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

 No Responses »
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.

Capricorn Distilling “Dumpster Diver” Unaged White Rum (Australia) – Review

 No Responses »
Nov 152023
 

Brisbane’s Rum Revolution in Down Under has just ended last weekend, and among the many excited questions of “were you there?” and “did you drink this?” posted on social media, were a surprising number of accolades given to Capricorn, the little distillery run by Warren Brewer (also and variously called Walter, Wal, Wally, Warren and Wally Walter, depending on how he’s feeling on the day), south of Brisbane. People were getting all gobsmacked over the High Ester rum (rightfully so methinks) and I’m hoping we’ll see it at a rumfest in Europe next year, so we can see how others feel about it.

Alas, today I’m not reviewing that one (although I want to) but will instead focus on another very interesting experimental rum the distillery makes, the Dumpster Diver, which among other things, demonstrates that West Indians are not the only people out there with a sharp and obscure sense of humour. Now, this is an unaged rum, white, molasses-based, jacked up to the nines by using a cane juice acid, muck, and natural ferment to supercharge the thing; it was fermented for about thirty days, distilled in a single pass through the double retort pot still (that’s the one named Rocky), then left to snooze in a stainless steel vat for a couple of months. I’d like to think Warren then chucked it into a dumpster out back behind the shed for people to fish out when they wanted some, but naaah, he just bottled it…at 62%. It is not currently available in shops (it remains something of a trial release and not mentioned on the company website), and Wally tells me it can always be had to buy at the back door of his distillery where they sign waivers before tastings (well…not really: but they are warned what to expect so as to cushion the shock).

Normally at this point I’d tell you about the distillery and its background; however, that’s already available (reprinted below), and the only thing to add to it is that I think Walter deserves the praises, because this rum is really quite a blast to have neat…or, as he reminds me, in a totally awesome martini. This is one rum that’ll cure what ails you.

So, let’s just dive right in. Nose first: it’s redolent of cucumbers and a few pimentos in white vinegar, really hot and sharp. There’s an element of dusty houses, old cupboards, granny’s unused bloomers (best not go there) and a whole lot of dry and expired cereals. The smell is slightly sweet, and also sour, channelling gherkins and diluted balsamic vinegar: there is a sort of kimchi vibe here that’s quite nice, and even some ashlan-foo (which made Mrs. Caner sigh with nostalgia when I passed the glass to her to confirm). The intensity fades after it opens up and remains well controlled and rather quiescent most of the time. Towards the end, things get weird for a while — it could be just me but I thought I nosed some disinfectant, pine sol and even the slight acrid hint of a chlorine bleach, which makes it slip in my estimation, but overall, the nose is really quite something – not one you’ll forget in a hurry, and somewhat reminiscent of an agricole.

Photo (c) and courtesy of Josh Wall

It is also excellent on the palate: strong, firm, solid, and very dry.  Letting it stand to let the harsh alcohol burn off is probably a good idea, or alternatively, some might like to add a little water. This allows a solid taste experience to unfold, starting with an air of clean white laundry flapping in the breeze on a sunny day, white wine and tart fruits, plus unsweetened yoghurt, which presents a sort of crisp fruitness that is very pleasant.  Pomegranates, figs, dragon fruit, soursop and other unusual stuff like that, but also citrus, green apples and grapes, each snapping crisply into focus and then quickly moving aside for the next one. As for the finish, well, pretty damned fine: dry, dusty, fruity, nicely long, with acetones, nail polish remover and bubble gum – plus the usual fruit salad rounding things out.

New rums like this from far-flung locations are why I stay in the game.  It’s such an interesting dram, on so many levels. It shows a lot of rough edges – “like a country bai com’ to town” – and a demonstrable lack of couth is right there, front and centre – you can almost smell it sweating and sweltering in the heat.  And yet it’s a completely solid rum, channelling Hampden by way of Worthy Park with a little TECA thrown in, before adding its own exuberant Queensland twist. It’s rough, it’s brutal, it’s got tastes and to spare, attitude beyond reason and when you’re done you will realise that it’s also an immensely enjoyable drink on its own terms. And yeah, it really does make a seriously sleazy, filthy, barkin’ mad martini.

(#1039)(85/100) ⭐⭐⭐½

Other notes

  • Disclosure: although Warren and I agreed I’d send him something from my stocks to pay off for the samples he sent to me in Canada, as of this writing I have not yet done so. Just waiting for my empty sample bottles to arrive, though, and all will be settled.
  • I’ve asked for a photo of the bottle and label, as none appear to be available online, even on the company’s social media pages. My sincere thanks to Josh Wall of the Brisbane Rum Club FB page, who kindly allowed me to use his photograph of the rum bottle and its label. Ta, and a hat tip, mate.

Company background (from Review #1029)

Capricorn Distilling’s origins began 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.

 

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

 No Responses »
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.

Killik Handcrafted Rum “Gold” (2023) – Review

 No Responses »
Aug 252023
 

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

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

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

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

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

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

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

(#1019)(83/100) ⭐⭐⭐½

Other notes

Opinion – The New Australian Rums

 3 Responses »
Aug 172022
 

When it comes to Australia and its rums, it’s likely that only two names immediately jump to mind (assuming you know of any at all and are not from there yourself): Bundaberg and Beenleigh. Both are relatively long-lived companies that predate many better-known producers founded much more recently in other parts of the world, yet it is only recently that awareness of them has climbed. Of course, this is in a large part due to association with or ownership by other major spirits companies with worldwide clout and visibility that can be leveraged, as well as social media trends.

Those two companies aside, however, few western consumers have tasted a wider selection of rums from Down Under. Australian rums don’t make it to rum shows or rum festivals (except in their own region) and pricing problems prohibit easy import or muling of bottles to and from the country, whether by distributors or individuals. But there is a vibrant and dynamic rum culture in Australia, and in the last two decades — paralleling the rum renaissance in the west — a host of small distilleries has cropped up, almost all single- or family-owned enterprises that make small batch pot still production. Because of the lack of any blogger or writer or reviewer in Australia who has a broad-based international readership, little of this has reached the attention of the wider rum world until very recently, when Mr. and Mrs. Rum issued the 2021 Australian Rum Advent Calendar. For the first time a wide variety of rums became available for people to try, and it was my good fortune to get hold of a box.

I systematically wrote the reviews one by one, and while they are now done, the thoughts they engender about Australian distillery culture and the rums they make, are too many to fit easily into a single review. Granted that twenty-plus reviews is hardly a complete sampling of the entire country, yet I feel that the points that occurred to me as the process continued — and at the end when I was summing up — are relevant in a more general context…more, at least, than just an observation on this or that distillery.

The first is evident from the tenor of the reviews: it’s something of a surprise how good the rums were (and are). Few scored below 80 points, and many were eye openers. I’ve tasted some really foul American, Canadian and Japanese rums which are thankfully not widely available, but here, small and local distillers I had never heard of before were making impressive young rums and cane juice spirits that held themselves up well even when rated against Caribbean rums of greater fame and heritage. Some were essays in the craft, to be sure, and in many cases the rough edges remained visible, the rums too young, the style not yet complete; yet I firmly believe that many will only get better as time goes on, and skills and technique get more refined — and hopefully they will get the attention and kudos they deserve.

The operations making these rums are, for the most part, micro-distilleries, and serve a regional market (some are only at a town- or state-level). A few large ones like Beenleigh and Bundaberg export abroad, but this is an exceptional situation. What characterises most of the distilleries that produced these rums is that they are either sole-proprietorships, husband-and-wife teams, or set up by a few friends, and while I don’t know anything about their financial situation, it seems to me that what they do is a personal thing, a labour of love, and their own funds and families and friendship networks are quite invested in the success of what is at end a small business that has some unique restrictions.

For one, they are hampered by the “ageing law”: rum may not be called “rum” until it’s been aged for at least two years in Australia, a law that has been on the books since 1906. Initially enacted to prevent low grade, poorly made, unaged moonshine — which quite literally, could be and often was, lethal — unscrupulously being sold to unknowing patrons, it is not completely a relic of rougher colonial times as I had thought. Alcoholism and abuse by both buyers and sellers is still a problem today and this is one reason why the law remains, and taxes on alcohol remain quite high.

The law’s intention (if not its ultimate effect) was and is to remove unaged full-proof rum from easy distribution to vulnerable segments of the population, though of course it only really affects legally established distilleries, not outback hoocheries beyond the easy reach of regulators, lawmakers or taxmen. But the unintended consequence of this is that one of the potential revenue spinners of new distilleries which need cash flow to recoup their substantial initial capital outlay – the sale of unaged white rum, especially if made from cane juice – is removed, as it cannot be sold as “rum”. 

Inventive and agile distillers have gotten around this issue by releasing such rums as “cane spirit” yet undoubtedly sales are foregone by application of a law which has not kept pace with developments in the wider rumiverse, where such cane spirits are called rums. Elsewhere in the world, they also go by names like charanda, grogue, clairin, aguardiente or agricole and have devoted consumers who prize the authentic nature of the spirits produced in such a fashion. The problem in Australia as elsewhere, is, of course, that those not already into rum won’t make the connection between these varieties and “real” rum, which again impacts sales and hampers recognition.

The two-year rule therefore prioritises and incentivises aged rums and other spirits without such restrictions, and this means that for at least those two years (likely more – James McPherson suggests five) no rum distillery can really make cash flow on rum alone while its stock is maturing. This requires Australian distillers to focus on other money-makers that can provide more immediate revenues: the most common of these is gin, which is why the gin varieties and volumes in Australia are so great. Unaged cane spirit is another. However, unaged bulk sales abroad — where 10,000-litre or greater iso-containers are the norm — are usually not feasible, because volumes of rum which are distilled are relatively small, sometimes as little as a few thousand litres annually.

And it must be conceded that most distillers are in it to make whiskies, not rums, and like the American micro distillers I’ve mentioned before, rums are a sideshow, if not a complete afterthought – there are many more whisky distillers to be found on Google Maps than rum-focused ones, for example. Some distillers make yet other products in addition to gins and whiskies — spiced spirits, vodkas, limoncello, liqueurs, etc. But the consequence of all this diversity is very much the same as it is in America: focus is diluted and expertise is scattershot, and deep experience, while not absent, is thin on the ground and takes longer to develop than in an operation where it’s rum, and only rum that’s the first spirit of make (I’m not criticising distillers’ necessary choices, only mentioning this is an inevitable outgrowth of the rules).

But seen from the outside, clearly there is talent and to spare in Australia and a genuine love of rums. After all, people keep drinking the stuff, and if it’s being bought, it’ll continue getting made. It didn’t matter whether it was a hundred-year-old distillery, or one established less than a decade ago: almost all the rums I tried were of good quality, with some real standouts. The size or age of the distillery had at best a marginal impact on quality — for example, Killik (founded in 2019) had an unaged white rum was way better than the venerable Beenleigh’s 3 Year Old White, and Black Gate’s Dark Overproof (from a company established in 2009) was its equal though aged. 

The key determinants of really good Australian rums seemed to be a combination of their proof points (stronger was mostly better than weaker, though not always) and the ability of their distillers to think a little outside the box, play around and go for something new – they pounced on niche techniques to seek competitive advantage. Since just about all the rums came from a pot still or a hybrid pot/column and had the 2-year age restriction (Hoochery’s Spike’s Reserve aged 7 years and Tin Shed’s Requiem at 6, were the oldest), it was fermentation and source material that helped carry the flag, and high scoring distilleries like Winding Road, Aisling, Tin Shed, Black Gate and Killik had points of uniqueness in their production methodology unrelated to ageing. Some used cane juice or syrup rather than molasses, others went into longer ferments or used dunder and relentlessly experimented to get “Jamaican style” rums out the other end, while still others played around with finishes and odd casks. 

That said, a not unreasonable question is whether they display anything specific to themselves, something uniquely Australian that would allow someone with even a smidgen of experience to stand up straight and immediately identify a rum from Oz.  After all, say what you will about the Bundie, one sniff of that thing and after you stop spilling your guts and recover your sight, you’d instantly know it for what it was, sight unseen. Are the ones I’ve been reviewing anything like that?

In my personal opinion, not really.  In fact, the strongest impression I took away from this admittedly limited sample set — and one which had been tickling me since I tasted the first indie bottlers’ Beenleighs years ago — is how modern and contemporary they tasted, and that’s both a compliment and an observation. While the quality was indisputably there, the tasted profiles often conformed to the formal regional “styles” already popularised by existing countries and their flagship distilleries. To put it another way, it was hard for me to try these rums blind (as I did) and not instinctively see Barbados, Antigua, Trinidad, Panama, or St. Lucia, depending on which it was. They have the same nature – much improved by being fully pot still distillate, to be sure — that makes them fine drinks, but not clearly identifiable as being from Australia. Even the ones that suggested Jamaica were like that (though more Appleton than Hampden or Worthy Park, it must be conceded).  The most distinctive were the unaged agricole-style cane juice rums like Winding Road’s Coastal Cane, or high ester unaged rums like Killik’s Silver Overproof. Those you could tell came from someplace new, someplace damned fine.

Does this matter? Not entirely, because good rums are good rums and people will always gravitate towards tasty spirits that don’t break the bank.  It’s only superdorks, ur-geeks and rabid rum aficionados (did somebody say “Caner!” ?? Hush, ye snickerers) that make these superfine distinctions.  However, for a more globally recognized Australian rum category to truly emerge will to some extent depend on being able to sway rum lovers the world around on not only quality, but uniqueness: because, why would anyone in the US or Europe buy an Australian-made Jamaica-style rum when the real deal from Hampden or WP or Appleton can be had more easily and for less? I honestly hope that a localised, Australia-centric style of rum will slowly come into focus because of such pressures, and a move away from already existing styles will help.

Wrapping up, then: notwithstanding all the remarks above, I loved these rums. Almost without exception, every single one of the samples in the calendar displayed a quality that for distilleries so small and often so young, was nothing short of astounding. They are not yet top-tier, bestest-of-the-restest, but damn, they did come close in places, they were good for what they were, and will only get better. The hard and often unappreciated work — of so many individual distillers, so many obsessive rummies and their patiently eye-rolling spouses, who experiment without rest or reward day in and day out — really has achieved something wonderful in Australia. I hope to lay hands on more in the years to come, or at the very least more advent calendars as they become available. Because good or bad or indifferent or spectacular, it’s worth it to see a new rum region rise up, snap into focus and add new some fruit to the great rum tree. We should all be grateful for that, no matter where we live.

Further reading

 

Black Gate Distillery Dark Overproof 3 YO Rum (Australia) – Review

 No Responses »
Aug 112022
 

Without question, Black Gate Distillery’s “overproof” rum 1is one of the best of the crop of the New Australians that I’ve tried in the last years, and the standout of the 2021 advent calendar.  It is a 52% pot-still molasses-based bag of bragaddocio, it sports an attitude, it’s big, it’s bold, and completely the sort of thing John Wick would have in order to finish off the evening in a style we can best describe as, oh, ”assertive”.

This is all the more remarkable since we’re talking about not only a relatively new distillery (founded in 2009) with relatively few products, but a rather young rum – it’s three years old.  Yet it deserves the accolade, because its aromas it displays and the quality of the first few minutes with it not only set the tone for all that comes after, but suggest there’s even better to come in the years ahead.

Consider how it opens: it’s, in a word, lovely. It blows right out of the glass, and reeks of rich red wines, plums, blackberries and cherries on this side of too ripe. It reminds me of the Tin Shed S.S. Ferret rum I looked at before but without the dusty, cereal, mouldy notes of an abandoned house. Here the house is in fresh paint and good nick, and you smell that glossy paint, varnish, furniture polish, acetones; and if that isn’t enough, the depth of the aromas provides more – strawberries, sorrel, the pungent smell of mauby. I got a well-remembered sense of my mom’s kitchen in Guyana just nosing the thing.

The palate doesn’t drop the ball in the slightest. The 52% strength allows the rum’s profile to be really robust, precise: it’s dry, with dark fruit bonded to crisp herbals, and solid initial notes of brine, olives and spicy miso soup. It’s around the edges that other fruits come out to play – sweet Thai mangoes, apricots, cherries, raspberries, attended to by honey, salt, cloves and even a flirt of lemon zest and cumin. The finish is long and doesn’t introduce anything new, and functions more as a summing up of most of what came before – some dark fruits, a touch of vanilla, red wine, caramel, sorrel, lemon zest and cranberries –  which I assure you is more than enough to elevate this rum beyond the mere ordinary.  

About the only thing you have to watch out for is which one you’re getting, because there are several bottlings under this name, and each set comes from a single aged cask (or two) with its own identifier – the rum I speak of here is from casks #BG081 and 82, distilled in September 2017, bottled in November 2020, and if my reading around is right, just about everyone who has had one of these overproofs really really likes it.

They’re right to do so. It is, I feel, a really fantastic young rum, and one can only wonder where it would be in another five years (or ten) if they had kept any behind to age some more. I know many reading this will prefer their old tried and true Caribbean varietals, but I can wholeheartedly endorse this new Australian expression. It’s as near to an exquisite badass as you can possibly get without being ten proof higher and ten years older. Too many rums we try these days are similar variations on old themes which have lost some lustre and originality, so it can be wonderful to find a rum like this, which finds a different way to tell the same story in a new and exciting way.

(#929)(86/100) ⭐⭐⭐⭐

Other notes

  • Founded in 2009, Black Gate Distillery is located in Central West New South Wales, in the small rural town of Mendooran.  Like most of the micro-distilleries of the New Australians, it’s a husband and wife operation where – in this case – Genise Holingsworth does the good stuff and makes the rum, 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, which stands to reason when one considers that the rum output of the small operation is only about 2o00 litres annually.
  • So far, Black Gate makes various Dark Rums, overproofs mostly with different finishes or cask maturations, and one called Tawny. Aside from whiskies, no cash flow stalwarts such as gins or “cane spirit” seem to be made.
  • Rums are aged in Port or Sherry casks (or both) for a minimum of two years. This rum was aged for three years in two Australian port (‘tawny’) casks: one of 225L and the other of 100L. A more recent 54.6% edition of the overproof was aged for five years. 
  • Labels are all the same for all these dark overproof rums no matter when made: the specifications are, in a clever bit of economising, white printed stick-ons.

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

 1 Response »
Aug 042022
 

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

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

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

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

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

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

(#927)(84/100) ⭐⭐⭐½

Other notes

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

Historical Background

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

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

 

Lord Byron Distillery 2018 2YO Pure Single Rum (Australia) – Review

 No Responses »
Jul 282022
 

More and more, being environmentally conscious and paying attention to a sustainable agricultural business model is a determinant for any forward looking distillery that can trade on this aspect of its operations to make sales, gain visibility and win awards. What was once a minor aspect of production methodology has grown to the point where it is something almost every new micro distillery — and many major ones — seeks to institute. More than just ethically correct, it’s good business.

Lord Byron Distillery (named after the 19th century poet who is arguably the world’s first modern celebrity) is one which ticks all these boxes.  It is located twenty minutes up the road from Winding Road Distillery (and is closer to the beach), about 180km south of Brisbane in New South Wales.  It was founded in 2016 by the husband and wife team of Brian and Helen Restall, who are both engineers, and from the beginning went with a zero-waste and fully-sustainable philosophy. Water comes from collected rain and natural springs; bonsucro-certified molasses once merely used as cattle feed is sourced from a farmer co-operative nearby, power comes from a renewable electricity generator, and distillery waste products are turned into liquid fertilisers and feed additives. 

The distillery has two copper pot stills and a steel single-column still; the pot stills were both brought from Europe and are named Ada and Allegra (after Lord Byron’s daughters, I’m assuming) — they produce the usual assortment of gins, vodka, limoncello that make for cash flow – and various cane juice distillates (sometimes double distilled) which are either sold as white “rhum”, spiced, and aged rum, always in small batches.  

The rum we’re looking at today derives from the 2018 harvest and was bottled in 2021, so it is about 2-3 years old, and can therefore be called “rum” under Australia’s regulations.  The exact barrel number is not noted on the sample, but bar batch variation between casks, I think we can assume that what is tasted of one rum from that year, is likely to be similar to all others from that year assuming all bottling was done at the same time.  For the curious, it was aged in a 260-litre ex-red wine barrel, and another six months in an ex-port barrel, so it qualifies as double-aged instead of finished, I guess – oh, and it came out at a solid 55.5% so the impression I get is that it’s made for real rum fans, not casual imbibers.

The rum and its distillery do well from a marketing and ethical standpoint; and it’s a fine rum to taste as well, even for one so young. The initial aromas arising are of cereals, cheerios, and dusty furniture in an old house, as well as (paradoxically) the plastic wrapping surrounding a new pair of leather shoes. There are few sharp notes of sweet and acidic fruits to be found here, so none of the sweetest offerings fo the orchard are on sale: however, one can detect caramel, figs, dates, sapodilla and a touch of brine and papaya.  As it opens up, some dark raisins and lemon pie vaguely waft by, a touch of vanilla and aromatic pipe tobacco, but that’s about it.  It’s quite enough to enjoy, I assure you.

Tastewise, no slouch either: it’s deeper and more luscious than the nose implied, with a dry kind of bite.  It’s very warm but not a scorcher, presenting a solid first taste of brown sugar, salt caramel ice cream, and peanut butter.  This dominates the profile for a while before giving way to some fruitiness of bananas, pineapples in syrup, cherries, and anise. A little oak, a little vanilla emerge, and the port-infused cigarillos are once again in evidence, which I suppose is the wine barrels making themselves felt. The finish is soft yet pungent, quite long, and without serious sharpness or aggro; the closing notes are a firm amalgam of bitter chocolate, caramel, vanilla, raisins and cinnamon, getting quite dry at the back end.

After all is said and done, the real question is whether all the organic, locally sourced, natural ingredients have a discernible impact on what gets poured into the glass. Our grocery shelves are filled with packaged food and drink that contain all sorts of additives, preservatives, binders, chemicals and what have you, that proponents of the organic movement say hides natural flavours. Can we detect such things in rums, and deliberately seek out the pure, the natural?

To some extent, I think so, and here’s a product that makes the case for such products quite well.  Lord Byron’s rum is a two year old, double distilled, double matured, with nothing added, made organically, simply, and, like my homemade pepper sauce, with as few ingredients as possible. What we get at the other end when we taste it, is a limited smorgasbord of a profile, that does the neat trick of pretending to be less than it is, then providing more.  It is, in short, a quiet little corker.

(#925)(84/100) ⭐⭐⭐½

Other notes

Yack Creek Distillery Amber “Tavern Style” Rum #5 (Australia) – Review

 No Responses »
Jul 072022
 

When it comes to Australia, the wider world knows of Bundy and Beenleigh almost by default, because they are the big guns that export globally and allow us to try their stuff as found in a duty-free or released by the independent bottlers. But perhaps a better sense of the country could be provided if we run through the rums of those multitudinous small micro-distilleries that dot the landscape, because seriously, that’s where all the cool stuff and innovation seems to be happening as these New Australians seek for the elusive magic of a truly indigenous rum that could not be mistaken for anything else. Not all seriously try for that brass ring, and of those that do, not all succeed – what they all accomplish, however, is to enrich the rum landscape of the entire country, even if they simply make a “regular” rum.

One of the rums that doesn’t make a big thing about channelling some new style or method of production but is content to simply be good, is the rum called Amber “Tavern Style”  Batch No. 5, made by the bluntly-named Yack Creek Distillery (love that name: just saying that – “I had a Yack the other day” – reeks of badass rumgeek machismo, doesn’t it?).  

Photo (c) Yack Creek Distillery

The distillery is located in the Australian state of Victoria, and was founded in 2016 by two friends, Mick and Jamie, conforming to the pattern of many others: the guys were checking out whale sharks in Ningaloo (Western Australia) six years earlier, the conversation turned to spirits and opening a business, and in short order they had made plans. Then years were spent securing the  financing, buying and installing the necessary equipment, doing some training in the field, and the business was set to go. It was called “Yack” after the river and town near which they set up shop, and quite sensibly shortened its name, because calling it Yackandandah might have been a labelling problem and a tongue twister for lexically challenged. Unsurprisingly they have made gin (six varieties) and vodka (just one) to pay the immediate bills, before heading into whisky territory (where they are already up to the 16th edition) and the fifth iteration of their rum line.  The philosophy is to do multiple small batches a year rather than just a few large bones, so runs and outturns have thus far remained relatively modest.

Depending on how they feel, either blackstrap molasses, molasses or sugar cane honey — all locally sourced — is used, fermented with a commercial yeast and then run through a 1000-litre copper still with stainless steel columns (a 130-litre stainless steel and copper modular high column still is utilised for smaller batches and experimentation). For the Amber “Tavern Style” rum we’re discussing today, the distillate is put into an ex-bourbon cask for about four years, and then finished in a Meyrieux Bourgogne cask for a short period before being bottled at 48%.

What that does is produce a golden rum with an uncommonly pleasant nose that is assertive enough not to fade away into thin nothingness. It is, paradoxically both light and rich, redolent of blackberries in cream, cherries, raspberries and a bag of overripe plums.  At no point is it sharp or harsh, just firm and warm,  It changes a fair bit over time too: after a while one can sense oranges starting to go, some kimchi (!!), paint and freshly oiled leather harnesses, and a comfortably upholstered clean leather sofa.  You don’t get that every day in a rum, that’s for sure.

On the palate it continues to be a solid tasting rum with overripe fleshy fruit as before, and tastes a bit of dry sweet cereals, molasses, caramel, a touch of vanilla, brine, and that new-polished leather vibe. It’s not as vibrant as before, though, and the components one would expect to surge to the forefront – aromatic herbs, anise, spices and tart fruits – take a back seat. This leaves salty and musky flavours to take over, at the expense of a more complex multidimensional profile which the nose had hinted was possible. The finish operated at this level also: dry, wine-y, with notes of fat red grapes, licorice, olives, Danish butter cookies and some stale orange rind. It had a certain whiskey-like nature to it, suggesting a malt in rum’s clothing.

Like most new and small distilleries such as we have been reviewing of late, rums like this are youngish, decently made and solidly constructed, but not complex, uber-aged top-enders. They can’t be, because they are the distilleries’ bread and butter, sharing the stage with equally young whiskies and gins through economic necessity (for now). That limits them somewhat, and it’s a quiet achievement that this one succeeds as well as it does.

The Amber No. 5 is an unquestioned achievement of the mid range: it noses solid, tastes firm and finishes with some style, even if it does leave you wishing for more: at the end its informal title of “Tavern Style” pretty much says what the makers probably had in mind when they created it.  And yet, in spite of all that mid-brow aesthetic (or because of it) I really quite enjoyed it, especially in a simple Cuba Libre or with ginger beer, because the rum had enough notes to hold my interest and woke up the mix very nicely; it can even be had neat without undue discomfort. What it also does is remind me — a lot — of a Bacardi 8, a Young’s Old Sam, a young El Dorado or a Doorly’s: a seemingly regular, even overlooked, rum that is quite a bit better when you try it than the bare stats say it is.

(#921)(82/100) ⭐⭐⭐½

Other notes

  • I was told the outturn was about a hundred bottles. All are sold in the local area, most at the distillery itself in the small bar they have onsite. Obviously one made it to the 2021 advent calendar from which this sample was obtained, and for which I remain grateful to Mr. & Mrs. Rum for providing.
  • The logo on the company masthead is that of a Blue Murray Spiny Crayfish, commonly found in the creek and was designed by Jamie Heritage and his sister.
  • Yack Creek Distillery is one of a cluster of small family-run distilleries established over the last decade in and around Yackandandah and its surrounds. Backwoods Distilling is close by, and in the area are Barking Owl, Bilson’s, Glenbosch, joining the 10 or so distilleries in Victoria’s High Country.

Riverbourne Distillery Rich Dark Sipping Rum #8 (Australia) – Review

 1 Response »
Jun 302022
 

Photo (c) Riverbourne Distillery

Australia’s sugar cane industry is concentrated in the east of the country, so it comes as no surprise that many of the small distilleries that make rum (one cannot firmly state they are always rum distilleries) are located in the states of Queensland, New South Wales and Victoria, usually near some kind of built up infrastructure, though sometimes on the outskirts of some small town or other. The small one-man distillery of Riverbourne is a bit more rural and remote (a relative term) in that there really isn’t much between it and Canberra, the capital, which is an hour’s drive away.

Riverbourne is another one of those craft distilleries that have sprung up in the last decade, and its founder and proprietor – Martin “The Kid” Pye – is the closest thing to a scientist I’ve seen in researching these little outfits. The man is a third generation pharmacist and has studied microbiology, biochemistry, chemistry and mathematics in his career, suggesting he possesses a medieval alchemist’s mindset, and likes seeing how things work, how they’re made, and what makes them tick. He founded his small operation in 2015 and took the time to learn from Redland’s Distillery in Tasmania (one of the few completely “paddock-to-bottle” distilleries in the southern hemisphere, it is said), sourced a 900-liter steam jacketed copper pot still (named “Tilly”) and set about making whiskies, which he occasionally named after various titles in the Ludlum universe.

Rums, alas, were and are not a major priority, yet the mere fact that there is a #8 at all implies seven prior ones – the first was released back in 2018 and has been joined by a spiced version and a gin. It’s the dark sipping rum we’re discussing today, and since the website makes little mention of the technical aspects, here are a few facts I’ve gleaned. The rum derives from food-grade molasses from Northern Rivers, pot-still distillate using Caribbean-sourced yeast for the 14-day fermentation, and is aged for three and a half years in and blended from an ex-French-oak red wine cask and an ex-bourbon cask. The outturn is of course quite small – 100 to 200 bottles, give or take.  Oh, and it’s bottled at 48% which may be the distillers attempt not to scare off to many potential rum drinkers with some cask strength monster only a mother (or a rum dork) could love.

Within that rather sparse background we find a rum that has an intriguing profile…if a little uncoordinated. It starts off with a nose that channels brine, olives, flowers and a miscellaneous mishmash of fruits that is hard to separate. Pineapples, mangoes and a sweet habanero or two do stand out, yet overall, it is not particularly sweet. There’s a peaty, grainy – a whiskey-like – aspect to this that is not normally something I care for, but here it actually works rather well.  Overripe bananas and orange peel, some burnt rubber of doughnuts made by overenthusiastic teenagers on their father’s porsche, a bot of caramel, dates and butterscotch, and that’s the nose for you.

My attempt to describe the oddity of the rum’s initial palate will not resonate with – let alone appeal to – many, but I have to state that the first reaction I had was to mumble “salt soap?” to myself, because that’s what an initial taste is like — the red soap which many of my generation and earlier used in Guyana to wash dutty bukta in a standpipe or down by the river (don’t ask). Yet, once it calms down and breathes, the rum isn’t bad at all: here the sweeter notes stand out more forcefully: butter-rich pastries, pancakes and syrup, dates.  Also fleshy and ripe fruits – cashews, red guavas, soft mangoes, and perhaps some apricots.  It’s sweeter than the nose implies, and one senses the taste of licorice, wet sawdust and a sort of sour-sweet teriyaki without ever coming to grips with it. The finish is long and dry and warm, but adds little to the party – it doesn’t actually provide much of anything except a lackluster recap of what came before, mashed together, dampened by a sweetness that hides subtler notes (though it is thankfully not cloying).

Riverbourne’s love is clearly the whiskies, and they make no bones about that – rum and gin are therefore made to defray costs and round out the portfolio, not the results of dedicated rum nerdiness and rumlove that defines, say, Killik, Soltera, Husk or Winding Road. Within that restriction, however, they haven’t done too badly with the Rich Dark Sipping Rum #8. Sure, the tastes are somewhat muddled, lack precision and it’s hard to tease much out beyond generalities (e,g, “fruit” or “sweet” which is not very useful)…yet somehow, the No.8 kind of works.

Perhaps that’s because it tastes like what it is, because it never pretends to be anything else: a rough and ready soldier’s rum, one for the proles, the worker bees, the cubicle drones — one that is simply, strongly and unaffectedly made with a straightforward lack of frippery…Australia’s own version of the El Dorado 5YO. maybe. I thought it was a nice and unprepossessing middle-ground product, the kind often overlooked in our current fascination with uber-aged Caribbean rums or overproofed white agricoles. Occasionally it takes one like this to remind us that there is a place for unpretentious blue collar rums that are competently made, enjoyably drunk and always in the backbar. This is one of those.

(#919)(81/100) ⭐⭐⭐½

Other Notes

  • As always, thanks to Mr & Mrs. Rum for the samples contained in their 2021 advent calendar, from which this rum originates.

Aisling Distillery “Riverina” 4YO Ex-Shiraz Australian Rum – Review

 No Responses »
Jun 162022
 

Aisling Distillery’s “Riverina” rum is one that defies easy description. It is a rum of real originality that can inspire equal parts admiration or despite, and the only one the resolutely whisky- and gin-focused distillery has ever released in its short eight years of existence. Its bare statistics could be described in a short sentence, yet to attempt an analysis of what makes it impressive may actually be too long for a short review like this one…because what it tries is no less than to marry a straightforward rum profile with something wholly and solely its own – a character, a sense of the terroire of the region from which it hails.  

Consider the nose of this 47.5% pot still rum. Now, the molasses was local, the fermentation ran to three weeks with a commercial yeast and it was aged for four years in un-charred ex-shiraz casks sourced from around the NSW region of Riverina, where several wineries exist. Yet from those seemingly commonplace elements came an initial aroma that startles and beguiles in equal measure: a sweet sort of semi-rotten funkiness that channels a heap of castoff fruit outside a busy fruit-and-veggie stand in hot weather: pineapples, strawberries, bananas going off, overripe mangoes and dark cherries, plus a scent of sweat and onions and rotting sweet potatoes.  It reminds me of an overproof St. Lucian mixed up with flashes of a Longpond TECC, both lighter and more floral (faint lilies and jacaranda) than either Winding Road’s Coastal Cane or Tin Shed’s Requiem.

Then there’s the way it tastes.  At a middling sort of strength, it goes warm and relatively easy on the palate, without any undue aggro: it’s actually quite pleasant. The flavours too, are deceptively simple (and not at all like those nose might suggest they would be): initial notes of smoke and well polished leather, and then a parade of bubble gum, fruits (yellow mangoes, strawberries, gooseberries, cherries, and some lighter and crisper green grapes), which then give way to some citrus juice and iced tea. There’s also some Danish butter cookies, brine, sweet maple syrup and caramel, a touch of cinnamon and brown sugar, but none of it is cloying – sweet this is not, and in fact it presents as rather dry, overall. This all segues into a pleasantly long and dry finish, quite aromatic, citrus-y, wine-y, with the briny and slightly “off” notes combing well with sweeter and more musky ones.

This is a rum to admire, and I enjoyed it a lot.  It has a heft and a light snap to it (plus all those weird and wonderful aromas and tastes), and feels like the sort of rum you can take any way you want – neat or mixed. It hews to some of the West Indies baseline with which we are familiar, but part of it is resolutely itself, enticing you with tastes you like and holding you in place while showing off something new. Not many new rum makers can pull off that trick on their first try.

Granted it could be aged a bit longer (four years is just a starting point, really) and become something even more complex and sanded down: that aside, the reason I suggest you get it (or at least try it) is not just because of that profile, not just because of the medal score it garnered in 2021, but the simple fact that it is on a level with other good local rums that seek to redefine what Australian rum actually is. In my sojourns around the antipodean rum scene I have yet to find a rum range so consistently unique that one single smell would alow me to bugle “Oz!” immediately…but this is one like Killik, Tin Shed, Winding Road and others, that’s wasting no time getting there. It makes me look forward to whatever they will come up with next.

(#916)(85/100) ⭐⭐⭐½

Other notes

  • 700 bottle outturn from three ex-shiraz casks
  • Distilled on a 2,200 litre steam-operated pot still, with a steam jacket. The condenser is a worm condenser, not a shell in tube.

Historical Background

Situated in the town of Griffith, Aisling Distillery is in south central New South Wales in Australia, in a region called Riverina, which is locally known as the food bowl of Australia because of the predominantly agricultural economy. This in turn is based on the Murrumbidgee Irrigation Area (MIA) which was established in the early part of the 1900s, resulting in the land being opened up for extensive farming: fuit, vegetables, rice and vineyards were all established here, the latter often by a very large influx of Italian immigrants who remain a significant proportion of the population.

I mention all of this because the Aisling Distillery, which was founded in 2014 by the husband and wife team of Mark and Michelle Burns, was an attempt to capture and claim something of Mark’s Scottish heritage and Michelle’s Dutch background, which had to some extent been subsumed and forgotten in a largely Italian cultural milieu (about 60% of the population claim Italian background)3. A distillery was chosen, which capitalized on Mark’s engineering background and for the potential versatility, because the idea was to  make small batch premium single malts with local barley (for Mark, channeling the Scots) and high quality gin (trading on on Michelle’s Dutch descent). After some research and investment they bought an Australian made 1000 liter pot still (not sure of it has a name) sourced local barely and were off to the races.

As with other such smaller distilleries we have been looking at of late, rum was not the priority. The two year ageing requirement was an issue, some experience and experimentation was needed for rum distillation and in any case, from the beginning, good whiskies and gins were the primary goals. Looking at the amount of whiskies and various gins that have been released and listed for sale over the years — versus a single rum and one vodka — clearly the trend has continued.

That’s what makes it so interesting, to see what they did with the only rum they have produced to date, which was laid to rest in 2016, a mere two years after they started distilling.  What came out the other end in 2021 was considered so good that it won the gold medal and the “best rum” trophy at the Tasting Australia Spirit Awards that same year and basically crowned it as Australia’s best rum. That’s quite an achievement for a company which doesn’t even have a primary focus on the product.

 

Tin Shed Distilling Co. Requiem 2013 6 YO Rum (“S.S. Ferret,” Australia) – Review

 No Responses »
Jun 022022
 

Distilling outfits from almost everywhere in the world take the names of their owners, their locations, or some romanticised word that appeals to the founder(s). Occasionally – and I’ve found this in Down Under quite a few times – a bit more sass and irreverence is in evidence, as witness “Robber’s Dog”, “Illegal Tender”, “Holey Dollar” or “Hoochery”, all the real names of real distilleries in Australia. I like that kind of insouciance, however irrelevant it might be to a review of this kind.

Today’s rum is from the interesting and rustically-titled Tin Shed Distilling Co which is primarily known for its whiskies (the UK’s Atom Brands has one from the distillery for the Australian series of That Boutique-y Whisky Co) but also has – as usual – gins (of course), vodkas (one of the owners has a cossack grandfather so…), and a small rum range that goes by the general name of of “Requiem”.  Now a requiem is a last mass of sorts – a prayer and tribute to the dead – and the intent here is for each limited expression to honour a ship and its sailors that went down at sea.  Thus far there are three expressions – the “MV Tom Brennan”, the “SV Songvaar” and the “S.S. Ferret” which last is the subject of this review (but about which, oddly, the company website has no historical details; see wikipedia if you’re curious). 4. 

Never mind that for now, though. The rum itself: molasses-based, fermented with dried yeast for just under a week, distilled in a nameless Australian-made 2,200 litre pot still and aged for six years in a single American Oak port cask, resulting in an outturn of about 300 bottles; released in 2019 and the recipient of four awards in the years since then. The company began operations in 2013, which means they were laying down the distillate that comprised this rum right from the get go, and clearly they were not hurting for cash flow in the interim if they could afford to wait that long for it to be good enough to release (unaged, two- and three-year-old rums are more common for new distilleries).

Photo (c) Tin Shed Distilling Co.

And it is definitely good enough. The quality such a relatively young rum displayed surprised me, though it does take some getting used to, because the nose has three main components weaving in and out and coiling around each other like a no-rules go-kart race, and that requires some adjustment.  First, there’s a sort of intense initial fruitiness comprising of pineapples, strawberries, unripe mangoes and green grapes. Secondly, there’s the cereal and dusty aroma of cardboard, old books, unswept rooms, second hand bookstores…and cheerios (I know how that sounds).  And thirdly, there’s a medicinal touch of iodine, pine-sol disinfectant and wet ashes, which is fortunately brief and replaced at the last by deeper cherries, syrup, apricots and a prune or two.  I particularly like the way it all winds up with a softer, more relaxed attitude than it starts with.

Even used as I am to rums clocking in north of sixty the relatively tame 46% ABV of this rum works really well – it feels soft yet firm, mouth coating, and lacking any of the dampening effect of added sugar such as defined and diminished some sweetened rums I had tried earlier that day. Mostly, the Requiem tastes of almost overripe and tart fruit: plums, raisins, prunes, blackberries, very dark and very ripe grapes, nicely balanced off by a touch of brine, olives and light soya. The finish is on par with all of this, being rather dry, but light, and channels aspects of what has come before: cereals, dates, brine, and an overripe yellow mango or two. 

It’s unusual for small startups to make such good rums on their first pass: perhaps I should have taken my cue from JimmyRum, which also produced something really good right from the start. I like this one for its well balanced taste and relatively complexity, which didn’t seem to be straining too hard or attempting too much or trying to please too many.

Admittedly, the Requiem S.S. Ferret Is not a “serious” rum in the sense that it’s made from ingredients fermented for a month using wild yeast, dunder pits and dead dingoes, jacked up past 70%, aged for a decade until it squirts congeners from every pore at a level that makes DOK lovers book pilgrimages to Adelaide. Yet it is a tasty and well assembled piece of work on its own merits and within its limits, because like most small distilleries, Tin Shed makes a point of its relentless and ongoing experimentation with the source materials and entire production process.  And while the gents running the show don’t hide their focus on whiskies, they did admit to me that they “should be making more rum.” That’s a sentiment with which I heartily concur, because on the basis of what I experienced with this one rum, Tin Shed is very serious indeed.

(#913)(85/100) ⭐⭐⭐½

Historical background

Tin Shed Distilling Co., was founded in 2013 just outside Adelaide in the state of South Australia by two friends, Ian Schmidt and Vic Orlow and built upon the experiences they had had in their previous venture, Southern Coast Distillers5, where they and a third friend, Tony Fitzgerald, established a whisky distillery (you can almost hear the joke start – “A German, Russian and an Irishman start a distillery….”). They did so in 2004 on the premises of the factory that made the flagpoles Schmidt was then manufacturing — he claimed it was “boring” and was looking for something new — and, like with Tin Shed years later, focused almost completely on whisky. However, for reasons that are not entirely clear, the venture did not pan out and Vic and Ian moved on to start Tin Shed – Southern Coast seems to be closed now, and only lives on in subtle aspects of the design ethic of the Shed’s bottles and labelling.

 

Winding Road Distilling Co. Coastal Cane Pure Single Rum (Release 1) – Review

 No Responses »
May 262022
 

Distilleries that go off on their own tangent are always fun to watch in action. They blend a wry and deprecating sense of humour with a quizzical and questioning mien and add to that a curiosity about the rumiverse that leads to occasional messy road kill, sure…but equally often, to intriguing variations on old faithfuls that result in fascinating new products. Killik’s Jamaican rum experiments come to mind, and also Winding Road’s focus on their cane juice based rums6, like they were single handedly trying to do agricoles one better.

Moving on from the standard proofed rums from Australia upon which the focus has been directed over the last weeks, we begin to arrive at some of those that take the strength up a few notches, and when we bring together a higher proof with an agricole-style aged rum — as uncommon in Australia as almost everywhere else — it’s sure to be interesting. Such ersatz-agricoles rums are the bread and butter of the Winding Road Distilling Co in New South Wales (about 175km south of Brisbane), which is run by the husband and wife team of Mark and Camille Awad: they have two rums in their small portfolio (for the moment), both cane-juice based. The first, the Agricole Blanc was an unaged rum of this kind, one with which I was quite taken, and it’s the second one we’re looking at today.

It’s quite an eye-opener. Coastal Cane Pure Single Rum is rum with the source cane juice coming from a small mill in the Northern Rivers area (where WR are also located), and as far as I know is run through the same fermentation process as the blanc: three days in open vats using both commercial and wild yeasts, with the wash occasionally left to rest for longer (up to two weeks). Then the wash is passed — twice — through their 1250 litre pot still (called “Short Round”) and set to age in a single 200-litre American oak barrel with a Level 3 char, producing 340 bottles after 31 months. Bottling is then done at 46% in this instance: that, however, will change to suit each subsequent release based on how it samples coming out of the ageing process.

 

Mark Awad’s avowed intention is to produce a distillate that combines the clarity of agricole rhums with a touch of the Jamaican badassery we call hogo, as well as representing, as far as possible, the terroire of NSW…specifically Northern Rivers, where they are.  I can’t tell whether this is the rum that accomplishes that goal, but I can say it’s very good. The nose is lovely, starting with deep dark fruits (prunes and blackberries), opens up to lighter notes (bananas, oranges and pineapples) covered over with unsweetened yoghurt and feta cheese. There’s a nice low-level funkiness here that teases and dances around the aromas without the sort of aggressiveness that characterises the Jamaicans, combined with floral hints and – I swear this is true – smoke, wet ashes, and something that reminds me of the smell on your fingers left behind by cigarettes after smoking in very cold weather.

Photo provided courtesy of Winding Road Distilling Co. (c) Mark Awad

The barrel influence is clear on the palate – vanilla, some light caramel and toffee tastes are reminders that it’s not an unaged rum. But it’s also quite dry, not very sweet in spite of the lingering notes of lollipops and strawberry bubble gum, has flavours of brine and lemon-cured green Moroccan olives, and brings to mind something of a Speysider or Lowland whisky that’s been in a sherry cask for a bit.  It’s one of those rums that seems simple and quiet, yet rewards patience and if allowed to open up properly, really impresses. Even the finish has that initially-restrained but subtly complex vibe, providing long, winey closing notes together with very ripe blue grapes, soft apples, brine, and a touch of lemony cumin.

I’m really intrigued with what Winding Road have done here. With two separate rums they have provided taste profiles that are quite divergent, enough to seem as if they were made by different companies altogether. There are aspects of this aged rum that are more pleasing than the unaged version, while others fall somewhat behind: I’d suggest the nose and the finish is better here, but honestly, they are both quite good, just in different ways.

The constant tinkering and experimentation that marks out these small Australian distilleries — who strive to find both their niche and that point of distinction that will set them apart — clearly pays dividends. While I can’t tell you with assurance I tasted an individualistic terroire that would lead me straight to NSW (let alone Australia), neither did the Awads head into the outback at full throttle, going straight through the wall leaving only an outline of themselves behind.  What they have in fact accomplished is far better: they have created a rum that is thoroughly enjoyable, one that takes a well known style of rum, twists it around and bounces it up and down a bit…and ends up making the familiar new again. I can’t wait for Release #2.

(#911)(85/100) ⭐⭐⭐½

Other notes

  • The website specs refer to a single 200-litre barrel and the initial math seems wrong if 340 700-ml bottles were issued (since that works out to 238 litres with zero evaporation losses). However, that only computes if you assume the distillate went in and came out at the same strength. Mark confirmed: “The figures on our website are correct, even though at first glance they may seem a bit off.  We filled the barrel at 67.1% ABV and when it was decanted the rum came in at 65.1%.  We ended up with just short of 169 litres which we then adjusted down to 46% ABV.  This gave us a bit over 239 litres which resulted in 340 bottles, plus a little extra that went towards samples.”
  • As always, chapeau to Mr. and Mrs. Rum for their kind supply of the advent calendar.

L’Esprit Beenleigh 2014 6YO Australian Rum – Review

 2 Responses »
May 162022
 

Two years ago I took a look at L’Esprit’s Beenleigh 5YO rum from Australia and after trying manfully to come to grips with the gasp-inducing strength of 78.1%, I got up off the floor and wrote a fairly positive review about the thing. That rum was hot-snot aggressive and not bad at all, and there I thought the tale had ended…but then came this one. And then it became clear that Steve Magarry (who was then Distillery Manager over at Beenleigh) and Tristan Prodhomme (the showrunner at L’Esprit) read my review, rubbed their hands gleefully while cackling in fiendish delight, and released something a little older, a little stronger…and a whole lot better.

The 2014 rum which was bottled in 2020, has 0.2% more proof points than the one I reviewed, clocking in at 78.3%, and it’s one year older. It remains a pot-still rum, suggesting a lurking taste bomb in waiting. On the face of it, the stats would make you take a step backwards (unless you’re the sort of person who methodically works your way through the list of 21 Strongest Rums in the World, smiling the entire time). And taking even a cautiously tiny sniff is probably best here, because the rum is lava-like, the rum is sharp, and it presents itself to your attention with all the excitement of a switched-on electric hair dryer dropped into your hot tub…while you’re in it.

The first notes to discern are ostensibly off-putting: shards of burnt rubber, rotten carrots. plus meat spoiled enough for flies to be using it for a house. Stick with it: it gets better fast once it learns to relax, and then coughs up vanilla, almonds, toffee, brown sugar, and ice cream over which has been drizzled hot caramel.  Relatively simple, yes, and it seems quite standard (except for that startling cold-open), yet somehow the nose is really quite amazing. It continues into sweet dense fruit and whipped cream over a rich cheesecake, plus leather and aromatic tobacco, cherries and syrup, and that crisp sensation of biting into a stick of celery. It works, swimmingly, even though logic and the reading of such disparate tasting notes suggests it really shouldn’t.

Nosing is one thing, but rums live or die on the taste, because you can jerk your scorched nose away a lot easier than a burnt and despoiled tongue. What’s surprising about L’Esprit’s Beenleigh is that it actually plays much softer on the palate than we have any right to expect.  There’s almost a light perfumed sweetness to it, like strawberry candy floss and bubble gum, mixed up with more salted caramel ice cream….and mango shavings.  There’s gelato, pears, apricots over which someone poured condensed milk, and it’s really spicy, yes….but completely bearable — I would not throw this thing out of bed. Plus, it channeled enough fruitiness – orange marmalade, butter chocolates and gooseberries – to provide an interesting counterpoint. And I also liked the finish – it was hot and sweet black tea, crisply and sharply heavy, and fruitily tart, and slightly bitter in a way that wasn’t really unpleasant, just lent a distinctive accent to the close.  

By now we know more about Beenleigh (see other notes, below) than we did before the pandemic, much of it due to the increasing raft of independent bottlers who have put their juice through the door (including Velier, of late – Ralfy loved their 2015 5 YO), as well as the social media presence and engagement of Steve Magarry himself. What was once a distillery known mostly to Australians, uber-geeks and obscure reviewers, has, in a remarkably short period of time, become quite celebrated for the quality of its rum. Like Bundaberg, it has started to become an icon of the antipodean rum scene, while tasting better.

A whole lot better. This is an impressively civilized overproof rum  It hums along like a beefed-up garage-tuned homemade supercar fuelled with the contents of whatever’s brewing in grandma’s bathtub, and by some subtle alchemy of selection and ageing, becomes quietly amazing. Really.  I expected rougher and nastier and uglier, feared Azog, and yet to my surprise, somehow got Legolas. 

(#908)(87/100) ⭐⭐⭐⭐

Other Notes

  • Sugar cane growth had been encouraged in Queensland by the Sugar and Coffee regulations in 1864, the same year as the Beenleigh plantation was established (it was named after its founders’ home in England). Initially sugar was all it produced, though a floating boat-based distillery called the “Walrus” did serve several plantations in the area from 1869 and made rum from molasses – illegally, after its license was withdrawn in 1872, continuing until 1883 when it was beached.  Francis Gooding, one of the founders, purchased the onboard still and gained a distilling license in 1884 from which time such operations formally began in Beenleigh. Through various changes in ownership, Beenleigh as a distillery continued until 1969 when it shut down because of falling demand, then relaunched in 1972 under the ownership of Mervyn Davy and his sons; they didn’t hold on to it long and sold it to the Moran family in 1980, who in turn disposed of a controlling share to Tarac Industries in 1984. All the post-1969 owners added to the facilities and expanded the distillery’s production to other spirits, and it was finally acquired in 2003 by VOK Beverages a diversified drinks company from South Australia, in whose hands it remains.
  • Tristan confirmed that the rum is indeed all pot still distillate.
  • L’Esprit is a small independent bottler out of France, perhaps better known in Europe for its whiskies. They’ve been on my radar for years, and I remain convinced they are among the best, yet also most unsung, of the independents — perhaps because they have almost no social media presence to speak of, and not everybody reads the reviews. I also think they have some of the coolest sample bottles I’ve ever seen.
  • An unsolicited (but very welcome) sample set was provided gratis to me by the owner, Tristan Prodhomme, for Christmas 2021, perhaps because he knew of my liking for strong hooch and that I buy his stuff constantly. If we can meet next time I’m in Europe, I have to see what to do to even the scales.

Boatrocker Brewers & Distillers Double Barrel Aged Australian Rum Batch #3 – Review

 No Responses »
May 052022
 

Photo (c) Boatrocker Brewing & Distilling, from Instagram

The distillery and brewery called BoatRocker (with what I am sure is representative of a tongue-in-cheek sense of humour shared by many Aussies) is another small family-run outfit located in Melbourne, a mere 50km or so north of JimmyRum. It was officially founded in 2009, and like many other such small enterprises I’ve written about, their genesis is far older: in this case, in the 1980s, when the (then teenaged) founder, Matt Houghton, was enthused by the Michael Jackson (no, not that Michael Jackson) show “The Beer Hunter” – this led to a lifelong love of beer, homebrewing, studies of the subject in University, and even gypsy brewing after graduation, which he and his wife Andrea did while saving pennies for a “real” brewery.  In 2012 they acquired property, plant and equipment (as the bean counters like to say), and established their first barrel room and cellar door, all to do with beer.

All this is about the suds, for which they soon gained an enthusiastic following and a good reputation, but where’s the rum, you ask. Well, that’s where things get a little murky and several sources have to be consulted over and above the company webpage. In short, in 2017 Boatrocker merged with a Western Australian gin-and-vodka distillery called Hippocampus — the investing owner of that distillery had taken a 33% share in Boatrocker in 2015 — uprooted that company’s hybrid still “Kylie” and moved lock stock and barrels to Melbourne.  This is what is making all the distilled spirits in Boatrocker now, though I get the impression that a separate team is involved. They produce gin (several varieties, of course), whiskey, vodka and two rums (one is spiced).  Oddly, there’s no unaged white in the portfolio, but perhaps they made enough money off of existing spirits, so that the need to have a white cane spirit was not seen to be as important. On the other hand, rum may not seem to be the main attraction of the company,

This rum then. For the primary ferment, a rum yeast originally from Jamaica is used. They utilise a dunder/muck pit (also not mentioned on the site), and have cultured many bacteria and wild yeast from the local area, which is continually evolving as they add fresh dunder at the end of each rum run. The esters produced by the yeast and bacteria help provide depth to the base spirit. How long the fermentation goes on for is unknown, but once this process is complete, the rum distillation is done using the aforementioned 450 litre hybrid pot still (with two ten-plate columns) and engaging just the first column and five plates – the juice comes off the still at around 58% ABV, and set to age for about two years in first-use bourbon barrels imported from the USA, with a further year in high-char (#3) American oak barrels. Bottlings is done after dilution to 45% ABV, and there you have it.

So that two-barrel maturation is why they call this rum “Double Barrel”, and indeed it does present an interesting profile, especially how it smells. The aromas are exceptionally rich in comparison to the other standard proof Australians I had on the go that day. It’s like a crisp sweet riesling. Red ripe grapefruit, blood oranges going off; dark chocolate, cherries, plums, raisins, cakes and gingersnaps, eclairs, whipped cream over irish coffee, plus a little salt butter and cinnamon. Really quite a lovely nose. 

On the palate the rum feels somewhat thinner and yet also sweeter, than the nose, but retains much of the allure of the way it started out. Honey, coconut shavings, chocolate oranges,  Also light fruits, molasses, caramel, vanilla, herbs, crushed almonds and cinnamon, plus (yes, we’re not done yet) a rich key lime pie and brown sugar. There’s a touch of cheesecake, tarts and, nougat here, but in the main, it’s the fruits that have it. It suffers – if the word could be used – from a thin, short, faint but easygoing finish that has mostly vanilla, coconut shavings, light fruits and a touch of that pie again. It is by far the weakest aspect of what is otherwise quite a decent product.

Overall, I liked the nose most of all, but it was a shallow downhill coast to a somewhat one-dimensional conclusion after that. As I have observed before with the Americans and their desire to wring the most out of their stills by producing everything they can on it, I wonder whether the making of all these different things dilutes the clear-eyed focus on rum somewhat (I’m selfish that way) and that’s why the high bar the opening aromas present can’t be maintained. Dunder and muck pits do help make up for shortcomings in this area, however, and this is why the score is incrementally better than other previously-reviewed rums in this age and strength range. Yet I submit that there’s room for improvement, and one day, if they continue along this path, the potential that the Double Barrel rum only suggests right now will become a true reality. I sure hope so.

(#905)(83/100) ⭐⭐⭐½

Other notes

  • As with all the reviewed Australian rums from the 2021 Aussie Advent Calendar, a very special acknowledgement of Mr. And Mrs. Rum’s kindness in sending me a complete set free of charge. Thanks, as always.
  • This is Batch #3 according to the advent calendar notes

Hoochery Distillery Spike’s Reserve 7 YO Australian Rum – Review

 1 Response »
Apr 282022
 

Photo (c) Hoochery Distillery website

Just reading the name of this rum invites questions. Where does the rum come from, with a name like that?  Who is Spike? Is there a really a distillery named after the rotgut liquor the word “hooch” represents? In the welter of “cane spirit” new-make unaged rums emerging from the New Australians 7and the lack of many seriously aged rums from Down Under, is there actually one that’s seven years old? What could it possibly be like? Fortunately your fearless (if occasionally clueless) reviewer, possessed of rather more enthusiasm than good sense, has not only been here before but has tried this rum as well, and stands ready (if unsteady) to provide all answers.

First, the distillery: Hoochery Distillery’s name derives from, yes, the word “hooch”, a slang term for moonshine, or illegal liquor, popular during Prohibition. A hoochery is now a trademarked word for a low-end small-scale distillery making (you guessed it) hooch, specifically in Australia. Predating many of the New Australians, the distillery itself was established in 1993 in Western Australia’s remote northern Kimberly outback by an American, Raymond “Spike” Dessert (The Third of His Name). He had been in the area since 1972 and when in the 1990s the Ord River irrigation area permitted sugar cane to be grown, he figured that the combination of tropical climate, sugar cane, and the area’s need to diversify suggested a distillery (since a winery was not an option, there being no vinyards in Western Australia’s far north).  

That’s the way the company legend runs, but maybe he just liked rum and couldn’t get any worth drinking there. So, like many independent men in a frontier province, he went about it by making stuff himself, from still to shed to vats, learning as he went along, an ethos the company’s website emphasises. Nearly thirty years further along, Hoochery’s rum range includes four starters (white, spiced, overproof, 2YO premium) and three rather more upscale rums — the Spike’s Reserve series of the 7 YO, 10 YO and 15 YO. All are made with Australian molasses, yeast, local water and a five-day fermentation period — the wash is then run through a self-made double pot still, which keeps things at a low alcohol percentage so as to keep as many flavours in play as possible. The rum we’re looking at today is aged in 300-litre charred oak barrels for seven years, and bottled at 43.1% ABV…it was first released in 2017.

The rum’s nose is an exercise in distinct if confused complexity: it is redolent of bitter wood resin, salt, rotten fruit and is even a touch meaty. All the subsequent aromas wafting through the profile have these preliminary notes as their background: the apple cider, green grapes, red wine vinegar underlain by light molasses, aromatic tobacco and sweet vanilla. By the time it starts to settle down with puffs of musty caramel, licorice and brine, you know that it’s completely and utterly a rum, just one that vibrates to its own frequency, not yours.

Sipping it drives home this point: it has standard tastes of caramel, toffee and sweet brown sugar, and a bag of vanilla (probably from the charred barres that were used in the ageing); and there are some nice hints of stewed apples, peaches in syrup, honey.  The problem is that the woodiness, the oakiness, is excessive, and the unsweetened licorice, sawdust, bitter coffee grounds and resin all have too much influence,  The sweeter, muskier flavours balance this off as best they can, but it’s not enough. And behind it all is that meatiness, that deep sour funk which some will like and some will not, leading to a dry and tannic finish that’s mostly caramel, toffee, vanilla and overripe fruit.

Aged rums that are fully made in Australia remain relatively scant, with few exceeding ten years of age – Beenleigh has a few good ones and so does the polarising Bundie, with a few others here and there settling around the five year mark. Such indigenous double-digit rums are not yet common enough to make any kind of general statement, the way we can for the unaged whites and their raw distinctiveness. But I hazard that what I’m getting here, with these tastes that jump around like a ‘roo on steroids, is the first inkling of a genuine Australian terroire mixed in with barrel management that still needs some work. It’s possible that the 10YO and the 15YO which Hoochery make will address some of those issues, though I’d have to try them to say for sure. For the moment, the 7 YO is not entirely successful on its own terms, yet remains an intriguing and original rum that can’t be written off just because it’s different and not what we expect. I’d buy it and try it for that alone.

(#903)(79/100) ⭐⭐⭐ 

Other notes

  • As with all the reviewed Australian rums from the 2021 Aussie Advent Calendar, a very special acknowledgement of Mr. And Mrs. Rum’s kindness in sending me a complete set free of charge. Thanks, as always.
  • It’s not mentioned on the website, but Mr. Dessert passed away in 2017, just before the labels for the Reserve Batch 001 (of all three ages) arrived. A facsimile of his signature adorns all subsequent batch labels, but that first one, in his memory, remains unsigned. RIP, mate.
  • Those labels also present an interesting situation: they say “Aged” 7 years, but under “Maturity” it mentions “Solera”. Since the two are not the same concepts, it begs the question of what kind of ageing the rum underwent. For the moment until my queries get a response, I am taking it on faith that the true age is in fact 7 years, but the reader is advised to be aware of the odd dichotomy, and if anyone knows better, drop me a line.
  • The original pot still was installed in 1998, designed a year earlier by Mr. Dessert himself. In 2020 a new, larger pot still was commissioned from Burns Engineering and installed in 2021, and the original was retired.

Husk Distillers “The Lost Blend” Cultivated Australian Rum – Review

 1 Response »
Apr 212022
 

Image (c) Husk Distillers, from their FB Page

In the increasingly crowded Australian spirits marketplace, for a rum maker to stand out means it has to have a unique selling point, some niche aspects of its production that sets it apart in people’s minds from all the other contenders in the marketplace. Killik’s is the one tinkering with the “Jamaican-style” of rum making; Jimmy Rum has its insouciant sense of humour, colourful owner and halcyon location; Beenleigh rests its laurels on being one of the oldest and its origin myth of the shipwrecked pot still; Cabarita Spirits has its vivacious solo proprietress, Brix goes with its yuppie urban vibe, and Bundaberg seems to take a fiendish delight in being equal parts derided and despised the world over. For Husk Distillers though, it’s the focus on producing cane juice based agricole-style rums – this is what they term “cultivated rum” and what they have in fact registered as a trademark with IP Australia.

As was noted in the review of their “Bam Bam” Spiced rum, the company makes a gin called “Ink”, a pair of unaged agricole-style rums at two strengths, a botanical, a spiced, and a few youngish aged rums. In August 2021 they issued “The Lost Blend” virgin-cane aged rum (as opposed to others made with cane having looser morals, one surmises), bringing to mind St Lucia Distillers’ “Forgotten Casks.” Like SLD, Husk had a reason to name this rum “The Lost Blend,” of course: the rum and its name was based on two barrels filled in 2014 and another in 2016 with cane juice distillate run off the 1000-litre hybrid pot-column still – but in the aftermath of the Great Flood in 2017, the hand-written distillation notes that detailed the fermentation histories and distillation cuts for the two 2014 barrels, were destroyed, and so…

These are tragic circumstances for the distillation geek and technical gurus who want the absolute max detail (to say nothing of the distiller who might want to replicate the process). For the casual drinker and interested party, however, there is enough to be going on with: the rums from the two aforementioned years were aged until 2018 in a hot and dry tin shed, before being moved in that year to a cooler barrel warehouse until 2021 when they were slowly married and reduced, to be bottled in August 2021 at 43.5% without any additions, colourings or adulterations – 761 individually numbered bottles form the final release, which is not listed for purchase on the company’s website, because it was offered for sale only to locals at the door, and Husk Rum Club subscribers (as well as on BWS and some local shops).

What’s curious about The Lost Blend is how un-agricole-like it is at all stages of the sipping experience (this is not a criticism, precisely, but it is more than merely an observation). Take for example the nose: it displayed no real herbal grassiness that almost define the cane juice origin style of rum (even the aged ones).  It started off with wet cardboard, fresh paint on damp drywall, and some new plastic sheeting. Then it moved on to gingerbread cookies, some plum liqueur, molasses, salt caramel and fudge. A touch of nutty white chocolate, brine, honey and a nice touch of light citrus zest for edge.  Nicely warm and quite soft to smell, without any aggro.

If I had to use a single word to describe the palate it might be “spicy” (in multiple ways).  And that’s because it was – initial tastes were ginger, cinnamon, anise and vanilla, with a touch of pears, overripe apples, raisins, brown sugar and salted caramel ice cream. There were a few bitter notes of oak and old coffee grounds, but the citrus acidity was long gone here, and overall, even with a short and relatively dry finish that was redolent toffee and unsweetened dark chocolate it presented nicely as a light ‘n’ easy sipper that just wanted to please without going off like a frog in a sock.

Given that the Lost Blend was a rum comprising four- and six-year-old components, it’s almost as surprising to see so much come through the ageing process as what exactly emerged at the other end. I attribute the tastes I discerned to a combination of the subtropical climate and (a guess here) smaller and maybe newer casks that provided those quick and easy notes. What is more baffling is how little evidence there is of the rum actually being from cane juice, because tasted blind (as it was), my scribbled remarks read more like some solid young Latin-style ron than anything else. I did like it more than the spiced Bam Bam, though, and it is well made and works well as a softly tasty warm-weather sundowner: but my advice is to enjoy it for what it is and not to look for serious local terroire or a recognizable agricole-style flavour profile — because that, I’m afraid, just isn’t there.

(#901)(82/100) ⭐⭐⭐½

Other Notes

  • As with all the reviewed Australian rums from the 2021 Aussie Advent Calendar, a very special shout out and pat of the Panama to Mr. And Mrs. Rum, who sent me a complete set free of charge. Thanks, as always.
  • More notes on the company can be found in the Bam Bam Spiced Rum review.

FNQ (Mt. Uncle) Distillery Iridium Gold 5 YO Australian Rum – Review

 2 Responses »
Apr 072022
 

Photo (c) Mt. Uncle / FNQ Rum Co. Website

Mt. Uncle Distillery is one of the older distilleries of the New Australian rum renaissance we are living through, founded more than twenty years ago, in 2001. Initially it concentrated on fruit liqueurs and spirits, which were based on ingredients conveniently found on the property and the surrounding Atherton tablelands of North Queensland where the distillery was established. Over the years Mt. Uncle branched out to produce gins, whiskies, liqueurs, vodka, and a small range of (you guessed it) rums. It is, as it likes to say, the first (and still only) distillery in northern Queensland and wears that label proudly.

As the company became better known for its gins – there are currently five different kinds – it decided to split off the rum business under its own brand, titled the FNQ Rum Company (the letters stand for Far North Queensland), perhaps in an effort to give those spirits their own distinct character — I’m surprised they would want to distance an evocative title like Mt. Uncle from their products, but never mind, that’s just me. So far they make only three rums, the Platinum (a white, not listed on their rum website), the Iridium Gold (a five year old rum) and the Iridium X (a ten year old limited edition), but the caveat is that there really is not very much detail to be had on either of the main websites, as to how these rums are made, from what and with what.

According to the Australian Advent Calendar notes on Instagram helpfully provided by Mrs and Mrs Rum, the base source of the distillate is sugar cane syrup (where in turn that came from is not mentioned, though the BBC notes it as being from a nearby sugar factory, which suggests the Tableland Mill), a fourteen day fermentation period with a commercial yeast, and finally, the resultant is aged in reconditioned ex-red-wine hogshead 8 casks with a heavy toast. Okay, but what of the still? One source makes reference to “Helga” a 1500-liter still made by the German firm of Arnold Holstein, without stating what kind it is. But since the Iridium we are looking at today won the “World’s Best Pot Still” rum award at the 2021 World Rum Awards and way down on the company FB page there’s a picture of a pot still, I guess we can stop there.

So we have a 40% pot still rum from northern Queensland, based on sugar cane syrup, no additives, no messing around, five years aged in charred barrels, living room strength. Is it any good for those seeking the Next Big Thing? It won “Best Pot Still Rum” at the 2021 World Rum Awards, so it should be a cut above, right?

Yes and no. The rum does present a really nice initial nose of crisp, light fruits — strawberries and ripe gooseberries with all the tartness this implies.  For a rum with its origins in rendered cane juice, this is not a surprise – what is intriguing is that it really presents as both a crisp agricole-style rum and a funky unaged Jamaican, which, as it opens, adds in a deeper note of a young, rough-’n’-raw Versailles rum. There’s some licorice, toffee, damp sawdust and wood chips in a sawmill. A bit of honey, a pinch of cinnamon…but that was pretty much all.

The taste is also good…at the start. Salty, light, traces of cinnamon, sugar cane sap, vanilla, red grapes and fudge; this fades quickly, though and is replaced by more licorice, vanilla, light oak, and a briefest hint of flowers and light fruits, and then it just…dies. The finish is short and breathy and light, a touchy rummy – toffee, brine, grapes – and vanishes faster than the Little Caner when he hears the word “chores”.

My personal opinion is that the Iridium Gold is hampered by two issues: one, it doesn’t seem to be sure whether it wants to be an agricole-style rum, or something more normal and familiar to rum drinkers (which is to say, closer to a molasses-based profile) – it has aspects of both on both nose and palate, and doesn’t do either justice, really. 

Secondly, I think there’s a lot going on in this rum that a higher strength would have showcased more seriously, so I don’t get the 40% strength which could have been jacked up to 43% or even 46% without sacrificing anything. Because I’m at a loss to understand where the flavours went, or why: it’s a pot still rum, relatively young, its trousers should have quite a bit more than just its hands in them, however raw or rambunctious. Were the cuts made at too high a strength and the congeners wiped out?  Were the barrels too inactive, hence requiring that heavy charring that was spoken of? Was the rum filtered before ageing? This is where a better website and better disclosure would have helped me understand more of why the rum seemed so lacklustre and ceased to enthuse, after starting with such promise. Overall, although I really wanted to be, I’m not really that chuffed with this one.

(#897)(79/100) ⭐⭐⭐

Other notes

  • Mt. Uncle is clearly not willing to just produce standard stuff that everyone else does. They have expanded beyond gins and rums, and into whiskey and vodka and agave spirits (as of 2022).
  • Iridium is a very hard, brittle, silvery metal akin to platinum, and second densest metal on earth (after osmium), as well as one of the rarest. Its usefulness and commercial applications stem from its high melting point and anticorrosive properties at high temperatures. It is unclear what relevance the title has to rum, even metaphorically, since it’s not rare, hard, silvery or anti-corrosive. It does have a real ‘cool factor’ based just on how it sounds, however, so maybe that’s it.
  • The FNQ website is bare of most details I would expect to find in a site dedicated to two rums (even though there are actually three), and the core Mt. Uncle site didn’t have much more. In years to come, I hope they expand their background materials for the benefit of the geek squad or the simply curious.
  • As with all the reviewed Australian rums from the 2021 Aussie Advent Calendar, a very special shout out and doff of the deerstalker to Mr. And Mrs. Rum, who sent me a complete set free of charge. Thanks, as always.

JimmyRum “RumRum Barrel 12” 3 YO Australian Rum – Review

 No Responses »
Mar 312022
 

JimmyRum, if you remember, is that cheeky little rum distillery perched down south of Down Under in Dromana, a small community just south of Melbourne. Founded in 2018 after several years of prep work, it has a large hybrid column still bolted to the floor of a structure on a picturesque property (which includes a cafe), a light and breezy sort of website, and an owner, James McPherson, who was a marine engineer before he found his true calling, doesn’t take life too seriously, and just likes rum.

The first product I tried from JimmyRum was the Silver 40%, which I liked — though admittedly, the stronger “Navy” version intrigued me rather more, as did the various “Distiller’s Specials” like the Queen’s Cut, Oaked Plus or Cane and Grain, which were a bit more aged and also released at higher proof points. But the Silver was intriguing, because while not yet on a level with unaged agricole style rums which are almost like baselines, it was better than the anonymous filtered white backbar staples too many still think of whenever white rums are mentioned.

JimmyRum, then, does have the aforementioned special aged products, and that brings us to the “Rum Rum” line of their stable. This is a new series which focuses on ageing, cask strength and single barrel rum releases, and will likely form a part of the Distiller’s Specials unless it is felt to be distinct from those. “Barrel 12” is such a single barrel release, provided especially for Mr & Mrs Rum’s 2021 advent calendar, and so is not part of a standard commercial release; however other barrel editions of the Rum Rum series are slated to be released later in 2022, so think of this as an early review standing in for others to come. It’s a pot still rum based on molasses, aged for three years in an ex-bourbon, 200-liter American oak cask (#12, no surprise). The barrel was initially filled with new make distillate at 65.25%, before being reduced to 53% for the Calendar.

Given these very standard specs – molasses origin, pot still, American oak, a few years’ ageing – the opening salvo of the nose comes as something of a surprise. For one, it’s light and sharp and very crisp on the nose, in a way that’s reminiscent of both a young standard strength mixing rum, or even a vieux agricole. The light fruit, herbal and clean white wine aromas bend one’s thought in that direction, yet there are aspects that bend it right back again: brine, olives, veggie soup and sweet soya, fresh bread hot from the oven and then a series of notes that recall very ripe fruits right on the edge of going off emerge – guavas, mangoes, grapes, apples, apricots.

At 53% ABV, the palate is expected to be solid, and it is. The flavours are spicy, crisp, clean and coat the mouth with the sensations of light, ripe, soft, juicy fruits: white grapes, yellow Thai mangoes, kiwi fruits, sapodillas, peaches in syrup, and dark cherries. This might ordinarily seem to thick or cloying for real enjoyment, but the sweet is kept down, and for kick there’s a twist of lemongrass and red grapefruits and some oversalted mango pickle, just to keep you off balance. The finish is quite straightforward and wraps things up with a medium long ending that has flashes of a very dry red wine, more red grapefruit, a touch of chocolate oranges and a last sprig of mint.

Overall, this is a pretty good rum indeed. The nose is interesting as all get-out and the flavours pop nicely when sipped – there’s quite a bit going on under the hood here. JimmyRum’s Silver was interesting, tasted well, showed potential and I enjoyed it — it just needed more oomph to showcase its profile more clearly, the way the Barrel 12 effectively did here (Killik did that and produced an outstanding white overproof rum, if you recall). Stronger rums provide a more intense and interesting drinking experience and while you can always dilute a high proof rum, it’s not quite so easy to do that in reverse when you want to dial up a mild one.

So I enjoyed the rum and think it’s a good get: however, it’s impossible to gauge JimmyRum’s success with the Barrel 12 because it was sampled out for distribution in the Calendar and therefore is not for sale to a larger public who can then post their reactions (positive or negative).  But I believe that were it to be out there commanding shelf space, it would sell well, be deemed a success, and people would be asking for the inevitable older versions that will be released in the years to come. That’s a sign of a good rum of any age. 

(#895)(84/100) ⭐⭐⭐½

Other notes

  • As with all the Australian rums reviewed as part of the 2021 Aussie Advent Calendar, a very special shout out and tilt of the tammie to Mr. And Mrs. Rum, who sent me a complete set free of charge. I know you’re tired of reading this, but thanks as always to you both.
  • There are no bottle photographs of this rum available at this time.
  • Some more technical details: Molasses sourced from Sunshine Sugar NSW (Manildra group), one of the last fully Australian owned Sugar producers in Australia. Yeast and fermentation: done in 2 x 5000ltr fermenters and are temperature controlled to less than 25ºC with an initial Brix of approx 19.

Husk Distillers “Bam Bam” Australian Spiced Rum (Batch 8) – Review

 7 Responses »
Mar 232022
 

Photo (c) Husk Distillers

Of the New Australian distilleries that have emerged in the last ten years, Husk may be one of the older ones.  Its inspiration dates back to 2009 when the founder, Paul Messenger, was vacationing in the Caribbean; while on Martinique, he was blown away by agricole rhums and spent the next few years establishing a small distillery in northern New South Wales (about 120km SE of Brisbane) which was named “Husk” when it opened in 2012. Its uniqueness was and remains that it uses its own estate-grown sugar cane to make rum from juice, not molasses, and is a field-to-bottle integrated producer unbeholden to any external processing outfit for supplies of cane, syrup, juice or molasses. Initially they used a pot still but as their popularity grew it was replaced with a hybrid pot-column still (the old still remains at the entrance to the distillery).

As is standard practice in Australia, while rums wait two years to age before being called “rum”, other spirits are made to fill the gap and provide cash flow – in this case there was a gin called “Ink”, and a set of “Cane Spirits” products which were initially a pair of unaged agricole-style rums at two strengths, plus a botanical and a spiced. These continue to be made and pay the bills but there were and are others: in 2015 a “virgin cane rum,” came out, limited to 300 bottles; in 2016 a 3YO aged rum was released (the “1866 Tumbulgum”); in 2018 a 5 YO (“Triple Oak”) – all were cane juice rums and these days both are hard to find any longer. In 2021 they issued “The Lost Blend” virgin cane aged rum with “subtropical ageing” (coming soon to the review site near you) and in the spiced category, they have periodic releases of the spiced rum we are looking at today, which they call “Bam Bam” (for obscure reasons of their own that may or may not be related to a children’s cartoon, but then, they do say they make better rums than jokes).

The rum clocks in at standard strength (40%) and is, as far as I am aware, a pot still cane juice product, aged for 3 years in oak (not sure what kind or from where it came) and added spices of wattleseed, ginger, orange, cinnamon, golden berry, vanilla and sea salt. I should point out here that all of this was unknown to me when I tasted the sample — the labels on the advent calendar didn’t mention it at all.

So…the nose.  Initially redolent of ripe, fleshy fruits — apricots, peaches, bananas, overripe mangoes and dark cherries — into which are mixed crushed walnuts, pistachios and sweet Danish cookies plus a drop or two of vanilla. It’s soft and decidedly sweet with a creamy aroma resembling a lemon meringue pie topped with whipped cream, then dusted with cinnamon…and a twist of ginger off a sushi plate.

The taste maintains that gentle sweetness which so recalled a well done sweet pastry. There was cream cheese, butter, cookies and white chocolate, plus some breakfast-cereal notes and mild chocolate.  A few fruits drift in and out the of the profile from time to time, a touch of lime, an apricot, raisins, a ripe apple or two. And with some patience, baking spices like cinnamon and nutmeg are noticeable, but it’s all rather faint and very light, leading to a short and quickly concluded finish with orange peel, vanilla, brown sugar, and that tantalising hint of cake batter that evokes a strong nostalgic memories of fighting with my brother for the privilege of finger-licking the bowl of cake mix after Ma Caner was done with it.

Overall, it’s a peculiar rum because there’s little about it that shouts “rum” at all (on their marketing material they claim the opposite, so your own mileage may vary). My own take is that it’s alcohol, it has some interesting non-rum flavours, it will get you drunk if you take enough of it and it has lovely creamy and cereal-y notes that I like.  But overall it’s too thin (a function of the 40%) too easy, the spices kind of overwhelm after a while and it seems like a light rum with little greater purpose in life than to jazz up a mixed drink someplace. That’s not enough to sink it, or refuse it when offered, just not enough for me to run out and get one immediately.

(#893)(80/100) ⭐⭐⭐

Other Notes

  • As with all the Australian rums reviewed as part of the 2021 Aussie Advent Calendar, a very special shout out and a chuck of the chullo to Mr. And Mrs. Rum, who sent me a complete set free of charge. Thanks, as always, to you both.
  • Husk refers to its rums as “agricoles” (see promo poster above) but incorrectly in my view, as this is a term that by convention, common usage and EU regulation refers to cane juice rhums made in specific countries (Madeira, Reunion, Guadeloupe and Martinique). A re-labelling or rebranding might have to be done at some point if the EU market is to be accessed. Personally, I think they should do so anyway. Nothing wrong with “agricole-style” or “cane juice rhum” or some other such variation, and that keeps things neat and tidy (my personal opinion only).
  • Long time readers will know I am not a great fan of spiced or infused rums and this preference (or lack thereof) of mine must be factored into the review. The tastes are as they are, but my interpretation of how they work will be different from that of anther person who likes such products more than I do. Mrs. Caner, by the way, really enjoyed it.
 Older Entries  Newer Entries