Gerard Bertrand: Domaine de L’Aigle

23 06 2020

By Peter Vetsch

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

The South of France is paradise, for vines and tourists alike.  Consistent weather, tons of heat and sunshine, yet just enough reprieve thanks to surrounding bodies of water — it’s the recipe for both stress-free ripening and a highly satisfying vacation.  Because of these climatic blessings, the growing areas around the Languedoc-Roussillon can successfully cultivate almost any grape you can think of, which helps its ability to generate value-priced reasonable facsimiles of varieties grown at enhanced pedigree and cost elsewhere.  This flexibility may come at a cost, however, hindering the area’s ability to carve out its own identity, one not tethered to other regions’ preconceived notions.  Languedoc luminary Gerard Bertrand has above all sought to let his home region’s soils sing loud and clear, and over the years he has cultivated an impressive array of vineyards and standalone estates that aim to do just that.  It is somewhat ironic, then, that one of his most compelling recent acquisitions is a place that doubles as a convincing stand-in for what I would have told you was the least possible French region to reflect in the deep South:  Burgundy.

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I should be careful to clarify:  Domaine de L’Aigle is nobody’s copycat.  Located at the northern peak of the Limoux appellation, which itself is slightly inland of the Mediterranean Sea and just south of famed fortified board-game city Carcassonne, the Domaine is situated at the foot of the Roquetaillade cliff, always the home of numerous nesting eagles (hence the winery name).  The combination of the highest altitude in the region and the cooling air coming down off the adjacent Pyranees mountain range makes average temperatures here 2-3 degrees Celsius lower than its neighbours in the Languedoc, resulting in substantially more rainfall and a massive drop in temperatures overnight.  In this one specific spot — which was France’s first home of sparking wine, by the way, back in 1531, before Dom Perignon figured out bubbles in Champagne — the climate is sufficiently moderate and bracing that the Burgundian duo of Pinot Noir and Chardonnay excel.  The focus of Domaine de L’Aigle is to explore these northern French varieties (as well as a little Gewurz, in a nod to even-more-northerly Alsace) as translated by the Languedoc’s terroir.  Gerard Bertrand acquired the Domaine in 2007, and it is now one of 16 biodynamic estates under the Bertrand umbrella, joining the previously reviewed Domaine de Villemajou and Chateau la Sauvageonne.  Bertrand’s focus is eternally on clearly transmitting the voice of the South; let’s see how it speaks through the grapes of the North. Read the rest of this entry »





Wine Review: Henry of Pelham Triple Baco Battle

27 05 2020

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

By Peter Vetsch

The hardest part about writing a review like this is resisting the urge to pun the headline.  Baby’s Got Baco.  Backstreet’s Baco.  Baco to the Future.  Baco Tuesday.  Where Baco Noir goes, a world of pun glory follows.  But in the end, I decided the title had to focus on the mission.  Three different Baco Noirs from one of the world’s best-known producers of this star-crossed grape, Niagara’s Henry of Pelham, at three tiers of the winery’s portfolio.  One survivor.  Take what you need, give nothing Baco.  OK, I’ll stop.

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Opening a bottle of Baco Noir feels a little like drinking Canadian wine history.  One forgets in our nation’s current golden era of properly ripe bigger vinifera reds and advanced farming techniques allowing warm-climate grapes (even Grenache!!) to flourish in northern climes that it was not that easy in the beginning.  Micro-soil-mapping to ascertain the perfectly right spot to plant the right varietal didn’t exist. Climate change hadn’t yet made the task of Canadian viticulture slightly easier.  It was not always clear what would grow, and when it did, there was always the chance it might just freeze and die the next winter.  The grapes that did the best in the conditions were not necessary the ones that made good wine, but at least they lived long enough to make wine.  You can understand the allure of Baco Noir, a grape that attempted to do both.

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Baco Noir is a hybrid variety, meaning that it is a human-bred cross between two grape parents, one of which hails from the vinifera species of vitis (grape) native to the Old World (from which all of the world’s top wine grapes are found), and the other of which is from a North American vitis riparia species, which makes a poor choice for winemaking but has a constitution much better suited to marginal climates.  Baco’s vinifera mother was Folle Blanche, one of the traditional (white) French grapes of Cognac and Armagnac; its riparia father was previously not known but has now been shown to be Grande Glebre, which carries on a sort of half-life in the wine world currently as a producer of phylloxera-resistant rootstocks onto which many susceptible vinifera vines are grafted.  These parents were crossed and bred by Frenchman Francois Baco in 1902, who obviously decided to name the result after himself.  It was initially called Baco 24-23 (giving you a sense of just how many Baco varietals there likely were out there) before being more convincingly changed to Baco Noir in the 1960s.  After a brief flirtation in Burgundy and the Loire Valley, the hybrid was planted in North America in the mid-20th century, where it gained a foothold in the northeast part of the continent.

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BACO.

Baco’s allure in a nascent Canadian wine industry is not difficult to understand.  Not only was it resistant to phylloxera, but it grew vigorously and ripened early (critical in a short growing season) and yet still retained plenty of acid.  It was cold-resistant through the difficult winters.  It is a teinturier grape, so unlike most red grapes, its flesh and juice were dark-coloured as well as its skins, allowing for guaranteed depth of colour in the finished wine.  Back when the idea of ripening and keeping alive most of the big red grapes of the world was sheer fantasy in Canada, here was this hearty and disease-averse grape that could reliably produce a dark, deep, rich, meaty red without losing its acidic backbone and without dying before the next spring.  Nowadays local alternative options have improved significantly, but the love affair with Baco Noir, particularly in Ontario, has never fully gone away, particularly at Henry of Pelham, where the Bacos are often some of the first wines to sell out every year, despite healthy production levels thanks to 60+ acres of plantings.  Bring on the Baco ladder. Read the rest of this entry »





Calgary Wine Life: City & Country, YYC’s Urban Winery, Part I

26 04 2020

By Peter Vetsch

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

Calgary’s craft beverage game has been significantly elevated in recent years.  When I first moved here for good in 2005, the idea of buying small-batch booze made locally was barely a possibility, let alone a point of pride.  Fast forward 15 years and a tweaked legislative regime, and our fair city is now home to over 50 breweries (and even a brewery district), multiple distilleries, and a surprising number of cideries, complete with a now-permanent homemade presence in restaurants and retail outlets.  But even with this dramatic expansion in Calgary-created alcoholic options, I can’t say that I ever expected that we would have a fully functioning wine producer within our civic boundaries.  Well, colour me an insufficient visionary:  meet City & Country, Calgary’s first ever urban winery.

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Located just east of Macleod Trail and just south of Erlton, a couple minutes north of Alloy restaurant, City & Calgary is a bricks-and-mortar winery as of this year but has been a producing brand for a couple of vintages before that.  Owner and hospitality industry veteran Chris Fodor and his wife Karen have long had a dream of making their own wine, and they accomplished that goal in 2017 with some assistance from friends at Pentage Winery in the Okanagan, which served as their initial base of operations.  A 2018 vintage in BC followed, but the Fodors’ dream was not site-limited:  the ultimate goal was to establish a production facility in an urban locale and to source grapes from a variety of different regions, both inside and outside of Canada.  As long as the fruit (or pressed juice or must, depending on the supply arrangement) could be transported quickly, safely and in a temperature-controlled manner, this setup offered greater flexibility, more winemaking options and the ability to avoid, or at least mitigate, the vagaries of weather, animals (damn you bears!) and other local conditions in a given region and vintage.

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In 2019, the Fodors obtained the necessary funding to set up their urban winery in Calgary, moving production to the city late in the year and officially opening the doors of City & Country winery on February 1st, 2020.  The cosmos, of course, scoffed at mortal dreams and aspirations, and the Fodors’ grand opening lasted only a month and a half or so before the doors were forced to close back up as part of the COVID-19 pandemic response directives.  Like so many others rolling to adapt with the times, City & Country is still trucking along virtually, focusing on its online storefront, offering up its wines to retail locations in the province and arranging for contactless deliveries.  They are the only Calgary wine business I’ve seen to date to offer free delivery across Alberta, available on all orders over $60.  They have assembled 3-bottle and 6-bottle tasting packs allowing people to sample both their base lineup and some limited-edition specials, complete with tailored videos, tasting notes and pairing recommendations.  They continue to run their business and pursue their dream, in a world that makes no sense but that needs wine more than ever.  I recently got to raise my first ever glasses of local wine to their vision and toast to their continued efforts to make us a winemaking town. Read the rest of this entry »





Gerard Bertrand: Estates Series Preview

20 02 2020

By Peter Vetsch

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

Gerard Bertrand is seemingly everywhere these days, with a firmly established presence in North America (including rosé joint ventures with the Bon Jovi family) and an ever-increasing number of offerings in the Alberta market.  I had foolishly assumed that we had previously been privy to a decent chunk of Bertrand’s overall portfolio, only to discover that the current winery website offers up 135 DIFFERENT BOTTLINGS to consumers, divided up by brand, appellation, price point and production method (there are two different sans soufre lines, Prima Nature and Naturae, as well as at least two entirely separate organic lines, Naturalys and Autrement).  The bulk of my prior Bertrand experience is with his Terroir line of wines, which explore the defining soils and environments of a number of key subregions of the Languedoc, at the southern edge of France.  Tonight, however, we visit Gerard Bertrand’s Estates lineup, featuring distinctive single-vineyard wines from sites Bertrand owns, giving him complete control over the land and the growing decisions made on it.

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There are thirteen Estates vineyards in all (the interactive map on the winery site showing where they are and what they’re about is something to behold), each of which is given both a name and a descriptive mantra explaining what they’re all about.  Tonight’s first bottle, Domaine de Villemajou, is referred to as “The Genesis”, for reasons which will become quite clear below — it is where it all began for this burgeoning winery empire.  Chateau de Sauvageonne, our comparator Estates wine, is called “Sublime Nature”; while Bertrand’s history with the vineyard does not extend back as far, his connection with the land was immediate, as is its visual impression.  Each bottling does not immediately showcase itself as a Bertrand bottle; you have to look carefully on the disparate labels for the iconic name in small font along the bottom.  He may be letting the sites speak for themselves, but Bertrand’s involvement helps assure buyers of the quality within. Read the rest of this entry »





Cellar Direct Winter Wines: Lo Sang del Pais

7 12 2019

By Peter Vetsch

[This bottle was provided as a sample for review purposes.]

It’s been a little over a year since we featured a wine from Cellar Direct on PnP, and in the meantime the first pan-Canadian artisanal wine club has been busy behind the scenes, preparing its next suite of offers and tweaking its approach in order to maximize buying efficiency and aim for the best of both worlds in the online wine purchasing sphere:  time-limited features and repeat buying capability.  Once a week, on Saturday, Cellar Direct will release a new offer on its website and to its mailing list.  Offered bottles are available in multiples of 3 and can be shipped across Canada, with any such transport taking place in temperature-controlled trucks to avoid any damage to the wines in transit due to extreme heat or cold.  Full case purchases of a single wine attract discounts off the standard offer price and the most effective shipping rates, but buyers can also accumulate 3-packs or 6-packs of different wines and have them shipped together.  Once an offer week comes to an end, any remaining bottles left over from the offer can still be purchased from the online shop at Cellar Direct’s website, so if a particular order bowls you over, there may be a chance to get more.  Did I mention they ship across Canada?  Readers in government liquor monopoly provinces, take note — this is your chance at freedom.

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The first of Cellar Direct’s new offers dropped today, and to mark the occasion we are bringing you a contemporaneous review of the bottle now available for online purchase everywhere in the country.  We will be doing the same thing over the next five Saturdays (yes, even through Wine Advent, because we’re crazy), so feel free to check out our notes on the weekly wine to assist in your buying decisions.  The inaugural Cellar Direct release of this new offer season is one that rang a few distant bells, but it took some digging through the Pop & Pour archives to find out why. Read the rest of this entry »





Bricks Wine Advent Calendar 2019: Day 5

5 12 2019

By Peter Vetsch

I think it’s safe to say that we’ve migrated into our “classics” phase of the 2019 Half-Bottle Wine Advent calendar.  After Canadian bubbles, German red crossings and New York cans, yesterday’s Chianti Classico signalled a bit of a vibe shift, and tonight’s offering got the message loud and clear and has continued the trend.  You don’t get more throwback textbook Old World than Sancerre, a region that has stood the test of time but also run the fairweather gamut of popular opinion over the past few decades.  If this was the 1982 Half-Bottle Advent Calendar, it might be entirely composed of Sancerre; fifteen years before or after might have seen Sancerre wholly excommunicated.  Now it’s making a cautious return, seeking to reclaim (or maybe just re-assert) its status as the spiritual home of Sauvignon Blanc.

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Sancerre is one of the most easterly sub-regions of the long, thin, west-to-east Loire Valley, which ultimately connects to the Atlantic Ocean but extends all the way to the dead centre of France on its other end.  Monks first planted vines in Sancerre in the 11th or 12th centuries, and subsequent swaths of royalty ensured that its sought-after wines were always available in their courts.  While currently most known as a (if not THE) key French site for Sauvignon Blanc, which now makes up 80% of all plantings in the region, it was previously home to considerably more Pinot Noir and Gamay, the latter of which was ravaged by a phylloxera outbreak in the 19th century and was replanted with Sauvignon.  Pinot retains 20% of the acreage in Sancerre, but this is now firmly a white wine region, and tonight’s bottle has its name all over it.

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I don’t know whether to call this the 2017 Chateau de Sancerre or the 2017 Chateau de Sancerre Sancerre.  It seems completely ridiculous to use the name twice, but I’ve never come across a producer whose name was the name of its region before.  (Chateau de Bordeaux and Domaine de Bourgogne, you missed your chance.)  The Chateau appears quite aware of its unique nomenclature, boasting in almost all of the available online literature, not to mention the back label of this bottle, that it is the “only wine which can be marketed under this exclusive name”.  Well…no kidding?  Isn’t that the case for EVERY SINGLE WINERY on Earth?  You don’t get a lot of non-Beringer wines marketed under the “exclusive name” of Beringer, thanks to the rather handy world of intellectual property law.  But whatever.  The Chateau de Sancerre is actually a Chateau, a castle (re)built in 1879 in the heart of the vineyards of the region, which was purchased in 1919 by Louis Alexandre Marnier-Lapostolle and is still owned by the Marnier-Lapostolle company a century later.  Its name is more familiar than you might think, as Louis Alexandre was also the inventor of Grand Marnier (speaking of exclusive names).

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Cork Rating:  6.5/10 (Pretty boring cork, but I love the swag associated with the tagline “Pass before the best.”  Badass.)

This particular bottling is 100% Sauvignon Blanc, as one might expect, and emerges a deeper lemon colour than I had anticipated given its utter lack of oak contact.  Meyer lemon, salted lime (inching towards margarita), Fuzzy Peaches, Tums, rock dust and straw/dried grass sing a stately yet playful aromatic song…until you sip and the hammer comes down.  The Sancerre Sancerre is bright and instantly alive on the palate but extraordinarily tart, like Sprite if you removed all of the sugar.  Tonic water, (very) green apple, citrus peel, flint and a torrent of biting, punishing acid lead into a chalky, icy, mineral finish that oddly dries out the mouth as it scrubs it clean.  An emphatic and almost angry wine, vociferously expressing its turf in defiance.  Sorry for the IP jokes?

88- points





Yalumba: Introducing Samuel’s Collection, Part II

23 11 2019

By Peter Vetsch

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

Having already acquainted myself with the first half of Yalumba’s newly compiled seven-wine Samuel’s Collection (and made a mental note to track down the other whites in the Collection beyond the Viognier, as Eden Valley Chardonnay and Roussanne sound glorious), I was eagerly awaiting my turn on the back nine of this reorganized and rebranded assembly of mid-level bottlings, which for the first time let the Barossa’s calling card take centre stage.

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Each of the Yalumba Barossa Shiraz and Barossa Shiraz Cabernet Sauvignon previously went by different monikers, aimed towards different audiences just emerging from the critter wine wave:  the former was known as the “Patchwork Shiraz”, while the latter was called “The Scribbler”.  At some point it was rightly decided that a more serious veneer and a highlight of place better suited these focused, linear wines than a kitschy name and the playful marketing that rode the length of the first Aussie wine trend; the outside of the bottle now more accurately reflects the liquid within.  Bring on the Shirazes. Read the rest of this entry »





Yalumba: Introducing Samuel’s Collection, Part I

19 11 2019

By Peter Vetsch

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

Yalumba is tidying things up a bit.  The Barossa stalwart, now on its 5th generation of family ownership dating back to 1849, traces itself back almost the entire length of the history of its region (whose first Shiraz vines were planted in 1847).  But 170 years of growth and development later, Yalumba’s impressive lineup of wines was starting to lack some internal organizational cohesion, with some forming part of a demarcated grouping or collection (the wildly successful Y Series being a key example of why this can be a boon to consumers) and others standing on their own, without clear delineation as to their place in the company hierarchy.  This would not be much of an issue for a smaller-scale producer, but when you make 52 different bottlings, it’s nice to know where things fit.  Enter Samuel’s Collection.

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This new mid-tier range is both a corporate reorg and a celebration, a way for a number of excellent but disparate Yalumba offerings to find a home as a tasteful homage to the winery’s founder Samuel Smith.  The Collection, featuring all-new clean, modern label art, features seven wines:  four reds from the Barossa Valley and three whites from the neighbouring Eden Valley.  The reds (Bush Vine Grenache, GSM, Shiraz, Shiraz Cab) all share measured ripeness, fermentation using ambient yeasts and a more lithe, transparent take on what can be a region known for muscle-flexing; the whites (Viognier, Roussanne, Chardonnay) are all similarly streamlined takes on sultry grapes, rooted in Eden’s cooler weather and acid spine.  I have had prior vintages of both of tonight’s reds, known back then as the Old Bush Vine Grenache and The Strapper GSM, and their packaging and branding was so divergent that it looked like they came from different wineries.  No longer.  The threads that unite now take centre stage…even the price, as every wine in the new Samuel’s Collection should hit the shelf at a $25ish mark.  As will be seen below, it is a group worth seeking out. Read the rest of this entry »





Spain, Old and New, Part III: The Wines of Vina Real

9 09 2019

By Peter Vetsch

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

Nearly a year on from the start of this review set, through three different seasons of write-ups, I am closing in on the full story of the Cune wine lineup.  We started with the mothership itself, the Compania Vinicola del Norte de Espana (C.V.N.E.), the Riojan stalwart whose expressions cross four separate brands.  We then ascended to Imperial, the Cune adjunct focused on Reserva- and Gran Reserva-level wines from the top vineyards of Rioja Alta, the core of what most people know of Rioja as a wine region.  Tonight we move from the centre of the heartlands to Rioja’s outskirts, and from the centre of attention to a group of producers tired of being overlooked.  Cune’s Vina Real label is rooted in grapes sourced from the ever-ignored yet consistently impressive Rioja Alavesa.

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This least-known Riojan subregion lies in the north-central portion of Rioja, bordered by the Ebro River to the south and the Sierra de Cantabria mountain range to the north, which protects the vineyards from the cool coastal winds above.  It is both the smallest and the most elevated of Rioja’s three sub-zones, its hilly and terraced vineyards influenced by the nearby mountains, its 40 x 8 km surface area a relative pittance compared to its much more expansive siblings Rioja Alta and Rioja Baja.  Being the smallest and most neglected in the family also tends to make you the scrappiest:  Rioja Alavesa has recently, and ever more vocally, been seeking to carve out its own identity within Spain’s most prominent wine appellation.  There has been some talk of leaving Rioja altogether, which has not been all that well-received by the region’s governing body.  Rioja Alavesa is craving respect and recognition, and that is part of what Vina Real seeks to deliver.

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The winery is named for its vineyards’ proximity to the Camino Real, the “Royal Road”, a renowned traditional highway; its relation to the Camino de Santiago walking trail which crosses all of northern Spain is not immediately clear to me, though that pilgrimage road goes right through Logrono, the closest city to the winery.  Much of my discussion of the Cune-brand wines has alighted on that intersection between traditional and modern approaches that they seem to exemplify, but in none of Cune’s labels is this more clear than Vina Real.  The winery is part of Rioja Alavesa’s historical fabric, being among the first in the area to employ barrel aging for wines (which is now a hallmark of the whole Rioja region) and to make Crianza wines for earlier release.  But its present incarnation is unabashedly modern:  the magnificent new puck-shaped winery building, constructed out of cedar and inaugurated by the king of Spain himself in 2004, was designed as one of the first gravity-flow operations in the country and has bored out the surrounding hilltop to create state-of-the-art underground cellars.  Even this cutting-edge operation does not lose sight of its past, however:  the winery’s circular shape (as seen on Vina Real’s labels) is an homage to a traditional large Riojan fermenting vat, a physical representation of the old-meets-new dichotomy that defines this set of producers.  Do the wines follow suit? Read the rest of this entry »





By The Glass: Domaine de Pellehaut’s Harmonie de Gascogne

18 08 2019

By Peter Vetsch

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

Back!!  I have returned from overseas, feeling as refreshed as one can after multiple weeks of intercontinental travel with two kids under 9, and ready once more to dive into the glass and find words to go with it.  This return post takes me somewhere I have not often gone in the world of wine, somewhere that does not usually immediately cross my mind as a source of bottle options:  that broader informal wine zone in southwest France aptly yet uninspiringly called “Southwest France”.  (Admittedly, if all regions were so named, learning about wine would be SO much easier.)  Within the Southwest, an area nestled roughly in between Bordeaux and Languedoc-Roussillon, lies IGP Cotes de Gascogne, a quality wine area best known by a wide margin for a spirit.  As it turns out, the borders of the region precisely mirror those of Armagnac, although its production rules are far more open-ended on the non-distilled side of the spectrum.

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If you don’t recognize the term “IGP”, you’re not alone:  it didn’t exist when I first started studying wine with any seriousness back in 2011.  Previously wines within this classification were known as “Vin de Pays”, or “country wine”, a step up from the lowly standards-free French table wine called “Vin de France”, displaying some regional quality and character but without quite the level of history or distinction befitting a full AOC (now AOP) classification.  “IGP” stands for “Indication Géographique Protégée” (Protected Geographical Indication), which, while much harder to remember than “Vin de Pays”, probably communicates its purpose a little bit better.  The AOP-lite rules surrounding the IGP designation allow for a little more freedom when it comes to grape selection and production methods, freedom that tonight’s producer uses to its full advantage, although the Rolodex of permitted IGP grapes for the Cotes de Gascogne (19 in all, 11 red and 8 white) already seems broad enough to permit significant latitude in what comes out of this area.  It is mostly a white hotbed, with well over 80% of vineyard area planted to white grapes, which is no surprise given that these are the focus of Armagnac as well.  Two of Armagnac’s four prominent standard-bearers, Ugni Blanc (aka Trebbiano) and Colombard, are protagonists below.

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Domaine de Pellehaut is one of those remarkable under-the-radar family-run European estates that has been passed down from generation to generation since the 1700s, is firmly rooted in carefully tended old-vine sites, produces remarkably honest and vivid wines, yet would have remained in complete obscurity from international audiences without amplification from a more recognized voice.  That voice in this case is Maison Sichel, owners of Bordeaux’s Chateau d’Angludet and part owners of Chateau Palmer, which in addition to its own wares markets the wines of other worthy partner estates, including this one, without ripping their owners’ names from the front label.  Brothers Mathieu and Martin Béraut tend the 300+ year-old Pellehaut sites and make the wine, which has gained critical attention yet suffers primarily from the fact that it doesn’t hail from one of the dozen or so major European wine regions that casual drinkers recognize.  These kinds of outsiders, it turns out, are where the bulk of the bargains can be found.  Domaine de Pellehaut’s “Harmonie de Gascogne” collection is a prime example. Read the rest of this entry »





Wine Review: Road 13’s Rare Whites

12 07 2019

By Peter Vetsch

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

This may be the last post from me for a while, as I imminently prepare to head off of the continent for a little bit on a proper Viking vacation.  (If anybody knows a great wine shop in Copenhagen or Billund, let me know immediately.)  But fear not, Ray will still be here to keep the blog alive for the rest of July, and I have one last gasp of Canadiana in me before I bolt the country.  Tonight’s trio of whites from the Golden Mile Bench’s Road 13 Vineyards makes me realize that I should have been following this winery more closely before now, but I will try to make up for lost time.

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Clean and classic labels, eye-opening wines – but not sure about 2018’s italics.

Road 13 has had an interesting last 12 months, as it was named the Winery of the Year at Wine Align’s National Wine Awards of Canada in 2018 and was then promptly sold before the year was out.  Long-time proprietors Pam and Mick Luckhurst, who acquired the winery (then-called Golden Mile Cellars) and were responsible for first renaming it and then building it into a well-respected national brand, decided to move into retirement (the winery itself having been their first, not-that-relaxing-as-it-turns-out attempt to retire) and accepted an offer from Mission Hill’s / Mark Anthony Brands’ Anthony von Mandl to purchase the company.  The winemaking team remains intact, however, as does the winery’s vision and present focus on the potential of Rhone varieties in British Columbia, an endeavour that I back fully, having had enough marvellous Okanagan Syrah recently to make me wonder what else from the south of France would flourish here.  As it turns out, the white Rhone side of the equation is just as compelling as the red.  But we start with a scion of a Road 13 classic. Read the rest of this entry »





Wine Review: July Patio Samplers

6 07 2019

By Peter Vetsch

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

As I sit here writing this on a rainy summer evening (pre-publication, but I bet it’s raining when this goes live too), Calgary has just struggled through a sodden June, and the tide doesn’t seem to be turning.  It is grey, dreary and continually drizzling.  We’ve had hailstorms, windstorms, thunderstorms — all separately and all in the last three weeks.  My kids have declared their nascent skepticism for outdoor sports — who would willingly place themselves outside for an hour at a time in an environment such as this?  Our northern world is free of snow for at most six months a year, and a third of that winterless period for 2019 has been underwater. You get the picture.  It’s bleak.

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So rather than wait for the appropriate meteorological scene to christen this long-planned summery-wine review set, I have decided to pre-emptively invoke summer by publishing it anyway, in the hopes that this trio of deck-and-BBQ-friendly refreshment will nudge our weather towards more appropriate activities.  I will try anything at this point.  Tonight’s bottles will set a blog record that may never be broken, bear a striking resemblance to each other until they don’t, and confirm that even trendy wines can be old-school sometimes.  They may also be the first time since the Tournament of Pink that we start off with back-to-back rosés, but hopefully we can make that a bit more of a recurring pattern.  Game on. Read the rest of this entry »





Wine Review: Moraine Winery Spring/Summer Set

28 06 2019

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

Wine is indelible.  It can leave impressions and fasten itself onto moments or events with surprising, graceful ease.  Show me a bottle or producer that I’ve had before and I will often be immediately taken to the scene where I had it last, even if it was otherwise unmemorable.  In the case of Naramata’s Moraine Winery, the scene already had memories to spare, and every bottle since has carried them back to me.

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My first encounter with the wines of then-up-and-coming Moraine was almost exactly six years ago today.  I remember because Calgary was underwater, as the great flood of 2013 wreaked havoc on the heart of my hometown.  I also remember because I had become a dad for the second time ten days prior, on Father’s Day; the power and energy of the tempests that made the waters rise seem to have imbued themselves in my son Max ever since.  The white, black and red labels of Moraine marked my first return to the blog after Max’s birth.  He just finished kindergarten two days ago.  The wheels of time continue to spin, but our wines mark our occasions.

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Moraine was founded by current owners Oleg and Svetlana Aristarkhov, ex-Albertans who headed west to follow their passion into the world of wine.  Their two estate vineyards, the older and larger Anastasia and the younger Pinot Noir-devoted Sophia, are named after their two daughters; the winery name reflects the glacially deposited rocks that form a key part of the terroir at their Naramata site.  When I first came across Moraine it was in its early stages of life, just finding its way as a new winery.  In this current encounter it is in a different phase of life, and in the midst of a significant transformation:  a new winemaking facility and cellar is being built, a new larger tasting room and hospitality centre has just opened, and as of last year the wines are being crafted by a new winemaker, albeit one who is a familiar face on the BC wine scene.  Dwight Sick, who spent the last decade as the winemaker at Stag’s Hollow, came to Moraine just before the 2018 harvest, the final critical piece to this next stage of the winery’s growth and development.  Yet Moraine’s focus still remains anchored in Anastasia and Sophia, and the ever-maturing vines they hold.  I got the opportunity to taste some of Sick’s first Moraine releases, as well as an early single-vineyard Pinot Noir from Sophia, to get a sense of how far Moraine Winery has come. 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 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 »








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