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

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Sep 252024
 

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

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

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

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

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

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

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

(#1091)(87/100) ⭐⭐⭐⭐

Other notes

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

Colours of Rum Foursquare 2002 20YO Barbados Rum – Review

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Sep 232024
 

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

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

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

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

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

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

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

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

(#1089)(89/100) ⭐⭐⭐⭐

Other notes

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

Company bio

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

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

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

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

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

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

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Sep 122024
 

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

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

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

Photo (c) Kalki Moon, from their website

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

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

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

(#1088)(84/100) ⭐⭐⭐⭐

Other notes

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

Company background (adapted from Review R-0883)

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

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

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

 

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

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Aug 142024
 

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

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

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

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

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

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

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

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

(#1086)(87/100) ⭐⭐⭐⭐

Other notes

Background

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

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

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

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

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

 

Brix Distillers Select Cask Series (Tawny Finish) Australian Rum

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Aug 072024
 

The last time we looked in on the small urban distillery called Brix (located just due south of the Sidney Opera house, a stone’s throw off Flinders Street for those who like their geography straight), they were messing around with their unaged rum called the Urban Cane, which I quite liked. Here now we have a young aged rum, which turns out to be quite a nifty little number.

In the years since they began operations in 2017, Brix have significantly added to their portfolio: now they have a spiced rum, a mango (infused/flavoured) rum, a standard Australian rum, the aforementioned cane spirit, liqueurs, and a series of finished rums called the Select Casks. Plus ready to drink cocktail cans, branded glencairns, hats, t-shirts, tote bags and yes, for those who like going places and giving lousy presents — a t-shirt. Capitalism is alive and well in downtown Sidney.

As I noted with the first review, they had a sort of yuppie inner city vibe that contrasted interestingly with the more down to earth family ethos characteristic of so many of Australia’s current microdistillers (especially those in Queensland and elsewhere). And I also made that comment because it sure seemed like they built an entire pub / restaurant / bar establishment around their 1800 litre still (“Molly” – don’t you just love how Aussies name their stills? When was the last time you saw a Caribbean outfit do that?).

Leaving aside all these throwaway details, what we have here is a rum deriving from refinery grade molasses sourced from Bundaberg, fermented using champagne and Caribbean yeasts, the wash from which was then run through the aforementioned hybrid still, then aged three years in 225L French oak Shiraz barriques from Brokenwood Wines , plus another two months in 38 year old 500L Tawny puncheons. The final result was bottled at 48.1%, and the label says 1136 bottles – and for the record, the release won a Gold Medal in the 2022 Australian Distilled Spirits Awards.

Photo (c) Brix Distillers, from their FB Page

Those wine casks must have quite an influence, because I must concede there’s a fair bit to unpack when sampling it. Nose first: it has a nicely traditional rummy nose with all the bits and trimmings – honey, fruits, caramel, cinnamon, vanilla, light molasses, and red grapes. This is then followed up with sweet raspberry jam and orange peel, and has a pleasant breakfast whiff of syrup over hot, freshly-made pancakes, and butter melting in a steaming bowl of cream of wheat…that kind of thing.

The palate settles down somewhat and isn’t quite on the same level, yet it still presents some pleasant, interesting tastes. Initially we get caramel bonbons, nuts, almonds, unsweetened chocolate, toasted rye bread with salted butter. The wine and port casks bring out the fruits again – somewhat indeterminate to be sure, yet subtly shading the whole, and somehow I am reminded of the delicate watercolours of Turner or Durer versus something more savagely elemental such as the oils of, oh, Caravaggio. And then there are notes of figs, brown sugar, cinnamon, even nutmeg and key lime pie which lead to a gentle, easygoing finish that’s sweet and light and redolent of pastries and soft red grapes.

It’s a nice, pleasant little sipping rum, this one, and the strength is just about right. I genuinely enjoyed it, because it presented us a traditional series of tastes without entirely giving itself over to a standard profile. There’s a bit of edge here, a slight swerve away from the ordinary, and it speaks really well for the aged rums that we can expect to see from this little distillery in the future. I’m going to enjoy looking out for the next one from Brix.

(#1085)(84/100) ⭐⭐⭐⭐

Other notes

  • Video Recap is here.

Company background

The distillery was founded in 2017 after two years’ worth of planning and setup, by James Christopher, Damien Barrow and Siddharth Soin, three friends who are also partners in a popular local restaurant. They sourced an 1800-litre copper pot still made in Australia (called “Molly”) and forged direct connections with suppliers and growers so as to source local ingredients as far as possible: Australian molasses and organic sugar cane from their supplier, a farm in Woongoolba close by the Rocky Point sugar mill (Southern Queensland, just south of Brisbane), locally-made spices, barrels and everything else they need. Their outturn includes a limited edition white cane juice spirit (“Urban Cane,” issued annually ), a white mixer, a lightly aged gold and a spiced rum, plus some flavoured mixes. There’s more ageing out back, and I’m sure we’ll see that in the years to come, as rum education and rum improvement are part of what Brix is all about as well.

Montanya Distillers “Querencia” 7YO Rum – Review

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Jun 242024
 

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

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

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

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

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

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

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

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

(#1079)(85/100) ⭐⭐⭐½

Other notes

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

 

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

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Jun 102024
 

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

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

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

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

Photo (c) New Norfolk Distillery

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

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

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

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

(#1076)(84/100) ⭐⭐⭐½

Other notes

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

Hampden Estate 2016 5YO LROK “The Younger” Jamaican Rum – Review

 1 Response »
Feb 232024
 

By now little needs to be said about Hampden Estate, the famed Jamaican distillery that had its coming out party in 2018, a distribution deal with Velier, and a seemingly a new series of rums to collect just about every single year. For all its variety though, their presentation is pretty consistent and you can usually tell one at a glance just by looking at a label. Said labels conforming to all the usual Velier standards, and providing pretty much all the background details you could hope for.

In this case we’re dealing with five year old rum released in 2021 and before you ask, it’s called “The Younger” to distinguish it from the Hampden 2010 11 YO LROK also issued in the same year (which is not named, but which we shall call — obviously — “The Older”). The fermentation time is not mentioned, but we can assume a few weeks, using natural or “wild” yeasts; pot still distillation on double retort stills; aged in ex bourbon barrels with a 34% angel’s share. And diluted down to 47% (as an aside, I’ve seen a label on a 3L jug at 49% but either it’s a misprint or substantially the same as this one) with an ester count for those who like their numbers, of 314.8 g/hLpa. This places the LROK (“Light Rum Owen Kelly”) in the lower levels and the Wedderburn category (only the OWH and LFCH are lower) and also makes the rum extremely approachable without going off the shredding deep end of the higher ester marks.

In spite of the “low” congener count, the rum represents itself well, starting with the open, which sports a serious set of sharp, distinct, funky aromas. Rubber, plastic, kerosene, fusel notes…rough and assertive stuff, which is about what we could expect from a youngish rum, tropically aged or not. It turns a little briny, then channels some citrus, flambeed bananas, yeasty bread, overripe pineapples, cherries, bubble gum. There are even some hints of coffee grounds and the metallic tinge of an ashtray that hasn’t been cleaned.

For 47% that nose isn‘t half bad (if occasionally discombobulated); the palate is in similar territory but here the strength may — surprisingly enough — be a bit too anaemic for finer appreciation. It’s thin and sharpish (not to its benefit, I don’t think), and astringent. It has flavours that in turn are sweet, salt and sour…which is nice, but not always well coordinated, and one has to watch the sharpness. So – bubble gum, strawberries, citrus (red grapefruit), pineapples, vanilla, and some bitter coffee grounds. Once it quietens down – and it does – it gets better because the roughness also smoothens out somewhat, without ever really losing its character. Finish is decent: fruity, funky and some honey, plus cinnamon, cloves and maybe a touch of vanilla and pineapple chunks.

A lot of comments I found about this rum compliment its taste and smell and assure their readers that it’s a true Hampden, representing Jamaica in fine style. Yet almost all have various modifiers and cautions, and many compare it in some way to one of three rums from Hampden: the high-ester versions from the same distillery, the Great House series, and the backbone of the company, the 8 YO standard. Oh, and almost everyone mentions or grumbles about the price.

This is completely understandable since a frame of reference is usually needed to place a rum in context – such comparisons are therefore useful, if ultimately pointless: trying to say one is better or worse than any other is entirely a matter of personal taste, really. And you either like it you don’t, can afford it or can’t, will buy it on that basis or won’t. As a middle of the road ester-level rum, I myself believe it’s a decent young rum, made in quantity with the usual Hampden quality, but not with anything really special tacked on that distinguishes it as superlative for its bracket. I’d buy the first bottle for sure: and would likely pass on a second after I finish sharing it around. I call that a qualified endorsement.

(#1059)(84/100) ⭐⭐⭐½

Archie Rose Distilling Co. “White Cane” Batch #2 Unaged Rum (Australia) – Review

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Feb 162024
 

“Oh wow!” I wrote with a sort of delighted and startled surprise when first nosing Archie Rose’s 40% white rum they called White Cane. I had not tried anything from the distillery before – indeed, I knew very little about it — but the rich and oily scent of a mechanic’s shop fumigated with vanilla flavoured acetones was really not what I had expected as an opening salvo. And it didn’t stop there, because the seeming light ‘n’ easy aromas it started out with contained quite a bit more oomph than was initially apparent – once it opened it up it was brine, olives, ripe and watery fruits, lots of pears and papaya, figs and persimmons, even a hint of caramel and some sweet yet tart apple cider. The nose displayed a thickness and depth that was quietly impressive – one does not often see this kind of profile in a standard proof rum very often.

Putting down my glass, I looked curiously at the sample label. Who was is this outfit? What was behind the name? Was it a left-handed nod to WW1 ack-ack fire, maybe, or a hat tip to Riverdale and the comics? An old but forgotten relative, perhaps, or a gone-to-seed second eleven cricket player from the past who nobody except the owners remembered?

Apparently not. Some references suggest that “Archie” was a slang word, a pseudonym for an underground distilling bootlegger at a time in the 1800s when the temperance movement was ascendant in Australia and distillation was illicit, if not quite illegal; and since the founder, Will Edwards established the distillery in its first location in Rosebery, an inner suburb of south Sidney, the name seemed a good fit. A more prosaic alternative is that the neighbourhood itself was named after an uninspiring and obscure 19th century British PM, Archibald Primrose, and the distillery took the contracted form of his name, so take your pick.

Anyway, it was apparently the first new distillery in the city since 1853 (one wonders what the previous one was) and comprised of several Italian made fermentation tanks (named after rappers), and three hand built gas-powered steam-boiler-heated 3600-litre pot stills made by Peter Bailey, who at the time was the country’s only still maker. It was mostly family financed, and sported a very good bar right next to the distillery to help make ends meet.

“White Cane” was and remains the company’s only unaged rum (there are some experimentals coming as well, however), and it’s interesting that they went with that name instead of the near universal “cane spirit” moniker everyone else has been using over there. The source cane came from Condong up in NSW just south of Brisbane, so the molasses likely originated from the Condong Sugar Mill, and the wash blended two kinds of molasses – high test and B-grade — fermented with two different yeasts for 4-16 days, then run through their main and pilot still at least twice, with part being “cold” (or vacuum) distilled.

That fermentation and complex distillation was probably why the taste, as well as the nose, had enough chops to excite some curiosity, if not outright enthusiasm. It presented like a crisp, tangy, citrus-like 7-up, with green apples, pineapples, ripe pears on the edge of going off, red grapes and a subtle bite of ginger. The nose, I felt, was better, but for the taste to be this interesting at 40% did demonstrate that the awards the rum won (three so far) was not mere happenstance or flinging medals at everything that turned up. The palate continued to provide subtle and almost delicate notes: white chocolate, crushed walnuts some mint, fennel, sweet coconut shavings and some faint mustier cardboard notes, leading to a short, easy, sweet and spicy finish redolent of cinnamon and ginger and papaya. Nice.

Names and origins aside, currently the distillery boasts five different rums (and fifteen whiskies, ten gins, four vodkas and various other alcoholic products, lest you err in thinking their focus is on the Noble Spirit). Their origin was, and remains primarily in, whisky, for which they have won oodles of awards, and boosted their cash flow so well that in 2020 they were able to float A$100 million financing to move to Banksmeadow, a few kilometres south of the original location, leaving Rosebery to be a sort of visitor’s area for tours, classes and other events. Two massive new pot stills were also installed allowing production to be significantly increased.

As always, there is the downside that such a wide variety of spirits production dilutes focus on any single one. Not something I can blame a distillery for, since making payroll, paying rent and expanding the business is what it’s about, but lessening the attention that can be paid to developing and improving one product. Clearly whisky is the core business and everything orbits that priority (my opinion); and we must be careful not to over-romanticize the myth of the Great Little Solo Distiller Working in Obscurity, since commercial enterprises do make good juice, and not always by accident or as throwaways. Recent “Heavy Cane,” “Virgin Cane” and other experimental rums Archie Rose is playing with point to a committed and interested distilling team that wants to do more than just make another supermarket rum.

The White Cane, even at 40%, is pretty good and that’s an endorsement I don’t give often. I think the panoply of tastes — admittedly delicate and occasionally too faint and hard to pick apart — play well together, don’t overstay their welcome or allow any one element to hog the show, and provide a nice drinking experience. Sometimes just as much work goes into an unaged spirit as an aged one — perhaps more since there’s no backstop of ageing to improve anything so what comes off the still had better be ready — and it’s clear the distiller paid attention to the entire production process to provide both mixing and sipping chops. One can only hope the distillery expands the range and ups the proof, because then not only would it likely garner even more awards, but I’d be able to bug Steve Magarry yet again…to get me a whole bottle, not just a sample.

(#1058)(83/100) ⭐⭐⭐½

Other notes

  • From the 2023 Australian Advent Calendar, Day 7. This is Batch #2 from 2023. Batch #1 was introduced in 2022
  • Production notes from company webpage.

Lord Byron Distillery 2020 3YO Pure Single Rum (Australia) – Review

 1 Response »
Feb 092024
 

We’ve met this distillery before, a mere hundred reviews or so ago. Founded by the husband and wife team of Brian and Helen Restall in 2016, they have slowly built quite a repertoire of spirits (he likes dark ones, she prefers light so maybe there’s some kind of Jack Sprat vibe going on here) – standard rums, white ones, spiced ones, the 2021 release of the 2-3 YO 55.5% Pure Single Rum I enjoyed and a brutal 63% “fire cane” I really want to try, plus gin, falernum, limoncello and vodka, which covers the bases nicely.

So here they are again, with a somewhat offbeat take on the Pure Single Rum, if not as strong. Because the background of the company is covered in that original review, I won’t rehash it here, except to note that the columnar still I mentioned then – 380L and six plates — has a name: Alba, which was the initial name of Lord Byron’s illegitimate daughter before he renamed her Allegra. I enjoy these little winks that distillers make to some interesting aspect of their past or something that interests them, in the naming of their still, truly.

Photo (c) Lord Byron Distillery website

Anyway, about the rum: molasses based, using distiller’s yeast on a wash left for seven days in closed stainless vessels, then run through the two copper alembics (it’s double distilled), then matured a minimum of three years in ex-bourbon barrels sourced from Woodford Reserve – which if shy they can call it rum, and not a cane spirit. Of course, bearing in mind the sustainable, ecologically-friendly, zero-waste nature of their operation and commitment to making pure rums, it’s not chill filtered and additive free.

This is a rum that channels one of the more peculiar olfactory profiles I’ve yet come across- it reminds me something of some Japanese rums, especially kokuto shochus. It opens with an odd sort of earthy, mouldy, damp cellar aroma, and of wet, much-worn leather boots. Brine, olives and a vegetable soup with “plenty obstacles” and a fiery pimento for kick. There’s a sense of wet paint slapped onto decaying drywall, the bitter tang of roasting chestnuts (which I never cared for myself), plastic sheeting, and only at the end when all seems over and done with, do the shy tangy notes of ripe fruit emerge, some green apples, grapes, pears, that kind of thing. It’s an unusual nose and I’m unsure how well it would work at a heftier proof point, though I would have liked to see that one a bit more, I think – a lot of subtlety gets missed out on that, say, 43% or 46% might have shown off better.

This observation is apropos for the palate as well, which is quite crisp: and while not exactly clear or clean, is close enough not to offend while still being rather too mild for everything it apparently stuffs in its jock. It channels a hot, almost sour and spicy Thai Tom Yum soup with no shortage of lemongrass, salted butter melting in a pan, with olive oil and toasted rye bread coming behind that. Again the fruits take something of a back seat and only start becoming noticeable after the rum opens up, and even then there’s not a whole lot that one can easily pick out: lemon peel, fresh peaches, pears, some watermelon, more or less. But it does meld nicely into the whole, some of the dirty notes from the nose are absent, and the finish concludes things well: short, sharp, reasonably flavourful, all of it fading fast and acting like it just wants to bail.

Strictly speaking this is not my dram of grog. I’m not won over by the loamy and earthy notes at the beginning (the official site entry refers to “bourbon corn” as a tasting note) and aspects of the nose in particular don’t work for me; plus, as always, I have my issues with standard strength – it makes everything too mild which even a few additional points of proof might have showcased more effectively. Yet I can’t fault it for that, only admire the courage it must have taken to release the rum as it is, knowing it is something at right angles to more established profiles. So to conclude, Lord Byron’s rum showcases rather more potential than the sort of intense quality sported by the 55% 2018 Pure Single Rum they did before, and would seem to be aimed at the more easy going supermarket crowd who prefer more demure fare. The furious taste profile attendant on something stronger is missing, and the tastes will not be in everyone’s comfort zone: yet underneath all that, we see a much better rum is waiting to be appreciated, and now, having written my opinion, I think I’ll go back and try my sample a few more times. Let’s see if, after a few more hours, it delivers more concretely on what it promises.

Have a good weekend!

(#1056)(78/100) ⭐⭐⭐

Other Notes

  • From the 2023 Australian Advent Calendar, Day 13

Black Gate Distillery Australian Dark Rum (Shiraz Cask) – Review

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Jan 232024
 

Black Gate distillery is an outfit to keep an eye on. The husband and wife team of Genise and Brian Hollingsworth made waves (to me, at any rate) with their 52% Dark Overproof back in 2021 and in 2023 they have come close yet again with this lovely Shiraz-cask-aged number – which doesn’t reimagine the rumiverse so much as take lots of what’s good with it and re-engineer it into a taste that’s uniquely their own.

Let’s just refresh our memories: located in central New South Wales, Black Gate was founded in 2009 in the small rural town of Mendooran. The husband and wife team splits the duties: Genise Holingsworth does the good stuff and makes the Lord’s favoured spirit, while her husband Brian dutifully makes that other obscure drink and handles the maintenance aspects (he’s a fitter machinist and auto mechanic by trade). They sourced two pot stills – relatively small at 630 litres and 300 litres capacity – and work with food grade molasses, commercial yeast and water, to make their various rum expressions. All are small batch (the rum output of Black Gate is only about 2000 litres per annum, and that includes the other thing). The distillery makes various Dark Rums with different finishes or cask maturations, and aside from whiskies, no cash flow stalwarts such as gins or “cane spirit” seem to be on the menu.

Photo (c) Black Gate Distillery FB page

Rums are aged in Port or Sherry casks, or both, for a minimum of two years — to be able to be classified as “rum” under Australian law, if you recall. With respect to this one, the source was from the aforementioned molasses, and fermented for around two weeks, then run through the direct-fire pot still, aged about 3-4 years in a 225-litre Huntington Estate Shiraz cask from Mudgee, then left to rest for two months before bottling. As with the overproof, labels are all the same for all these dark rums no matter when made: the specifications are, in a clever bit of economising, white printed stick-ons. The strength of the sample from the 2023 advent calendar was 45.6%, and I note there’s a newer version for sale on their website at 47.2%, so be aware of and on the lookout for some batch variation.

More is not needed so let’s get right into it. Nose first – this starts off interesting right away: rubber, funk, rotten oranges, flowers, tart yoghurt, wet leather and the sour hotness of kimchi, ashlyan-foo and turkish peppers. Underneath this rather startling mash up lurks a musky odour of damp loam, a kind of freshly watered potter’s mix which doesn’t sound appetising, but which I assure you, kind of is. Coiling around all that are fainter notes of acetones, ginger, vegetable soup, and pickled russian cabbage (not sauerkraut). The nose as a whole is not unpleasant, just goes off at something of a tangent and it’s probably a good idea to to let this one stand for a bit and come back to it a few times to get the full impact.

What I like about the taste is that it provides the tangy fruit that are not as clearly evident on the nose. Slightly sweet, it presents chocolate oranges, some caramel, leather, smoke, with vanilla and darker fruit (prunes, ripe raspberries, plums) coming through off the shiraz cask and the ageing. Ginnips, fresh cashews, grapes and green apples with a touch of licorice and that damp earth, apricots and overripe Thai mangoes, accompanied by a solid spicy heat all the way down culminating in a really nice low key but long lasting finish redolent of honey, brandy, coffee and fruitiness.

That’s really quite a bit for any rum to be sporting, and is one of the reasons I kept it on the go for longer than usual (two days)…just to see how it would develop. What may surprise casual drinkers is that even with all those sometimes off-kilter tastes coming through (and I must be honest – the assembly is a bit off and some will not like everything they taste here), the rum feels really accessible, even to the less exacting drinker. It gives a lot and the strength is right – more power and intensity might have shredded it – and so it doesn’t so much so much rock the boat as gently move it around a few times.

Speaking for myself, tasting this thing was a pleasure – because with their playful experimentation, careful distillation and shiraz ageing, Black Gate have produced a young rum that is a touch off the rails, sure, but also a decent and intriguing sipping experience. Perhaps it’s no accident that That Boutique-y Rum Company picked it as one of their ‘Return to Oz’ series recently. If I was their buyer, I would likely have given it a shot too.

(#1052)(84/100) ⭐⭐⭐½

Other notes

  • The exact age is unknown. 3-4 years goes the blurb
  • Outturn is also unclear – because of the small scale of the distillery and the notation that it is one barrel (#BG-140), one must assume it’s less than 350 bottles.
  • From the 2023 Australian Advent Calendar, Day 17

Capricorn Distilling “High Ester Cane” Unaged White Rum (Australia) – Review

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Dec 022023
 

Almost all of Capricorn Distilling’s current line up of releases are good ones, and they haven’t even started a serious ageing program yet. Whether this is a matter of their desire to tinker and see what happens, or a clearly thought-out distillation philosophy, is unknown to me. What I do know, is that having tried their standard range (not the spiced, infused, gins, liqueurs or anything else) I can honestly state that if you get a white unaged Australian rum this year, you could do worse than buy a case of their juice generally – and the High Ester in particular. Because that thing is damned good: it channels Jamaica by way of Reunion, adds a measure of outback attitude, and sports serious rum making mojo on all levels.

It’s on par with the overproofs of Black Gate or Killik (especially the latter’s Silver) in my estimation, and indeed it shares some of those rums’ DNA: molasses-based based, a 10-15 day fermentation using a different yeast from the Coastal Cane, some dunder for kick (and maybe a diced dingo or two, who knows? — with Warren, you get the impression that anything is possible). Then there’s a single pass-through on Rocky (the double retort pot still), after which it’s left to rest for a while and diluted down to 51% before bottling.

If that sounds interesting, wait until you nose it, because while it’s not quite as well rounded as the Pure Single Rum, it’s hot, it’s spicy, it’s clean as new steel, and really crisp. There’s a sense of sparkling wine about it – chianti, Riesling, plus some 7up, and pineapples. Lemony cumin, ginger, florals, cinnamon, which slowly merges with a damper aroma of rain on hot clay bricks and then softens into coconut shavings, oatmeal cookies and white chocolate crusted with almonds. The clear metallic sweat of someone who’s been exerting themselves in very cold weather after just having had a bath (yeah, I know how barmy that sounds). Juicy and ripe white fruits – papaya, guavas, pears, green apples and a few slices of pineapple. This is clearly a rum that enjoys Christmas.

The palate is somewhat more subdued, while still professing a certain originality. First there’s that clean scent of fresh laundry hot from the drier, followed by a sweet, tart, yoghurt, and citrus-y hints of ripe fruits that have not yet started to go. What distinguishes the taste is the way the sour miso soup or kimchi comes out swinging here, as does a kind of sweet-salt tartness of, say, pickled tomatoes and bell peppers (with a reaper thrown in for good measure). Added to that are notes of pine, cinnamon, licorice, ginger, wet sawdust, fruits…it just keeps chugging along, one taste after another. This one rum packs a lot in its jock and isn’t afraid to sport it, right down to the aromatic, long, dry, fruity and crisp finish that immediately encourages another pour.

I’ll be the first to admit that it’s occasionally hit and miss (that’s why I tried it multiple times), and the crisp sourness mixed with sweet and salt won’t be to everyone’s taste. And indeed, Wally told me that his own team liked the Pure Single Rum best; my friend and tasting chum Logan also felt it lagged (slightly) behind the Pure Single and even the Coastal Cane.

I completely get that, because they are good rums in their own right, and I’ve reviewed them with genuine affection, scored them well. But for my money, those — while excellent in their own pitch — don’t break new ground with quite the same in-yer-face insouciance, don’t get hit outside the boundary, and remain satisfied with a solid bouncy four into deep fine leg. The High Ester Cane, in contrast, appeals to my love of the original, the offbeat, the new, and has no hesitation going for a powerful, lofty out-of-the-park six. It walks up to your wicket, hits you over the head and drags you off the field, and, love it or like it or hate it, you’ll always know you’ve had something different that day. That’s not a compliment in everyone’s book, but it sure is in mine.

(#1043)(87/100) ⭐⭐⭐⭐

Other notes

  • My fellow Calgarian reviewer, friend and redditor, FarDefinition2, as well as another redditor FrostyThought8591 both felt the High Ester was not quite as good as the Pure Single or the Coastal Cane, but both agreed it would shine in cocktails. This is why sharing samples around and checking for feedback is so useful – it not only gives consumers another opinion, it also forces me to consider other points of view.

Company background (from Review #1029)

Capricorn Distilling’s origins date back to 2015 or so when Warren Brewer began distilling in his backyard with friends, using an 80-litre still from Spain (where he got it from is anyone’s guess). He released his first batch of premium rum in 2016 by which time he and five friends had bought the Saleyards motel in Rockhampton (the distillery was pushed into the pub and the idea was to use each line of business – motel, pub, restaurant, distillery – to provide a fuller experience for patrons), which is 650km north of Brisbane. This establishment is closed now and larger premises acquired in 2020 in the south of Queensland (in Burleigh Head on the Gold Coast, which is south of Brisbane and a mere stone’s thrown from the state border with NSW). Now the Saleyard company website redirects to Capricorn, but for a while in early 2021 both locations operated at the same time. From the beginning, it seems was rum was Brewer’s thing and indeed, his Capricorn Spiced Rum copped the top prize at the 2020 World Rum Awards.

The distillery doesn’t stray too far away from the standard outputs we have observed in other small and newly-established companies: its stable of releases encompasses spiced and infused and flavoured rums, a liqueur, the unaged Coastal Cane, the High Ester rum and some experimentals we’ll talk about at some point; also Ready To Drink cans, and, of course, the ever-present cash flow generator of gins. The company runs two pot stills: one is a single retort copper pot still called “Burleigh”, the other a double called “Rocky” made in NSW.

Capricorn Distilling 2018 Pure Single Rum 4 YO (Release 2)(Australia) – Review

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Nov 272023
 

Capricorn really is a distillery off in its own zone, and I mean that in a good way. Aged or unaged I’ve rarely seen a producer so young make rums that display such a deft, sure touch – they’re not all world beaters, but I think they’re certainly a cut above the ordinary, even the entry-level standard-strength “Coastal Cane” which I likened to a cross between an agricole and a Jamaican white overproof. In November 2023 they had a sort of coming-out party at the Brisbane Rum Revolution, where there were a number of complimentary comments about the various releases: the Pure Single Rum was one of the ones singled out (no pun intended) for especial attention, and many remarked on how pleased they were to have tried it.

The Pure Single Rum, which is a title deriving from the Gargano Classification system (see other notes below) conforms to its requirements exactly – it is a rum made via batch distillation, on a pot still, from a single distillery. It’s the extras that elevate it to the next level because few 4YO rums have the distinction of being this good (did someone say “Renaissance”?). The rum is molasses based, a week’s fermentation, aged in ex-Shiraz casks for 2½ before being transferred out to a new American oak barrel (no ex-bourbon here) and then decanted into 221 bottles at 56% in November 2022. The idea is always to have a limited amount of this rum based on a cask that’s deemed ready (Release 3 just hit the shelves a few months ago) and right now there are a couple hundred casks or so slumbering in the warehouse, waiting their moment. Labelling is minimal and states the provenance nicely, and there are no additives, no filtration, no extras.

Tasting notes, then: the nose opens with a hot breath of sweet strawberry-flavoured bubble gum, a salt caramel and vanilla ice cream cone, gummi bears, and white toblerone chocolate. Some very ripe dark grapes, prunes. Honey, waffles and cereal mix well with toffee and brown sugar: overall the aromas is consistently strong without being sharp, well controlled, slightly sweet to inhale and overall seems like a pillow for the nose. It also smells like the most “traditional” rum of the four Capricorn rums I had, because there’s less of the tart and slightly sour tang that characterises the others, and emphasises a profile we similar to that of Barbados, Panama and even Guyana (minus the wooden stills).

I also enjoy the taste, and in assessing this aspect I can understand why it was so popular at the festival: a good mouthfeel, very warm, with honey, caramel, vanilla, fresh wonderbread toast, and even some salt crackers and brie. It has hints of ginger, cinnamon, vanilla, as well as swiss bonbons, dulce de leche and a few dates, figs and other mild fruits like papaya and watermelon. The finish is unambitious and lets you down easy without introducing anything that isn’t already there – a tawny mix of molasses, caramel, toffee, vanilla and honey with a sprinkling of breakfast spices.

The Pure Single rum is an interesting mix of solidity and delicacy at the same time, and yet it never strays too far from a traditional “rummy” taste: it is the one rum of the distillery that comes closest to being completely recognizable as an aged rum by anyone, and that’s one reason for its easy acceptance and why people liked it. It is not precisely challenging, and introduces little that is new: a trailblazer for a new Australian style it is not (though I would not have objected had it done so). Nor is Capricorn going for a moon shot or a Hail Mary pass — they have other rums for that. What they are trying to do with this one — and have succeeded, I think — is assemble a solid young rum that’s fascinating and tasty and well made, complex and delicious enough for Government work, and simply a really good rum to try on its own and to enjoy.

(#1042)(86/100) ⭐⭐⭐⭐

Other notes

  • From Release #3 it looks like there is a now a numerical designator on the label.
  • “Pure Single Rum” is a term of relatively recent derivation. It was coined by Luca Gargano of Velier in 2017 as part of his suggested new classification of rum, which he believed was not being well served by older systems based on colour or regions. His idea was to create a new regimen that focused more on production techniques and he came up with four basic classifications: Pure Single rum, Traditional rum, Single Blended rum, and Ordinary rum. These form the basis of the Gargano classification, which is detailed in rather more depth on Velier’s page. It has received some criticism for shortcomings and exclusions, and for not catering to rums which fall outside the clear demarcations – some prefer the Cates System advocated by Martin Cates of Smuggler’s Cove which has more gradations and is easier to understand – but if it has added a single term to our vocabulary of rum, it’s that first category of Pure Single Rum.

Company background (from Review #1029 of the Coastal Cane)

Capricorn Distilling’s origins bean in 2015 or so when Warren Brewer began distilling in his backyard with friends, using an 80-litre still from Spain (where he got it from is anyone’s guess). He released his first batch of premium rum in 2016 by which time he and five friends had bought the Saleyards motel in Rockhampton (the distillery was pushed into the pub and the idea was to use each line of business – motel, pub, restaurant, distillery – to provide a fuller experience for patrons), which is 650km north of Brisbane. This establishment is closed now and larger premises acquired in 2020 in the south of Queensland (in Burleigh Head on the Gold Coast, which is south of Brisbane and a mere stone’s thrown from the state border with NSW). Now the Saleyard company website redirects to Capricorn, but for a while in early 2021 both locations operated at the same time. From the beginning, it seems was rum was Brewer’s thing and indeed, his Capricorn Spiced Rum copped the top prize at the 2020 World Rum Awards.

The distillery doesn’t stray too far away from the standard outputs we have observed in other small and newly-established companies: its stable of releases encompasses spiced and infused and flavoured rums, a liqueur, the unaged Coastal Cane, the High Ester rum and some experimentals we’ll talk about at some point; also Ready To Drink cans, and, of course, the everpresent cash flow generator of gins. The company runs two pot stills: one is a single retort copper pot still called “Burleigh”, the other a double called “Rocky” made in NSW.

Renaissance Distillery 2018 4 YO Taiwan Rum (Noble Rot) – Review

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Oct 122023
 

This is the fifth and final review in the short series (of six – I have tried one before) where we look at some rums released by the Taiwan based Renaissance Distillery, which were on display in a 2023 TWE Rumshow masterclass dedicated to the company. It should be noted that the company has issued scores of full proof single cask releases already, so at best this scratches the surface.

For all its rather off-putting connotations to those who don’t know the term, noble rot is a controlled fungus infestation of grapes that go on to produce a particularly fine and concentrated sweet wine. Perhaps it is no surprise then, that a wine lover like Olivier Caen, one of the founders of the Taiwan-based Renaissance Distillery, sourced barrels of this kind of wine in which to age some of his rum. I sometimes think it’s his intention to try them every possible kind of cask in existence, but one can’t quibble with the results, because in many cases what comes out the other end is really kind of great.

By now we have come to know a fair bit about the production techniques of the small distillery just by perusing the labels, and this one is no different. The cane is their own, planted by the distillery, sent to a nearby factory to be crushed and turned into molasses which is then fermented with any one of a number of different yeast strains (a French West Indian one in this case, and for just shy of four weeks). There is the double distillation in the Charentais pot still (the second pass is on the lees) and then the distillate is set to age in a first fill noble rot barrel that has been “shaved, toasted and charred”. Four years later and et voilà, we have this rum, bottled to showcase ever percentage point of its 64% strength.

With that kind of potential – local sugar cane molasses, long fermentation, double pot still distillation, first fill charred barrel – one would expect no shortage of aromas and flavours jostling and shoving to get out the gate and strut their stuff, and indeed that’s what we get. The nose, for example, is delectable – it’s crisp, very clear, and reminds me of a dry Riesling, with notes of red grapefruit, grapes and some tart, sharp ripe fruits – apples, cider, red currants and some laid back light florals. There’s a slight creaminess in the background, like yoghurt; and salt butter spread over hot croissants fresh from the oven. Nice.

The strength does the rum no harm and the four years of ageing has tamped down the excess reasonably well. So it doesn’t hurt or display too much sharpness. It tastes slightly creamy, like salt caramel ice cream minus some sugar; a touch salty, and all the crisp fruits remain available to be enjoyed – apples, grapes, pears, apricots, peaches and even some ginnips and lychees. One can perhaps detect traces of coconut shavings and spices like vanilla and cinnamon, even mauby bark, which is nice, but it’s just a bit, here and gone quickly. Finish is long and epic, as is to be expected, clean and clear, quite spicy, mostly fruits and florals and even a touch of honey.

Overall then, not terribly different from others we’ve tasted, but every bit as good as most and better than some. This is a short review because I want to get to the summation of my observations and there’s nothing much more to add to the company bio or this rum you don’t already know. I should, however, close with the note that for me this was one of the best of the six, and I’d buy it if it ever turned up in my market. We don’t get so many unique and tasty rums at this strength from obscure markets as it is, so we need to treasure the ones we find.

(#1032)(86/100) ⭐⭐⭐⭐

The rums in this short series:

Summing up – some general observations on the rums of the line

As the six reviews I’ve written make clear, I really like the company and its rums – they have placed Taiwan firmly on the map of quality rum making, and hopefully inspire others on the island to try their hand, to the point where it becomes a rum-geek’s destination the way the Caribbean is. It’s one of the most consistently good estate producers out there, the more so because they don’t have a single standard product out there, no blends, no regular five or ten year old that carries the flag, or appeals to the larger crowd. It’s all single barrel releases, like they were an indie bottler with a single client – themselves. I’ve yet to find a dog in the series.

The rums they make are of a uniformly high level of excellence, and while others have scored the various individual expressions lower than I have (or higher) depending on their personal tastes, few fail to concede the power and uniqueness of the overall line. The combination of local cane, different yeast strains, varied fermentation times, a smallish pot still, double distillation, and all those crazy barrels in which the rums are either finished or double matured, constitutes something of a profile enhancer. The rums always have a whole lot bopping around in the foreground while some weird sh*t is dancing the ragtime out back, and as if that wasn’t enough, they are almost always issued at cask strength, with all the intensity of flavour and aromas this implies.

That said, there are a few issues as well, of which the most important and oft-repeated – from a consumer’s perspective anyway – is the expense. I have zero patience for those in subsidised markets who grouse when a rum from somewhere else is over thirty dollars…but here they have a point. Renaissance’s rums are expensive, and at over a hundred bucks a pop for rums less than five years old, that’s a hard sell and a tough buy when there’s so much older stuff out there, of equally good value. It’s pointless to argue that taxes make up a large part of that, as do freight charges to get the things shipped all the way from the far east: optics are everything and until those prices become more affordable, the company’s excellent rums will remain a niche product for many.

Secondly there’s the unintended consequence of the very qualities that make the company’s name: the lack of a standard product. Consider another two highly-lauded relatively new estate producers: Hampden and Worthy Park. They gained a following with rums everyone could afford and which were widely available and then started to go upscale with more limited releases that channelled the variations imparted by different barrels and experiments in the production process. Renaissance took the reverse approach and started right away from this point without every going through the “standard product” stage and has issued nothing but premium releases. This to some extent hampers a broader recognition – oh sure, they have great word of mouth and I hope this small series raises their profile even more (because they deserve it) but how many people have actually tried them, or can?

Moreover, there is a subtler, more important effect of all the variations in releases which so delight the connoisseurs: the lack of a consistent, standard production model (like, oh, Hampden’s 8YO workhorse), and what this means is that there is nothing here that defines Taiwanese terroire specifically. There’s too much other stuff in the way. Consider how distinctive the traditional Caribbean and Latin American rums are, for their countries – you can tell apart a Jamaican, Guyanese and French island rum quite easily because they channel something intrinsic to their points of origin, such as the stills of Guyana, the fermentation of Jamaica or the cane juice origin of Martinique and Haiti. For all Renaissance’s quality, the short ageing in all those different barrels obscures what might one day help define Taiwanese rum, something that also hampers, say, Nine Leaves out of Japan…but not, in contrast, Cor Cor or Ryomi.

Where I see this is going, then, is that the distillery will continue to make waves in the high end market for the foreseeable future with those entrancing limited single barrel releases, especially if they get better distribution. Who knows, these early essays in the craft may one day be regarded like Velier’s famed Demeraras and Caronis – deemed to pricey at the time, always remarked on for their quality, appreciating astronomically in the years that follow.

At some stage though, as the company expands (and I think they will), I suspect that the scaling up of the distillery will result in the production of a “regular” Taiwanese blend in quantity, without the distraction of other enhancements and embellishments. Whether aged or unaged, juice or molasses, overproofed or living room strength, if the quality is retained and the taste is as good, their market is all but assured. If and when they ever do that, you can be sure that far more than just obscure bloggers like this one will be hungering for what they have produced.

 

Capricorn Distilling “Coastal Cane” Unaged White Rum (Australia) – Review

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Sep 302023
 

Today we’ll go back Down Under, because we want to check out a starter rum from another one of those small distilleries that seem to be popping up with increasing frequency all over the map: craft, small batch, experimental, not from the Usual Countries, founded and run by one or two quasi-certifiable enthusiasts who just want to hare off and do something different, because, well, they can.

Capricorn Distilling’s origins bean in 2015 or so when Warren Brewer began distilling in his backyard with friends, using an 80-liter still from Spain (where he got it from is anyone’s guess). He released his first batch of premium rum in 2016 by which time he and five friends had bought the Saleyards motel in Rockhampton (the distillery was pushed into the pub and the idea was to use each line of business – motel, pub, restaurant, distillery – to provide a fuller experience for patrons), which is 650km north of Brisbane. This establishment is closed now and larger premises acquired in the south of Queensland (in Burleigh Head on the Gold Coast, which is south of Brisbane and a mere stone’s thrown from the state border with NSW). Now the Saleyard company website redirects to Capricorn, but for a while in early 2021 both locations operated at the same time. From the beginning, it seems was rum was Brewer’s thing and indeed, his Capricorn Spiced Rum copped the top prize at the 2020 World Rum Awards.

Still, for all the stated love of rums, the distillery doesn’t stray too far away from the standard outputs we have observed in other small outfits: its stable of releases encompasses spiced and infused and flavoured rums, a liqueur, the unaged Coastal Cane, the High Ester rum and some experimentals we’ll talk about at some point; also Ready To Drink cans, and, of course, the everpresent cash flow generator of gins.The company runs two pot stills: one is a single retort copper pot still called “Burleigh”, the other a double called “Rocky” made in NSW and acquired in 2022.

The Coastal Cane is a molasses based spirit, from molasses fermented for ten days and then run twice through “Rocky” the double retort. No ageing, no additions, no filtering, just reduction down to standard strength of 40% ABV.

The middling-long fermentation time and that double pass through the pot still provide quite an aromatic punch. The nose starts with rubber, rotting fruit, brine and sugar water, making me blink in surprise…wait, what? is this a Jamaican undercover in Oz? … The smells continue: acetones, turpentine, new plastic peeled off a new phone. Some bananas, mangoes, papaya, maybe a grape or two. There’s a sense of freshness, of greenness, about the whole aromatic experience, like the damp floor of a forest glade after a summer shower. After a while one can sense mint and marzipan, prunes and apricots, all of which is a little sharp. Admittedly it has a bunch of rough edges and it’s quite spicy for 40%, but we can ascribe that to the fact that it probably boiled and frothed off the still just a few minutes before being stuffed into the bottle and calmed down with some water, so it’s to be expected, really.

When tasted there’s a certain minerality about the rum, something like ashes, or water on hot concrete. Admittedly it’s rough, but I quite like the taste, because it also channels some sugar water, grassiness, mint, marzipan and pine needles (kind of odd, in a nice way), overripe fruits, a twist of citrus. It then moves quickly to a short, crisp and tangy finish, where things go back to being traditional – fruits, rubber, olives, a touch of sugar water, and ends the short show in a not unpleasant flourish akin to a smack across the back of the head..

You sort of have to wonder at what this entry level rum manages to achieve. Its youth is evident, and yes there are ragged edges that show that; but you can also sense potential in the thing – it would probably make a bangin’ daiquiri – and overall it presents something like a cross between an agricole and a Jamaican white overproof. Over the last few weeks we have been looking at some seriously high powered young aged rums from Taiwan, but this unassuming rumlet proves that strength isn’t everything, and you can be made to appeal to the accountant in the front office… while still impressing the cane cutter out back.

(#1029)(82/100) ⭐⭐⭐½

Disclosure:

Although Warren and I agreed I’d send him something from my stocks to pay off for the free samples he sent (mind, he did say it was unnecessary…I mean, a few 5cl bottles? – hardly evidence in a bankruptcy proceeding), as of this writing I have yet to honour the promise. But it will be.

Renaissance Distillery 2019 3 YO Taiwan Rum (Deuxième Cru Classé) – Review

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Sep 182023
 

This is the second review in the short series where we look at some rums released by the Taiwan-based Renaissance Distillery, which were on display in a 2023 TWE Rumshow masterclass dedicated to the company. It should be noted that the company has issued dozens of full proof single cask releases already, so at best this scratches the surface.

For a rum younger than three years to give such a good account of itself is no mean feat, yet Renaissance Distillery out of Taiwan has done just that with this 2½ YO rum that in most other circumstances would be considered barely out of diapers. I think that in many ways they channel the sort of experimental drive and tinkering mentality that characterises Mhoba from South Africa, the New Australians, or the freshly minted crop of UK distilleries, who also come up with startlingly original young products from seemingly nowhere and without having to age something until it’s old enough to vote.

Renaissance Distillery, for those late to the party, is that small company rum by the husband and wife team of Olivier Caen and Linya Chiou which was officially founded in 2017 on the island of Taiwan, and so far as I am aware, is the only rum-focused distillery there even though sugar remains a crop grown on the island (for many years the state held a monopoly on spirits production which is why distilleries are thin on the ground). They concentrate on full-proof single-cask limited releases…and of course everyone now knows about their War & Peace style labels that are the envy of the known world.

This rum, one of six that was shown off at the 2023 TWE Rumshow, has stats that ten years ago would have seemed unbelievable, but with the passage of time and development of the rumiverse are now merely “pretty good”: a molasses-based wash (from Formosan sugar cane) fermented for 13 days, passed twice through the charentais pot still and then double aged: a year and a half in toasted American oak, and then a further 1½ years in a Saint-Julien 2nd growth cask (and though which house is not identified, I’ve read that the actual Chateau of origin is Léoville-Poyferré)1, and then squeezed into 252 bottles at a muscular 64.7% ABV.

The nose of the rum that this fermentation, distillation, short ageing and those two casks produces at the other end is a smidgen short of fantastic. No really. It is a lovely, rich deeply fruity nose, redolent of plums, blackcurrants and slightly overripe pears, underlain with brine, olives, the slightest hint of rancio, salty cashews, tequila and even a nice brie. I can honestly say it’s one of the more unusual aromas to come out of a rum I’ve had of late, and it’s all good. It keeps changing as it opens and develops, cycling into very ripe black grapes, red grapefruit and a tangy bit of citrus and vanilla, all very clean and quite crisp – one hardly notices the strength at all, except in so far as it helps deliver those smells more intensely.

To taste it is similarly mercurial…and delicious. It starts off hot and prickly and initially it’s all traditional notes: caramel, vanilla, leather, pepper, tannins, dark ripe fruits (raisins, prunes, plums). And then quietly, sinuously, almost before they’re noticed, creep in other flavours of freshly sawn cedar, nail polish, cucumbers in balsamic fig-infused vinegar, hot black tea sweetened with damp brown sugar still reeking of molasses, wet soil, and even rye bread slathered with salt butter and honey. And it all quietly inexorably leads to a strong, long, aromatic finish that reminds us of the fruits, the citrus, the vanilla and the wood, before closing up shop and fading away until the next sip.

It’s not often I try a rum that does what this one does with such seeming effortlessness: to move from one state of being to another without hurry and without haste and showcase the best of what it is capable. The strength and youth is only marginally tamed by the two casks and that short ageing time, but they do leave their imprint and enrich what in lesser hands might have been a sharp hot spicy mess of transmogrified gunk (I’ve had several like this in my time, trust me). Renaissance have channelled fermentation, still, ageing, casks and something intrinsic to Taiwan – their terroire, perhaps – and brought it all together into a rum that is really quite a fine drink, one whose charms you can only revel in, the more it develops.

(#1026)(86/100) ⭐⭐⭐⭐

The rums in the series:

Other notes

  • Not many other reviews out there: Whiskyfun’s 82 pointer from August of 2023 is the only one I can find. Serge’s tasting notes and mine are similar, but he draws different conclusions and likes it less.

Renaissance Distillery 2018 4 YO Taiwan Rum (Limousin Cask) Rum – Review

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Sep 102023
 

Over the next few weeks I’ll issue a set of reviews of the rums released by the Taiwan-based Renaissance Distillery, which were on display in a 2023 TWE Rumshow masterclass dedicated to the company. One rum of the six that were demonstrated that afternoon — the #18260 “Fino” — has already been reviewed, so this short series will concentrate on the remaining five.

It has taken almost a decade for the small distillery called Renaissance to become a presence on the global rum stage, and four of those years were spent essentially operating as an unlicensed, near-illegal moonshinery. Olivier Caen and his wife Linya Chiou somehow weathered the stresses of holding down their day jobs while raising two sons, sourcing the cane, getting equipment to work, experimenting with fermentation, distillation, ageing, barrels, molasses, juice, dunder, acid, yeast…the whole nine yards. In 2017 the company was formally registered and even then it took another few years for people to notice they existed…just in time for COVID to delay matters for even longer.

But the wait has been worth it, for it allowed word to seep out into the Rumiverse that here was a new distillery from an new location about which we know too little, balancing terroire with tradition, out to make a mark with interesting rums issued at beefcake power and fancy casks, every time. Oh and their labels really are kind of awesome, said, like, everyone.

Which leads us to the rum under discussion today, one of 356 bottles of barrel #18095 which was distilled from 13-day-fermented molasses in April 2018 and bottled in October 2022 after having been run twice through the 1200-Litre Charentais pot still. The resultant rum was laid to rest for just over four years in a 350L limousin oak cask with varying levels of toast, and … well you get the drift. I could give you more but the label does that better than I could and provides even more and I’m already into the fourth paragraph without even telling you what the rum tastes like yet.

And that profile is pretty neat. The initial nose of this massive 63.5% ABV rum is at pains to make itself known and issue a statement, and it does that with aplomb – it blasts out initial notes of caramel and warm honey, white chocolate and milk-soaked cinnamon-flavoured cheerios. It’s some kind of sharp, so care must be taken, but once that blows off all one remembers is the firmness and solidity of the aromas, which, after some minutes, also channel a nice mix of lemon rind, half-ripe yellow mangoes, vanilla and brown sugar, plus a whiff of sweet pineapple. And even then it’s not quite over, with some piquant wet sawdust and varnish-y notes coming through here and there

Not enough? The palate will cure what ails you, assuming you sip and don’t gulp (therein lies a quick drunk, trust me). It’s a lovely amalgam of breakfast spices – cinnamon, rosemary and vanilla, plus brown sugar, light molasses, gummi bears and both florals and fruits are back in fine style, to which some oakiness, tannics and brine are stirred for the finale. And that’s quite a finish: it’s hot, long-lasting and brings back most of the florals (light, herbal and grassy) and fruits (mangoes, cherries, red grapes and apples) and ties it all in a bow of sweet spices.

Whew. Some experience, this is. Yet for all its quality, I think this is the rum I would have liked toned down just a little. The intensity can use a touch of water to dial things down a notch, which would allow a better integration of the overall profile. Don’t get me wrong, it’s really quite good, and it’s a fascinating experience to observe the way it takes apart and reassembles well-known and easily recognizable elements into a configuration that’s almost, but not quite, familiar. It’s an impressive dram by that standard.

And that’s the mark of a good distiller, I think, the way we are carefully led to the edge of the map and then a step or two beyond it, to Ultima Thule or that blank spot where it says “here theyre be tygers…”. Rums like this — strange yet familiar, unabashedly full proof, channelling a personal vision and merging a traditional distillation ethos with a solid grasp of the fundamentals, then marrying that off to a level of disclosure that is the envy of the spirits world — are why I stay in this game. This was not the best of the Renaissance rums I sampled that day at the Rumshow masterclass, no. But it made my tonsils cringe, my ears perk up and my hair blow back and isn’t that what we look for anytime we try something new?

(#1024)(84/100) ⭐⭐⭐½

The rums in the series:

Chalong Bay LMDW Antipodes Collection Lightly Aged Rum (Thailand) – Review

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Jun 262023
 

“Asia may be the next region to discover for rummies,” I wrote back in 2018 when introducing audiences to Chalong Bay for the first time, and nothing between then and now has caused me to significantly alter that off-the-cuff prognostication. Already, back then, we were seeing interesting (if not always world-beating) rums from Tanduay from the Philippines, Mekhong from Thailand, Amrut from India, Sampan from Vietnam, and Laotian from Laos. Australia was ticking along under everyone’s radar, the Pacific islands were just getting more well known, and of course there was always Nine Leaves out of Japan.

Not long after that new companies and new brands began to sprout up and become better known through exhibitions at rum festivals all over Europe: rums from artisanal companies like Renaissance (Taiwan), Mia (Vietnam), Naga (Indonesia), Samai (Cambodia), Issan (Thailand), Mana’o (Tahiti) rubbed shoulders with older and more established — but still barely known — brands like Teeda and Cor Cor (Japan), Old Monk (India), Kukhri (Nepal), Laodi (Laos), and Sang Som (Thailand again). This is what I mean when I remark that poor distribution and a fixation with the Caribbean sometimes obscures the seriously cool work being done elsewhere, and if it weren’t for an occasional indie release, we’d never even hear about some of them.

But I digress: Chalong Bay is one of the relatively new companies out there, founded in 2014 by a pair of French entrepreneurs from named Marine Lucchini and Thibault Spithakis who saw Thailand as a good place to start a small artisanal distillery. They sourced a copper column still from France and went fully organic and all-natural: no chemicals or fertilisers for the cane crop, no burning prior to harvesting, hand harvesting, and a spirit made from freshly cut and crushed cane juice with no additives, sourced from local farmers from around the region they operate – Phuket, a tourist town on a spit of land jutting into the Andaman sea (the distillery is just south of the town of Phuket itself).

When last I looked at their rums, there wasn’t a whole lot of variety in the lineup. Little or no aged juice, a white and some infusions and that was it. Nowadays Chalong Bay sports three distinct lines – #001, which is the original pure unaged white rum at 40%, #002 the “Tropical Notes” series which is vapour-infused flavoured white rum (lemongrass, Thai sweet basil, cinnamon, kaffir lime are examples), and #003, a spiced variation mixed up with some nine different Asian botanicals. What their website doesn’t tell you is all the other stuff they make and which was on display at 2022’s WhiskyLive in Paris: a 2YO aged version, two different unaged whites (one wild yeast version with longer fermentation time, and another one at 57%), and this one, which was released by LMDW for their “Antipodes” collection last year – a 20 month old 62.1% growler (which is also called the Lunar Series, and represented in 2022 by the tiger on the label). It came from two ex-bourbon barrels aged in France (not Thailand), so somewhat limited, though the exact outturn is unknown…I’d suggest around a thousand bottles, maybe a shade less.

That strength is off-putting for many, and with good reason – north of 60% is getting a little feral, and this cane juice rum is no exception — it’s snarly, gnarly and ugly and it doesn’t much like you. Behind all that aggro, however, is a full service agricole taste smorgasbord, plus a swag bag of gleefully provided extras. It starts off with brine, olives and sugar water and that colourless sweet syrup they sometimes put into some concoction at Starbucks. There’s a a nice scent of hummus with unsweetened yoghurt and olive oil (and a pimento or two), but all that’s required here is a little patience: soon enough we get sweet deep fruits – strawberries, apricots, pears, raspberries, ginnips, kiwi fruit, and peaches and cream. Stick around long enough and citrus-like sodas like Sprite or Fanta make their appearance…and, even a faint tinge of mints…or mothballs.

Well…okay. It’s interesting for sure, and it is deep and strong, if a little arid. The taste is like that as well: sharp, dry, clean and fierce. It tastes initially of sugar water, soda pop, coconut shavings, combined with a flirt of vanilla and as it opens up we get crisp fruits, some light toffee and more of those pale, easy going fruits like pears, papaya, melon and white guavas. Some water is good to have here, and I’m sure it would make a banging daiquiri. The palate is the sort of thing that gives a bit more if you stick with it, and the finish is equally tasty (as well as being long and quite dry), without actually introducing much that hasn’t passed by already.

Overall, this is a rum that’s got a lot going on, is very tasty and a joy to smell. It reminds me of the O Reizinho we looked at last week, with some of that same dichotomy between the youth and the age: the two sides coexist, but uneasily. Recently I’ve tried a few rums that first made their bones as unaged unapologetic white beefcakes – clairins, the new Renegades, the Reizinho, etc – and were then aged a smidgen and released as sub-five year old rums (Rum Nation also did that with their first Jamaican white, you may recall). And while most are good – as this is – almost none of them have vaulted to the next level and blown my socks off…at least not yet.

The new and the original is always worth trying, and Chalong Bay has been on my radar for quite a while: what they have managed to do here for LMDW is just a few shots shy of spectacular. White rhums are admittedly something of an acquired taste, and maybe this rum will not find favour with a global, mellower audience which doesn’t eagerly or willingly (let alone deliberately) walk into a face-melting exercise in spirituous braggadocio. Still: I think this is one hell of a rum, showing the heights to which a minimally aged white can aspire if not filtered to death or overly messed with — and if on this occasion it doesn’t quite make the peak, well, it comes damned close.

(#1008)(85/100) ⭐⭐⭐½

J. Gow “Fading Light” Pure Single Rum (Scotland) – Review

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May 072023
 

If I enjoyed the naming J. Gow’s growling salvo across the rum world’s bows, the “Revenge,” then as a lover of language and an avid amateur photographer, I must confess to liking and appreciating the quiet romanticism the “Fading Light” title even more.1 And since that wasn’t enough for VS Distillers (the company behind the brand), it was also a more distinctive, even better rum than the “Revenge”…which as you may recall from last week’s review, was no slouch itself.

I won’t rehash the background of this new Scottish distillery ensconced on a tiny island in the Orkneys, so far up north that if they stepped a bit out of the shallows they’d be speaking Norwegian (see the “Revenge” review for a brief company backgrounder if you’re interested). Let’s just note that the rum has a fourteen day fermentation cycle from molasses, was double-distilled in a pot still, and released at just about a year old … after having been aged in a chestnut casks, not ex-Bourbon. And for all it its youth and northern continental ageing and “mere” 43% ABV strength, it channels a surprising amount of Jamaican in a way the would make a casual rum buying tourist from Cockpit County or London or Toronto blink and check both google maps and their ticket.

Consider. Right from the cracking of the bottle, the rum oozes funk, a nicely textured, crisp melange of liquid Jamaican: Fanta and 7-up, both sweet and citrus-y, with enough strawberries, gooseberries, pineapple and bubble gum to cure all that ails you, while not ignoring just a small whiff of a midden heap in hot weather: I gues this was added for a bit of kick or something. What’s great is that it doesn’t end there: there’s also olives, brine, mixing it up in the backyard with caramel, toffee, brown sugar, some nuts and molasses, and behind it all is some fresh baked sweet pastry egging the lot on.

Much of this repeats on a quietly rambunctious palate. It starts out light and effervescent, with unripe cherries, oranges and pineapples, and even some agricole-like bright vegetal notes, acetones and nail polish. Olives, brine, breakfast spices and a dab of strong black tea. But there is also a dark side here, loamy, musky, with more pastries, molasses, guiness and malt thrown in – something like a sweetly dark beer – balancing off the funk and lighter florals and fruits. The finish is a quieter conclusion than one might have been led to expect given the foregoing, which is a function of the low strength: mostly some light fruits, a bit of citrus, some oranges and apples just starting to go off, and a whiff of a vulcanising shop working overtime on a hot drowsy Sunday afternoon.

See what I mean? The amount of tastes coming out of this thing is all out of proportion to either antecedents or expectations. It’s like a low-proofed Appleton Overproof, a mini stuffed with an idling turbocharger, and while not on the screaming level of crazy as the TECA, say, or the Hampden and WP high ester marques everyone dares themselves to try, for it to have the chops it does given where it’s from, where and how little it’s aged and what it’s aged in, is eye-opening. After trying it a few times at TWE Rumshow booth, keeping it in my fourth glass and then going back to try it a third time, I concluded that the “Fading Light” is an intriguing, original rum that while perhaps a little peculiar, is by no means off-putting, and not at all a refutation of “ruminess.” The entire time I was sampling, I was acutely aware that it was a serious spirit, a real rum, and I have tell you: I was impressed.

(#994)(86/100) ⭐⭐⭐⭐

Other notes

  • The company also makes a “Wild Yeast” and “Hidden Depth” expressions which I have not tried (yet).
  • Both The Fat Rum Pirate and Rum Barrel have reviewed this one, both positively.

J. Gow “Revenge” 3 YO Pure Single Rum (Scotland) – Review

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May 022023
 

More and more we are ceasing to regard rum as being the province of just the great geographical areas which have long stratified the spirit into styles which promoted – and are limited by – the regional perceptions of old colonial empires. British (Jamaican, Barbadian, Guyanese), Spanish/Latin and French are the best known of course, and Matt Petrek has long argued (correctly, in my view) that they are best seen as production classifiers than true regional markers — but ultimately the one thing that that particular series of classification did was that it centred our minds in the western hemisphere, with perhaps the occasional nod to Reunion or Madeira.

In the last decade, this limited focus has blown wide open. We can, with not too much effort, original source rums from Africa, Australia, India, Japan, Philippines, Viet Nam, Madagascar, Laos, Cambodia…even the USA and Canada are popping up on the scene. Not all of superb quality, but often of real interest and real uniqueness. And, in a perhaps amusing sort of irony, at last we are seeing the distilleries coming home to roost, as small European companies are eschewing the route of the independent, and actively opening small craft distilleries in their home countries.

In the UK, new companies such as J. Gow, along with Ninefold, Dark Matter, Sugar House, Islay Rum Company and a few others, are at the forefront of this expansion into the homeland. They don’t mess around, often go pot still from the get go, have no issues experimenting with fermentations, distillations and barrels in a way that would perhaps make a more seasoned veteran of, say, Cuba’s maestros roneros, flinch – and produce both aged and unaged rums of varying quality for us to try. Not everything succeeds, but Good Lord, a lot of it does, and J. Gow’s “Revenge” is one of them.

I’ll get into J. Gow’s backstory a bit more in the background notes, rather than make the intro here go on for even longer. For now, the stats: this is a pot still rum made entirely in Orkney in the north of Scotland from imported molasses that are fermented for 5–14 days, in a temperature-controlled 2000-litre fermenter. The wash goes to about 8% ABV, and is then distilled in a stripping run in the pot still, to around 30% ABV. A second spirit run then produces the final high proof distillate which is set to age, although with this one, an extra stripping run has taken place to make it a bit stronger. The rum is a blend of J. Gow’s HD (Heavy Dunder) and DS marques, then aged for 3 years in situ, in a combination of ex-bourbon and virgin oak casks.

Named “Revenge” after a prize taken in 1724 (and no, not from the Dread Pirate Roberts), the 43% rum has some real fangs, let me tell you. The nose is deep and dark, quite at odds with its light straw colour. Molasses, brown sugar and vanilla notes predominate, and underneath that is a sort of light perfumed sweetness – acetones, strawberries, yoghurt, white chocolate…even some flowers – which balances it off nicely. With time some fleshy fruit emerge as well, so it’s a pretty good trifecta there, belying that three years of ageing. It noses older, more mature, more rounded, in a good way.

The palate is where things get both interesting and head off into uncharted seas. It’s initially light and fruity, so some pears, apricots, guavas, vanilla and florals; then a series of darker notes subtly invade the taste – black tea, molasses, caramel, the faintest touch of licorice. But what makes it stand out (to me at any rate) is the malty, briny, grainy, cereal notes which circle around the others, not obnoxiously and not hogging the limelight, but somehow lending a twist to more traditional “rummy” profile we might have expected. It makes the rum distinctive in a way far too many are not, and even the tang of bitterness at the tail end – the oak starts to take over – isn’t entirely a bad thing. The finish kind of sums up the experience with a short, light denouement, leaving behind some perfumed florals, toffee and a peppery note.

I confess to being somewhat startled at how good this three year old rum was — I’ve tried five year olds with less chops than this one showed off so casually. The notes come together quite well – Wes Burgin commented several times on his appreciation for its balance – and even at 43% there was no shortage of bits and pieces to tease out and indulge oneself identifying. I particularly respected how it went off at a tangent on the palate, and didn’t simply try to be a copy of some island hooch. It’s a really good rum, a remarkably tasty introduction (to me) of what the Scots can do if they were to take some time off from the local tipple and try to make a real spirit. And the best part is, there are more in the line that are every bit as good. I can’t wait to get started.

 

(#993)(84/100) ⭐⭐⭐½

Brief Historical Background

The small Scottish distillery of VS Distillers is named after its founder, Collin Van Schayk, and it sits a few feet away from the shoreline of what may be the world’s smallest island that hosts a distillery: Lamb Holm, a mere 0.15 sq miles in area (less than half a square km).

That location is not the only odd thing about them, and the distillery’s title is practically unknown, with the company being much more widely recognized by its brand name, J. Gow. The late and unlamented Mr. John Gow was (perhaps inevitably) a pirate, albeit a rather unsuccessful one – he hailed from the Orkneys, itself an island group which would be the northernmost point of Scotland if it wasn’t for the Shetland Islands even further out. His claim to fame, aside from a career deemed short even by the rough standards of the 1700s (said piratical endeavours lasted less than a year between inception and his execution) was that he was caught, tried and hung, the rope broke…and he was ceremoniously and solicitously hung again (in spite of the perhaps apocryphal tradition that a botched hanging allows the condemned to go free since God evidently pardoned him).

Mr. Van Shayk founded the company in 2016 with a 2000 liter pot still (why he chose such a remote, even obscure, location has never been answered – I suspected there’s some family heritage there someplace). Almost immediately he began making spiced rums which, in spite of the groans of the purists, sold quite well — and the success garnered by these initial efforts convinced him to branch out not only into pure single rums, but to tinker with various barrel types as well as fermentation techniques. It’s too early to see where this is all going, but for sure originality and experimentation are part of the recipe, now and in the future.

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