12 Days of Vinebox: Day 12

5 01 2019

By Peter Vetsch

Well, we’ve done it:  scaled the top of a 24-day Advent mountain, and without pausing for breath, immediately continued up to the summit of the second 12-day Vinebox mountain perched directly on top of it.  36 straight days of blogging later, here we are, weary and satisfied and very ready not to write about any goddamned thing tomorrow.  And we end the 12 Days of Vinebox with the wine that maybe surprised me the most in the lineup, not because there’s anything particularly weird about it (although in this age of wine weird-offs marked by escalating departures from the norm, maybe strait-laced in-its-lane Left Bank Bordeaux qualifies as odd in a post-hipster-irony sort of way), but because it appears to be a library offering.  This 2011 Chateau Hourbanon Medoc is easily the oldest wine in our set of test tubes, proving that even back-vintage wines can be relocated and settle peacefully in their new skinny Vinebox homes.

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I gently chided Vinebox yesterday for not supplying much information along with their wines, but tonight’s offering solves that problem itself by way of an information-packed, if insanely disorganized, producer website, wherein the current proprietor of Chateau Hourbanon tells you absolutely everything you would want to know about the history and current philosophy of the estate in nine different potential languages.  I find this sheer earnest desire to share and educate highly welcoming.  Thanks to this glorious fount of information, I can advise that Chateau Hourbanon has long been highly regarded — it was classified as a Cru Bourgeois (or its pre-official predecessor) back in the 19th century — but the subsequent 100 years were not as kind to it, and when reformed dentist Remi Delayat purchased it in 1974 it was all but abandoned, its winery buildings in complete disrepair.  Delayat made it his personal mission to rehabilitate the estate, and after his premature death in 1981 his widow Nicole carried on the quest, followed by  their son, current proprietor and website content-master Hugh, who now manages the estate’s 13 hectares of vines.  In the current more formalistic classification of the Cru Bourgeois wineries, Chateau Hourbanon’s name remains on the list. Read the rest of this entry »

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12 Days of Vinebox: Day 11

4 01 2019

By Peter Vetsch

It’s the penultimate day of the Vinebox 12 Days of Christmas calendar, and while Christmas feels like a long time ago, there’s never a bad time to use the word “penultimate” when you have an occasion in need of its natural meaning.  Thanks to the outcome of the one-by-one Vinebox vial draft that I had with Ray, I ended up with the last two days of this miniature vinous adventure, and I certainly sat up and took notice when I pulled a 100 mL test tube of Chateauneuf-du-freaking-Pape out of the box and knew that it had to be mine.  When Vinebox says that they quality-control like crazy and look to represent the best in their sets, it’s not just marketing talk; the level of the wines across this dozen tastes has been consistently legit.

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Where I might give Vinebox a bit of constructive feedback is in the relatively slim amount of information that comes along with each vial.  The Vinebox reveal website for this calendar (which I might as well give you now that it’s the penultimate day of our countdown — see how useful and awesome that word is??) tells me only that tonight’s wine is the “Graveirette Chateauneuf de Pape”; the label of the tube adds that this is the 2014 rendition of this wine.  As the current vintage of this Chateauneuf is the 2015, and as it is not a widely known producer or wine in this market, it is next to impossible to track down any information about this specific bottle, which can be exceedingly frustrating when you’re the Type A kind of person who wants to know these things but can’t find them.  If future reveal sites could at least include the vintage, blend, vineyard details and winemaking and aging regime for the wines, it would be of tremendous assistance in bringing crucial context to the sensory impressions that this wine has in spades.

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Here’s what I can tell you:  Domaine de la Graveirette was founded in 2005 by Julien Mus, a native of the small southern Rhone village of Bédarrides, located in between Orange and Avignon in the Chateauneuf-du-Pape appellation, immediately east of the famed new castle of the Pope itself.  Mus was a relative rarity in that he left home to pursue a formal wine education in Beaune, Burgundy, and was perhaps even more rare in that, after said certified advancement of his profession, he came back to his very same tiny hometown to work, first growing grapes which he sold to the local cooperative, but then in 2005 founding his own estate that would allow him to forge his own winemaking path.  This estate, Graveirette, has been organically farmed since 2012 and Demeter-certified biodynamic since 2015.  Under the Graveirette name, Mus makes everything from prestige-cuvee CNDP to experimental micro-vat offerings (100% Marselan, anyone? I’m in) that are intentionally downgraded to the Vin de France designation to allow for creativity and flexibility in how the finished product comes about, freed from restrictive appellation legalities. Read the rest of this entry »





12 Days of Vinebox: Day 10

3 01 2019

By Raymond Lamontagne

My final vial of this inaugural Canadian Vinebox run hails from a producer with which I am familiar, at least in an academic sense: Chateau Gillet. The Nadau family has made Bordeaux wines for around 150 years. The Gillet vineyards fall smack dab on the limestone plateau that comprises the heart of Entre-Deux-Mers. Although Gillet makes red, rose, and white wines, the Entre-Deux-Mers region is best known for white Bordeaux. The area is vast, sandwiched between the Dordogne and Garonne Rivers (hence the name), and you will only see “Entre-Deux-Mers AOC” on white wines, with reds from this region labelled with the generic “Bordeaux AOC”. Confusingly, though, many producers of whites from the area now eschew the more specific regional appellation in favour of “Bordeaux Blanc AOC” or even just “Bordeaux AOC”, as is the case for the present vial. Ugh. According to Stephen Brook in his omnibus The Complete Bordeaux, there is little point in trying to navigate this morass of tedious bureaucracy and confusing regional laws. At least for today, I am inclined to agree. Suffice to say, Entre-Deux-Mers is too large and too flat to yield consistently great wines, although here and there are pockets of limestone that can elevate the grapes that comprise the typical white Bordeaux blend.

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Chateau Gillet’s white consists of 60% Semillon and 40% Sauvignon Blanc from 25 year-old vines. This is rather “old school” at a time when more and more white Bordeaux is dominated by Sauvignon Blanc, presumably in an attempt to capitalize on the popularity of this grassy, tart varietal in the New World. Traditionally Semillon provides the body and some texture. Personally I am fond of this grape’s rather unique aromas, which can be reminiscent of fresh linens and other textiles, candle wax, and so-called “wet wool”. Although the best white Bordeaux typically sees oak, many entry-level bottlings from less prestigious appellations are made in a fresher style. Such is the case here, fermented and aged in stainless steel. It would seem that Vinebox and oak do not mix, eh? Have we had even one oaked wine in this thing?! Maybe Day 2. I wonder how strategic this state of affairs might be. Read the rest of this entry »





12 Days of Vinebox: Day 9

2 01 2019

By Peter Vetsch

Sicily update:  the streak is over!  Ask and ye shall receive.  After a rather bizarre run of three straight bottles in this dozen from Italy’s most prolific wine island, our request to the cosmos for variety has been granted with fervour, as we are off to the German-est (and thus potentially the best) part of France, Alsace…where, incidentally, my Vetsch family ancestors apparently hailed from five or six or seven generations ago.  Maybe that’s why I love Riesling so much.  Alsace is something of a mystery to me from a vinous perspective, because despite producing solidly priced and consistently high-quality wines, and despite being one of the few Old World locales to actually consider the casual-drinking consumer enough to place grape varietal names on their labels, the region is almost always a hard sell in our market.  Perhaps adopting the white wine focus, gothic scripts and tall fluted bottles from its German forefathers was not the best marketing decision after all.  But when the wine is in a test tube as opposed to a flute…now we’re talking.

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The non-Sicilian wine in question is the 2016 Pierre Henri Ginglinger Riesling, yet another Vinebox offering about which Internet information is strangely nigh-unavailable.  Maybe they are so eager to give you a surprise in the box that they have shut down all worldly sources of data about the bottlings they select.  Maybe their chosen producers have to sign the mother of all NDAs.  Either way, I speak of family estates and generational turnover with admiration quite a bit, but THIS…this is that on an absurd scale.  The Ginglinger family first planted vines in 1610, and generation number TWELVE is currently at the controls of the estate.  Come on.  Their winery building looks like something out of Hansel and Gretel, nestled in the centre of the medieval town of Eguisheim, which is closer to Freiburg in Germany than the Alsatian hub of Strasbourg and is the birthplace of wine in Alsace; the winery’s appearance may have something to do with the fact that it was built in 1684, trivia so good that it makes an appearance on not only Ginglinger’s bottles, but even its Vinebox vial:

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Read the rest of this entry »





12 Days of Vinebox: Day 8

1 01 2019

By Peter Vetsch

Happy New Year!!  As we leave 2018 behind and stride into 2019, I think Vinebox might find itself in the midst of a bit of a rut, in need of a New Year’s resolution or two.  You know when the record groove glitches and the same loop of sound plays again, over and over?  We may be within that repeating loop of time now.  If you have a seasonal collection of wine that is 12 bottles large, I would resist having any two bottles in a row come from the same place.  When you hit THREE identically situated bottles in a row, and when the locale in question is Sicily, I start to wonder a bit.  This is not a slight against Sicilian wine, which is often quite wonderful, but it is a query about whether it should make up the whole of Act 2 of the 12 Days of Christmas, particularly when the drinking audience for this set is likely in large part unfamiliar with it.  Add that all 3 of the bottles in question appear to be made by the same producer, and I start to yearn for a little more variety.

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All that said, sometimes the variety can be found within the produce of the winery itself. To be sure, the leaner whites from Days 6 and 7 don’t give me a lot of common ground from which to judge this CABERNET SAUVIGNON.  Sicilian Cab?  It is rare, but it exists, and here is allowed to stretch its legs in 100% pure-varietal form.  This is the 2017 Cantine Grosso Baldovino Cabernet Sauvignon, made from grapes grown in northeast Sicily, a highly friendly area for viticulture thanks to tons of sun, moderating ocean influence and mineral-laden soils.  This is been a home to cultivated grapes since Roman times but is just now being rediscovered by modern audiences.  Cantine Grosso is now five generations into its stewardship of Sicily’s long vinous history, having been founded way back in 1887.  Maybe 3 straight Vinebox days aren’t too many after all. Read the rest of this entry »





12 Days of Vinebox: Day 7

31 12 2018

By Raymond Lamontagne

Day 7 finds us sampling different wines from the same winery in close succession, presenting us with another native Sicilian grape, from the very same producer as Day 6. Or is it grapes, plural? What I’m glomming onto right away is the name “Inzolia Catarratto” on the vial. “Inzolia” is reminiscent of “Trebbiano”, in that this name actually refers to numerous white grape varieties that are in fact distinct. Most commonly this word is an incorrect but still commonly used moniker for Ansonica, a widely planted, golden-skinned, low acid Sicilian variety that has also made some inroads into Tuscany. Which brings us to Catarratto. This is another broadly planted Sicilian white grape, in this case in the high-acid camp. Yup, this is a 50-50 blend of Ansonica and Catarratto, two workhorses, presumably intended to capitalize on a balance between Inzolia’s relative bulk and Catarratto’s fresher edge.

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Ansonica is interesting in that it is so prevalent in the hot Sicilian climate despite being a low acid variety. On the plus side, it is drought-resistant. Turns out that Tuscany might be a better locale for it despite this grape’s Sicilian roots; in Sicily the wines tend to be citrusy and light-bodied, whereas in Tuscan island regions such as Elba the grape yields sturdier, richer wines that recall golden orchard fruits with a saline bite. In either case, Ansonica is also a rare example of a naturally tannic white grape. The name Catarratto (or Catarratto Bianco) means “waterfall”, which refers not to some pretty landscape feature but rather to the effusive quantities of wine this grape is capable of producing. Hoooo boy… When a grape name refers to a wine lake rather than some unique aspect of of its vinous personality, one has to wonder how it’s going to show in the glass. In any event, Ian D’Agata compares Catarratto to Chardonnay, stating that it can conjure up notes of savoury herbs, banana and butter. He also acknowledges that these conceits might have more to do with wine-making technique than they do with any innate characteristics of the grape itself (which, hey, actually does sound rather like Chardonnay). The technical sheet on the Feudo Solaria website reassures us that we can pair the wine with snapper, “with no fear of being banal”. Hmmm… Maybe there’s at least a little fear. Read the rest of this entry »





12 Days of Vinebox: Day 6

30 12 2018

By Raymond Lamontagne

We are halfway through Vinebox. And back in Italy, albeit this time in the deep south, Sicily. Like its more northerly counterpart Puglia, Sicily grows tremendous quantities of grapes, most of which go into “IGT Terre di Sicilia” or “Terre Siciliane IGP” commodity wines. The heat and relatively flat, fertile land lend themselves to mass production of fruit-forward, easy-drinking and (most importantly) cheap wines, beverages to enjoy without need for much in the way of weighty analysis. And this is all well and good. There is a place for plonk, I suppose. Fortunately though, Sicily is like most Italian wine regions in that it is also a storehouse of unique, fascinating native grape varieties as well as some interesting terroir. In fact, Italy on the whole has more indigenous grape varieties than any other wine-producing country. The good news for wine nerds is that this heritage is being increasingly nurtured, protected, and celebrated. Enter the present grape, Frappato.

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Frappato is a Sicilian native and apparently enjoys a parent-child relationship with Sangiovese (although the specific direction of this relationship remains unknown). The grape is known for rather low acidity/high pH, low levels of delicate, soft tannins, low sugars, and (you guessed it) relatively low levels of colour compounds. This grape of diminutives was once rare as a varietal, instead used as a softening component in blends with heftier grapes such as the better-known Nero d’Avola. Although Frappato is challenging in the vineyard, it is rather forgiving in the winery. Its reductive nature does require exposure to enough oxygen during fermentation to avoid the production of sulphurous off-odors (for example, by frequently pumping of the must over the cap, a technique which also aids extraction of what few colour compounds and tannins are present in the grape). The resulting wines are typically light, fresh, aromatic, and meant to be drunk young. “Don’t expect the colour of Merlot”, says one viticulturist quoted by Ian D’Agata in his book Native Wine Grapes of Italy. (By the way, if you are any sort of wine nerd who is at all intrigued by Italy, this book is essential reading.) Read the rest of this entry »





12 Days of Vinebox: Day 5

29 12 2018

By Raymond Lamontagne

The westernmost wine region on a map of the Loire Valley in France is Muscadet, maritime stronghold of the relatively neutral but late-ripening, frost-resistant grape variety Melon (or Melon de Bourgogne, or Melon Blanc). I might propose that this wine deserves a better fate than the shrinking total vineyard areas that characterize its current struggle to survive. Melon is a regional speciality and frankly as a grape might not be capable of achieving much more, although the wine world needs to hold on to this sort of heritage, lest everything homogenize into “hedonistic fruit bomb” oblivion. I’m therefore pleased to see such a wine in Vinebox. In theory, Muscadet should be popular for many of the same reasons Pinot Grigio is an international superstar: it’s neutral and hence unobjectionable (said to taste of “subtle green fruit”), approachable, and food-friendly, albeit with considerably more provincial character. I mean, how many wines can taste of the sea itself? Then again, this is the sort of wine that is built to pair well with local cuisine and is therefore supposed to represent but a shard of viticultural diversity, as opposed to stepping up as the next candidate for world domination. Perhaps it is mediocre to great right where it is.

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Muscadet Sevre et Maine is the largest appellation within the broader region, representing around two-thirds of total production. Wines from the broader Muscadet appellation are rarely seen outside the region, made in fairly small quantities, and deemed insipid by international critics. Sevre et Maine refers to a couple of small rivers that flow through the area, which roughly comprises the eastern half of the region. At their best, Sevre et Maine wines are light-bodied, tautly acidic, tangy, and saline in character, although there is some interesting regional variation in them that would be fun to explore. Although traditionally fermented in large old oak vessels, nowadays stainless steel and concrete have become more common. More recently winemakers are seeking to designate unique terroirs within the region, and are even experimenting with Burgundian techniques such as small barrel fermentation. Perhaps the region isn’t going anywhere without a fight. Read the rest of this entry »





12 Days of Vinebox: Day 4

28 12 2018

By Raymond Lamontagne

I’d say we have had an auspicious first quarter of Vinebox. A few surprises, and three rather good wines. We enter the second quarter with heads held high and hearts open, albeit fatigued from all the (self-imposed) indentured servitude that comes along with blogging BOTH Advent and post-Advent calendars. This much wine writing in such a concentrated span of time is invigorating, inspiring, exhausting, and maddening in approximately equal measure. But the wine dudes abide. It is a good sign that I still feel the wine post-Advent love this afternoon. Ask me if this is still the case next Tuesday. As I somewhat hazily recall, this wine was an early draft pick of mine when Peter and I divvied up the vials.

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Corbieres is a smaller appellation within the much larger and obscenely diverse Languedoc. Yes, we are back in the south of France, but across the Golfe du Lion from Provence. Corbieres is one of the Languedoc sub-appellations that has steadfastly forged its own reputation. Corbieres itself is further sub-divided (but of course!) into 11 regions based on climate and soil topography, with basic distinctions drawn between coastal zones that enjoy a Mediterranean influence, a northern strip contiguous with the equally well-known appellation Minervois, relatively cooler western high altitude vineyards that experience some Atlantic influence, and finally an enclave of very rugged lands in the south and centre. Really then, we are looking at a minimum of four distinct wine regions fused into one political entity whose purpose is to provide a reasonably well-known signifier on wine labels. I can nevertheless comment on a few rough constants. Corbieres on the whole is hilly and relatively warm. The heat is conducive to grape ripening yet is tempered by maritime winds and altitude, so that the grapes retain enough acidity to yield fresh aromatic wines as opposed to something purely jammy. This is a classic recipe for oenological success, although now I must attempt to dial in the specific nature of today’s offering. Or should I say “vial in”…thank you, thank you, I’m here for the next four days! Try the (sustainably farmed cruelty-free) veal.  Read the rest of this entry »





12 Days of Vinebox: Day 3

27 12 2018

By Peter Vetsch

I was not expecting to pull a rosé out of the Vinebox collection, let alone (1) one from Spain that (2) is made from 100% Cabernet Sauvignon, but here we are — this box is already full of surprises.  The 2017 Castillo de Benizar Cabernet Sauvignon Rosé hails from the large dead-central Spanish region of La Mancha, the bullseye of the Spanish map.  It is an area known mostly as the workhorse of the Spanish wine industry and a generator of unspeakably large volumes of wine every year, thanks in particular to the Airen grape, the most prolifically planted grape you’ve never heard of, which makes up the largest acreage of plantings in the country.  But La Mancha is starting to be about more than just quantity, and the friendly climate allows for almost anything to be successfully planted, including King Cab.  Gems can be found.

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Castillo de Benizar is a brand of producer Bodegas Ayuso, whose massive new 15,000 m2 production facility allows for fermentation/tank storage of up to 35 MILLION LITRES of wine at once.  But this particular bottling (er, vialling) isn’t a mere commodity.  The Cabernet Sauvignon vines from which this rosé is created are planted on a separate plot specifically and unusually dedicated only to rosé production, making this no saignée afterthought or vinous byproduct.  Old-school Spanish rosé tends to be mellow and earthy and (intentionally) oxidized, but newer renditions buck that trend and focus on the freshness and fruit purity that are currently making rosé a universal global language.  This one follows suit.

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Castillo de Benizar’s pink Cab is a striking bright watermelon-flesh colour and gives off cool minty and herbal aromas (spearmint, chlorophyll, sage) along with mineral-laced bath salts and soft pink lemonade and raspberry fruit.  Even expecting a more modern pink take based on its colour, I was still unprepared for the level of perkiness and brightness that seeps into every pore of the wine.  There is zero hint of rustic Old World earthiness, which has been wholly eradicated and replaced by turbo-charged acid and vivid Pop Rocks, Thrills gum, strawberry smoothie, pink grapefruit, green apple Jolly Rancher and Welch’s white grape juice notes.  It continually jumps around on the tongue, making all neural synapses fire in rapid sequence.  Despite the confectionary nature of its flavours, the rosé finishes clean and comes across as fairly dry, although the piercing acid probably covers some dose of residual sweetness.  Look at that colour!  Not your grandfather’s rosado.

88 points

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12 Days of Vinebox: Day 2

26 12 2018

By Peter Vetsch

Happy Boxing Day!  Hopefully you are full of holiday cheer and post-holiday deals, have all of the presents you want to return neatly stacked in a corner and are ready to get down to business on the world’s coolest post-Advent calendar, one vial at a time.  Let me be the first to tell you that blogging 100mL of wine is a highly stressful experience — you get 2/3 of a glass to fully formulate an impression and write detailed tasting notes, so every drop matters.  It definitely aids the focus, as near-panic often does.  Hopefully you can be a bit more frivolous with your vial.

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I picked this test tube in my Vinebox blogging selection draft with Ray because I was highly curious to check out a Provençal red, a relative rarity in these parts.  Provence is globally known for being the pink wine hub of the world, and for good reason:  80-90% of the bottles that come out of the Cotes de Provence are roses.  They are a well-oiled pink buzzsaw of a production region, dialled into the patio trade in massive quantities…but they are also, more quietly, home to high-quality reds and whites, and in fact, the top producers in the area often make all three.  One such producer is the historic Chateau de Bregançon, centered around an 18th century castle built on a slope overlooking the Mediterranean Sea.  The estate has been owned by the same family for over 200 years, which is now in its 7th generation of stewardship of the grounds, including 52 hectares of vineyards in prime growing areas, on exposed hillsides featuring tons of sun and surprisingly little rain given their oceanfront locales.  If you HAVE to make wine anywhere, why not make it the Mediterranean riviera?

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Quick tangent that may be of interest to only me:  Chateau de Bregançon is one of 18 estates to have been awarded the “Cru Classé” designation in Provence, which it turns out is the only French wine region besides Bordeaux to have a classification/ranking system tied to producers as opposed to vineyards.  The “Cru Classé” was conceptualized in 1947 by some of the longstanding wineries in the area, who commissioned a series of experts to research the winemaking chops and history of the local producers and create a listing of the best of the best.  They did so in 1955, and of the original 14 Bregançon made the cut and was therefore immortalized as elite (because once you’re named Cru Classé, you can’t be un-named).  Sadly, the designation doesn’t appear on the Vinebox vial, but I know it’s there in spirit.

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I had difficulty locating any information at all about this 2015 Bregançon Cotes de Provence, but based on the reds currently listed on their website, it’s a good bet that this one contains healthy proportions of both Syrah and Mourvedre, two of Provence’s principal red varieties (the others being Cinsault, Grenache and the lesser-known Tibouren).  What I can advise with more certainty is that the wine is surprisingly deep and rich in colour, especially after you’re used to yet another pale pink Provençal rose, a hefty ruby-purple that is just shy of opaque.  You can smell it as soon as you crack the bottle, flint and whetstone, blueberry and currant, hot rocks and sauna, flesh blood and ink (the latter set making Syrah seem ever more likely).  Sharply structured, the wine’s most prominent features on the palate are firm scrubby tannins and whiplash acidity, but these are softened and broadened by pure red fruit and violets arranged over this Cru Classé’s iron spine.  A thoroughly impressive Vinebox debut for me – can’t wait to see what the future holds.

90 points





12 Days of Vinebox: Day 1

25 12 2018

By Raymond Lamontagne

Merry Christmas! And welcome to Vinebox. Amidst all the unwrapping of presents, preparing meals, and dealing with relatives (at least some of whom you like, presumably), hopefully you can find the time to join me in crushing just under half a glass of…Pinot Grigio!? I suppose one has to start somewhere. Although I do not naturally gravitate towards this style, I freely admit that premium offerings often show some interest, perhaps even a little charm, certainly far more than the oceans of antiseptic acid water that comprise the commodity Pinot Grigio market, which is demolished in vast quantities at cafes, bars, dinner tables and bridal showers around the world. Although climate and other viticultural decisions such as yield play a role in separating the wheat from the chaff, most premium PGs from northern regions such as Alto-Adige and Friuli-Venezia Giulia come from a small-berried clone of the grape with more flavour concentration than the much larger, thin-skinned berries that hail from the vast prolific vineyards of the Veneto plain. As Peter mentioned in his comprehensive preview of this attractive package of super fun wine-laden test tubes, the Vinebox team has assembled this lineup solely for its Canadian audiences from the wares of various European artisanal producers, working only with about 1% of the wines they tried so as to keep quality high. I am cautiously optimistic.

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Although the Vinebox reveal website (hey, no cheating now!) states that this is “Friuli Pinot Grigio”, the vial is actually marked with “Delle Venezie IGT”. This is an older appellation that actually ceased to exist in 2017, being renamed “Trevenezie IGT”. (The word “Triveneto” also appears near the top of the vial!) The new appellation “Delle Venezie DOC” was then carved out of the Trevenezie IGT to primarily encompass Pinot Grigio, and this, I presume, is where the present wine would now be classified. Detective work complete. Delle Venezie DOC includes not just Friuli but also Trentino and the entirety of the larger Veneto plain, meaning that the grapes in this vial could hail from any of these regions. The producer, Vinicola Tombacco, has a website that does not appear to feature this particular wine, or if it does, said wine appears under the guise of one of the numerous sub-labels that fall within the Tombacco stable. Tombacco does produce a Delle Venezie DOC Pinot Grigio labelled “Collezione Privata”. My guess is that this is the very same wine, or something similar. OK, so the detective work was not quite complete. Good enough. Let’s taste. Read the rest of this entry »





The Vinebox Cometh: 12 Nights of Wine

14 11 2018

After 7+ years of blogging about and immersing myself in wine, I am in many ways an open book about what I like and don’t like, vinously speaking — there are now over 450 posts on this site, and other musings elsewhere, that spell out exactly what gets me pumped about a new product or wine experience.  Three of the things that rank high on the good side of my ledger, backed up emphatically by past history, are (1) savvy labelling and branding (my love of which is the basis for every Cork Rating I’ve ever done), (2) clever alternative packaging (bring me your wines in cans, your 1L bottles, and everything in between), and (3) Advent calendars.  If you rolled your eyes about the last one, feel free to consult PnP’s 125+ December postings over the past four years and then get back to me…if I’m not a boozy Advent authority by now, I never will be.  As we approach another holiday season, little did I expect to be dumbfounded by a sleek, shiny, downright sexy combination of all three of these things.  Meet Vinebox:

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Oh yes.  It gets better.  Take a look inside:

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OH YES.  Bring it.  That’s what I’m talking about.

Vinebox is a San Francisco-based company that, up until right this minute, was a US-only subscription service for by-the-glass-sized portions of new, interesting, high-quality wines.  This special holiday release box marks their first foray into the Canadian market, and luckily for us locals, it is exclusive to Richmond Hill Wines and a select few other boutiques right here in Calgary.  Given my prior history of Advent proselytizing, I would be remiss if I did not point out that Vinebox’s 12 Nights of Wine holiday kit is not technically an Advent calendar, as it offers 12 different holiday wine offerings instead of the classic Advent 24-day December countdown to Christmas.  It is instead intended to mirror the 12 days of Christmas (which, I was shocked to discover, all actually occur AFTER Christmas — they run from December 25th through January 5th, marking the time in Christian lore that it took the three wise men to arrive and visit the newborn Jesus…mind formally blown).  Practically speaking, this means that you can either crack a glass on every even day in December as a sort of quasi-Advent replacement (or get two and create your very own full-scale Advent calendar, with a critical revisit of each offering every second day) or get the coolest Christmas gift ever for somebody to enjoy on Christmas Day and the next eleven following.

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In recent years, because the progress of the species is a real and abiding thing, we have seen a proliferation of wine, beer and spirits-based Advent and holiday calendars in a variety of shapes and sizes.  What sets the Vinebox addition to this growing December lineup apart is the unique and patented way the wines are delivered, in Stelvin-enclosed, test tube-like — yet still amazingly labelled and producer-branded! — 100 mL glass cylinders that make a stunning visual impression. Read the rest of this entry »





Spain, Old and New, Part II: The Wines of Imperial

14 02 2019

By Peter Vetsch

[These bottles were provided as samples for review purposes.]

This is a belated sequel to my introductory post from last November about the marvellous wines and history of Cune, the Riojan benchmark producer melding the traditional and the modern into perfect balance.  Since that post predated Wine Advent and then Vinebox, it’s about 40 posts back on the PnP timeline, and even though it’s only 3 months old it feels like 30.  Perhaps it has aged enough then to allow to slip in a slight correction.  I mentioned way back in 2018 that the Cune brand was made up of 3 different physical wineries and brands, each with their own winemaker:  Cune itself, Vina Real and Contino.  I also mentioned that the Cune brand “also encompasses the higher-level Imperial bottlings, made only in very good years”.  This is ALMOST entirely true:  the wines of Imperial have been made since 1920, only in great vintages, using Cune’s oldest vineyards in Rioja Alta and selected nearby old-vine sites.  Imperial is also still made by Cune’s winemaker, although the label only releases a Reserva and a Gran Reserva red wine, leaving the Crianzas and the whites to the others.  However, further research reveals that, as of 2005, Imperial has its own separate winemaking premises on the Cune property, as outlined in this highly confusing official graphic; it is now a winery-within-a-winery, its own bricks-and-mortar space.  The 3 Cune wineries are actually 4.

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Imperial is a focused and quality-driven enterprise, producing around 200,000 bottles in the vintages good enough to merit its creation, in contrast to Cune’s 5 million.  As of 2004, all fermentations now take place in new oak barrels, as a back-to-the-future nod to history — the Imperials of the pre-1940s were all produced in this fashion, and after decades of dalliances with first concrete, then steel, Cune made the very Riojan determination that sometimes the old ways really are best and went back to its roots.  The winery name comes from a unique historical bottling release for the UK market, the “Imperial pint” size (which is roughly 500mL, a highly underrated and remarkably useful size for a bottle of wine that we should see more of nowadays).  The Imperial brand made more recent history when its 2004 Gran Reserva, an utterly spectacular wine that it pains me to say I have no more of, was named the Wine Spectator Wine Of The Year in 2013, the first such global pinnacle designation for a Spanish wine.  If you ever have the chance to acquaint yourself with the Imperial lineup, do not hesitate.  The current releases continue to showcase the magnificent pedigree of the estate. Read the rest of this entry »





Pop & Repour: Preservation Experimentation

7 02 2019

By Peter Vetsch

And – we’re back.

When I posted the review for Vinebox Day 12 as we polished off our daily reviews for two consecutive holiday wine calendars, I fully intended that the blog would go dark for a little bit while we rested our typing fingers and regrouped.  I did not intend to then catch bronchitis and a cough that wouldn’t die in a house full of plague and contagion, but that’s what happened, leading to a much-longer-than-anticipated blackout period to kick off 2019.  However, I’m back on my feet and Pop & Pour is officially back in business with some compelling content in the wings to kick off our writing new year, starting with a new and intriguing solution to one of my favourite wine questions:  how best to preserve an open bottle.

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I am an unabashed wine preservation geek.  I own a Savino (and it works! at least for shorter storage periods).  I have tried, and ultimately discarded, a number of vacuum pump oxygen-expelling gizmos (which never quite get all the air out and quickly cease to become airtight themselves, thus undermining the whole enterprise).  I have written a lengthy series of real-time preservation reports about the Coravin as I gradually drained bottles with one over the span of six months (a series of posts that continues to get regular views in Iceland to this day, though I could not tell you why).  My current preservation go-to is an argon dispenser, which places a blanket of inert gas over top of the remaining wine in the bottle and acts to prevent further oxygen contact, as oxygen is the primary agent that leads to wine deterioration over time.  I thought I was fairly up to speed on the various different ways to keep wine from spoiling, but little did I know that a new entrant had recently joined the fray.

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The Repour Wine Saver is ingenious in its simplicity.  All wine preservation tools operate by preventing oxygen access to wine in some manner or another.  Some of them fail because they rely on physical or mechanical processes that grow less efficient over time as materials change or fail.  The Repour has no moving parts or components that can get worn down over time, particularly because it’s not meant to be used over time: it’s a single-use disposable bottle stopper that retails for $3-4 CAD, keeps a single bottle of wine fresh for as many times as you care to reopen it, and is then thrown away.  It works not by expelling or blanketing the oxygen in the bottle, but by absorbing it.  The interior of the stopper is crammed full of oxygen-absorbing material (of a type that is also used to help keep food fresh during transit) which, once the cover tab is removed and the stopper is placed in the bottle, starts pulling the oxygen not only out of the air inside the bottle but also out of the wine itself.  No oxygen = no spoilage. Read the rest of this entry »








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