Les Caves at Pew Corner

Everyone knows Les Caves de Pyrene, right? Celebrating their 30th Anniversary this year, it is easy to forget, in a country awash with fine young importers of natural and biodynamic wines, that Les Caves were the pioneers. Their portfolio is now available far and wide. They are probably the company who people go to first for natural wines if they own a small independent wine shop or a restaurant. It’s easy to forget that once upon a time their wares were much harder to track down…until I discovered Pew Corner, that is.

It was back in the 1990s, and I’d just moved down to the South Coast from Oxford. Back in those days it was pretty dire for anyone who loved the “out of the ordinary” wines. If you didn’t get your wine from the supermarket, it was more or less Oddbins or Majestic in Oxford, but somehow I found the wines of the Sicilian producer, COS, in a wine bar in the north of the city. My introduction to “natural wine” had been in Paris, via L’Insolite (rue de la Folie Méricourt, close to Oberkampf), but finding those wines, even in London, was very hard. COS was an instant passion, and I soon found out where it had come from.

Back then Les Caves was less focused on purely natural wines than perhaps they are now, but they did have a selection of French Regional Wines which was quite literally a hundred times better than anyone else’s, not to mention the Italians, Australians, even wine from Luxembourg.

Way back in the day I’d spent some months travelling in rural France, sampling wines from Irouléguy, Marcillac, Cahors, Estaing, the Auvergne, Jura, and so many others. I’d discovered Aosta and Liguria in Italy, and “El Bierzo” (as it was then called) in Northern Spain. My dream had been to write a book called The Lost Vineyards of France. It didn’t happen, and in fact today most of these vineyards are very far from “lost”. But here was a wine merchant selling exactly the same wines as I’d discovered a few years before.

I said that everyone knows Les Caves, but what many may not know is that they have a warehouse-come-shop which is open to the public. It’s on a small industrial estate at Pew Corner, Artington, which is just on the south side of Guildford, and finding it is helped by the fact that it is also home to South Guildford’s Park+Ride. The warehouse itself is tucked away round the back of the site, but it seemed easy to find even before a small sign was erected to guide the observant driver.


I remember that first time I nervously entered the wooden building, to be warmly greeted by Virginie Champelou (yes, same as the Vouvray clan), and when I went back last week I got that same friendly welcome, even though it must be eighteen months since I last saw Virginie at the 2017 Real Wine Fair. It is quite a bit longer since I’ve visited Pew Corner.

There are rows and rows of bottles on shelves inside. You really need to make time to browse, but the thing to remember is that at least half the stock (probably much more, I’m sure) isn’t on show. The range has grown so much that it would be impossible to put everything out, but it was always so. I think the disadvantage of this is that without prior research you are going to forget things you wanted.

I’d compiled a list before I went, but I still forgot to put on it some Palari from Sicily, and a few other things (Fumin from Aosta, something from Nicolas Carmarans from Aveyron, and a few North Americans…). I’d say that whenever I visit at least half the wines come from the part of the warehouse which is not open to the public, always willingly retrieved by whoever is serving me, but browsing always alerts me to other things I’d not considered.

The best advice I can give to any visitor, aside from going with a list, is to go with a fully charged wallet or credit card. Every visit I spend more than I intended, every visit I get home (thankfully only just over an hour for me) and kick myself that I didn’t buy just a few more bottles. But there’s no limit, large or small.

Of course they charge full retail price so there’s no saving going there if your local wine shop has (or will order) what you want. It’s the main reason I’d not visited for a couple of years – I have one very good merchant (Solent Cellar in Lymington, Hants) who will happily add a few bottles onto their next Les Caves order, and most of the portfolio isn’t too hard to track down in London. But in this case I wanted to grab a few Georgians, a country in which Les Caves has become quite the specialist, and a little extra advice in narrowing it down from a list of Georgian wines kindly supplied by Doug Wregg was needed. And I always come away with something I didn’t know from a staff recommendation (this time Matthias Warnung‘s Esper Grüner Veltliner, thank you Daniel, we’ll be drinking that tonight).


Virginie (shop manager) and Daniel (her deputy) on duty last week

You can see my stash in the photos below. A modest set of purchases, half-a-dozen from Georgia, two different Belluards from Savoie, Sepp Muster, Aostan Petite Arvine, Schueller Pinot Noir from Alsace, and said Grüner. To be fair, I didn’t have room for any of them. No Jura some of you say! Well, Les Caves does have an exceptionally good Jura offering right now, but I’m off to Arbois myself very soon (just thought I’d whet your collective appetite).

For everyone within driving distance, Pew Corner is waiting to welcome you. It’s like Santa’s Grotto but without the tinsel for any true wine obsessive. Come on down.



As I mentioned, Les Caves is thirty years old this year. They are holding lots of celebrations, with several at Terroirs  Wine Bar near Trafalgar Square in London. You may well have read about their enormous 30th Anniversary Tasting (if not, see here, where I explore a reasonable chunk of the Les Caves de Pyrene portfolio).

I also should mention that the shop at Pew Corner will be open 9.00am to 6.00pm on Saturday 8 December for their Christmas Tasting. There will be a wider selection of wine than usual to taste, along with what they describe as “some festive treats for your delectation”. Sadly I am unable to go, but it will certainly be worth it, if somewhat busier than usual.

For other opening times, especially in the run-up to Christmas, check out their web site: https://shop.lescaves.co.uk/lescaves-shopfront. Usually they open Monday to Friday, 08.30 to 17.00 (closed weekends), but will be open on some Saturdays in the run-up (including every Saturday in November from 09.00 until just 13.00), undoubtedly helpful if you have to work in the week.

For those who would like to get to know the Les Caves portfolio but live too far away to visit, they do offer some always interesting monthly mixed cases. They are currently suggesting a Thanksgiving themed case alongside November’s monthly offering. 15% off shop prices and with free delivery! I know this sounds unusually like an advert from me, but I can’t help salivating at the wines in the Thanksgiving six-pack (that offer is available just until 22 November). If anyone needs some ideas for my Christmas present…


Posted in Artisan Wines, biodynamic wine, Natural Wine, Wine, Wine Agencies, Wine Merchants, Wine Shops | Tagged , , , | 1 Comment

Tuscan Gems at The Glasshouse

It’s almost two years since I visited The Glasshouse in Kew (right by the Underground Station). On that occasion it was with the same bunch of people who come down to London from all over the UK a few times a year to share their passion for all things Tuscan. These guys even visit Toscana together, and I have to admit they do put my own cellar to shame when it comes to that region’s wines. As was the case on Friday last week.

It’s worth saying a little about The Glasshouse. It is part of the same stable as The Ledbury, Chez Bruce and La Trompette, owned by Nigel Platts-Martin and (in this case) Bruce Poole. Next year it will celebrate its 20th Anniversary, and it gained a Michelin Star way back in 2002. Although you’d describe it as “fine dining”, the atmosphere is nevertheless relaxed and friendly. The food is of a really high standard, as I hope the photos show, but as with the whole NPM stable, nowhere does a wine event quite as professionally as The Glasshouse.


Solosole “Pagus Camilla”, Bolgheri Vermentino 2015, Poggio al Tesoro – What a start. This is stunningly good. The fruit has a touch of ripeness yet it is fresh, dry, stony and aromatic at the same time. The finish shows a lovely salinity. It’s also worth noting the alcohol, 14.5%, but it doesn’t seem chubby in the slightest. The grapes are grown in a seven hectare plot by the Camilla River within the Sondraie vineyard, and the estate has been owned by Allegrini since 2002. I don’t recall a better Vermentino, at least for a very long time. Expect to pay £40+ but the quality is very high.



Panizzi “Evoé” 2013, IGT Toscana – I’m not sure why this wine is labelled as IGT nowadays. It used to be labelled as Vernaccia di San Gimignano, and it is certainly still Vernaccia. The style here is a long maceration on skins, followed by ageing in wood. These wines were all served blind, always fun, though I don’t claim any major successes (unlike some), but it was very clear that this is a maceration wine. With that texture comes, in this case, a dry minerality, but also an unexpected floral note. I did think this was Vernaccia, but put it older than 2013. In contrast to the first wine, this only showed 12.5% alcohol. Still loved it, though, beautifully balanced.



Riecine Chianti Classico Riserva 1988 and Riecine Chianti Classico Riserva 1997 – These were two of the stars of the show, for sure. John Dunkley and his wife bought Riecine, or what then was just a 1.5 hectare vineyard, from Badia a Coltibuono in 1971, and released their first (1973) vintage in 1975. Although no longer around at the estate, Riecine became synonymous with genius Australian winemaker Sean O’Callaghan, but he was only taken on in 1991 as a young intern, so only the second of these wines was made in the O’Callaghan years. Before that, the Dunkleys’ friend Carlo Ferrini was advising, and in fact the last vintage with which Ferrini is associated was 1997.

Although most of us felt that the first wine, the 1988, clashed a little with the otherwise superb cauliflower dish (see below, later), the wine itself was singing. Massively fresh, you’d never believe this is thirty years old. That purity which O’Callaghan seemed to make his own was there back then, perhaps showing the quality of the terroir in this corner of Gaiole. At the time of the vintage Decanter Magazine declared it a great year and praised Riecine Riserva in particular.

I have always had a general preference for Chianti Classico Normale, as opposed to Riserva (let alone the Gran Selezione malarkey). The soul of the Chianti hills lies therein, for me. But this astonishing 1988 shows why Riserva is a valid iteration of Chianti…if you can wait for it to mature. It is only then that Riserva becomes something very different. I wish I had a bottle of this. It would be a wine to save for my 60th.

The 1997 might well have seemed dull by comparison, but it didn’t. You’d be forgiven if you expected it to be reasonably mature, yet we all agreed it is really just transitioning to its secondary phase. I reckon that it tied with the 1988, and with the Barice Brunello below, for wine of the day (a closely fought battle of giants). The amazing longevity of these wines is well worth taking note of. It puts Sangiovese right up there with Nebbiolo, and with France’s most famous varieties.

Mastrojani Brunello di Montalcino 1993 – This wine was fading a little. There is still a bit of fruit, but as it sat in the glass a real aroma of vegetal decaying leaf matter took over, developing quite swiftly. At the same time, a few of us wondered whether it was served in the wrong glass for the wine. It seemed, as one person commented, just a little scalped, although not obviously faulty in any way.


Fontodi Flaccianello 1999, Colli Toscana Centrale – Flacianello Della Pieve is Fontodi’s 100% Sangiovese “supertuscan”, aged for 24 months in new French oak (Allier and Tronçais). The vines are densely planted and trained in the guyot system in the great amphitheatre of Panzano, the Conca d’Oro. It would come as no surprise then that Flaccianello can be a big wine in its youth, yet the richness and ripe fruit make this 1999 not only approachable, but truly delicious. I’m not sure why, but we all thought there was just a tiny hint of brett on this bottle, but if anything, it just enhanced the wine. Bet Jamie Goode has something to say on this in his new book.



Badia a Coltibuono Sangioveto di Toscana 1997 – Two or three years ago people were saying that this vintage was either at its peak or just over. In 2018 I would suggest that it probably does need drinking up if you have any, although of course it will vary from bottle to bottle. There’s a touch of spice but the fruit has largely faded. Initially you get a stately wine relaxing for an afternoon snooze, very pleasant, but to be fair, it did begin to dry out as it sat in the glass.



Baricci Colombaio Montosoli Brunello di Montalcino 2008 – Although one of the youngest wines on show, this really shone and I’d put it up there as one of my favourite wines of the day. The estate lies in the north of the DOCG, with vines on the famous Montosoli hillside. Interestingly, 1988 was not considered a stunning vintage for Montalcino. There were some contrasting views, with many commentators suggesting they were wines to drink early, but Jancis Robinson astutely noted that it was a vintage in which the best terroirs shone. Well, there are few Montalcino terroirs better than Montosoli.

The colour is lovely. The palate has a hint of dryness, but there’s still classic cherry fruit, silky as well. It’s very “old school”, suggestive of a wine aged in larger and older botti (Slavonian oak, maybe?). If it didn’t quite top the Riecine pair, certainly a WOTD contender.



Biondi Santi Rosso di Montalcino 2008 – Another 2008, and sadly this was the wine I took along. I say sadly because it was corked. I had figured that despite the vintage, this Rosso is well known to be long-lived, and of a high quality (low yields, 12 months in Slavonian oak). In fact I’d been looking forward to revealing that it was only a Rosso. Who knows what it might have been were it not for cork taint.



La Porta di Vertine Chianti Classico Riserva 2010 – This is another Gaiole estate, or rather I should say was. After less than a decade, La Porta di Vertine was (I believe) sold in 2016. By this time it had achieved a fine reputation, if perhaps a little under the radar in the UK, for low yielding Sangiovese wines made “naturally”, without additives.

The estate’s vines are on shale and limestone at around 500 metres altitude. The Riserva saw eighteen months in old, large, oak followed by a further year in bottle before release. The 2010 still has a fairly youthful, tannic, structure, enhanced I suspect by being served out of magnum. It’s rich and spicy, and alongside red and darker fruits, it has a lick of mocha or coffee grounds. There is, I understand, 5% Canaiolo blended in with the Sangiovese. Another impressive wine on which to finish the reds, but it will certainly blossom with further age.



Riecine “Sebastiano” IGT Toscana 2001 – This really is becoming a bit of a Riecine-fest! Sebastiano is a Trebbiano-Malvasia blend from old-ish vines (25-to-30 years plus) at around 450 metres altitude on limestone and clay. Biodynamically grown, as with all of Riecine’s production, the wine is made by two different harvesting methods. Some grapes are cordon-cut, on the vine, and left to dry before late harvesting. Other grapes are harvested early and left to dry indoors.

Although labelled IGT, Sebastiano is like a rich Vin Santo, showing lovely deep colour. Where it really scores is in its blend of honeyed roundness and fresh citrus peel acidity, absolute perfection. I used to always drink Vin Santo on Christmas Day, and I wish I had some of this for the next one. Sebastiano is only produced in exceptional vintages, and spends about a dozen years in oak. This 50cl bottle is from a production of just 2,500 litres. An expensive and amazingly complex treat with which to end a brilliant lunch.


Despite a few wines not showing their best, this lunch was such a pleasure. I know I said that there was an issue in matching the 1988 Riecine with the food, but these things happen. The standard of cooking at The Glasshouse is more than deserving of a Michelin Star. I know I eat “Michelin” far less than I used to, but I can still tell a good one when I see it, and you don’t need my inexperience to tell you how good The Glasshouse is.

We began with a starter of Orkney scallop sashimi with yuzu, white soy, enokis, sesame, ginger and chilli. All the flavours blended well in a deliciously fresh and palate cleansing whole. The sesame oil and soy dominated at first and then other elements, especially the ginger, came through.


Second course was a nice touch. One of us is vegan, and ate a vegan menu, but this vegan course was served to everyone. Roasted and shaved cauliflower with cashew milk, black truffle and soused king oyster mushrooms was a treat for us all, a range of subtle flavours. I thought the cauliflower’s well roasted flavour was outstanding, but this may have been what tipped the balance viz wine pairing with very old Chianti.


The main course of Lamb à la Niçoise, with olive oil (and olives), creamed potatoes and violet artichokes shone for me. The lamb was delicious, perfectly cooked, and textured. Pity me though. I have just come back from Yorkshire, eating what are openly described as “Yorkshire portions” on some menus. My stomach is consequently somewhat stretched. My eyes wanted seconds, though my head tells me I need to work on eating less for a while. Those artichokes were delicious too.


Dessert was chocolate, banana and pecan éclair with dulce de leche ice cream. I love dulce de leche, a confection which is made by heating sweetened milk with sugar until it reduces and caramelises. If you have a sweet tooth, it’s certainly one to increase the heartbeat of any devoted sugar lover. Add in a fresh éclair and, well…late lunch today and I almost can’t look at these photos.


Of course, this was an organised wine event with a set menu, and byo on the wines, but the standard of cooking here suggests that we should all try to get down to The Glasshouse more often. Check them out here. Whilst you are there, don’t forget to check out The Good Wine Shop, Kew, literally a two-to-three minute walk away.




Posted in Dining, Italian Wine, Tuscan Wine, Wine, Wine and Food | Tagged , , , , , , , , , , , , , , , , , | 6 Comments

40 Maltby Street

London is full of restaurants which are without any doubt “worth a detour” in Michelin parlance, and despite the pressures on our economy they continue to open, for now. What with trying to keep up, which I am failing miserably to do (yet to get to Leroy and Brat, both unforgivable omissions), old favourites get left by the wayside. Not that I’ve been enough times for it to really count as an “old favourite”, but two years had passed since I’d visited 40 Maltby Street when I met a couple of friends there at the end of September, and that was around twenty-three months too long. The surroundings may be far from plush, but the standard of food here is pretty remarkable.

40 Maltby Street isn’t the easiest place to find if you’ve never been, sitting between London Bridge and Bermondsey Stations, among the bars, breweries, distillery, bakers and wine merchants which have congregated around the narrow streets and railway arches south of the London Bridge terminus. It’s a tiny place too, or at least the bit you eat in. The restaurant is actually part of the original warehouse (since moved, I think) for its sister wine merchant, Gergovie Wines.

Gergovie is the icing on the cake here for lovers of natural wines. It’s not just that they specialise in natural wines, but Gergovie only sell wines which are wholly of that genre, shunning all additives including sulphur. It is worth noting that as a consequence the wines here will be suitable for vegans. The Gergovie range is available to purchase on site, and can also be sampled in the restaurant.


The Wines

Explosive Materials Brut Nature, L’Égrappille, Auvergne

This just seemed the obvious place to start here, what with Gergovie Wines being named after an Auvergne plateau ten kilometres south of Clermont-Ferrand. We have a sparkling Gamay from the most happening wine region in France, made in the same locale, near Blanzat, on the edge of Clermont.

This producer is quite typical of the region, having taken time to amass just 3.5 ha of vines on the rich basalt which underpins the rugged hills here. The Auvergne was once an enormous viticultural area, as I’ve mentioned elsewhere, but rural depopulation did for the Auvergne as it did for much of France’s sources of cheap wine. That left great opportunities for those seeking cheaper vineyards in many such regions, but the spanner in the works here has been the growth of Clermont-Ferrand.

Although Michelin is no longer the great employer it once was (at one time Michelin employed 30,000 people in Clermont), the city has diversified, and its engineering industries still thrive. This means that there are always pressures on land prices, and if you are an older ex-vigneron with a hectare or two of vines, you’ll get a lot more money from a developer than from a young couple hoping to start a vineyard.

I only mention this history because it is important to realise that those who are making a go of wine in the Auvergne are doing so facing many difficulties, and it puts their hard work in context. Those lucky enough to get hold of a hectare or two are able to benefit from very old vine stock, especially probably the best Gamay outside of Beaujolais. At least there is also a local market, although the wines of the Auvergne are now reaching places those original old timers could only have dreamed of.

Explosive Materials is a delicious sparkling Gamay from Chateaugay, one of the best known (at least among wine obsessives) of the communes of the Côtes d’Auvergne appellation, which just bursts with life…and fun. Auvergnat Gamay often tastes quite different to what we are used to from this variety, with more strawberry and raspberry fruit than cherry. There’s a lightness here, coupled with just 11% alcohol, which makes this a genuinely delicious aperitif. The bottle had 2016 stamped on it, and yet it still seemed remarkably fresh. Highly recommended.


L’Éphémère Blanc 2016, Julien Peyras, Languedoc

Julien Peyras has been farming at Paulhan, in L’Hérault, just a little to the northeast of Beziers, since 2007, family vineyards whose fruit previously went to the local co-op. From the outset Julien ditched the chemicals. In fact he’s a member of several organisations which promote fully natural production methods, including zero sulphur.

The grape mix here is Grenache Blanc, Clairette and Roussanne, which is one of the classic white blends of the region. Rather than pure fruit flavours, you get a wine that’s more in the mineral spectrum with herby notes dominating, along with some stone fruit. That doesn’t mean that the wine itself doesn’t taste pure, because it does, remarkably so. It’s quite dark in colour, showing the patina of some bottle age, but it doesn’t fall into the oxidised camp. Instead, the flavours are complex and elusive as the wine changes in the glass. An impressive wine, made by a man who by all accounts is one of the region’s most thoughtful. As Gergovie say on their web site, Julien’s wines show a maturity beyond his years.


Brân “L-16”, Raisin et L’Ange, Ardèche

Raisin et L’Ange is the name of the small negociant business run by Gilles, and his son, Antonin, Azzoni. They are based, with a small vignoble of their own, in the Vallée de L’Ibie in the Ardèche. I’ve actually been not too far from here, the closest town being Aubenas, and it feels pretty remote, west of the Rhône, more or less on a level with Montélimar.

Antonin has pretty much taken over making the wines from his father now. They buy in most of their needs, all organic, and as you will now have come to expect, eschew all additives in the winemaking process. Brân, which presumably is not named after the Giant in Welsh mythology, is a blend of Merlot and Gamay off schist. Winemaking is as simple as possible, with spontaneous fermentation in stainless steel, but the wine’s own simplicity is its major plus point.

There’s a mix of red fruits with cherry here, plus a touch of bitter pepper, a little weight (13% abv) and a silky texture. A lovely wine which just slips down nicely. I’m not sure of the exact percentages in the grape mix, but there does seem to me a little more Gamay coming through, with Merlot (or at least typical Merlot) playing a supporting role.


That’s three wines which fall into the category of “drinkers”. I know you’ll read restaurant reviews in which people order smart wines, for which they pay three times retail price, to go with their justifiably lauded Michelin-starred cuisine, but the food here seems to cry out for wines which “accompany”, rather than fight for supremacy. There was also no doubt about it, three of us demolished these wines without any problem. In fact I think we had a glass of something else afterwards, but I have no notes and no recollection, so the wines I’ve listed obviously went down very well indeed.

The Food

Well, I won’t say a lot about the food. I mean, I’m here to tell you about the wines, but the food as I have said was more than excellent. In fact before I went to 40MS this time I was reading around and came across a review by that most reliable of restaurant critics, Marina O’Loughlin. Writing in The Guardian back in 2014, she said “The food that issues from the postage-stamp-sized kitchen is all pretty much faultless”, and I can say without caveat that the same is true today.

There were highlights, of course, and I’d say that the game sausage roll was unmissable, but the long menu chalked up by the bar has the sort of selection where even with a few people sharing, you never exhaust the possibilities. That is especially true of the desserts, which are certainly not an afterthought here, so leave some room. The menu also changes pretty much daily, so there’s little chance of getting bored.

The cooking style here is what I’d call “East London Small Plates”. Sometimes the small plates concept is just annoying, especially when sharing, as there’s never enough and whatever the number dining, if you share there’s always a dish or two with too few pieces. But here, the dishes are substantial enough, so long as your friends are not too greedy. Selecting as many as you can eat soon becomes the main consideration.

With such quality on offer there is a down side, and that is that 40 Maltby Street soon gets packed. I don’t just mean at the weekend, when the surrounding area is a buzz of food and drink lovers and the place is rammed. Even in the week it gets full, the answer being to get in early before all the hard working people fall out of their offices and studios.

Open Wednesday to Sunday, but check times on their basic web site here. No reservations are accepted, so bear in mind what I said about dining early, or at least turning up for a bottle before you order food.

Posted in Dining, Natural Wine, Vegan Wine, Wine, Wine Agencies, Wine Bars | Tagged , , , , , , , , , , , , , , | 2 Comments

Recent Wines (September 2018) #theglouthatbindsus

September saw Southern England’s summer continue (as it has done up until this weekend, but though I type in glorious sunshine the wind has turned and the Nebbiolo season may be about to start). The wines here are therefore still quite summery, but I’m increasingly enjoying lighter wine styles throughout the year. As I get older, less alcohol and refreshment seem to be preferable to inky wines which come as thick as soup. I’ve been restrained and only selected ten of the wines we drank at home last month, but every one is a genuine cracker.

Shan Pan [2017], Cascina Zerbetta, Piemonte (Italy) – This might just be the most unusual wine here. Paolo Malfatti and Anna-Maria Zerbetta farm just three hectares at Quargnento, just west of Alessandria. This is a col fondo sparkler, but we are not in Prosecco here. Nor, indeed, are we drinking Cortese, Arneis or Moscato, but Sauvignon Blanc.

I first tasted this back in May at Modal Wines’ Plateau event in Brighton. I was impressed enough to include it in a few wines I subsequently ordered, not because I thought it complex or anything, just that it seemed a perfect summer wine, which is exactly what it proved to be.

Definitely worth going for the “shake it up” approach to distribute the lees, making the wine cloudy but (in this case, for sure) infinitely more flavoursome. It’s “frizzante”, light, and zesty with a little mineral texture and mouthfeel. The bubbles are quite fine, and light. There’s acidity but it’s far from rasping. We took this to an open air theatre event (an excellent “The Crucible”) and it was picnic perfection. Just 11.5% abv.

Importer: Modal Wines

Bourgogne Aligoté <<Skin>> 2017, Du Grappin, Maconnais via Beaune (France) – As Andrew and Emma Nielsen stray further from their original “Le Grappin” cuvées, from the Côte d’Or, I get more and more excited. Of course the Beaunes, Santenays and others are as wonderful as ever, but Andrew and Emma Nielsen seem to be saying to their biggest fans “okay, we know a lot of you can’t really afford these wines any more but we’ll give you excitement and innovation to compensate”.

That is certainly the case with their Beaujolais cuvées, but this particular Aligoté is perhaps their most exciting wine under the “Du Grappin” label to date. The straight Aligoté, which I’ve written about before, is really good, but this skin-contact version just takes things a small step further. There is no doubt that Aligoté is getting more and more fashionable, and less and less gratingly acidic, but Andrew has hit upon a vinification here that adds even more to the variety.

The grapes come from Perelles-le-Haut in Macon Roche-Vineuse, from south-facing alluvial Bathonian limestone. The vines are 80-years-old. A ten day carbonic maceration, skin contact and nine months resting on lees in old barrels, and bottling without fining nor filtration, gives a wine that has a touch more colour than the straight Du Grappin Aligoté, but nothing extreme. We are not in “orange wine” territory. The nose is pure Aligoté, gently appley with a little lemon citrus. The palate has a bit of grippy texture, without anything like the acidity levels you found in Aligoté of old. In fact, I’d go as far as to say there’s a little richness to it.

It’s hard to describe how fabulous this wine is, because its qualities come through as being just a little bit under-stated, not at all in your face. The texture, and that tad of richness, make it an ideal food wine, rather than anything in the aperitif style (and, heaven forbid, keep it well away from crème de cassis).

The only negative, from my point of view, is just how little Andrew bottled. Most went into cask for Uncharted Wines, so if you see it in a bar or restaurant which is serving it from keg, grab a few glasses. I tasted it from keg at the recent Uncharted Wines portfolio tasting, and it tasted every bit as good from that format as from bottle.

Availability: almost non-existent. Contact Le Grappin direct, or contact Uncharted Wines to find out who has it from keg.


[Chardonnay] Vin de France 2015, Philippe Bornard, Pupillin (Jura, France) – I have been quite lucky in bagging a few of Philippe’s wines recently, though none as good as his elusive pétnat, which I also drank in September, at Solent Cellar with a slice of Comté tart. It’s not that I don’t try to buy some wine every time I’m in the region, but he’s invariably sold out. Somehow Simon at Solent Cellar managed to get hold of a selection of Bornards, and what I picked up from him included two Chardonnays from 2015. One is labelled as “Côtes du Jura Les Gaudrettes” and the other just “Vin de France”. My understanding is that they are actually the same wine, but I’ve no idea why the different labels in one vintage. Can anyone enlighten me?

Okay, this is a 2015 and shows 13% alcohol. You just don’t expect such a zippy entry on the palate, but the marls of the Jura, and the additional limestone found in Philippe’s Pupillin parcels, often give that freshness even in a warm vintage. In fact this is very much a Jura wine, especially on the bouquet. You get citrus, but it’s also quite (lightly) nutty, and that woodsmoke you immediately notice in the region when you visit somehow comes out in the wine as well…just a hint. It’s also as close to a pure fruit juice as you can get. You really don’t notice that it’s alcoholic on the palate.


Klevener de Heiligenstein 2016, Domaine Rietsch, Mittelbergheim (Alsace, France) – My visit to Jean-Pierre Rietsch was one of my highlights of 2017. Indeed, it was my first visit to the region, which I know very well, for quite a few years and all the feelings I have for Alsace came pouring back. I brought back a mixed case from Rietsch. Jean-Pierre makes many different wines, as is the way in Alsace, so I only brought back single bottles. That has its advantages, you get to try more of the range at your own table, but it’s quite heartbreaking to drink a wine like this and know you don’t have any more. The good news – Wines Under The Bonnet are importing Rietsch since the beginning of this year, so the wines are finally available in the UK again.

Heiligenstein is a village just a little way to the north of Mittelbergheim and Barr, in the lee of Mont-Saint-Odile. The village is unusual because it has its own speciality. Klevener is confusingly not the same as “Klevner”, the latter being a synonym of the Pinot Blanc family. Klevener refers to Savagnin Rose (or Roter Traminer in Austria). It’s a white grape with a reddish-tinged skin which does really well on the argilo-calcaire soils of Heiligenstein.

This is one of Jean-Pierre’s zero sulphur wines, wholly “natural” in every way. Vinification includes eleven months ageing on lees in demi-muid barrels. It comes out sunset yellow in colour, and it is pure, focussed and dry. Its characteristic is a nutty, savoury edge, with a tiny bit of richness. There’s a miniscule 0.4 g/l of residual sugar, which perhaps is too small to notice, but perhaps this is what hints at that latter quality. Amazing! I’d actually put this up there among my wines of the year so far (crazy guy), it’s that good. Philosophical winemaking of a very high order.


Artego [2017], Tillingham Wines, East Sussex (UK) – Ben Walgate is building what is potentially going to be one of the most exciting vineyards in the UK, along with a restaurant, visitor shop and rooms to stay in, at Peasmarsh, near Rye. As his own eclectic vignoble matures, and as his new batch of Georgian qvevri are buried, he’s been sourcing grapes for his initial cuvées.

Artego is, as the name so obviously alludes to, Ortega, which Ben scrounged from Westwell Vineyard, a near neighbour, close to Ashford in Kent. This is the batch which didn’t go into what, at the time, was his only Ortega qvevri. The grapes were lightly crushed into open fermenters and macerated twice-daily by foot for five days. Then the fruit was pressed in small batches in Ben’s basket press. Half of the juice was aged in old Burgundy barrels and half in stainless steel. A tiny bit of sulphur was added, as little as Ben felt he could get away with.

Whereas the qvevri version of Artego has all the texture of an orange wine, with its inherent complexity, this version is quite zippy and fresh. The acidity is reasonably high and the fruit is all apples, with perhaps a tiny lick of grapefruit. Ortega, a Müller-Thurgau x Siegerrebe cross, is generally quite a low acid variety (high must weights make it a sure bet for very sweet wines in some German regions) but I think this fruit was picked reasonably early, preserving a wonderful level of balanced acidity.

It may be that the real geeks among us will find the ever so slightly challenging, certainly complex, Qvevri Artego ultimately more satisfying, and even exciting, but remember, this wine retails for a little more than half the price of the Qvevri version. Only a little over 1,000 bottles were made, so snap it up and enjoy some deliciously fresh Ortega.

Distribution is through Les Caves de Pyrene.


Deviner 2015, Slobodne, Zemianske Sady (Slovakia) – You don’t see many wines from Slovakia’s Carpathian Mountains this good, but I’ve drunk this 2015 Deviner three times this year and I can say quite honestly that it is stunning. Deviner is a blend of Devin (a Traminer/Roter Veltliner cross) with Traminer itself. This wine is grown in Slovakia’s western hills about an hour from Bratislava.

Unlike in some of the former Communist states, when the Wall came down over Europe, in Slovakia agricultural land was redistributed back to its original owners…if you could prove title. Thankfully for sisters Agnes Lovecka and Katarina Kuropkova, they could, from papers that had been hidden away for decades.

Although Slovakia’s reputation currently lags a bit behind that of near neighbour Moravia, in the Czech Republic, there is hardly less of a natural wine movement growing here than in that exciting region. There’s a triangle of concentrated natural wine activity which also takes in Northeastern Austria, though the influences on Slobodne are perhaps primarily more local (in particular from Zsolt Sütó at Strekov 1075).

Six weeks on skins for the destemmed fruit gives this Deviner its flavour, along with what seems like just the right amount of texture. The colour is more straw-gold than orange, and the aromatics combine citrus (grapefruit and lime) with stone fruit (mainly peach). It’s dry and freshly acidic and a real find.

Imported by Modal Wines in the UK (with seemingly good US distribution too).

Côtes du Jura “Balanoz” 2015, Domaine Berthet-Bondet, Château-Chalon (Jura, France) – Another 2015 Jura Chardonnay, this time from further south of Arbois-Pupillin, in the middle of the elongated Jura region, hailing from one of Château-Chalon’s finest producers. I opened this after seeing how well it was drinking at the Jura event I introduced at Solent Cellar in Lymington back in September, from whom I had previously purchased this bottle.

Balanoz is a parcel selection of topped-up (ouillé) Chardonnay. Recommended drinking suggests three-to-five years, but this 2015 has a rounded richness that makes it worth drinking right now in my opinion. It’s a good bit fatter than the Bornard (above), but it does still have acidity to balance it out. It’s more rounded than that leaner wine, and is quite savoury. It also has very good length. Age will mellow it further but personally I think it seems good to go. I hate to use descriptions suggesting this is more “Burgundian” in style than Philippe Bornard’s Vin de France (see above), but I suppose many people would describe it that way.


Gentil de Katz 2015, Clément Klur, Katzenthal (Alsace, France) – Katzenthal is just south of Ammerschwihr, and west of Colmar, in the southern, Haut-Rhin, part of Alsace. It’s a “Gentil”, the modern name for an Alsace blend, with perhaps more of a quality ring than the older “edelzwicker”.

The blend in this case is made up of 50% Pinot Blanc, with 25% each of Pinot Gris and Gewürztraminer. The bouquet is quite floral and exotic, grounded by a little soft pear aroma. The palate is quite rich and only just dry, and very fruity (peach/apricot perhaps), finishing, well, as the name ironically suggests, gently. This is a wine I come back to from time to time. Klur makes wines that are more sophisticated (he has vines on the Grand Cru Wineck Schlossberg), and he makes a damned good Crémant d’Alsace as well, but somehow this wine just reflects the beautiful scenery from which it comes, whether in springtime or autumn. Soft, gentle, satisfying…and pretty widely available via Alliance Wine (though probably now in a later vintage).


Pink Bulles Vin de France “XVII” [2017], Jean Maupertuis, St-Georges-sur-Allier (Auvergne, France) – The Auvergne is definitely one of the most exciting emerging wine regions in France. Once massively covered in vines, rural depopulation emptied it (as did war) in the 20th Century, and even before that rural poverty made life difficult here. Cheaper vineyard land has made it a destination for young vignerons starting out with little hard cash but plenty of attitude, talent and an aptitude for hard work.

Jean Maupertuis was one of the first, although he’s hardly that young. He worked in computer science, got interested in wine and left. At wine school in Macon he met Eric Macé, who introduced him to the world of natural wine (via Lapierre, Thévenet and others). He was lucky to be able to rent 3.5 ha of vines around fifteen-to-twenty kilometres south of Clermont Ferrand, back in the 1990s from a vigneron who was soon to retire, and it is these vines which form the core of his small estate today.

Pink Bulles is a pétnat made from Gamay vines over fifty years old. It’s a particular strain of Gamay, known as Gamay d’Auvergne. It has the pale colour of pink grapefruit, and a strawberry scent, mirrored on the palate, rather than the cherry characteristics of the grape in Beaujolais to the north. The bubbles are focussed, quite tight, and this complements the lighter fruit. It finishes fruity and just off-dry. Another brilliant summer fizz, “exquisite” seems the most appropriate description I can come up with. Grab the last few bottles if you can whilst the sun lasts. I’m guessing this is so fresh that any bottles left over until next spring will be pretty interesting as well.

Contact Les Caves de Pyrene.


Schieferstern “Purus” 2016, Rita and Rudolf Trossen, Kinheim (Middle Mosel, Germany) – Kinheim is one the less fashionable villages of the Middle Mosel, yet between Urzig and Erden on the one hand and Traben-Trarbach on the other, anyone who has cycled along here will know that these vineyards, on weathered slate, are still part of that same impressive stretch of vines. What is more, the Trossens have the benefit of owning a large proportion of ungrafted vines over a hundred years old.

Rudolf Trossen has the weather-worn face and classic, permanently affixed, felt hat of one of the older Mosel winemakers, and with the history of wine here, it surprises many to learn that the Trossens have been farming biodynamically since the late 1970s. Few people outside of wine have heard of this estate, but Rudolf has become something of a guru for those wishing to follow a more sustainable, and eco-friendly, path on the river.

Winemaking here is by no means static. The Trossens’ “Purus” range of wines, which have no added sulphur, only date from 2010, initiated as an experiment which worked. Rudolf believes that by giving these wines extended ageing on lees, this helps to stabilise them, something a lot of makers of skin contact and lees aged wines the world over are discovering, to our benefit.

This 2016 Riesling is even more stripped back than the norm on the Mosel as a result of this zero sulphur regime, and seems very precise. And as the name is intended to suggest, it tastes very pure indeed. There’s acidity and dryness, held together by a mineral structure and texture. But there’s also another dimension to the wine, something different, which I can best characterise as “vivacity”. It really does taste alive, as all the best biodynamic wines do.

Is this for everyone? I sincerely hope not, because there’s not enough to go around. But my friends who are more into classic Mosel producers do, on the whole, find these wines as fascinating as I do. Kind of Riesling on the edge.

Imported by Newcomer Wines.




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Canevel: It Really Is Time To Take Another Look At Prosecco

Prosecco, what, that cheap supermarket mainstay of every vodka and coke drinker’s Friday night? Has he gone mad? Well, actually, no! A long time ago I used to drink Prosecco from time to time. It actually provided a nice contrast in style to the many bottle-fermented (which in those days we used to call “Champagne method”) sparkling wines, the ones we now know as Crémants, which were produced all over France.

Back in those days, the cheap supermarket fizz of choice was Cava from Spain, especially the black bottle of Freixenet Cordon Negro. These days you’ll pay £8.50 for that particular Cava in Tesco, but a bottle of Prosecco can be had for £6.25, and I’m sure that something will be available for under £5 when the Christmas offers kick in.

Prosecco used to be a grape variety, but they renamed it Glera in order to head off those who would wish to make “Prosecco” in other parts of the world. Prosecco is a lucrative business. But Prosecco is also a wine region. As DOC it can come from any of nine provinces in Northeastern Italy, but as a “Superiore DOCG” it can only come from the hills between Conegliano and Valdobbiadene (north of Treviso) and from Asolo, both in the region of Veneto.

Those hills are especially steep and stunningly beautiful. I’ve never visited, but I can recall quite well how it was photographs of these vine-clad green hills which were a catalyst for my early interest in the wine, before it shot to infamy. The particular bottle I sought out, and subsequently drank many times, was Bisol’s Cartizze (although Carlo, see below, will I hope be pleased to note that I also drank Canevel’s “Vino Spumante Aromatico La Vie” several times around the turn of the Millennium)…along, I will readily admit, with the odd Bellini cocktail, for which Prosecco was famous.

Although Prosecco is tank fermented, by the Charmat method (known regionally as the Martinotti method), often looked down upon by those who ferment in bottle, Cartizze was one of what turn out to be several special crus (effectively large single vineyards) where grapes ripen slowly on complex soils. This Bisol wine, with its almond and pear fragrance, acidity balanced with softness, and around 25g/litre of sugar back then, ensuring it was off-dry, made it stand out against any of its more acidic competitors (Bisol Crede was, and remains, by way of contrast, a rare Prosecco Brut, at 10 g/l sugar).

It was with wines like that in mind that I headed off yesterday to meet Dottore Carlo Caramel (current family head of Canevel) and Andrea Dal Cin (Technical Director and Director of Winemaking for Masi). The 2016 purchase of a 60% stake in Canevel, a great family firm in Prosecco, by the famous quality Veneto producer Masi Agricola, created a stir in the industry.

Masi has its roots in the finest wines of Valpolicella, and more recently is famous for projects in Tuscany and in Tupungato, Argentina, but it also has a green agenda which involves sustainable viticulture, with the removal of synthetic herbicides and pesticides and, over time, decreased use of sulphur in winemaking, along with all sorts of other interesting experiments…more on this later on.


The Doctor (Carlo) and Andrea

Canevel was founded in 1979 by Carlo’s grandfather, and from the beginning he wanted to establish a fully integrated production chain. Unusually for the region, when Mario Caramel didn’t own the vines in question, he worked with selected growers to oversee their work in the vineyard, and dictated when to pick. This gave Canevel a level of control over the grapes unlike almost any other producer in Valdobbiadene.

Another unusual step taken by the company was to put the year of production, or vintage, on the label to “inform the consumer”, a rare thing in a region of year-round fabrication for the cheaper wines. Canevel now owns 15 hectares of vines on an estate of 26 hectares (around 25% of its own requirements), and along with the grapes from its fifty chosen partner farmers, now produces 850,000 bottles each year.

With an emphasis on the quality wines of the Valdobbiadene district, Canevel purchased the cru of Faè in 1994, and in the following year they built a new production centre at San Biagio, since updated, in the heart of Valdobbiadene, just a few hundred metres from Cartizze. The whole ethos of Canevel has always been to concentrate on the premium end of Prosecco, and the new joint venture with Masi aims to develop that ethos in a number of different ways. These include single vineyard wines, zero-dosage Prosecco, and organics. Of course, the dream is also to re-inforce the preception of Prosecco, perhaps re-establish it in some markets, as a high quality terroir wine in the eyes of more discerning consumers.

Before moving to the DOCG wines it is worth mentioning that Canevel produces a Prosecco DOC Extra Dry. This soft, refreshing, wine is in some ways astonishing. It tastes not remotely like the Prosecco one usually finds at this level, although it is fair to point out that it would retail at around £11, twice the price of your usual supermarket fare…interestingly when Mario founded the company his wines were always around twice the price of the average bottle on the market.

The wine is typically pale straw in colour and is noticeably more frothy than many sparkling wines. But the bead is fine, it is aromatic and fresh, with 11% abv and just short of 13 grams/litre of residual sugars (the allowed range for Extra Dry is now 12 to 17 grams). A versatile wine, very pleasant. It doesn’t take much to realise that this is a well made wine from a quality producer, despite its apparently lowly appellation.


The next wine we tasted together was Canevel’s Valdobbiadene Prosecco Superiore DOCG Extra Dry. This is the wine which from the very beginnings of the company topped the range. This is also emphatically a wine of the hills, hills with an average height of 300 metres, steep conical slopes to which the vines cling precipitously. The soils here are formed of conglomorates and shallow sandstone, which are especially free draining.

The wine is made by an initial fermentation in stainless steel at a controlled 15 Degrees Celsius, with refermentation taking place in November, similarly cooled over 15 days. This wine exhibits very fresh apple on the nose (rather than pear), with prominent floral, blossom, notes. Coming in at 11.2% abv with 16 g/l of sugars, this has a gourmande quality to it, a wine ideally suited for fish and seafood (and, we discovered, English cheeses). Less dry, but still dry (surprisingly), mineral and balanced.

It is marketed in the embossed bottle of the Confraternita of Valdobbiadene, which is only authorised for used by producers whose production is at least 51% or more of Prosecco di Valdobbiadene.


My special interest was aroused by the third wine I tasted, Spumante Dosaggio Zero Vigneto Del Faè. This is a Prosecco di Valdobbiadene Superiore DOCG from a single vineyard at 220 metres above sea level, near Refrontolo. High density planting is on clay, sandstone and marls. The wine is dry, of course (there is no dosage but a natural 3 g/l of sugar remains in the wine), and there’s plenty of dry extract.

The retention of proteins in the wine (always an aim at Canevel) helps to create a lovely mouthfeel, and one-and-a-half months on fine lees rich in aminos (released into the wine by daily stirring) enhances the profile and structure. So this comes across as finely crafted and an excellent example of a classic wine style.

The bouquet here is very fragrant, more apple blossom and a little hint of very fresh apple. The acidity is slightly enhanced, or rather one’s perception of it (total acidity is around 5 g/l), although Prosecco’s characteristic lower acidity does help make it even more food friendly. The finish is long and dry. It is a remarkably versatile wine in my opinion, one made (again) for food, and I wouldn’t restrict this to fish. I think it would go well with rabbit, and other game.


Bottling of this cuvée is with minimal sulphur, which brings me onto a topic close to both Masi’s, and Canevel’s, hearts – the Masi Green Project. The idea is to work progressively towards a green and sustainable operation at all levels. Working organically in the vineyards, no herbicides nor pesticides are sprayed. They are instead using plankton preparations, pine oil, and grapefruit oil as fungicides to great effect.

There are also long-running experiments isolating native yeasts for potential future fermentation. Using small 45-litre stainless steel tanks, they isolated 128 strains from their vineyards, over a six year period, with so far one of those strains appearing more promising than any others. In Prosecco production it isn’t really possible to leave fermentations to chance, so using completely random wild yeasts is not really an option, but using selected strains instead of commercial yeasts is the way forward.

The most tangible product of this green project in Valdobbiadene is called Campofalco. It’s a second single site Valdobbiadene Superiore DOCG cuvée, and a Brut wine, which was released at Vinitaly in April this year. Campofalco is the product of the Monfalcon vineyard which, surrounded by woodland, is the perfect subject for totally organic production (no chance of another farmer’s sprays drifting over the Canevel vines). Whilst all of Canevel’s other wines tasted above are made from 100% Glera, Campofalco has 10% Verdiso added. That’s another nice touch, using one of the varieties which (along with Bianchetta, Trevigiana, Perera, Glera Lunga and others) used to cover the hills around Treviso in the days before Glera gained dominance.

Campofalco isn’t (as yet) available in the UK, so I was unable to taste it, but it does represent a major step for Canevel in further establishing the environmental credentials which have so far been lacking in much of the region, at least at the level of the main players (we know about the Col Fondo wines of those smaller artisan producers with “natural wine” leanings) . They are also more than well on their way to shining a light, through these quality-focused wines, on the soul of Prosecco, and it is something very different to what many UK consumers have seen Prosecco become. Something altogether finer.

The three Canevel wines tasted yesterday are distributed in the UK (exclusively through restaurants, it appears) via Berkmann Wine Cellars.

For more information on Canevel, visit their own web site here.





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Moldova – Didn’t See That Coming

It’s fair to say that many wine lovers would be hard pushed to pinpoint Moldova on a map, let alone realise that it is a country with a very long winemaking history. Sandwiched between Romania and Ukraine, most of Moldova has a continental climate, influenced by the Black Sea just to the south (though Moldova has no coastline, another part of this small country’s history at the hands of bigger neighbours).

What Moldova has, a shock to most people, is 112,000 hectares of planted vineyards, 81,000 hectares being “noble” varieties, where fifty different grape varieties are grown, a mix of indigenous and international. That actually equates to more vines per person than anywhere else in the world.

There are only three  designated Moldovan wine regions, however, and those were only recently mapped and delineated as protected geographic origins. These are (see map below)  Codru, the largest, in the north, Valul Lui Traian in the south, and Ștefan-Vodă (central southeast).


Why all these vineyards? After all, the Republic of Moldova is Europe’s smallest country. The history of Moldova as a wine producer, the reason why we never heard of her wines even as Bulgarian wines, and then Romanian bottles, hit our shores after the fall of Communism, is one that is linked to Russia. Back in the early 2000s 60% of the wine drunk in Russia was from Moldova, which in the Soviet era was a major supply source for the “mother” country.

In 2006/7 there was a clampdown, following which the amount of wine exported to Russia fell dramatically. Then, in September 2013 Russia banned the import of all wine from this small and very poor country. Ostensibly it was because of traces of plastic in wine, but it has been pointed out that these levels were lower than those found, and tolerated, in Russian drinking water. Of course, it was for more political reasons, similar reasons to those that leave Moldova without any Black Sea ports. Muscle flexing is always the way, it seems, in this region. Nevertheless, this ban had a devastating effect on a country reliant on agriculture, and where wine formed a major part of the agrarian economy.

Moldova has had to adapt, and quickly. It’s quite amazing that it has done so. A London Tasting on 10 October showed just how far Moldova has come, but of course it also showed what needs to be done to really break through in European markets, emulating the success of other countries formerly in the Communist Bloc. I’m thinking particularly of Georgia.

The Tasting was organised by Novus BH Magister, set up in 2016 to bring the wines of Moldova to the UK. They were assisted by Caroline Gilby MW, well known regional expert, whose book The Wines of Bulgaria, Romania and Moldova was published this year. Caroline conducted two masterclasses during the course of the day. Novus, based in Guildford, brought seven producers and their wines to show to trade and press. I’ll let you know how I think Moldova needs to take the next step later, but if these are the best producers in the country, then the potential for sales into Western Europe should be high, especially as the prices seem extremely reasonable.


This is a large producer with 300 ha in Codru and Valul, although as a sign of what size can mean in Moldova, they are internally described as “small”. They are privately owned and began production in 2004. If they have a philosophy, it is to hold back on the oak (commendable), in order to produce fresh-styled wines, where possible from autochthonous varieties.

Fetească Regală-Riesling 2017 is clean and well made, more stone fruit than pure Riesling character. It has a dry texture. Rara Negră-Malbec-Syrah 2016 is nice and bright, brambly on the nose with deeper plum-plus-pepper on the palate. Smooth but bitter, 14% abv.



Double the size of the previous producer, with 600 ha in the same two regions, this is one of the country’s largest wine estates. They have a production facility described as an “underground city” about 100 metres below the surface, with streets named after grape varieties and wines.

The conditions are said to be perfect for the ageing of sparkling wines. I tried “Moldova” 2012, an aged bottle fermented blend of 60% Chardonnay and 40% Pinot Noir. Most of this age must be post-disgorgement because it only claims nine months on lees. I’d have liked to have seen more ageing sur lies, because it was a little fat and lacked the precision of a good French Crémant, but perfectly well made and drinkable. The alcohol was quite high (13%) for a wine from the traditional bottle-fermentation method.

Fetească Albă Limited Edition 2017 had a lovely floral nose, reminiscent of spring blossom. The palate begins softly but then you get a lick of grapefruit acidity. Simple and clean but nice. Viorica 2017 is quite different, with a deeper nose, broader and with less acidity. There’s a touch of Muscat about it, but also stone fruit with a little mineral texture. It finishes with a hint of bitter quince. Viorica is, as those who follow Eastern Europe’s politics, a female first name. Viorica Dăncilă became Romania’s first ever female Prime Minister in January this year.

Fetească Neagră 2016 comes from a 8ha vineyard on the black soils, for which Moldova is famous. It has a deep colour, good legs, and a big dark fruited bouquet…and 14% alcohol. It scores first for its unusual, bitter but ripe, black fruits. It finishes quite tannic, but could be broached now, or aged. It also scores on price – £8.90 to the trade. None of the Cricova wines top £9.



This is the estate of Constantin “Costia” Stratan, one of the country’s pioneers of modern viticulture. His Elemente 5 2015 is pretty expensive by Moldovan standards, £15.50 to the trade. It’s an extremely tiny production too, just 3,400 bottles of a blend of Carménère (49%), Merlot (17%), Shiraz (sic) (15%), Rară Neagră (12%) and Malbec (7%).

There’s the rich vanilla smell of new oak which immediately sets this out as a “modern” wine. In fact, there is only 25% new oak, but it comes through very sweet. The fruit is nice and smooth, but the tannins suggest that it is well equipped to age. It’s not really my kind of wine, but it’s very well made and could go head-to-head with many Bordeaux-style blends from Chile, or anywhere else for that matter.



There were some very good wines here from this Valul lui Traian producer, with 350 ha at their disposal from the Tigheci Hills. The two Altitudine wines are fresh and simple – the white (2017) blends Chardonnay with 20% Fetească Regală, and the red (2016), Cabernet Sauvignon with Fetească Neagră.

Aurore white (2017) is a characterful blend of Albariño and 45% Sauvignon Blanc. The red Aurore (2016) is comprised 100% Rara Neagră. One of my favourite wines overall, and under £10 to the trade, it sees six months ageing in assorted new oak, but that doesn’t dominate at all. I loved the bouquet, reminding me somewhat of Nebbiolo. A touch of tannin stiffens a very good long, savoury, finish.

The top white was, surprisingly, not a local variety here, but Sauvignon Blanc, fermented and aged (with bâtonnage) in new oak again – this Fumé Blanc 2016 has the distinction of being a rare wine made in this style that I like.

The most expensive red (£14.55) is called simply Negre. This 2016 is made from native varieties Fetească Neagră (70%) and Rara Neagră from a small six hectare plot on clay/sand. It is made using micro-oxygenation techniques, fermented in steel and then given the same six months in new oak as the previous two wines. It shouts out bramble fruit on the nose, but more oak seems to come through than on the previous red. Rich, tannic and spicy, impressive, but I preferred the style of the Aurore red, personally.



This estate owns just 20 ha in Codru, all farmed organically. The wines are very well made, although the local varieties are clean and do seem almost international in style. This will appeal to the vast majority of drinkers, although the opinion forming minority might look for something a little different.

That said, of the two whites my preference was for the single variety Fetească Alba 2017 (pale, floral with green apple freshness) over the version blended with, and dominated by, 70% Sauvignon Blanc.

A 2017 Rosé was pure Cabernet Sauvignon, from 10-y-o vines on fertile black soil, well made although like many pink wines, it didn’t aspire to more than pleasant dry freshness. Fetească Regală 2017 had an altogether deeper bouquet, quite a broad wine (13% abv) with a stony, mineral, texture.

All these wines are fairly low production, 6,500 to 6,800 bottles, and all are made in stainless steel. I think these would have appeal despite them seeming quite “clean” (or perhaps because of that).



Sometimes it’s hard not to be affected by the way in which a producer or their representative attempts to engage. Of course, the language barrier got in the way in some cases at this tasting, but Dina Pîslaru spent more time than anyone else explaining the wines of Salcuta, and Moldova in general, to me (thank you, Dina).

Salcuta owns 400 ha of vines in the Stefan Voda Region, the sunniest and driest wine region in Moldova, divided between three sub-zones: Salcuta (after which the estate is named), Tenetari and Ucrainca. Founded in 1995, they are intent, despite their size, on making wine just from their own vines. To this end they have established their own nursery for plant propagation.

With such a large production Salcuta makes many different cuvées (quite a few semi-sweet wines of both colours, presumably for local markets), six of which they brought to the UK. Four were white. Chardonnay, Pinot Gris and Sauvignon Blanc were all well made, my favourite there being Pinot Gris 2017, which at £6.20 (to trade) I felt was way better than any similarly priced Pinot Grigio. Sixty days on lees gives it a brightness and texture, whilst it has that pear drop flavour with a touch of richness (13% abv) which seemed to combine a touch of Italy with a hint of Alsace or Baden.


My favourite white, indeed possibly my favourite wine, from Salcuta was Riesling & Traminer 2017. Made from 70% Riesling and 30% “Traminer”, it nevertheless tasted a bit like a nice Alsace blend. They kept it simple (stainless steel throughout). Production is a quite high 25,000 bottles, but it’s fresh and nice.

Their pink wine, Tamaiosa de Salcita Rosé 2017, won a Gold Medal at the Mondial du Rosé 2017 in France last year. It blends Pinot Noir (70%) with Muscat of Hamburg, and sees two months on lees, which I suspect is where this wine’s extra mouthfeel and character comes from.


The one red shown was a very interesting blend, Cabernet and Merlot (40% each) with 20% Saperavi, the well known Georgian red variety. After 18 months in new French oak it gets a year in bottle before release. I tasted Reserva 2015, which had a lovely rich nose with a palate that was spicy, rich and smooth.



The final estate is also based in Stefan Voda (the Purcari sub-zone, very famous in Moldova, where you will also find Château Purcari, now a massive wine brand in Central and Eastern Europe and a destination for coachloads of tourists). Timbrus is a little smaller that Salcuta (150 ha under vine). There is international input here, via Spanish co-owner Manuel Ortiz, who is also a renowned oenologist in Spain and south America. Ortiz professes to bring a European approach to all aspects of production, from vine planting to bottle. We certainly have an estate with ambition here, although prices (all under £10 to trade) are realistic.

Timbrus makes a single varietal Saperavi, and Saperavi 2015 (18 months in new oak) was dark and densely fruited. A bit oaky, but ridiculously cheap for the quality. Viorica 2017 is a 100% varietal from that grape variety, which I found tasted a little like Viognier, but with greater acidity and freshness. Rara Neagră 2016 comes from youngish vines, and is a pale and low alcohol (12%) red. Frankly I’m surprised this sees 12 months in new oak (apparently), as it spoils the balance for me of what otherwise I’d have expected to be a quite lovely wine. Fetească Neagră 2016 has 12.5% abv, and is pale as well. There’s a little more body, but also a fair bit of oak (same regime as above).


To summarise what I experienced here at this Tasting…well, I think you can guess.

  1. The wines really were quite astonishingly good for the money in many cases. There were several wines I’d buy, which you can probably guess from my descriptions. I think that the vast number of hectares under vine in Moldova mean there’s massive potential here, especially for really well made wines aimed at those wanting quality and value combined.
  2. Why the obsession with new oak? I suspect that when the pendulum swings for Western markets its movement is slow and takes a while to spot. I’m convinced that by dialling back the oak, wines of greater freshness and personality could be made. The formula of taking autochtonous grape varieties and covering them with new oak does rather hide their unique personalities, and new oak is not, in my view, the answer.
  3. It’s probably all too clear from my notes that I found the native varieties more interesting than the international ones. Every wine producing country on earth is trying to make Cabernet Sauvignon, Sauvignon Blanc, Merlot and so on. Moldova (as with neighbour Romania) has some wonderful local varieties that absolutely deserve to have a place on the shelf, and they also show a point of difference, not to mention regional typicity. I suppose the producers are fixed on the international market, but there’s a lot of competition out there. But remember, I’m writing here as a wine lover, not as a consultant on what the market wants.
  4. Where are the real artisans? Reading around the subject I notice that production is rather dominated by very big estates. Some articles virtually suggest that, as in Napa, many of these are geared up for coach parties rather than independently travelling wine lovers. After the fall of Communism it looks like land distribution saw much of Moldova’s agricultural acres, the large state-owned collective wine farms, falling into the hands of relatively few individuals, the opposite of what happened, to a large extent, in much of Central Europe. Georgia’s Qvevri tradition may in reality be just a tiny part of that country’s output, but it has attracted attention from wine experts and aficionados alike. This has led to a greater focus on the country, and we even have qvevri wines in a couple of UK supermarkets. Communism’s attendant effects here in Moldova mean that, unlike Czech Moravia, or Slovenia, there are no old guys making wine the old way, farming a few hectares in the hills, who can be wheeled out to excite wine writers. Everyone right now wants to be squeaky clean and modern.

So with Moldova we have a country with a vast vignoble, with genuinely massive potential. Whether they can live up to that potential depends on whether they can accurately judge what their target markets (certainly no longer Russia, but clearly the rest of Eastern and Central, as well as Western, Europe, the USA and beyond) want. Hopefully ultra-modern wines will give them an entrance to those markets, but I think that long-term success will depend on finessing what’s on offer. I think this can be achieved through offering regional typicity from local varieties. I do wish them well. They have come a lot further than I think most people realise.


Caroline Gilby MW’s book The Wines of Bulgaria, Romania and Moldova was published by Infinite Ideas in July 2018 as part of their Classic Wine Library.

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Bruno Paillard and Dosage:Zéro – A Fascinating Release

You may have read my last roundup of the best wines I drank at home during August, under my usual hashtag #theglouthatbindsus, and you might recall that one of them was a Champagne that I readily admit surprised me by its quality. That was Bruno Paillard‘s Première Cuvée Extra Brut NV. As a result of what I wrote (I think) I was invited along earlier this week to the launch of the new cuvée from Bruno Paillard, Dosage:Zéro. All well and good, you think, but as luck would have it, tasting this wine provided not just an insight into a brand new wine from a Maison de Champagne, but also gave me a lot of food for thought on broader issues in Champagne, which actually make for a far more interesting article.

I would suggest that “dosage zero” is in some ways a red herring here. This cuvée is a bit of a departure for Paillard (though a non-dosed wine was made, briefly, some years ago), and is a very welcome addition to the debate about what Champagne is capable of being as we approach the third decade of our millennium. It will help if I get to it and give you some more detailed information about Dosage:Zéro, but for me there’s another angle, and that is more subjective, and has a lot to do with the people.


Alice, with Dosage:Zero

I’d never met any of the Paillard clan before Tuesday, although I know quite a lot about Bruno. He didn’t surprise me at all: tall, distinguished, only slightly reserved, and whatever his background he has a slightly patrician air (as perhaps one might expect from a man who founded a Champagne House at the age of just twenty-seven, back in 1981),…but extremely friendly, knowledgeable, thoughtful.

Alice, his daughter, who is now much more than just a major part of the team at Champagne Bruno Paillard, is slightly different in character. I’m sure she possesses the steely determination of her father, but in her eyes and in the way she expresses herself you really sense her passion for the wines. This is a House that thinks deeply about what they are doing and why.



I have a nuanced view about wine appreciation, and wine writing. Objectivity is naturally important when analysing the wines we taste, but I think a bit of subjectivity helps us to get deep into the soul of a wine (where a wine has soul, of course). Understanding a wine and what its maker is attempting to achieve cannot be ascertained by objective analysis alone. So here’s my take on Cuvée D:Z.

In a way I think its label is slightly irrelevant. Zero dosage, or Brut Zero as some choose to call a non-dosed cuvée, brings out heated debate among more geeky Champagne lovers. Despite climate change and riper grapes, there are many aficionados (I’m not one) who are philosophically opposed to zero dosage. “If only they’d added a little sugar (sic)” they say. And it is true that in the old days some of these undosed cuvées were rather angular and lacking balance. Some still are.

Where Bruno Paillard Dosage:Zéro differs is that I think it is a complete wine. It is also a bit of a red herring to tell you that this is a blend of thirty crus. What I think you do need to know is that it is a wine comprised of fifty percent reserve wines, wines which date back to 1985. You also need to know, perhaps just as importantly, that this wine is comprised of fifty percent Pinot Meunier.

This Meunier is sourced (they own around 35 hectares of their own vineyards) from the area around Cumières and surrounding villages, on the right bank of the Marne, with some coming from vineyards in the northern Montagne. Although when we think about Pinot Meunier the first wine that comes to mind might be Jérôme Prévost’s “Les Béguines“, that wine is made from grapes grown at Geux, on the Montagne. The soils are sand and limestone.

West of Cumières, along the Marne Valley, the Meunier-dominated vignoble is planted on clay-rich soils. Meunier around Cumières, however, is grown on a chalky bedrock (I thank Michael Edwards for this information), where the valley opens out and southerly-exposed slopes allow for a riper style of Meunier as well, especially when care is taken in the vineyard and overcropping is frowned on. Paillard’s vines are all organically farmed, with some parcels under biodynamic conversion.

There is clearly a realisation today that Meunier (or Pinot Meunier if you prefer) is capable of true greatness. When I began drinking Champagne in the 1980s there was a sense, fostered in the wine literature, that Meunier was the runt of the litter, a late budding grape that thereby avoided spring frosts (at least before recent vintages), and a grape which could resist the dampness and cold of this northerly wine region. The wine writers of that time suggested that maybe it was best for packing out cheap supermarket Champagnes and all those unknown labels we saw in the French hypermarkets. Oh how wrong the old scribes were.

I would not go quite so far as to assert that D:Z is therefore a terroir wine, a rather bland statement, but I would assert that it is marked by terroir. This terroir character is merely part of the whole package, which also bears the supporting role of the other varieties and of the exceptional reserve wines. Naturally four years on lees with a further six months post-disgorgement helps rather a lot. It is certainly a wine, though.


It is made just from the first pressing, giving very pure juice. Fermentation is mostly, but not exclusively, carried out in small oak barrels. Some of the reserves were also barrel-fermented, and then kept in stainless steel. The reserves add the lovely autolytic character which comes through as a savoury umami note on nose and palate. In fact the bouquet is toasty and nutty, but also has hints of red fruits, very complex. The palate is pleasantly rounded. Paillard describe it as “chiseled”, but I think it’s a broad chisel.

I was lucky to taste this wine (very correctly served in a slightly larger wine glass – this is one for your Riedel Riesling glass or Zalto Universal) fresh from a just opened bottle, and also from a bottle almost empty, and from which the bubbles had mostly dissipated by the time I’d finished talking and got round to taste it.

Fresh in the glass the bead was very fine, the mousse frothy. There’s nice definition but what it so obviously lacks is the angular and harsh acids that can spoil an undosed wine. Without bubbles the wine exhibits a unique (I chose that word carefully) personality, and genuine character. The facet of that character which stands out most is a very attractive salinity, which defines the wine as a Gourmande Champagne. Drink it with food, throughout a meal. Let it warm in the glass (don’t over-chill it in the first place) and see how it develops, both aromatically and on the palate.

Analyse D:Z by all means, but allow your senses to float inside the wine, to get a sense of something more than its component parts. Treat it as you would a fine white wine without bubbles, treat it as a wine enhanced by bubbles, but nevertheless as a wine like any other.

Bruno Paillard Dosage:Zero is, like all of Bruno’s wines, mostly available in restaurants. I think this is a shame, personally. As with the finest Grower Champagne, I like to see this as a wine that would demand my full focus and attention, in surroundings devoid of too many distractions. In any event, I wonder how many restaurant customers will be persuaded to drink this with food – something I would advocate, although I’ve no idea whether Alice and Bruno would agree with me.

Dosage:Zéro is available, as of this week, at one store, Hedonism Wines in London’s Mayfair. It can be had for a little under £50, which I don’t think is bad value at all. I’m quite sure that it is not a wine that will appeal in quite the same way to those who have a fear of gourmande, zero dosage, cuvées, but it is completely to my own taste, and I look forward at some point to grabbing myself a bottle.

I think Bruno and Alice have achieved here a Champagne that stands out as being a little different, a Champagne with its own individual personality, and a wine that is no mere box-ticking excercise in range building. They have, I think, produced something which for me is quite special because of this.

We also had the chance to taste Première Cuvée in its white and rosé versions. The tasting and launch took place at Comptoir Mayfair on Weighhouse Street, close to Bond Street Underground.





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Take a Quick SWiG

Back on 25th September I was at the Out The Box young importers tasting and I promised to put up some notes on what I tried from Swig at the end of last week, following their joint Portfolio tasting with Uncharted Wines. That turned out to be yet another fabulous event, so I had to split the two merchants, and Uncharted won the toss. Finally, with apologies to Swig, we have the final article from that frantic fortnight. Last, in this case, unquestionably means  but not least. Swig has a portfolio of wines which stretch the imagination as well as any of the other small importers, and they also have a reputation for excellent customer service. This is just a snapshot, from 25 September and 2 October.

Swig manages, rather like Red Squirrel, who also exhibited at Out The Box, to pull in really interesting producers from all over the world, rather than attempting to specialise. You can understand from stalking them on social media that this is a bunch of enthusiasts who want the excuse to live the dream of constant wine trips (South Africa at present). If they find something good they grab it, and thankfully for sales, they do find plenty of the good stuff.

Whilst Swig is not a specialist, they share with Red Squirrel a great list of those South African wines, especially two producers: Adi Badenhorst and Pieter Walser, or if you like, AA Badenhorst Family Wines and BLANKBottle.

ADI BADENHORST, Swartland, South Africa

AA Badenhorst is one label most people who become interested in South African wine will get around to trying very quickly, very possibly via the Sacateurs pair, the red blend (Syrah, Grenache, Cinsaut) or the Chenin white. The range at AA Badenhorst is wide, but all the wines are great value, not least the Secateurs. Adi used to work with Simon Barlow at Rustenberg, and the great work he did there twenty years ago stood him in good stead for what he’s doing today. He’s no johnny come lately.


The first wine tasted was a Chenin Blanc, a variety which Badenhorst seems intuitively to know with great intimacy. Golden Slopes 2017 is a wine that will be available soon. This is a single site bottling, actually the first vineyard on the property which you see on arrival, planted with old vine stock which Adi found in a pretty poor state and nurtured back to health. This is totally beguiling, mineral, Chenin, with real personality leaping out of the glass. It will age, of course, but boy this is good.

Piet Bok se Bos 2017 is another soon to be available white wine made from Chenin, or “Steen” as it says on the label in this case, the old South African synonym for the variety. The wine itself is named after an old winemaker who lived in an equally old cottage by the side of the vines. The soils here are deeper, with a high silt content, and this is hyper-fresh, with very concentrated fruit and an almost tense, bitter, edge. This 2017 is the first vintage Adi has made of this cuvée.


Papegaai is an incredibly popular wine, and not everyone sipping the white version with pleasure realises it is made, in part, from the Sherry grape, Palomino (there’s also an amazing single varietal Palomino, not shown here, called Sout van die Aarde). But there is also a red Papegaai now, and this is a delicious new 2017 blend (the Swig web site lists it as 100% Cinsaut but I was told otherwise) of 80% Cinsaut with 20% of the Portuguese variety, Tinta Barocca, a grape that has a long history in The Cape. This is another example of the remarkable value Badenhorst provides at the lower end of the range. You get genuine character, and the 14% alcohol just doesn’t show. Crunchy red and darker fruits sum it up nicely.

Yet another wine to look out for soon, which you may not have come across before, is Ramnasgras 2017. This red, as far as I know, is 100% Cinsaut/Cinsault. Although relatively expensive, this is for me a delicious light wine which is best served cellar cool, or even lightly chilled. The colour is a vibrant, palish, red. The nose is quite rich, and fresh. The fruitiness bursts through, strawberry, cranberry and pomegranate, with sweet spice, which gives an all round sweetness to the fruit without the wine actually tasting sweet. Very long, extremely…well, I was going to say impressive, but that sounds too serious. A great wine, but fun as well.


I think there were more than a dozen wines on the Badenhorst table, including several new wines, all well worth exploring, obviously, but I’m going to finish with Geelkapel Muscat de Frontignan 2017. Of course the “Muscat” name refers to the grape variety, not the Languedoc AOP.  “Geelkapel” is another name for the highly venomous Cape Cobra, which is able to transform itself into a colour closely resembling the vibrant yellow of the wine.

This is a blend of Muscat (à Petit Grains) and Muskadel (Muscadelle) picked and trodden by foot as whole bunches before a two week fermentation. The wine shows a quite complex bouquet of tropical fruit (mango) overlain with gentle floral notes (rose petal). The palate is smooth with just a little texture and dry extract, and it comes in at 13.5% abv. It combines real freshness, from the new vintage, with impressive length.


BLANK BOTTLE, Western Cape, South Africa

I’ve written quite a bit about Pieter Walser and Blank Bottle. If you’ve not already read my piece written just over a month ago, it may be of interest – follow the link here. Last week I actually got to meet Pieter, and the experience was just as good as tasting his wines (quite a number of which, I should say, I have in my own cellar). He’s a top bloke. The big problem in tasting (and buying) Blank Bottle is that some of the wines only get made once, so there are a lot on the table at any tasting. I’ve tried (not with complete success) to write just about wines I’ve not covered recently.

Moment of Silence 2017 is a white blend of Chardonnay, Grenache Blanc and Viognier (allegedly). It’s not the most complex of Pieter’s wines, but it is super-fruity and quite concentrated, making it a good place to start. It also has possibly the least exciting of the Blank Bottle labels, but I only comment on that because I love Pieter’s labels, some of the most quirky and inventive I know.

Epileptic Inspiration 2016 is a wine with an interesting label, showing a brain scan, and I think it’s a label with very personal connections. The wine is Semillon, fresh and mineral. I think this will also be drinking brilliantly, something I plan to test soon in the comfort of my own dining room.



Rabbitsfoot 2017 is a cuvée I’ve not tried before. The variety is Sauvignon Blanc, and I’d put it right up there with all the best, and most interesting/exciting SBs I’ve drunk this year (which would include the New Zealand example from Hermit Ram that I tried at the same event). Pieter says he hates “green” Sauvignon Blanc, and this wine seems to prove that point. There’s a bit of tropical fruit, and a bit of stone fruit, in a wine that is lush for the variety, but nothing like most tropically fruited New World versions. One for the disciples of Abe, perhaps. Apparently the wine comes from five rows of vines which are more usually eaten by the baboons. Not this time…thankfully.


Kortpad Kaaptoe was the first Blank Bottle wine I ever bought. It’s made from a variety I think Pieter really likes, Fernão Pires (aka Maria Gomes in Portugal’s Bairrada). The grapes for the 2017 come old vines on sandy soils in Swartland’s fringe, from Darling (just inland from Grotto Bay). This is quite unusual stuff, and my notes say it has a savoury lush sweetness. Swig, on their web site, go for “turkish delight and crystallised pineapple bashed with quartzy stones”. I truly love it.


Don’t Look Back 2017 is as yet unavailable, but will be worth the wait. It’s Clairette bottled in a flute (Pieter likes to confuse), nice and fresh with a stone fruit and mineral finish. Manon des Sources 2010 is also yet to arrive in the UK, but note the vintage. After one year in barrel Pieter decided it needed seven years in bottle. Don’t ask me what it’s made from, I’ve no idea (and the whole point behind Blank Bottle is that it doesn’t matter), but it is a stunning wine, really interesting, full and big but with flavours which initially have a hint of Riesling (lime and petrol), but then morph to juniper with a hint of dry apricot.



The first of three reds was Misfit 2017. I do know what this is, Swartland Carignan from old bushvines, of which 30% was whole bunch fermented. It has a fruity freshness to it, very brambly with a little crunch to the vibrant fruit, finishing with a herby twist. Jaa-Bru 2016 is quite a contrast. It’s a rather big Malbec in a little dumpy bottle that really packs a punch and attitude (though it is only 13.5% abv), yet retains what can now clearly be seen as that trait through the whole range, “Blank Bottle freshness”.



Last up here, PH.D 2016, which I tasted back at Out The Box. This blends Cabernet Sauvignon, Cabernet Franc and Malbec. It does seem quite a philosophical wine, though doubtless the name is auto-suggestive. Equally, it does taste like a Bordeaux blend in terms of fruit profile and structure, but it is also very pure and precise. A brilliant wine, and though it ain’t cheap, it’s great value.



VIGNOBLE DU RÊVEUR, Bergheim, Alsace

This domaine encompasses the vineyards left to Mathieu Deiss (working with Emmanuelle Milan who was pouring the wines for us) by his maternal grandmother. He operates out of his famous father’s, Jean-Michel Deiss’s, Domaine Marcel Deiss, in Bergheim, in the heart of Alsace. Most of Mathieu and Emmanuelle’s seven hectares of vines are in the commune of Bennwihr, near Kaysersberg. Mathieu’s dream has one practical side – to explore and fine-tune the art of skin maceration, and to diminish, and then eradicate, the use of sulphur.

Pierres Sauvages Pinot d’Alsace 2016 is a classic Pinot d’Alsace blend, made from Pinot Gris, Pinot Blanc and some Pinot Noir vinified en blanc. Straight off you can tell this is a terroir wine, one where the variety and winemaking doesn’t intrude. Vinification is in large neutral oak for fermentation and again for twelve months ageing on lees. Saline and mineral.


Vibrations Riesling 2016 has a deeper minerality and softer fruit which makes it taste quite creamy on the palate, with a nice touch of lees age texture. It is bottled with 30 ppm total sulphur. Vinification as with the Pinot above.

Vibrations Riesling <Nature> 2016 sees a very similar vinification to the previous two wines, but, as the name suggests, this has more of a “natural wine” liveliness about it and is bottled with no added sulphur. That said, the lemon acidity of the Riesling is fresh and the wine is dry (technically 2g/l of r/s). Very precise with a nice clean palate, vivacious.

La Vigne en Rosé Gewurztraminer 2017 is described as a rosé, but the colour comes from the skins of the Gewurztraminer grape, via a touch of skin maceration. The vinification is also carbonic, so the wine is quite fresh and light. None of the heaviness associated with many versions of the variety. The bouquet is of gentle rose petals, elegant and lifted, but the wine is dry, and despite a surprising 13.6%, it tastes light, with an ethereal quality.


Un Instant sur Terre Gewurztraminer 2017 is a brilliant peak to Mathieu’s range. It is an orange wine, although there is a distinct pinkish tinge from the Gewurztraminer skins macerated in amphora. You’d almost buy it for the colour alone. The bouquet is very complex, sweetish and floral but with a distinct savoury edge coming from the vinification vessel. There is no residual sugar so any perception of sweetness comes just from the richness of the fruit on the palate, and 14.5% alcohol, though do not let that put you off. A marvellous wine.


Emmanuelle with “Un Instant”

I’ve tasted Mathieu’s wines three of four times in the past eighteen months or so and they are really impressive. I think he has hit upon a style which accords with his fellow young growers (thinking of those in the north of the region), and there is a clear point of difference with his father’s wonderful wines. A name to follow.


Olivier Collard and Caroline Picard sound as if they may be a new tiny “Grower” making wines from a few hectares, but they are actually a “Maison” (founded 1996). They occupy impressive premises on Épernay’s Avenue de Champagne, although the cellars are actually at Villers-sous-Châtillon, not far from Châtillon and Mareuil in the Marne Valley. They farm 15ha which is spread over the Marne Valley (for the two Pinots) and the Côte des Blancs for Chardonnay.

There are eight cuvées in the range, five of which I tasted last week. The range starts with Selection Brut NV, comprised of 50% Pinot Meunier and 50% Pinot Noir. It’s a fruity NV without great pretence at complexity, with a dosage level that’s quite easy to guess (9g/l…I guessed eight). The thing I liked about it was that Collard-Picard make their Champagnes without malolactic, so that even at this level of dosage you still get a nice acidity and freshness.

Prestige Brut NV has the same dosage, but the grape blend is 50% Chardonnay with equal parts Pinot Noir and Meunier. It has four years extended lees ageing, one year in foudres and the rest under crown cap in bottle. There is definitely more elegance here.

Blanc de Blancs Grand Cru Brut NV is blended from Chardonnay sourced from Oger and Le Mesnil-sur-Oger. This is where you noticeably step up to a degree of complexity. The best juice from the first press only is used, and the base vintage in this case is 2014, supplemented with reserve wines. You get some biscuit and brioche, but there’s fresh citrus too. The fruit in this comes through nicely.

Essential Brut Zero NV has the same Chardonnay dominated grape mix as the last wine, but this cuvée only appears in the finest vintages. With a base of 2010, this certainly qualifies under those rules. This wine is given 18 months in barrique, and then four years on lees in bottle, this time under cork, which Raphael Bérêche has convinced me is superior to crown cap, however others may fuss and splutter. It’s a very fine Champagne. Whilst the three previous wines were enjoyable, this is what made me sit up and take notice, and this is the wine that secured the inclusion of Collard-Picard in this article.

Coteaux Champenois Rouge “Terres de Meunier Les Louves” 2014 – Coteaux Champenois used to be a rarity, if not a joke to many, but as with the example of German red wine, the still wines (particularly reds) from Champagne have quietly been improving for some time. Back in June this year I drank Raphael Bérêche’s “Les Montées”, an Ormes red from the same vintage, and it has been one of my reds of the year so far. This Collard-Picard wine, however, is not Pinot Noir, but Pinot Meunier, and a very fine still Meunier it is too.

Les Louves comes from a small individual plot on the right bank of the Marne. This cuvée is only made in very fine vintages, and 2014 yielded only a fraction more than 1,700 bottles. It spent eighteen months in small barriques (both old and new) after very gentle pressing, and there was no filtration. The bouquet is very concentrated, cherry and red fruits, which translates on the palate as very smooth, silky and long.


Many more Swig wines deserve a mention, but there’s only time for a few. BK Wines is a creative outfit making exciting wines from single sites around the Adelaide Hills in South Australia. Everyone knows their One Ball Chardonnay, but of the whites my current favourite is definitely Skin n Bones White 2017. It’s made from Savagnin, you see, though admittedly not Savagnin as I’m used to it, but a truly Aussie interpretation of the variety.

The grapes come from Lobethal, near better known Lenswood, which is over the Basket Range, due east of Adelaide. As the name suggests, there’s skin contact here, one month on skins in fact, then nine months battonage. You get sunshine fruit, but equal amounts of freshness, a twist of lemon on the finish, and a lingering nutty and gingery note. But it’s more fruit than nuts, unlike the standard Jura Savagnin Ouillé. The Skin n Bones Red 2017 is good too, made from Lenswood Pinot Noir which sees 100 days on skins before ageing in mostly older French oak. It’s pale and  has an unusual, almost textured, nose. You get the weight of cherry fruit with the zip and bite of more acidic cranberry. Clean but with a wild side.

Everyone seems to be bringing over something interesting from Portugal these days. The Boina range from the Douro fits this category perfectly. The red and white here are relatively inexpensive, but provide genuine interest, especially for those looking for something a bit different on a bar or restaurant list. The white is a co-fermented field blend of several autochthonous varieties which you almost never see on a wine label: Rabigato, Códego, Códego do Larinho (sic) and Malvasia Fina. It seems to combine apple freshness with a nutty, buttery palate.

The red was, for me, the most interesting, made from the somewhat better known Touriga Nacional, although from a vineyard where, in the old Douro fashion, other varieties are co-planted. The nose was fairly muted, but it was all change on the palate with lots going on. It has body, as you’d expect from the variety, but it is really fresh and frisky too, not qualities always associated with Touriga.


I also need to give a shout out for Claus Schneider Spätburgunder “Weiler Schlipf” 2015. As Swig justifiably points out, this wine has all the fruit of the excellent 2015 red wine vintage in Baden, but as well as this touch of fatness you get masses of delicious smooth summer fruit. This is in effect an entry level wine, but as well as the fruit you get more, with a touch of orange citrus and a very slight leafy undergrowth hint. A simple wine with a bit of added interest, but with its lush fruit, definitely a wine to convert a few people to German Pinot. It’s funny but an independent merchant in the Midlands was telling me on Saturday that another German Spätburgunder is currently his biggest selling red. Who’d have thought!


Finally, do take a look at the Guy Breton Beaujolais selection (Régnié, Côte de Brouilly and two Morgons). The wines don’t show on the Swig Web Site at the moment, so perhaps they are new to the list. They are excellent wines, as anyone who has tried them, perhaps in Paris, or perhaps the P’tit Max when Winemakers Club had some, will know full well. Swig also sell one of my very favourite English wine estates, Wiston, from just north of Findon in West Sussex. Their wines need little introduction to aficionados of English fizz, and from June 2018 Swig are their UK agent/distributor for the on-trade.

Contact Swig for further information here.






Posted in Alsace, Natural Wine, South African Wines, Wine, Wine Agencies, Wine Merchants, Wine Tastings | Tagged , , , , , , , , , , , , , , , , | Leave a comment

Uncharted Territory

I had intended to write an article combining the wines from Uncharted Wines and Swig that I tasted last week at Out the Box with those I tasted at their joint portfolio tasting at The China Exchange in Soho yesterday. Looking at the number of wines I want to include (let’s face it, a good sign), I’ve decided I need to split these two importers. This article will therefore cover just Uncharted Wines. You can look forward to reading about Swig after the weekend.

Rupert Taylor set up Uncharted Wines to revolutionise the way we consume wine in bars and restaurants. We had already been seeing different packaging formats for wine evolve in the past few years, the main step forward being, in my view, when people like Le Grappin and others began to put wine of genuine quality into bags. The bag-in-box wines of old were generally very ordinary. The fruity Beaujolais and Macon wines released in “bagnums” by Andrew and Emma Nielsen were pure glouglou and were perfect for the time.


Uncharted Wines’ Rupert Taylor

Rupert, who despite his youthful appearance has a history on both sides of the trade (sommelier through to account manager with Enotria and OW Loeb), took things one step further by introducing the wine on tap concept. If people are drinking wine in bars like they used to drink beer in pubs, it figures that wine on tap should be convenient and popular. Thirty-, and twenty-litre kegs keep the wine fresh and drinkers can try a good selection of wines.

The genius part of the idea is to fill those kegs with special cuvées made by some of the most exciting producers in the world. Well, almost the world. Getting kegs from South Africa has proved do-able, but Rupert is having to work on the logistics and costs for New Zealand.

The vast majority of the business conducted by Uncharted Wines is the kegs, and this has been an incredible success story, but the strange thing is that quietly, with no fanfare, Rupert and his team have put together a quite astonishing portfolio of producers and wines in bottle, quite aside from the kegs. I shall begin with a few of the keg wines, but I really want to highlight the other side of the business as well. Go into an establishment that has some of Uncharted’s kegs and you can be sure of glugging a fun wine, with personality and excitement. But the rest of the list…wow, some crazy stuff they’ve discovered.



You wouldn’t really expect to find Burgundy in a keg, would you? I’ll rephrase that, you wouldn’t expect to find really decent Burgundy in a keg…? Olivier Morin is based in Northern Burgundy, at Chitry, near Saint-Bris and not too far from Chablis. He provided two keg samples, Bourgogne Blanc “Circonstance” 2016 and Bourgogne Rouge “Circonstance 2016. The white is relatively lean for Chardonnay, perhaps erring towards Petit Chablis in style, but it has great freshness. The red is just lovely and fruity, just what you want. It reminded me of the juicy Pinot Noir that I first tasted from Jean-Paul Brun (Beaujolais) in the 1990s.

Somewhat more serious, and pretty classy, is Le Grappin Bourgogne Aligoté “Skin” 2017, which I’ve written about from bottle. The fact that Andrew is so generous in sending this wine to keg is why there’s so little to go round the rest of us. There’s great texture, richness, and less acidity than in the Aligotés of old, though again, it is fresh. I would love to wander into a bar where this is on tap.

Raphael Saint-Cyr farms the largest organic domaine in the far south of the Beaujolais Region, at Anse. He is therefore well placed to provide a juicy Beaujolais for keg. Domaine St-Cyr Beaujolais “Kanon Keg” 2017 is purest cherry fruit in a glass, and lovely. It’s the first wine here to come in the larger 30-litre format, just as well because I bet this flies.

I tried a few other keg samples, many of which I’d happily drink, such as Domaine de Séailles “Presto” 2016, (a Gascogne white made from Sauvignons Gris and Blanc), but I’m going to move on to some fantastic South Africans. Adi Badenhorst has provided kegs of AA Badenhorst Family Wines Secateurs 2017 Chenin and Secateurs 2016 Red (Shiraz, Mourvèdre, Grenache and Cinsault) which taste no less good than from bottle. The white has pear, quince and mineral freshness, the red is grippy but concentrated.

Pieter Walser’s Blank Bottle Winery has likewise provided two cracking wines. White KegWyn 2017 blends 50% Fernão Pires with Chenin and Roussanne, whilst the red, from a wider blend of Cinsaut, Grenache Noir, Shiraz, Roussanne and Pinot Noir, is lovely, and it does show a bit of structure.

Another vibrant South African is a Sauvignon Blanc from the 2018 vintage, from Duncan Savage. It was just a tank sample, Western Cape fruit, but I loved the soft lemon on the nose, coupled with a grassy note. Such a fruity Sauvignon Blanc is hard to find. Two wines (white and red) produced by Craven in Stellenbosch were also 2018 tank samples, but look very promising, and will appear under the Yellow Belly by Craven label.

THE BOTTLES (fizz first)

First in the lineup at China Exchange, as at Out The Box, were some Sparklers. Last week I’d been most impressed by Maison Nicolas Morin “Intrabulleuse” 2016, a petnat from Chardonnay. Although this particular Morin is based in Nuits, on the Côte d’Or, the fruit is sourced in the Jura and it has a real focus and spine.

Vigna San Lorenzo “Col Tamarie” 2016 is a Col Fondo wine from the Veneto. It comes off high altitude limestone soils, a blend of biodynamically, and “homeopathically” farmed Glera, Boschera, Perera, Biancetta, Grapariol, Verdiso and Marzemina. No wonder they call Italy Enotria! If you love a leesy col fondo, this takes the style to another level. Yet it does not lack focus.

One of the star fizz’s yesterday was Huis Van Chevallerie Filia Brut 2014, a Kap Klassiek from Swartland. This is astonishing Chenin, which has a touch of old Loire about it (anyone tried any old Huet Vouvray Mousseux?). Golden colour, zero dosage, a bit of fat, dry.

Also full and fruity, in fact mouthfillingly so, was the brilliant Westwell Wines “Pelegrim” NV, a traditional method wine based mainly on the two Pinots (Noir and Meunier), with 15% Chardonnay. Just 11% alcohol, but a big impact. Fresh apple dominates, with red fruits playing a supporting role, a touch of chalky minerality finishes things off. More of Westwell later.

Check out those lees in the Tamarie!

I remember when OW Loeb began importing Château Yvonne, a producer in Parnay, overlooking the Loire half way between Saumur and where that river is joined by the Vienne, to the southeast. They produce stunning Chenin, and their Saumur Blanc 2016 has concentrated pear and quince flavour. Saumur-Champigny “La Folie” 2015 is quite purple, and has a concentrated cherry nose. The fruit on the palate is more brambly with a bit of bite, an excellent drinker.

Saumur-Champigny 2015 tout-court is more tannic. It’s a vin de garde with the richness of the vintage. In a period where there are now some star estates in the region whose wines have become hard to source, let alone afford, names like Yvonne (and indeed Antoine Sanzay) merit immediate attention.


MAISON NICOLAS MORIN, Côte d’Or (Burgundy)

I mentioned the petnat of Nicolas Morin earlier, which I tasted last week. Yesterday I had the chance to try his negoce range. Morin is an ex-cooper, turned negociant, in Nuits-St-Georges. There are negoces aplenty these days, but Morin has carved a name for himself among aficionados for the obsessive nature of his winemaking philosophy. He lacks his own vines, so he can’t make the same wines every year, but there is a stylistic thread running through what he does produce.

Bourgogne Blanc 2016 has colour and richness not always found at this level, yet the finish has minerality as a nice contrast. It is a wine of ambition for a mere BB. The next three wines are reds, and all of them show more class than their appellation might suggest.

Santenay 2014 is fairly pale, and the fruit is smooth, but there’s grip on the finish. About 20-30% of the fruit is destemmed and it goes into 40% new oak. Hautes-Côtes de Nuits 2015 is darker, is all destemmed, and all sees new oak, not all that common to say the least for wines from the hills above the Côte. Bottled with minimal sulphur, the fruit is sweet on the nose, quite rich, but you can taste that it has had a little bit of whole berry fermentation to round it out.

The top red on show came from less fashionable Monthélie, too often forgotten by the Burgundy buffs (well, has anyone tasted Roulot’s Mothélie Blanc?). Monthélie 1er Cru “Les Riottes” 2016 is not cheap (£46), but it’s serious and becoming more complex. The fruit is great, but there’s a bit of added spice as well. One to keep a while, I think, but impressive…and I’d say that about all these wines. A genuine discovery in a region where you don’t expect to find a lot of new blood. The micro-negociants continue to come up with the goods.

There was one more wine from Nicolas Morin, a Vin de France sourced from the Rhône, Intrépide 2016. This has very plump Syrah and Grenache fruit, from Ventoux, with whole bunch vinification and bottled with low sulphur. It has a gorgeous bouquet and a savoury finish. Richer than you’d expect and quite big (14%). I preferred the Burgundy bottles, and loved the petnat, but I am still impressed by this red.


David Chapel is another coup for Uncharted, a man whose star has risen faster than anyone’s in the Beaujolais I can recall for a while, and we all know it’s a region packed with rising stars. I got to try the Juliènas Côte de Bessay 2017 twice in nine days and both times I was super impressed. It has a savoury side to it, and is a genuine terroir-defined parcel wine (from vines on pink granite, close to Saint-Amour). It is just the second vintage of the first wine David and partner Michele Smith-Chapel made. This also comes in magnums and double-magnums, for those after an impressive bottle.

Beaujolais-Villages 2016 is lighter, of course, but shows the fresh, smooth, fruit of the vintage, and it’s a few quid cheaper. David Chapel’s dad knew all the greats, and this is why David ended up working at Domaine Lapierre. The domaine is actually based in Régnié, and lucky for us, since 2017 they have managed to add three hectares in Chiroubles and Fleurie.


Although everyone is talking about Domaine Chapel, Rupert has also got hold of more Beaujolais domaines: Thillardon, Saint-Cyr (as we saw in the keg section), Château Grand Pré, and Damien Coquelet, whose wines I also like. He was represented by another nice Beaujolais-Villages 2016 and a classic Morgon Côte du Py 2014. This is from a beautifully fresh and classic vintage. The Coquelet Py has a touch of the funkadelics, but it’s a biggish wine with fresh acidity. You could drink it now with food, thanks to this freshness, but it’s not going anywhere soon.

Moving South, the next truly impressive producer was Jean-Baptiste Souillard. I’d never tried his wines, though I was just beginning to see them on my radar. Seven wines were shown, starting with some single varietal Marsanne and Roussanne, but at the top of the range the class here became evident. Côte Rotie “Coteaux de Bassenon” 2016 was deep purple, dense, tannic, but the bouquet of violets was elegant and ethereal, pointing perhaps to this wine’s future. Cornas “Les Côtes” 2016 was once more very tannin-dominated, and needs a lot of time. But the rich fruit underneath was very impressive and will come out, with complexity, when the mask of oaky tannin slips. Not as difficult to taste as some young Cornas.


A quick diversion is required before we leave France. I’ve seen bottles of Domaine du Petit Août before, but I can’t recall where [thank you Wink Lorch for reminding me when I tried this producer’s rare Espanenc]. Yann de Agostini started this domaine with two hectares of old vines in 2009, and in nearly a decade has increased his vines to six hectares, at Théüs, which overlooks the River Durance southeast of Gap, near the large Lac de Serre-Ponçon, in the southern region of the Hautes-Alpes.

“Sous le Fil” 2016 is a gorgeous, simple, white from Roussanne and Clairette, made with the freshness of vines grown at 600 metres altitude. “Le Poids du Superflu” 2016 is 100% Roussanne. The nose is exotic, the palate mineral and stony. Just 11.5% abv. Not fine wines but well worth trying if you see one on a wine list or on the shelf. I was quite taken with this pair.



Westwell Wines is on chalk terroir on the south side of the North Downs, just north of Ashford in Kent, and close to the old Pilgrim’s Way to Canterbury. There are around nine acres planted to the three classic Champagne varieties, along with four acres of Ortega. I’ve had a good taste already of some of that Ortega, because part of it went to Ben Walgate, for the Tillingham “Artego” cuvées.

Around 18 months ago the estate was taken over by former record company owner and music business figure, Adrian Pike, perhaps best known for founding the successful record label Moshi Moshi (that’s until you see him modelling a Throbbing Gristle t-shirt in the photo below…respect!).

I’ve already mentioned the “Pelegrim” English Sparkling Wine earlier in this article. I started off here with Adrian pouring me Westwell Ortega Classic Ferment 2016, a very nice wine with excellent freshness, but then Adrian was able to grab me a glass from keg of the 2017 Ortega, of which more is also about to go into bottle. This was very lively and vibrant, all aged in stainless steel. There are tropical notes, but grapefruit comes through on the finish. I must say I felt the 2017 is a step up.

Westwell Amphora 2017 was a sample, the wine will be available in November. It was fun to contrast this amphora-aged Ortega with Ben’s Tillingham Qvevri version. This is a bigger and more textured wine than the keg sample, but it is fresher, with less deep texture, than the qvevri wine from Tillingham. Adrian destemmed the grapes into steel vats but it unexpectedly began fermenting, so he left it on skins there for three weeks before pressing into amphora, where it spent eight months. It was bottled with just a tiny bit of sulphur. I’m certainly going to head out to visit Adrian some time. The wines are a great addition to the English artisan winemaking fraternity.

Adrian Pike sporting his fabulous TG t-shirt

SYBILLE KUNTZ, Lieser, Mosel

There are two women winemakers I really admire in Germany, Theresa Breuer and Sybille Kuntz. Sybille farms from the village of Lieser, and in fact shares the great Grand Cru Niederberg with Thomas Haag, of the Schloss.

An indication of the steely determination Sybille has to succeed lies in the story of how she opened a wine shop to help finance her studies in business administration. She effectively tasted half the stuff she was selling and thought “I can do better than this”. She can, but she is blessed with parcels on one of my favourite Mosel sites, the Niederberg, and some old vines to boot. She is certified fully biodynamic (since 2016) and has vegan certification too.

I tasted half-a-dozen wines, the Riesling QbA Trocken 2016 last week (off quartz and slate), and the following five wines yesterday. We begin at Kabinett Trocken 2015, a wine off blue slate which is richer than a Kab Trocken often appears, and it is lovely and long. Spätlese Trocken 2012 shows the soil really coming through, as does the intensity of 80-to-100-year-old vines from Niederberg. It has Spätlese richness without sweetness. It also comes, in this case, out of one of the world’s most elegant magnums.


Dreistern Goldkapsel 2003 from Niederberg Helden is bottled with 14.5g r/s and 14% alcohol, and has genuine richness, but also a slatey mineral intensity. Fresh for a 2003 too, it oozes class. If that were not spectacular enough, Scharz 2007, is a parcel wine from that part of the Niederberg (Scharz is an old German word for slate), from 80-y-o vines. It is bottled with 25g/l residual sugar, but it also has a very definite savoury side. Auslese Feinherb 2011 is from the Helden parcel of the Niederberg, also farmed by Thomas Haag. It’s a steep slope (a 70% incline) requiring hard manual labour. Bottled with 50g/l residial sugar, it rewards the work with a deep richness, fabulous.

These are magnificent wines, and Sybille Kuntz is not sufficiently recognised as one of the great winemakers on the Mosel. Her wines are truly expressive of a special site, reflecting the terroir, but they also show great intensity and presence. They are among my personal favourites from the region.

Sybille Kuntz

Sybille’s husband, Markus Kuntz-Riedlin, took over his parents’ vines near Laufen, in Baden, in 2009, where he specialises in Spätburgunder. Sybille was showing his rosé (2016) and red (2014). The pink is very fruity with lively acidity, the red sees 15 months in old oak. It’s not as structured or big as some Baden reds, but it is savoury and has bite. These wines are not, for me, as truly exciting as Sybille’s wines, but they are still pretty good. The labels show a 1950s chalk crayon sketch by Adolf Riedlin.


We now reach the last two producers who I must mention in more than just passing from yesterday’s tasting.

SUCCÉS VINICOLA, Conca de Barbera

This is a new estate in Conca de Barbera, the hard work of Albert Canela and Mariona Vendrell, who met at wine school and formed the domaine (and a more romantic partnership) from vines owned by Albert’s family in 2011, at only twenty years of age. It’s hard to believe this obviously still young, but highly engaging, couple (Mariona is the most chatty, perhaps with the best English) are making such super wines. They have since unearthed some very old and neglected parcels in the hills.

Experiència 2017 is 100% Parellada, a lovely sappy and juicy white, 50% direct press and 50% skin contact, but the real gems here come from a local grape I have written about elsewhere, Trepat. This was once a workhorse variety, and as I mentioned last week (Out The Box) in relation to Lectores Vini’s Pomagrana (from Modal Wines), around 1,500 hectares of Trepat are still planted, for fairly ordinary rosado wines. The grape, when handled carefully, can actually make a brilliant glouglou red in the old clarette style. La Cuca 2016 is just such a wine, deliciously fruity, crunchy, and just 12% abv.

What I didn’t expect was El Mentider 2016. This is a darker, more serious Trepat from a single vineyard, and vines aged between 80 to 118 years of age. Darker, with 14% alcohol, it has body and depth, and no rusticity at all. I was astonished by the quality, although I lost my heart to the lighter version, for sure. I truly wish these lovely young people every “Succés”.

Albert and Mariona and their wines

THE HERMIT RAM, Canterbury, New Zealand

Talking of losing one’s heart, I had waited a long time to try these wines, and only broke my duck last week. Everything that has been said about Theo Coles’ South Island estate is true. These are the most exciting wines from NZ I’ve tried since I tasted Kusuda and Bell Hill some many years ago now.

Yet again, I’m about to shoot myself in the foot. I never, ever, ask for free wine, but I do sometimes wish some importers would just keep aside the odd bottle for me to buy. If everyone who reads this buys just one bottle of Hermit Ram, there will be none left in the UK well before you are all done, and it would not be the first time I’ve plugged a wine/producer only to leave myself empty handed.

Field Blend Skin Fermented Rosé 2017 does what it says on the bottle, then more. Half the blend is Riesling, picked at spätlese ripeness. The rest is 35% Pinot Noir and 15% made up from Gewurztraminer and Cabernet Sauvignon. Old oak, no sulphur, a textured and savoury pink with genuine personality.

Sauvignon Blanc 2017 also sees skin contact, and this really exemplifies why so many forward thinking producers are giving this technique a go with a grape that seems to turn off so many wine obsessives, or at least did until Abe Schoener gave us his cave-dwelling prince. It’s a gravel and limestone parcel which gives a wine that’s grassy-fresh and saline. The nose is unlike any NZSB you’ve smelt before. If I buy some of this it will be a NZSB first for well over a decade (though to be fair I did enjoy someone else’s Seresin SB last Christmas).

You know I love a wine which pokes people in the eye, and the next wine does just that. Before we saw the first acclaimed Sauvignons from New Zealand in the 1980s, the country was famous, or rather infamous, or maybe just not very well known at all, for dull Müller-Thurgau, vinified in their stainless steel dairy vats. Europe, mainly Germany and Austria, has seen something of a minor M-T revival, but this is the first NZer I’ve seen with the balls to highlight this grape. And you know what? It may just be my favourite wine from yesterday’s Hermit Ram offering for that reason.

Müller-Thurgau 2017 comes in at a low 9% alcohol, and sees three weeks on skins. No sulphur is added. The vines are a very old parcel. The skin contact seems to have given the wine an odd colour, almost pale caramel, which is immediately appealing to me, doubtless not to more conservative palates. The fruit smells sweet, with lovely high floral notes, but it’s another of those wines where you think you begin to pick up the texture through your sense of smell, even before sipping. There is a certain sour nature to the palate, which is not uncommon as a result of skin contact, but there’s characteristic freshness to balance it. Lovely juice.

Whole Bunch Pinot Noir 2017 is truly lovely. 70% whole bunch fermentation, six weeks on skins, gentle handling into old oak, and just 20 ppm sulphur added to finish. 12.5% alcohol, great legs, a fragrant and fruity Pinot nose, what more do you need? I forgot “concentrated”. It’s very concentrated. And long.

Apparently Theo is sending us two single vineyard Pinots soon, which he describes as “more graceful and delicate”. How good will they be, for god’s sake, because this Whole Bunch job is good enough! Now I know who I’d like to spend my winter holiday working for. Shame all the NZ family is way up in Auckland.

Theo Coles of Hermit Ram

One final quick shout for Celler Frisach in Spain’s Terra Alta. Three producers get together to make some delicious wines, here represented by a 2017 rosado, made from skin contact Garnacha, Garnacha Blanca and Garnacha Gris, plus 3 Porcs, a golden Parellada, savoury, bready and really unusual (in a good way). Both were poured out of magnum, and although Louise Holstein of Uncharted got me to try them right at the end, they were really interesting and I hope to taste them at leisure another time.

I’ve been going through my notes, and there are a few more wines I’d love to write about. But I think I’ve exhausted myself, and very probably my readers. This won’t be the last time I get excited about Uncharted Wines, I am certain. Rupert, Louise, Angus and the team have made such a big splash and a spectacular start in the wine trade that I only hope they can continue with their current success.


Posted in Artisan Wines, English Wine, Natural Wine, Wine, Wine Agencies, Wine Merchants, Wine Tastings | Tagged , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

Out the Box 2018

September is a busy month for Tastings, so I apologise that this article is appearing, unusually, almost a week after the event. I’m covering five importers here: Maltby & GreekModal WinesThe Knotted Vine, Basket Press Wines and Red Squirrel Wine. I simply didn’t have time to get to Nekter Wines and Roland Wines. I did taste rather a lot of wine, and spent a long time, with Uncharted Wines, and perusing at my notes it looks as if I tasted rather more wines with Swig than I thought I had. But I’m off to their joint tasting in London tomorrow, so they will get a piece to themselves, a blend of the two events.

In his welcome to Out the Box 2018 David Knott (of The Knotted Vine) stated that he has one goal: “to bring together the most exciting group of young importers focused on importing minimal intervention wines in the UK…”. There is no doubt in my mind that he has succeeded. Out the Box is, for me, one of the most exciting Tastings now established on the London circuit. It contrasts with other similar Tastings in that pretty much every wine has some sort of individual personality, something to say for itself. The wines are not “safe” and none are boring, and I’m sure not all of the wines will appeal to all palates, but a wine that has little to say for itself here is a rarity.

In exploring the importers here you will doubtless come across wines you’d never think of trying. The advantage of attending is that you can explore some pretty obscure wine regions, and try some producers from more well known regions who you may never have come across. But in purchasing these wines from such a group of young importers you are also supporting the future of the wine trade, and supporting those who, in pushing the boundaries, are creating the mainstream of the future.

There have been people predicting wine trends for as long as there has been wine writing. I think that Out the Box is always one of the places to spot future trends, or certainly to have them confirmed. It’s not hard to see that the wines of Central Europe and The Balkans are making great strides, and at the very top of the pile for excitement I’d place Moravia in the Czech Republic, in whose wines Basket Press specialises. I’d also suggest that the time for Greek Wine to finally break through might finally come in 2019. We shall see.

South Africa, of course, continues to grow beyond expectations, finally, and Swig is right behind this groundswell, as also is Red Squirrel. It’s pretty clear that wine on tap is a big thing, largely the result of the catalyst effect of Uncharted Wines, but that will have to wait for my next article.


Maltby & Greek has been going for about six years now, based originally in the wonderful market in Bermondsey’s Maltby Street (now in Arch 17 of the Apollo Business Park). They supply a wide range of Greek produce, including a good portfolio of Greek wines, of which just shy of forty were on show last week.

Douloufakis Winery Sparkling Vidiano 2017, Dafnes, Crete – Three sparklers were on show to kick things off, all good, and all of which I’ve tried before. My favourite, though I like this grape variety anyway, was this Cretan Vidiano. Very frothy, but underneath the intense mousse and bead there is bags of fruit and citrus flavour. Just a little complexity balances the freshness, but this is at its core a delicious thirst quencher.


Other M&G highlights included reds from the Peloponnese and Tinos. Rouvalis Winery “Tsigello” 2017 is made from one of Greece’s finest red varieties, Mavrodaphne, in Aigion, in the far north of the Peloponnese, not far from that grape’s natural home of Patras. Tsigello is actually a top quality Mavrodaphne clone. It’s a dark wine, as Mavrodaphne habitually is, with 13% alcohol. It combines freshness, possibly a result of the vines being at 650 metres altitude, with lovely sweet fruit. It finishes with a touch of tannin and texture. Ageing is in a mix of French oak and amphora. Extremely good value at just under £10 to the trade, I thought.

Vapistis Winery “Vapistis Red” 2016 is an altogether more serious wine. The varietal mix is listed as Mavrothiriko (70%) and Mavrotragano (30%). It comes from Tinos, an island in the Cyclades, and it sees a 12-day maceration followed by six months on lees in stainless steel. Then it is allowed four months in bottle before release. The wine has a very moderate 11.5% abv, and I caught a bit of reduction on the nose. But this is really promising. The fruit in this ruby wine is really intense. Beneath the fruit is a spiciness, certainly nutmeg (I adore nutmeg), and the wine has a sweet and sour richness to the finish.

My favourite wine from M&G at this tasting comes from one of my two favourite Greek producers, Domaine Kalathas, also from Tinos (my other favourite is, for the record, Ktima Ligas). Domaine Kalathas “Sainte Obéissance” 2016 is an old vine Aspro Potamisi-Rozaki blend (indeed!). The Aspro Potamisi (80% of the final blend) is initially vinified in stainless steel, and then it sees “a refermentation and reduction of 10g of sugars the following spring”. Then, after malolactic, 20% of the same vintage’s Rozaki is blended in. It might sound complicated, but the intense nectarine bouquet and really fine fruit are all you need to fall in love with this. There’s a touch of salinity as well. Try it with a saffron monkfish stew with fennel and couscous. One of my wines of the day. #tinoseveryday!



Nic Rizzi has built up a wonderful portfolio of “small-batch” (as he calls them) wines in a short time. None is more wonderful than the guys I headed here to taste, though I do somewhat shoot myself in the foot for plugging them – JoisephLuka Zeichmann only founded Joiseph a couple of vintages ago, at Jois near the top end of Austria’s Neusiedlersee in Burgenland. A young man, still well in his twenties, Luka is potentially a future star of the region.


Nic Rizzi

Joiseph Mischkultur 2017 blends Grüner Veltliner, Traminer and Welschriesling and other varieties in tiny quantity. There is a little skin contact for some varieties, and it sees élevage in old oak. It’s a slightly cloudy wine but massively flavoursome.

Rosatant 2017 is a pure Blaufränkisch rosé. The fruit gets a six hour maceration for colour and then gets popped into just two 500 litre barrels. It’s a pale wine, very good fruit, lively, but with a lick of spice to add interest.

Roter Faden 2017 is Luka’s current red blend (I should say that he still only has around three hectares of vines) in 2017. Zweigelt (50%), Pinot Noir (30%) and Blaufränkisch (20%) gives a palish but bright wine, where the Zweigelt is given a ten day maceration (the rest just three days). The result is a fruity wine with a sour cherry finish.


Very good indeed as all these three are (all bottles I’d go out of my way to buy), another of my wines of the day was Luka’s Tannenberg from the badly frost hit 2016 vintage. This 100% Zweigelt comes from the vineyard (sort of) depicted on all the Joiseph front labels (photo above). It’s Luka’s best parcel, on schist. Fifteen months in 225 litre oak after the grapes have undergone a light infusion on the skins, following destemming, gives a wine with a lifted, slatey, nose and bags of concentrated red fruits. There’s acidity to match. It’s a genuine terroir wine, but reflecting a cold vintage in its tight focus. Stunning!

Sadly only 300 bottles were made. Please save me one, Nic, or failing that, just save me anything from Joiseph.


Modal Wines is not just Joiseph. Slobodne, from Hlohovec in Slovakia, is another of my favourie Modal producers. I recently drank their gorgeous Deviner (see here, in my review of Modal Wines at Plateau Brighton back in May). That wine was on show at Out the Box, but I’m going to mention two others here.

Jantara 2017 is a blend of 70% Pinot Gris with 30% Grüner Veltliner, where the former sees five weeks on skins, the latter variety two weeks. A mineral core is surrounded by savoury fruit. Rebela Rosa 2017 is a pinkish-orange colour, containing equal amounts of Blaufränkisch and Cabernet Sauvignon. It gets directly pressed and then sees eight months in vat. This is a fairly soft wine with a mineral grip and texture, and a 13% alcohol content which you don’t really register.

Finally from Modal, a wine from a producer I’d not tried before, Lectores Vini “Pomagrana” 2017. This comes from Conca de Barbera in Spain, and although there is 10% Grenache in here, the rest is made up from Trepat. Now Trepat is quite common in Conca de Barbera and neighbouring Costers del Segre, and there are still around 1,500 hectares planted. This is because it is used largely to make rosado wines. But one or two forward-thinking producers are starting to make promising reds.

Pomagrana sees a two-week maceration to gain more colour and some texture. The grapes are then pressed and returned to stainless steel. There’s no carbonic here. The fruit is a frankly delicious redcurrant, pomegranate and cranberry mix, with added spice. I’ve tried a few Trepat reds and I think this crunchy red fruit thing it has going for it will make it popular with anyone looking for this kind of style. A great wine for bar drinking.



David Knott is passionate about his growers, but he’s also one of the most astute of the small importers. He’s got a number of really good European producers on his books, but perhaps he truly excels in picking out a small number of Australians who, when you try them, you wonder why no one has got there first.

It’s a close call but I am picking out here the producer I think just about tops the list. It is also a producer who does seem to be starting to get recognition this year (I keep seeing bottles in restaurants, if that’s anything to go by). Koerner is a Clare Valley producer run by brothers Damon and Jonathan Koerner. But their wines don’t necessarily fit the standard mould of the region. This is largely because I think they reject the idea that especially Clare white wine needs to age for a decade or so.

Koerner Watervale Riesling 2017 is therefore very different to the “Grosset” ideal. The skins macerate over night and then the juice is pressed, half to amphora and half to stainless steel. This is much richer and softer than anything you’ll have tried from the region, a wine full of new flavours and textures. Try it.

They produce a couple of Vermentino wines, differentiated by cuvée names which don’t necessarily reflect their styles. Pigato 2017 is another nicely rounded out wine, always slightly cloudy, richer and more textural than much of the Ligurian version, after which it is named, will be. It has three weeks fermenting on skins. Rolle 2017 is named after the Provençal version of Vermentino, which I usually find rounder and softer than the Ligurian. Here, we see a cuvée that is made by macerating the skins overnight and then it goes into big slavonian oak foudres. It has a certain Riesling quality and as much as I’ve enjoyed bottles of the Pigato, this is impressive.

La Corse 2017 is a mixture of Sangiovese, Malbec, Grenache and Sciaccarello, which sees two months in new oak and amphora. Quite inspired, this is a lifted, pale red with a fresh and slightly dusty nose. Picked early, it exudes freshness, and I think the Sangiovese fruit shines here.

The Clare 2017 nods towards Bordeaux, blending Cabernet Sauvignon, Petit Verdot, Malbec and Cabernet Franc, with the (increasingly common) twist that it has ten months in amphora. There are intense fresh acids and dusty tannins again, a powerful wine in many ways, yet still light in others.

Nielluccio 2016 is a Clare Valley 100% Sangiovese this time. The cuvée name is inspired by Corsica, of course, and it does have a rugged quality. “Light and bright”, say my notes. Just chilled, this was delicious, showing good fruit but a bite on the finish.


I wanted to try the wines of Noelia Ricci, having heard good things about them. The original Tenuta Pandolfa was created by  Noelia’s father, Giuseppe Ricci, who revived winemaking after the destruction of WW2. After he died in 1980, Noelia took over with a strong vision to make exciting wines. This Emilia Romagna estate is now in the hands of her granddaughter, Paola Piscopo.

Bro Bianco Forli 2017 is made from the humble Trebbiano grape. It’s clean, fresh and simple, a wine perhaps for simple pasta dishes such as ravioli stuffed with pumpkin and herbs. An unloved variety, but a nice wine.

Godenza 2015 is, despite some bottle age, still remarkably fruity. The fruit is super-concentrated, but it isn’t heavy, nor is it complex. It’s a very nice, slightly different, interpretation of Sangiovese. Both wines show a simple purity that is quite beguiling.

Also from Italy, but quite different, is Albino Rocca. This is a name you might know. They used to be imported by a bigger name agent, but they were dropped. Under biodynamic conversion, and with a real focus on quality at every level, the rejuvenated Albino Rocca has been snapped up by David Knott.

Langhe Chardonnay “da Bertu” 2017 was very good, in a fresh and lighter style with a medium body (for Chardonnay). Barbaresco 2015 is an ageable wine, palish (as I like my Nebbiolo), with a clearly defined varietal bouquet showing a nice, haunting, florality. It has a 2015’s body, with a touch of muscle and quite youthful tannins still.

Barbaresco Vigneto Ronchi 2009 is a single vineyard lying east of Pajé, on the border with Nieve. The vines are old here, between fifty and seventy years, on chalky clay. This is quite old school, bright in colour, concentrated and still young. This estate is one that perhaps would have been listed among the modernists in the 1980s, but the oak is being dialed back these days and, as biodynamic conversion illustrates, a far more thoughtful approach to viticulture is also being brought in. This 2009 could be drunk now, but it does have the potential to get even better. An estate on the way back to greatness?


David Knott delves into the Iberian Peninsula a fair bit, and I was able to chat with one of his producers on the stand, Gorka Mauleon of El Mozo. This is a producer from Lanciego, in the Rioja Alavesa sub-region, the smallest of the three, just north of Logrono. They own some lovely old vines which the family planted in the 1930s. There are around nine hectares in total, spread over 18 plots, and Gorka calls the wines produced “microwines”. The project Gorka has embarked on since taking over is to make wholly natural wines with no added sulphur, and where possible using carbonic maceration to make vibrantly fruity wines.

Herrigoia 2017 contains both red and white varieties, very common at El Mozo, and traditional in Rioja Alavesa. In this case it is Tempranillo with Viura and Malvasia. It’s a fruity red in the aperitif style, very easy to drink.

El Cosmonauta is a wine you may have seen, the brightly coloured label (it comes in a number of different cuvées) depicting a cosmonaut spacewalking. This pale red is in the “clairette” style, and is based on the kind of wine Gorka’s grandfather, Teodoro, made. The grapes (Tempranillo, Garnacha, Viura, Malvasia and Torrontes) come from over 600 metres up Monte Viñaspre, just north of Lanciega. Pure glouglou, or whatever the Spanish/Basque equivalent is.


Czech Moravia has, for me, been my most exciting wine discovery of the past twelve or so months. I had no idea that such exciting quality wine was being made by artisan producers not all that far north of Vienna, over the border in the Czech Republic. And it’s not as if these wines have just started being made. The natural wine movement in Moravia has been going a good few years.

Jiri and Zainab of Basket Press Wines are not the only people importing from Moravia, but they are true specialists with deep, on the ground, knowledge. I first met them at Plateau (again) in Brighton, for a Tasting back in February, which you can read about here. These wines are seriously exciting and worth getting to know.



Ota Ševcik makes brilliant Frankovka, which is the Moravian name for the better known Austrian variety, Blaufränkisch. I’ve tried that before, and also his excellent Pinoty, but I very much wanted to try out his Neuburger. This is a 2015 wine made from a variety which is not considered very wonderful by more conservative Austrians (and doubtless Czechs as well), it’s a cross of Roter Veltliner and Sylvaner. Often criticised for being too full bodied, carefully nurtured it is capable of producing quite elegant dry whites. This version is soft, juicy and rounded with nice peppery notes. It does come in at 13.5%, though it’s far from ponderous.


Richard Stávek is, since the mid-1990s, one of the first pioneers of natural wines in Moravia. His winemaking philosophy came from his whole attitude to mixed farming, pursuing a holistic approach to the wellbeing of his land and his animals. I think his field blend skin contact Špigle-Bočky is one of my favourite half-dozen Baskett Press wines, so here I will tell you about a new discovery for me, Divý Ryšak 2016. It is also a field blend which includes Grüner Veltliner and also the hybrid Isabella (cf a Proibida from the Azores Wine Company). There’s also some Blaufränkisch, St-Laurent and Blauer Portugieser in the mix.

This is beautiful. I’d call it a cross between a light red and an orange wine, initially showing a lovely lifted strawberry bouquet, with deeper mandarin, orange peel and spicy citrus on the palate. Spice kicks in on the finish. Mind blown! Want!


Jaroslav Osička is another of the founding lights of Moravian natural wine, a former wine professor turned producer. In his case he looks the part with his grey hair and trimmed moustache.  He makes another of my favourites, Modry Portugal (the Czech name for the Blauer Portugieser variety), but here I’m picking out Tramin Ceverny 2015, made from Gewurztraminer. The variety is pretty obvious from the nose, so it’s floral with exotic fruits. An attractive wine, pure gold colour reflecting greenish glints, quite autumnal.


Petr Koráb “Cremant” 2017 is actually a petillant naturel made from 100% Pinot Noir. I’d describe this as a winter sparkler, orange in colour tinged with red. It’s incredibly fresh, but with a warming bitterness. Unusual, yet very appealing.

I tried two wines I’d not remembered seeing before from Krásná Hora, based right near the Slovakian border close to Dolno Poddvorov. These five hectares were originally planted eight hundred years ago by Cistercian monks. Eschewing all synthetic products from the beginning, they are well on the way to being fully biodynamic now.

The specialities here are Pinot Noir, Chardonnay, Riesling, Pinot Blanc, Sauvignon Blanc and Merlot. Sekt Brut Natur Blanc de Pinot Noir 2016 is a delicious Sekt (I think Jiri also has some 2014 which I recall shows nice complexity on top of the freshness here). I was slightly reluctant to try Chardonnay 2016 at first. You see, it is supposedly the favourite wine of John Cleese who, having tried it in a restaurant, came back and bought it in large quantity. Despite its celeb endorsement, I was won over.

The wine is actually a blend, with (in this vintage) just 57% Chardonnay, along with 43% Pinot Blanc. Partially fermented in stainless steel, partially in open old oak vats, it is also aged in a steel and oak combination. There is smooth fruit with a slight plumpness (13% abv) and a fresh finish, very attractive and a wine with its own personality. Which obviously can also be said of John Cleese.

Petr Kočarík Hibernal 2015 is made from a Riesling x Seibel cross (Hibernal). After a year on lees in barrel it still has a very pretty nose, and it reminds me of the bouquet of some English white wines, with just a hint of grassy Sauvignon Blanc style, and an even fainter hint of grapefruit. The palate is very gooseberry, and it has a bit of melon and apple in there, plus some body too (13.5%).


Jakub Novák is another name to look out for, as much as Joiseph, the Austrian producer at Modal Wines. One wine only was on show last week, I’m sure because Jakub’s production is equally tiny, and his wines hit the UK only intermittently. Muller Thurgau 2016 gets a day on skins and then is aged in 500 litre acacia barrels for eight months, on lees with occasional stirring. Fruity but intense is how I’d describe it, but one of the best Muller-Thurgau wines I’ve tried (and there are, as some of you will have discovered, a few very good ones these days).


Magula Family Winery is not Czech, but Slovakian, based in Malokarpatská, or the Lower Carpathians to you and me. Frankovka Modrá 2014 (not 2015 as listed) is, as we have already learnt, Blaufränkisch. They make several cuvées with this variety, but this one is light-to-medium-bodied, quite pale and bright. The fruit is elevated on the nose, and it shows intensity on the palate, but not massive weight. There’s a nice bit of grip to ground it and give a little structure. Tasty stuff, basically.



You’ve had the Red Squirrel Portfolio tasting to digest recently (early September, see here if you missed it) but don’t worry. The RS folks have such a varied portfolio, of which I’ve extolled the virtues quite enough, that I can happily fill in on some wines here that have missed out on recent occasions.

The main producer I want to cover is South Africa’s De Kleine Wijn Koöp. The cooperative is based in Stellenbosch, but sources grapes from all over the country. This producer has always gone a little under my radar, though I’ve tried their wines before. What has grabbed my attention is that they are producing a couple of wines for their UK importer under the Eekhoring label…eekhoring means squirrel in Afrikaans.

Eekhoring Wit 2017 is a Swartland blend based on Chenin Blanc with other varieties (including Grenache Blanc, Marsanne and Viura). It is deliciously simple, crisp and quite floral, but with a beeswax texture as well. Eekhoring Rooi 2018 (yes, 2018) throws together Cinsaut, Syrah and Pinotage. It was only bottled in august, and it is also lively and fruity with a bit of texture on the finish. Both wines are great fun, and they have a well designed label, which really should make this fly off any restaurant wine list.


There’s a bit more seriousness to Kreatur “Die Synachin” 2017. More body, more weight, and more on the nose than the previous wine (flowery, with tea leaf aromas). It has pretty smooth dark fruit yet it’s grippy as well. The label depicts a fictitious composite creature which changes every vintage. Just 3,000 bottles made.

Ou Treffer 2017 is pure Cinsaut, a variety which has only come to the fore in terms of quality wine in recent years, formerly being consigned to the heap of “workhorse varieties”. The very best South African Cinsau[l]t is every bit as good as the much more trumpeted Cabernet Sauvignon, or Syrah, as the Sadie Family’s Pofadder attests. Open top fermenters and old oak is the regime here for a wine that is smooth, rounded, and like so much of the “new” South African Cinsaut, bears a passing resemblance to Pinot Noir for some reason. Just over 600 bottles of this were made, but the UK was lucky enough to receive 200 bottles. Snap ’em up.

Lke Ou TrefferKnapskêrel 2015 is a Stellenbosch wine, from the Polkadraai Hills to the west of the town. The wine is made, in this case, from Cabernet Franc and it’s a biodynamic wine, just 700 or so bottles with 200 in the UK (thankfully a little more abundant 1,200 bottles were made in 2016). The grapes are farmed by Johan Reyneke and Rosa Kruger, and see whole berry fermentation before ageing in 225-litre, third fill, oak for 18 months. This is like a very ripe Loire red, with a lovely lavender and violet bouquet framing raspberry and a little blackcurrant fruit. 13% alcohol, a juicy steak wine in my book.

The last KWK wine was the pure Cabernet Sauvignon Heimwee 2015 from Stellenbosch. It comes from the same block as the Cabernet Franc and is made in a similar style, quite intense but that fruit intensity is not drowned by oak.


I was taken through the wines by Faan Rabie, a videographer and one of the co-op’s partners, whose detailed explanations were much appreciated. The wines are really good, and I’m not sure why I’d not really focused on them so much before.


Faan Rabie with the Squirrel cuvées

Before finishing I must give a shout out for a few more producers I’ve missed out in previous pieces on Red Squirrel, and which I tasted last Tuesday. Château de Bel I have mentioned before, and have secretly been drinking their wines. But the one I’ve only had once before, as far as I recall, is Bel en Blanc. Like the red Cabernet Franc, this is a Non-vintage wine, a blend of vintages. It is also unusual in that the variety is Muscadelle, usually a real bit player in Bordeaux.

The nose is quite exotic. I get greengage, a touch of mown grass, and some tropical fruits. The palate combines those tropical fruits with a touch of nuttiness. Truly one of the most fascinating Bordeaux producers around, well out of the ordinary for the region. The Cazenave family farm at Arveyres, southwest of Libourne, but they also have vines in wider Saint-Emilion, plus a third of a hectare in Pomerol. One to explore if you haven’t already.

I spotted Tenuta di Angoris Schioppettino 2016 because I like the grape but rarely get to try one. This was very fruity with fresh acidity, plus a bit of brambly grip. Not a complex wine, but a nice red for autumn, and deceptively alcoholic (13.5%).

I have one or two Valdonica wines in my stash at home. This Tuscan producer has scored a spectacular coup by enticing Tim Manning, Sean O’Callaghan’s right hand man at Riecine when he was there, as head winemaker. I’ve bought several of Tim’s brilliant Vinochisti wines from Winemakers Club and they really are some of the most exciting wines in Tuscany. At Valdonica, Tim is ploughing a similar furrow.

Mersino 2015 is a beautiful Vermentino, for sure, but I slightly preferred Arnaio 2015 this time, which is a Sangiovese/Ciliegiola blend. It has an orange/brick tinge to the colour and a savoury nose. Juicily plump fruit has great acidity, making for a wine which is fresh and long. I have a bottle of this from the 2013 vintage which I shall open soon.

The last producer for this article is from a country that is all too unfashionable, but Red Squirrel has (if you count Azores Wine Company) managed to snag four really good new ones. Morgado do Quintão is in the Algarve, let’s face it, not Portugal’s most famous wine region. But not for Filipe Vasconcellos the school of bung ’em in rotting old oak for a decade and let them dry out good and proper. That’s not to say he’s a modernist. Actually, he wants to revive traditional varieties, and these are what he has planted alongside the vines his grandparents farmed sixty years ago.

The white 2017 here is made from the Crato Branco variety, and is a simple wine in some ways, yet that fantastic salinity gets to you as you sip on it. It’s oyster fresh. The 2017 red is a “clarette” style (paler red), made from Tinta Negra Mole. Be honest, who doesn’t want to try a Tinta Negra Mole these days, especially those of us who were assured by the Madeira buffs that the variety was a disgusting weed. Here, it makes a light wine which mixes red and darker fruits into something just a tiny bit exotic, finishing with crunchy acidity to refresh the palate. They say a rosé is coming soon.


Out The Box really delivered, as I expected it would. It’s one of the best tastings of the year now, and the organisation is pretty good too. Make it a date for the diary in 2019.







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