selection, and only one (the Master’s) exceeds 46%.

With all that competition and expansion and premiumisation, the Original seems to have faded to the back, but I submit to you that this should not be the case. It remains enormously affordable and one of the few of the St Lucia Distiller’s stable one can find just about anywhere; it is widely commented on, and almost every reviewer still standing has, at some point, taken a crack at the rum (or one of its descendants). It was the first St. Lucia rum the Fat Rum Pirate tried in 2014, and he loved it; so did the Rum Shop Boy, six years later, as well as The Rum Howler; the boys at Rumcast mentioned the CR series in their 2020 roundup (Episode #17 at 0:24:50), John Go in the Philippines came to it more indifferently in 2021, but if Rum Ratings and reddit are anything to go by, people have been encouraged to go for the other variations in the Chairman’s line precisely because the original colonised our mental mindspace so comprehensively…even if they have forgotten the first one from which all others descend.

And when I went at it again in 2021, I came to understand something of its enduring appeal, because even at 40% ABV, even with its great familiarity (I’ve tried it many times, though only in social settings that precluded taking detailed notes upon which to base a review), it held up its end really really well. Granted it was standard strength, and that doesn’t always work: but the nose it started out with was quietly impressive. It was creamy, buttery, slightly sweet (but not sweetened) and smelled deliciously of toffee, Danish cookies, salted caramel ice cream, vanilla, honey and a touch of brine. Not a whole lot of sharp fruits presented themselves, and apricots and banana and ripe cherries were pretty much all, so no sharper citrus notes were there to start a riot. There were hints of herbs like rosemary, and spices like cinnamon to round things off.

Taste wise too, it was assembled with self-evident care and skill. Here it was saltier than the nose had suggested it would be – more salted caramel, more saline, a hint of olives, butter – to which were added lemon meringue pie drizzled with brown sugar and a tawny, rich honey, leading to a fully respectable finish that summed up all the preceding points – musky caramel, toffee, molasses, bon bons, vanilla, brine, honey and a good mocha, with a little sharpness added to round things off.

This is a rum that would never be mistaken for a Guyanese, Jamaican, Brazilian, Cuban, or French island rhum, ever, and in fact, my thought was that the closest it came to was actually a slightly more pot-still-driven Barbados pot-column blended rum like Doorly’s or the Real McCoy. The overall profile was not so much uber-complex as completely and solidly precise, each note coming into its own, distinctly and clearly, then being replaced by another one. Never too many, never too few, nothing too demanding, always just enough to make for a seriously sippable drink that broke neither palate nor wallet.

Indeed, my feeling about this rum has always been that it wouldn’t scare anyone off the boat and would actually entice quite a few to come on board, not just to rums in general, but St. Lucia in particular. Because by all the measures of price, availability, brand recognition, overall taste, and approachability, the original Chairman’s Reserve just nails it. It’s a fair bet that most people wanting to dip their toes into St Lucia territory will start not with the Bounty rums, or the Admiral Rodneys (that premium cachet, rightly or wrongly, is not conducive to starter efforts), but with one of the Chairman’s Reserve expressions and they can all, every one of them, trace their ancestry back to this one original, the progenitor of the line. It’s a perennial classic for beginners or experts, for sippers, swillers or mixers, a mainstay of rum collections old and new, and it continues to call upon us to heed and hearken to its siren song. Few who do so walk away disappointed.

(#896)(84/100) ⭐⭐⭐½

 

Beenleigh 3 YO White Australian Rum – Review

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Jan 202022
 

For years, Bundaberg was considered the Australian rum, synonymous with the country, emblematic of its distilling ethos, loved and hated in equal measure for its peculiar and offbeat profile (including by Australians). Yet in 2022 its star has lost some twinkle, it rarely comes up in conversation outside Queensland (where it sells like crazy), and another distillery has emerged to take the laurels of the international scene – Beenleigh.

Scouring through my previous notes about Beenleigh (see historical section below), it seems that even though VOK Beverages got a controlling interest in the enterprise back in 2003, they contented themselves with providing bulk rum to Europe (beginning with distillates from 2006 shipped in 2007) and servicing the local market. They were clearly paying some attention to market trends, however, because slowly their international recognition got bigger as indies began releasing Beenleigh rum under their own labels to pretty good reviews, and you could just imagine the glee of Wayne Stewart, Beenleigh’s acclaimed Master Blender (he’s been in that position since 1980, some 41 years, which is pretty much as long as Joy Spence over in Appleton), who knew how good his juice was and finally saw it get some well deserved recognition. Bringing in an engaging, technically astute, social-media savvy gent like Steve Magarry onboard as Distillery Production Manager didn’t hurt at all either.

And yet, as of this writing, almost the only rums from Beenleigh that are widely seen, are those from the independents like SBS, Rum Artesanal, TCRL, Velier, Valinch & Mallet, L’Esprit and others. Beenleigh itself is not well represented outside Australia yet, either in the EU or in North America (perhaps because they’re too focused on chasing down Bundaberg in the young-aged volume segment, who knows?) In that sense it’s a pity that the one Beenleigh rum in the 2021 Australian Advent calendar I managed to obtain, was one of their weakest — not the five or ten year old, not the barrel aged or port-barrel-infused, which are all at standard strength or a bit stronger…but the three year old white underproof bottled at 37.5%, which is part of the standard lineup.

The website provides a plethora of information about the product: molasses based, 3-4 days’ fermentation, pot-column still blend, matured in (variously) kauri (local pine) vats and brandy vats for the requisite three years before being undergoing carbon filtration. The product specs state 0% dosage, and I’ve been told it has some flavourant, just a bit, which is slated to be eliminated in years to come. Then it’s all diluted slowly down from ~78% ABV to 37.5% — which means you get a very smooth and light sipping rum that doesn’t hurt, or a relatively quiet cocktail ingredient that doesn’t overpower. It’s like an Australian version of the Plantation 3 Star, a similarly anonymous product that some people have an obscure love affair with and prefer for precisely those attributes.

This is a rum that is light enough that letting it stand for a few minutes to open in a covered glass is almost a requirement. A deep sniff reveals a very sugar cane forward scent, redolent of sweet and delicate flowers, vanilla, sugar water and a sort of mixture of tinned sweet corn and peas, a touch of lemon peel and more than a hint of nail polish, acetone and glue. Going back a half hour later and I can sense a raspberry or two, some bubble gum and a bare hint of caramel and molasses but beyond that, not anything I can point to as a measure of its distinctiveness. Even the alcohol is barely discernible.

It is thin, sweet and piquant to taste, smooth as expected (which in this context means very little alcohol bite), with initial notes of white guavas, unripe green pears, figs, green peas (!!), ginnips, and again, some lemon peel and vanilla. A bit of toffee, some molasses lurk in the background, but stay there throughout. It really doesn’t present much to the taster’s buds or even as a challenge, largely because of the low ABV. It is sweet though, and that does make it go down easy, with a short, light finish that presents some red grapefruit, grapes, unripe pears and a mint chocolate.

Overall, this is not a rum that I personally go for, since my own preference is for stronger rums with more clearly defined tastes; and as I’m not a cocktail expert or a regular mixer (for which this rum is explicitly made), the rum doesn’t do much for me in that department either…but it will for other people who like an easygoing hot weather sipper and dial into those coordinates more than I do. The rum succeeds, as far as that goes, quietly and in its own way, because it does have a touch of bite — an edge, if you will, perhaps imparted by those old, old heritage local kauri pine vats — that stops it from simply being some milquetoast yawn-through tossed off to populate the low end of the portfolio. It’s a drowsing tabby with a hint of claws, good for any piss up or barbie you care to attend…as long as you’re not asking anything too special.

(#877)(76/100) ⭐⭐½

Historical Notes

Beenleigh, located on the east coast of Australia just south of Brisbane, holds the arguable distinction of being the country’s oldest registered distillery (the implication of course being that a whole raft of well known but unregistered moonshineries existed way before that). The land was bought in 1865 by two Englishmen who wanted to grow cotton, since prices were high with the end of the US civil war and the abolition of slavery that powered the cotton growing southern states. Company legend has it that sugar proved to be more lucrative than cotton and so this was in fact what was planted. In 1883 the S.S. Walrus, a floating sugar mill (which had a distilling license, granted in 1869 and withdrawn in 1872) that plied the Logan and Albert rivers and processed the cane of local landowners, washed ashore at Beenleigh, empty except for the illicit pot still on board, which was purchased by Beenleigh – they obtained a distilling license the very next year.

Through various vicissitudes such as boom and bust in sugar prices, floods that washed away distillery and rum stock, technological advances and many changes in ownership, the distillery doggedly continued operating, with only occasional closures. It upgraded its equipment, installed large vats of local (“kauri”) pine and organized railway shipments to bring molasses from other areas. In 1936 the distillery was described as having its own wharf, power plant, a cooper’s shop and all necessary facilities to make it a self-contained producer of rum. Some have been replaced or let go over time but the original pot still, called “The Old Copper”, remains in a red structure affectionately named “The Big Red Shed”) and is a prized possession.

Beenleigh’s modern history can almost be seen as a constant fight to survive against the more professionally managed Bundaberg distillery up the road (they are 365km north of Brisbane). Bundie has had far fewer changes in ownership, is part of the international spirits conglomerate Diageo, has a much larger portfolio of products and its marketing is second to none (as its recognition factor). Much of that continuity of tradition and expertise by owners is missing in Beenleigh, as is a truly long term strategic outlook for where the rum market is heading – it can’t always and only be about low-cost, low-aged, low-priced rums that sell in high volumes with minimal margins. That provides cash flow, but stifles the innovation into the higher-proofed premium market segment which the indies colonize so well. Beenleigh could probably take a look at Foursquare to see how one distillery with some vision could have the best of all worlds – bulks sales, low cost volume drivers, and high-priced premium limited editions, all at the same time. It’ll be interesting to see where this all goes, in the years to come.

Other notes

  • A very special shout out and tip of the trilby to Mr. And Mrs. Rum of Australia (by way of Mauritius). The Australian advent calendar they created in 2021 was unavailable for purchase outside of Oz, but when they heard of my interest, they sent me a complete set free of charge. After years of grumbling about how impossible it was to get to review any rums from Down Under, the reviews deriving from those samples will fill a huge gap on the site. Thanks again to you both.

 

Rom Deluxe RDL #4 (2016) (Barbados, Foursquare 11YO)

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Nov 112021
 

Photo Courtesy Rom Deluxe

Rumaniacs Review #129 | 0863

Rom Deluxe, the Danish company whose very first release and company biography was profiled last week, ended up making a total of seven initial bottlings, all of which were more or less non-commercial, and served primarily to establish the small company’s bona fides around the country. They are long since only to be found either in some collector’s back shelf, unlabelled and perhaps even unremembered, or in Rom Deluxe’s own shelves. As a comment on the many years that Rom Deluxe was only a small hobby outfit, observe that six of these seven bottlings were made in 2016 (the year the company was founded) to 2019 (the year of the “Wild series” first release) after which the ethos of changed to a more commercial mindset; the 7th edition, in 2020, was a special edition for a client, not the market.

In the founding year four bottlings were done, with the second and fourth from Barbados – Foursquare to be exact. This fourth edition was 11 years old (from 2005), and released in early 2017 at cask strength, though the exact outturn is unknown – I’d suggest between two to three hundred bottles.

Colour – Gold

Age – 11 YO

Strength – 58.8%

Nose – Sweet light fruit, raspberries, papayas and the tartness of red currants. Cherries and unripe green pears. Vanilla and the slight lemony tang of cumin (I like that), as well as some hint of licorice. Delicate but emphatic at the same time, yet the heavier notes of a pot still element seem curiously absent.

Palate – Completely solid rum to drink neat; dry and a touch briny and then blends gently into salt caramel ice cream, black bread and herbal cottage cheese (kräuter quark to the Germans). After opening and a few minutes it develops a more fruity character – plums, ripe black cherries – and mixes it up with cinnamon, light molasses and anise. It goes down completely easy.

Finish – Nice and longish, no complaints. The main flavours reprise themselves here: anise, molasses, dark fruits, a bot of salt and some citrus.

Thoughts – Okay it’s a Foursquare, and so a pot-column blend, but perhaps we have all been spoiled by the Exceptionals, because even with the 58.8% strength, it seems more column still than a pot-column mashup, and somehow rather more easy going than it should be. Not too complex, and not too bad — simply decent, just not outstanding or memorable in any serious way.

(82/100)

Other notes

  • Thanks as always go to Nicolai Wachmann, for the sample, and Kim Pedersen of Rom Deluxe for his help with the background details.

Key Rums of the World – Doorly’s 12 YO (Barbados)

 2 Responses »
May 312021
 

In my own rather middling 2017 review of the Doorly’s 12 I remarked “It’s a well-made, serviceable, standard-proof rum for those who have never gone further (and don’t want to)…and remains a rum of enduring popularity.” Rereading that review, re-tasting the rum, and thinking about all the developments in the rumworld between then and now, I would not change the review – but must concede that it works precisely because of those things that at the time I sniffed at, and retains its widespread appeal to both new drinkers and old in a way that cannot easily be discounted.

We’re living in a rumstorm of Foursquare. I’ve never seen anything like it in all the time I’ve been writing about the subject. Just about every single day, someone writes on social media about picking up this or that Exceptional Cask bottling or one of the Habitation Velier collaborations, gets a flurry of likes and comments, and the next day there’s another one. New releases are now online events in themselves, and while few now recall how startling this seemed just a few years ago, it’s almost a accepted wisdom nowadays that when they go on sale they sell out five minutes before the shop pulls the trigger.

All of this has turned the Face of Foursquare, Richard Seale, into the nearest thing the rum world has to a rock star (minus the leather pants). His ongoing online engagement, his irascible turn of phrase, his near-legendary inability to crack a smile, his take-no-prisoners approach to discussions, his highly vocal opinions, his fierce advocacy for protected status of Barbados rum, the quality of the rums he’s putting out the door, his amazing generosity in handing them out at festivals, the commitment to keeping his rums affordable — all these things have elevated him into the “must-meet” stratosphere of any rum festival he chooses to attend. And have brought his rums to the attention of an incredibly wide audience, including those of whisky aficionados — Fred Minnick famously referred to Foursquare’s rums in the aggregate as the “Pappy of Rum” in 2017, and Matt Pietrek’s review of the rise of Foursquare in a Punch article in 2018 made a similar reference.

Such publicity and the ongoing releases of cask strength rums in the Exceptional Cask Series (Key Rums in their own right) and the Collaborations leaves faithful old standbys in something of a limbo (much like the El Dorado 21 was), even occasionally dismissed. They are issued at close to standard strength and lack a clear signature kind of taste such as distinguishes Demeraras or Jamaicans, the sort of profile that allows even a novice drinker to take it blind and bugle “Bajan!” without hesitation. That is both the draw and the drawback of the Doorly’s line and the Rum 66, and the R.L. Seale 10 year old, though I contend that this should in no way stand in the way of appreciating them, not just because of their un-added-to nature and their age, but because on a price to quality ratio they’re great buys. People have been bugling the praises of the Doorly’s rums of all ages on both sides of the Atlantic for decades, and with good reason.

In spite of their being eclipsed by the new hot-snot Foursquare ECS and collaboration rums everyone froths over, in the last years I’ve deliberately sought out these standard, aged Bajans – multiple times – just to get a grip on what makes them so unkillable…because, like the El Dorados and low-rent Appletons, they sell gangbusters year in and year out, always come up for mention sooner or later and everyone has either tried one, recommended one, been recommended one or reviewed one. I mean, everyone. Perhaps the key to their appeal is that In their own quiet way, they define not so much Barbados (although they do), but a single operation, Foursquare. The Doorly’s 12, is, in my opinion, one of the foundation stones of much that came to prominence in the last years – a blend of column and pot still distillate some of which was aged separately in Madeira casks, tropical ageing for the full 12 years, yet not torqued up to full proof, just serenely and calmly itself, at living room strength.

Consider the nose, for example. Not a whole lot of exceptional going on there, but what there is is clear, crisp and exquisitely balanced – it has an initial nutty, creamy and salt caramel attack, a touch briny and, set off with some molasses and vanilla. There’s a lightly citrus and fruity component coiling behind it all, made up of both sharper and sweeter elements (though it should be noted that the rum noses rather dry and not really sweet) like orange peel, bananas and raisins. But this is an hour of effort speaking – for the most part, the average Joe will enjoy the vanilla, caramel and fruitiness and be happy with the no-nonsense approach.

The palate is where the rum falters somewhat, because the 40% ABV isn’t quite enough to showcase the varied elements (note that the rum is sold at 43% in Europe and other areas). It has quite a bit of caramel ice cream, vanilla, white chocolate, crushed walnuts and light molasses. With more time and concentration, one can tease out the soft flavours of flambeed bananas, papaya, toffee, offset by spicy oak and citrus peel notes. There’s even a touch of olives and brine and strawberries. But it’s weak tea compared to the firmness of slightly stronger rums: 43% would be – and is – an improvement (I’ve tried both variations) and 46% might just be perfect; and the indeterminate finish – oak, vanilla, toffee, cinnamon and almost vaporized fruits – is too short and effervescent to leave a real impression.

Tasting notes such as these describe why I’m not entirely won over by the “standard” lines of rum made in Barbados, which are aimed at a broad audience. Even in my earlier years of writing, I was ambivalent about them. My tastes developed towards more clear-cut rums displaying more defined and unique profiles. The Doorly’s 12 YO to me is not so much indifferent (because it’s not), as undifferentiated (because it is). It’s very well made, tastes nice, has wide applicability, can be gifted and recommended without fear or favour, and you can tell it has age and solid production chops – I’d never dream of trying to dent its reputation on those aspects. What it lacks is a certain element of real individuality. But I repeat that this is just a personal preference, an aspect of my own private proclivities (of all the writers I know, only one or two others share this opinion) — it has nothing to do with the wider world and its generally positive relationship to the Doorly’s line in general and the 12 YO specifically. And now, after so many years of going back and forth among the various Barbados rums made by the various makers on the island, it’s time to cave, concede these are not flaws as I did before, but real strengths…and admit it to the canon.

Because, all the waffling aside, it’s almost the perfect rum for any enthusiastic amateur with some rum knowledge with which to wet his whistle. Yes the 14 YO is stronger and the 5 YO is cheaper, but this one is Goldilocks’s little bear, strikes a perfect middle, perfect for a beginner to start their journey away from sweetened rums so many still regard as “premium.” It’s really affordable and of good quality for those who don’t taste a hundred-plus rums a year and have a slender budget with which to make careful purchases. It pleases reasonably on all levels. It almost always figures on a list of “what to start with” for the newcomers. It’s unadulterated and its age statement is real. In fine, it’s one of the best midrange rums — on price, on age, on quality — ever made, by anyone.

By that standard, there aren’t many rums that can exceed it. And therefore I do believe that it deserves a place on anyone’s shelf, either as a marker for one’s appreciation of well made rums that don’t ascend to the stratosphere, or a stopping point beyond which it’s tough to go without shelling out a lot more money. How can that combination be beat? Short answer, it’s almost impossible.

(#825)(82/100)

Other notes

  • The rum re-reviewed here was the 40% version which I own. I have added more notes to it from subsequent informal tastings at rumfests in both Paris and Berlin in 2019. The 43% edition is slightly better, but it was not what this essay is based on (though it would not change the sentiments expressed).

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

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Apr 222021
 

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

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

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

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

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

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

(#814)(82/100)

Background

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

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

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

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

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