The 2014s are looking very good. As with the 2013s, they are consistent, and made in a lovely balanced style, with a bit of generosity but also freshness and definition. These are of course barrel samples, so the final wines will be a bit different. I’ve added some notes from winemaker Gavin Monery about each. He adds that he’s actively looking for more growers to supply grapes, especially Chardonnay from the Haut Vallee in Limoux or Jura, and Chenin from the Loire.
Chardonnay 2014 Gavin says: ‘The Chardonnay was the same vineyard as last year in the Roussillon. It was whole bunch pressed, no enzymes, 20ppm S02 added at the press, settled overnight and racked into barrel at about 300 NTU to try and foster a textural element and a little bit of reduction. I used 5 different yeasts, plus did some barrels natural and some started natural then I added S. cerevisiae after 5 days. It’s still on the gross lees right now and hasn’t been racked, stirred or touched, simply topped up. I cut the malo short this year, adding SO2 when the malic was 0.6g/L to try and keep some leanness to it. It’s mostly in 3 year old oak, with one new barrique out of 14.’
My comment: Beautifully bright and lemony with fresh fruit and a bit of pithiness, allied to some pear and peach richness and a hint of fennel. 90-92/100
This year it is from Calatayud in Spain. Gavin says: ‘We took a 6 tonne lot from a lovely vineyard at 900 m, with decomposed granite soils and split it into three batches: one was 100% destemmed, one had 20% whole bunch and one had 40%. They’re all still ageing separately at the moment so the exact final blend is still up in the air, but this sample was an even blend of all three.’
My comment: Lovely supple bright raspberry and cherry fruit with some appealing spicy notes and grippy tannins. Fresh and pure with lovely precision. 20% whole cluster. 91-93/100
Same grower as 2013, but different plots. Gavin says: ‘The Barbera was a better site than 2013. As we paid on time and they liked the way we worked so we got upgraded apparently! The 2014 is from a small parcel at the top of a hill with good exposure. It gets good light through most of the day and is windy, so helps ripen Barbera fully and protects against disease, as the Barbera bunches are tight and skins thin, so Botrytis especially is a big risk.’
My comment: Lovely black cherry and plum fruit. Sweet, fresh, juicy and focused with hints of liqourice and spice. 90-92/100
From Cayatalud. gavin says: ‘The Grenache was one parcel of three separate vineyards we had to pick on the one day, as they were all small and low yielding. Each vineyard had different aspects and soils, but all the vines were around 90 years old and bush trained. The one shown last night is grown at 850 m and faces southwest so gets hot afternoon sun. Despite the cold nights it is still pretty ripe and full throttle, though the acidity (pH3.41, TA 7.7) keeps it nice and fresh. It’ll age well but just doesn’t work in a blend with the other two. The other two are at 950 m and 1000 m, face south and are much more delicate, floral and expressive. They’re also quite light as with the whole bunch I didn’t want to over extract tannin so was only punching down once or twice a day.’
My comment: Rich, sweet, fresh berry fruits with some spicy peppery notes. Smooth with some liqueur-likenotes. Pretty, rich, ripe. 89-91/100
This is a great film. It’s titled ‘The wine boats of the Douro river’, and it represents a very different Douro than that of today, shot in 1923. This was before the Douro was dammed in the late 1960s/early 1970s with five different dams, which converted it from a sometimes rather wild river into the placid beast that it is today, as well as raising the river level a bit, taking out a few of the lower vineyards.
In the past, the wine used to be made in the Douro and then shipped down river in cask to Vila Nova de Gaia, to be aged and blended in the large warehouses of the various shippers. The Rabelo boats shown in this film can now be seen as floating adverts for Port houses in Gaia, and some are adapted for tourist rides.
There’s also another, slightly quirky old film from 1962 showing a Rabelo on the Thames!
I try to be a helpful sort of guy. Now that I have climbed the first few rungs of the wine writing ladder, I’m occasionally asked for advice about how to start out writing about wine. And unlike the last post I wrote on the topic – how to succeed as a wine writer by writing boring wine articles – this post is mostly serious and sincere. So here are my tips if you are thinking about becoming a wine writer, or if you are currently a loser wine writer and would like to be less loser-ish.
Read widely and read often. Seriously, if you aren’t devouring a novel a week, then how do you hope to write fluently and well? ‘I haven’t got time to read,’ people respond. Well, I’m surprised you are busy if you are a lousy writer. Maybe I was right: producing boring, formulaic wine pieces is the way to stay too busy to read.
Read. I’m repeating myself because you just ignored my first point, because you think you know better. Seriously, read more.
Find a niche. Take a step back and look at yourself.What are you known for? When people mention your name, what is the immediate association? The only people who can afford to be generalist wine writers and not be total losers are the likes of Jancis and Hugh, the very top critics (perhaps one or two of them), and people who do top TV. To establish yourself you need one, two, or possibly three specialities. You need to be a big fish in a small pond, because in the large pond you are going to get eaten immediately and no one will notice.
Develop your own writing style. And it’s so much easier if you are using a style that is YOU – that is authentic and represents the way you think and speak. Because then it will be effortless to maintain.
Write fast. Think of yourself as a painter decorator, not a painter artist, but working with words not paint. You need to use a roller not a delicate paintbrush. Get those words up there, and fast. It’s the only way to make a living from this game.
Practice writing different sorts of articles. Some of my colleagues are great writers, but they are one-trick ponies. All they can write is 1500-2000 word features, because that’s all they have ever done. There are different sorts of writing. Expand your toolkit.
Don’t try to make wine writing your sole income, at least not at first. You’ll be under such pressure that you’ll end up taking crappy gigs, you’ll make compromises you never intended to make, and you’ll be sucked into turning out rushed articles that give you no joy and only just enough income to pay your rent. Being under financial pressure sucks, and it’s never a good place for a writer to be. Be realistic: how much do you need to live on, and how will you earn this as a freelancer? When I started as a freelancer I was the sole wage earner in the home with two kids to support. It was not a decision I took easily, but as a moonlighting wine writer I already had a newspaper column, a book deal and two Glenfiddich awards in the bag, so I reckoned I had a chance of success.
Always be on the lookout for the story. Look behind the surface. Try to tell stories that no one else is telling.
And when you begin to achieve a bit of success, be careful. Everyone is looking for new, fresh, young voices in the world of wine, and people will help you and celebrate you. There are two perils that then face you. The first is that you’ll begin to believe the hype, and think that you are something special. This will cause you to behave like a dick, and your work will suffer. Second album syndrome. The second is that those who helped you initially will begin to regard you as a potential threat, and will no longer be quite so helpful. Stay humble, be grounded, and keep your head. Now is not the time to take your foot off the pedal, it’s the time to work really hard. You won’t be new or young forever, so you’ll have lost that advantage. Now is the time to produce your best work, dude. Go for it!
I was thrilled by this. It’s the latest red from Craig Hawkins in the Swartland, and it has been a bit controversial in the wine press. Andrew Jefford, normally a hero of mine, seems to have it in for Craig, and in a very mean swipe in his Decanter blog he described it as ‘fermented verjuice, and tastes like cranberry-flavoured wheat beer’. I disagree: I think it’s a very brave wine that touches the profound. It’s a little challenging, yes, but why is it that wine critics are the only people in the flavour world who feel threatened by challenging flavours? In the restaurant world, bravery and flavour boundary-pushing is celebrated far more than among wine critics, who tend to have a narrow view of what’s acceptable.
Anyway, now Craig and Carla have left Lammershoek, and therefore no longer have access to fruit from the farm, it looks like they are going to pioneer some new areas, looking to find exciting terroirs. Good luck to them.
Testalonga El Bandito King of Grapes 2014 Swartland, South Africa
100% whole bunch Grenache. Red cherry colour with a bit of cloudiness.So pure, vivid and fresh with juicy red cherry fruit and some spiciness. A bit of cherry pit character, lots of grippy structure and some keen acidity. This is pure, fresh, detailed and fine, full of life and energy. Thrilling, and – above all – great fun. 95/100
Normally, I find it hard to get too excited about Muscadet. But I’m beginning to change my mind. On a recent trip to Canada I tried a Melon de Bourgogne (the Muscadet variety) from Malivoire, and it was really interesting. It reminded me straight away of good Muscadet in its flavour profile. And this wine, which is an expression of an individual terroir, is just brilliant. Maybe we need to start taking Melon and Muscadet more seriously. I good growers got more money for their wines, meybe they’d be able to make the investments needed to produce more interesting wines. This is a single site wine from Vincent Caillé, and it’s really good. UK agent is Carte Blanche.
Le Clos de la Févrie Muscadet Sevre et Maine Sur Lie 2013 Loire, France
12% alcohol. Powerful, lively and almost exotic with a very stony, mineral character as well as fresh apple and pear fruit with some citrus freshness. Lovely acidity here with a refreshing yet complex personality. Such a vital wine which seems to capture the essence of the Melon grape variety. 92/100
I am a Dry River fan. The wines – produced in small quantities and hard to obtain – have all the makings of a cult winery’s offerings, but they are just so consistently delicious. The only criticism in the past has been, from some quarters, that they are just a bit too scientific and controlled. the good news is that Wilco Lam, who has been there since 2009 and winemaker since 2012, is continuing the journey of easing off a little on the control and taking the wines in a slightly more natural direction, without sacrificing the purity and deliciousness.
I’ve always loved the wines, and now I love them even more. This 2012 Pinot is really thrilling, and all those who’ve not really been fans of Dry River Pinot should make and effort to try this. It’s just so good. UK agent is Raeburn.
Dry River Pinot Noir 2012 Martinborough, New Zealand
30% whole bunch. Very fine, expressive, pure red cherry fruit nose showing lovely finesse and fine spiciness. Very fine palate with fresh, taut red cherries. So linear and bright with real purity and firm but fine tannins and keen acidity. Such a great wine, with massive potential for development. 96/100
I was originally going to write today about things in the world of wine that worried me. For example, I’m anxious that wine shouldn’t be so expensive that normal people can’t afford interesting wine. I’m also worried that the high-point-scoring critics will win the day and those of us who like to actually write, as well as rate wines, will be squeezed to the margins. And I’m also a little concerned that big, ripe, spoofy red wines will become the new norm – the aesthetic standard of fine wine.
But instead, after a couple of days where I have tried some really interesting wines, I’m going to focus on reasons to be optimistic.
First, there’s more interesting wine being made today than any time in history. Winegrowers are finding interesting terroirs outside the established classic regions and are producing really interesting wines with a sense of place. There’s the new world, where Australia, New Zealand, California, South Africa, the rest of the USA and even Chile and Argentina, where the fine wine scene has a sizeable element who are looking to make profound, elegant, detailed wines from special sites. If you are UK based, look at the portfolios of Indigo, Caves de Pyrene, Carte Blanche, Winemakers Club, Raymond Reynolds, H2Vin, FMV and many others, and they are all full of interesting producers.
And when I travel, I discover so many new, fantastic things. The next generation of winemakers are well travelled, and invariably value elegance over power, and want to express their place. It’s really encouraging.
As a punter, it’s becoming easier to access interesting wine, too. There has been an explosion of wine bars and restaurants in London with interesting wine lists. You wouldn’t believe how much of a desert London was for interesting wine in the on trade 10 years ago, compared with how interesting it is now.
I lament the increase in prices in some of my favourite wine regions such as Burgundy and the Northern Rhone. When I started drinking wine in earnest in the late-1990s, there were lots of classic wines much more accessible in price than they are now (although I was earning less then, so they were still expensive in comparative terms). But now there are so many wines that are out of reach of people on normal incomes, like me. Having said this, if you are interested in great wine and aren’t obsessed by wine as a status symbol, for every wine that has passed into the realms of unaffordability, a dozen have sprung up that are qualitative equivalents at a more sane price.
And there’s the internet. Information is now so much more widely available. With social media, you can be drinking a bottle and simultaneously engaging with the winegrower on twitter or instagram. You can read what others have to say about the same wine. And you can see where the wine came from and what the vineyards look like. That is brilliant.
The last two days? I had a brilliant Dry River tasting yesterday morning when Wilco Lam visited with a bunch of wines in tow. Then this morning, a vertical of Angelus with Hubert de Bouard, spanning 2000-2012. And this afternoon: the Austrian trade tasting, with so many great surprises, as well as a few old favourites. The wine world is a very exciting and dynamic one, and it’s a privilege to be part of it.
It seems to be a bit of a season for Riesling. Here are notes from four bottles tried a while back which I have found in a notebook, and feel compelled to write up now because they just deserve to be written up.
Wittmann Morstein Riesling GG Trocken 2009 Rheinhessen, Germany
13.5% alcohol. From limestone soils, this is a remarkable wine, even from a rather warm vintage like 2009. It’s lively, mineral and spicy with precision and richness in nice tension. There’s lovely citrus and pear fruit with some herby notes. It’s rich but quite dry, and really compelling. 93/100
Van Volxem Wiltinger Gottesfuss Alte Reben Erste Lage 2009 Mosel, Germany
With rich melon and herb notes, this is a textured Riesling showing nice depth and some fine spicy notes. It’s rich, intense and very attractive with lovely density of fruit. 93/100
Falkenstein Riesling Vinschgau Val Venosta 2011 Sudtirol, Italy
I don’t know much about this wine, but it’s brilliant. Focused, fresh and precise with lovely herb and pear and white peach fruit, as well as notes of citrus and spice. Textured and rich with a hint of sweetness, showing some waxy notes, but never giving up its freshness and precision. 94/100
Mountford Liaison Riesling 2013 Waipara, New Zealand
The debut vintage of new winemaker Theo Coles. Fine, expressive and detailed a lemony nose and lovely freshness. Notes of melon and spice with lovely texture and detail on the palate. Really compelling. 94/100
On my visit to the Okanagan Valley, it was nice to meet Donald Triggs (above) and taste a few of his wines. One stood out immediately as being particularly interesting: it was Gruner Veltliner, made from third-leaf fruit.
Triggs has been an important figure in the Canadian wine industry. A businessman with international experience, he partnered with Alan Jackson to form Jackson-Triggs in the early 1990s, and this became part of a larger company, Vincor International, with Triggs as CEO. It grew to become one of the world’s largest wine companies before a hostile takeover in 2006 by Constellation Brands. This left Triggs and fellow shareholders $1.5 billion better off, but he needed a fresh project.
So he and his wife Elaine left Niagara for British Columbia, and set up a new vineyard, Culmina, on a property in the south Okanagan. Joined by their youngest daughter Sara, they are clearly very ambitious, and have constructed an 8000 case gravity flow winery. The Triggs have just over 50 hectares of vines split over three sites, and the first wines are now beginning to emerge. Alain Sutre is providing some consultancy advice: he’s known to Triggs because of his work at Okanagan winery Osoyoos Larose, which was owned by Vincor.
Culmina Unicus 2013 Okanagan Valley, Canada
From 600 m elevation schist mountain soils, with 1280 GDDs, this is a cool climate Gruner Veltliner. It’s spicy with some white pepper bit and a hint of fennel, as well as fresh, textured pear fruit. Lovely weight. Quite fine. The single hectare of GV yielded 60 cases, and retail price is $27. 89/100
Two lovely South African wines recently enjoyed. The first, quite conventional: the 2012 vintage of the fabulous Mullineux Syrah. While I love their Granite and Schist bottlings (I haven’t yet tried the new Iron cuvee), this is the wine to go for. It’s lovely, and a comparative bargain compared with its expensive peers. The second is a quirky wine that I admire because of its bravery. Craig Hawkins is a vinous risk taker, and I really like his wines. It’s great that someone has the guts to leave a white wine on skins for two years. The result is unusual, but not undrinkable.
Mullineux Family Wines Syrah 2012 Swartland, South Africa
This is a beautifully balanced example of warm climate Syrah, showing fresh black cherry and plum fruit with lovely focused aromatics. There’s some pepper spice and a delicious savoury olive character alongside the sleek black fruits. A superb wine. 94/100
Testalonga El Bandito 2010 Swartland, South Africa
This is Craig Hawkins’ famous experiment where he left the wine on skins for two years. It’s lively and complex with orange peel, nuts and spice. Very grippy and tannic with some raisin notes. Astringent but with low acidity, this is a distinctive, complex, really interesting wine that’s just so hard to rate. Most people think that two years’ maceration was too long, but this is a wine that is worth trying. 92/100