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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Categories : Miscellaneous, Tips & Tricks

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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Categories : Wine Reviews

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 »


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Categories : Wine Reviews

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 »


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Categories : Wine Reviews

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 »


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Categories : Wine Reviews

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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Bricks Wine Advent Calendar 2018: Day 24

24 12 2018

By Peter Vetsch

Merry Almost-Christmas!  We are now 24 days and nearly 24 bottles into December, the Bricks Half-Bottle Advent crate is empty, Santa is somewhere over the Atlantic and we’re into Advent reminiscing mode yet again.  I would say that it went by in a flash, but it didn’t — each bottle and each producer and each story took time to find and understand and tell, and after a dozen such efforts in a month I am wearing the effort of them all, but I would (and will) do it again.  Kudos to the fine folks at Bricks Wine Company, who I think clearly surpassed their inaugural wine Advent effort last year with this year’s magnificent beta model.  The bottles of 2018 were stronger almost across the board, impressively consistent and in some instances simply show-stopping; I feel quite comfortable that I got my money’s worth on this vinous adventure, and all of the work that went into finding and sourcing these two cases of month-long 375 mL glory did not go unnoticed.

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As Ray and I wrap up our run of daily holiday blogging (only to start into our next run of daily holiday blogging TOMORROW, as Vinebox’s 12 Days of Christmas kick off, because we’re deranged), just like last year, I thought we’d finish our Wine Advent run with a look at each of our podium wines, as well as our value Dark Horse.  As I expected, there was some clear overlap in our choices, as well as a second straight year of an unanimous Advent victor.

Ray Lamontagne’s Top 3 Wines

  1.  2015 Ken Wright Cellars Shea Vineyard Pinot Noir (Day 17):  Just a truly ethereal wine, good for the soul.  Deft yet flavoursome.  Fruity yet spicy.  A wine of a specific place yet timelessly delicious no matter where you are.
  2. 2014 Woodward Canyon Artist Series Cabernet Sauvignon (Day 22):  Scratches a classic Cab itch without being tiresomely grandiose.
  3. 2012 Rocche Costamagna Barolo Rocche Dell’Annunziata (Day 15):  Taps into that rare middle-ground wellspring — can drink now or hold, and you won’t be bummed either way.  Still thinking about all those blue flowers.
  4. DARK HORSE – 2014 Bodegas Franco-Espanolas Bordon Rioja Crianza (Day 13):  Tiny cork notwithstanding, this similarly straddled two paradigms (in this case, modern and traditional Rioja) with aplomb.  This region never disappoints.

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My Top 3 Wines

  1. 2015 Ken Wright Cellars Shea Vineyard Pinot Noir (Day 17):  This just was not close for me — the Ken Wright towered over all other wines in the calendar.  Just impeccably balanced, driven and sure of what it was, while still being jaw-droppingly gorgeous from start to finish.
  2. 2016 Weingut Brundlmayer Gruner Veltliner Kamptal Terrassen (Day 3):  The front half of the calendar is gone but not forgotten, and this Gruner (not to mention Ray’s streak of amazing Austria reviews) was about as classic and dexterous as it gets.
  3. 2014 Woodward Canyon Artist Series Cabernet Sauvignon (Day 22):  As a Washington wine devotee and wannabe historian, getting to taste a pioneer of the region and understand why they drew so many more to make such great wines in Washington State is a unique thrill.
  4. DARK HORSE – 2016 Ferdinand Wines Albarino IN A CAN (Day 20):  I got confirmation via Instagram after posting this write-up, from the winemaker himself, that the Spanish-vareital-focused Ferdinand Wines IS in fact named after the big red bull of my childhood story times.  Investigative journalism is not dead.  Let’s change our views of wine vessels; I know we can.

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Just like last year, bottle #24 this year is a Champagne.  Entirely unlike last year, the Champagne is in pristine condition, and is determined to end off the calendar with a bang.  We wrap with the Pierre Paillard Les Parcelles Bouzy Grand Cru NV, and in that list of French words is a compelling story.  Pulling the threads one by one:  Pierre Paillard is a “grower Champagne” house with centuries of history in the region, having planted vines and made wines in Champagne since 1799.  Les Parcelles is one of their Champagne offerings, made from grapes picked from 22 different parcels all within the Grand Cru village of Bouzy, a key home of Pinot Noir within Champagne’s boundaries.  Although this is a non-vintage wine, meaning that the wines within the finished bottle hail from more than one growing season, I can’t help but notice that this particular rendition of Les Parcelles is designated “XIII” on the label.  This seems to refer to the primary vintage used in this specific batch:  this bottling is 80% made from 2013 vintage grapes, 14% from 2012 and 6% from…2004!  It is 70% Pinot Noir and 30% Chardonnay, is made in minimally interventionist fashion, and sits for 4 years sur lie after secondary fermentation in Paillard’s 19th century cellars, located 53 feet underground on the winery grounds, where temperatures are a constant and eternal 10 degrees Celsius. Read the rest of this entry »


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Categories : Wine Reviews

Bricks Wine Advent Calendar 2018: Day 21

21 12 2018

By Peter Vetsch

I will admit it, Advent team:  I am nearing the end of my blogging rope.  The culmination of the calendar, Christmas shopping, pre-holiday work deadlines and child sport activities has me completely drained, so as half-bottle Advent peaks to its climax, I am beginning to wear down.  Nevertheless, we aren’t about to stop with the end so near.  We fight with words and persevere.

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So out of the wrapping paper tonight comes…ANOTHER Pinot?  That oddly makes three in five days, after Monday’s Day 17 Ken Wright Oregon masterpiece and Wednesday’s Day 19 Cristom Oregon encore.  This one is…not from Oregon, I guess?  That’s not entirely fair.  If I had pulled this from the calendar on Day 4, or in the midst of the weird run of 2013s, I suspect I would have been pretty psyched about it.  The 2016 Shaw + Smith Pinot Noir from Adelaide Hills is a $50+ bottle retail, from an exciting new-wave producer known for quality.

The winery was founded in 1989 by Michael Hill Smith and his cousin Martin Shaw, both of whom were impeccably credentialed for the venture:  Smith was initially part of the family ownership of Yalumba before being bought out in 1986, and is also a Cordon Bleu-trained chef and Australia’s first-ever Master of Wine, while Shaw was himself a well-known wine consultant who was sought after by many producers needing winemaking assistance.  They grounded their venture in the chilly Adelaide Hills, which is in central-southern Australia near Barossa but 4 degrees cooler on average during the day and a whopping 8 degrees cooler at night, allowing for longer, gentler ripening and the preservation of precious grape acidity.  Grapes have been planted here for two centuries, but it wasn’t until my lifetime that viticulture really came alive on a global scale (not that I can take any credit).  “Higher, colder, wetter” is how Shaw + Smith summarize their Mount Lofty Ranges subregion as compared to nearby Barossa; while only a half hour from coastal Adelaide, it is at 700 metres above sea level…things go up in a hurry. Read the rest of this entry »


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Bricks Wine Advent Calendar 2018: Day 20

20 12 2018

By Peter Vetsch

From the very first day I bought this year’s Bricks Half-Bottle Advent Calendar, it was eminently clear that one of these neatly wrapped things was not like the others.  This is that thing:

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Why settle for a half-bottle when you can have a full can?  Although alternative wine packaging has developed quite the stigma over the years (whether cans, or bag-in-box, or tetra-packs, or anything other than tall glass bottles), and although it has often been relegated to the purview of forgettable plonk, a few forward-thinking and quality-minded producers are slowly starting to try to take it back.  As a huge proponent of wines in novel containers, I think wines in cans are utterly brilliant.  Cans offer a number of advantages over bottles:

  1. Aluminum is much, much lighter than glass, which saves on shipping costs (often charged by weight), takes less energy to transport and at least theoretically should reduce the shelf price of the product accordingly.
  2. Cans are fully opaque and do not let any damaging UV light through to the wine (which can cause chemical reactions and form sulphurous compounds within the wine that are notably unpleasant).  Glass, on the other hand, especially CLEAR glass…
  3. A sealed can allows no oxygen penetration into the wine and thus acts as a foolproof preservative.  There’s a reason why all your bomb shelter food is canned.
  4. No corks mean no risk of cork taint and closure-based wine spoilage.  Away, TCA!
  5. Cans are easily portable and allow for casual (and, as needed, discreet) enjoyment wherever you happen to be.

The increase of halfway-decent wines in cans is one of the best vinous developments of the decade, and the inclusion of this one in the calendar is at least partially indicative of the growing popular acceptance of the can as a wine-holding medium.  Not a moment too soon. Read the rest of this entry »


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Bricks Wine Advent Calendar 2018: Day 18

18 12 2018

By Peter Vetsch

Well, any wine was going to have its hands full tonight, following on the heels of the toughest act to follow so far in the 2018 calendar, last night’s masterpiece single-vineyard Pinot Noir from Ken Wright.  Like a schedule loss on the second night of a back-to-back home-and-home set in the NHL, Bricks may have strategically selected what I would guess is the least expensive bottle in the whole calendar ($15ish for a full bottle) to take one for the team right after we all revelled in the most expensive bottle in the calendar.  The Advent backup goalie in this case is the 2016 Ram’s Leap Semillon Sauvignon Blanc from New South Wales, Australia, a bottle that continues what is now a Bricks Advent tradition of vinous animals leaping, after the highly tasty Frog’s Leap Zin from 2017.  Stag’s Leap next year?  Most definitely.

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Ram’s Leap is part of the Canonbah Bridge range of wines, a producer with which I was not previously familiar, possibly because the place where their estate vineyard is planted is not even a recognized wine region!  It forms part of the broader appellation of New South Wales, but so does 30% of the Australian wine industry.  The 80-acre vineyard was strategically planted on an old riverbed in the middle of a 30,000-acre sheep farm near Warren, slightly west of the Hunter Valley, a couple hours northwest of Sydney.  Half of the plantings are Shiraz, and the other half are, well, everything else:  Merlot, Grenache, Mourvedre, Semillon, Verdelho, Chardonnay and Tempranillo.  It remains the only commercial vineyard in this highly arid area, with scorching hot days and cool nights that facilitate the practice of organic viticulture (there are no plant-attacking fungi, mildews or moulds in the desert, so less need for herbicides).  Canonbah Bridge takes their organic principles one step further by aiming to avoid any intervention with the vineyard soils whatsoever:  no tilling, all weeding (and much fertilizing) performed via wandering sheep service, cover crops preventing the spread of unwanted plant life, etc. Read the rest of this entry »


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Bricks Wine Advent Calendar 2018: Day 17

17 12 2018

By Peter Vetsch

I can often tell how much I like a wine by how many notes I take.  Even when it doesn’t hit me at first how much I am taken by a bottle, I’ll suddenly look down and a whole notebook page is filled up of musings and guesswork and random sensory impressions, the various threads through which I eventually try to sort out the essence of the wine and how it speaks to me.  On blog days where the bottle doesn’t have much to say, or doesn’t quite spur the imagination, the pen moves very slowly.  Tonight I have three pages of notes in about 30 minutes, and I had to stop myself from writing more so that I could post this early enough for people to actually read it.  This was the first bottle in Advent history that had me autonomically exclaim “WOW.”, reflex-like, as soon as I opened the bottle.  I had never had a Ken Wright Pinot Noir before, but I was very well aware the level of quality it represented.  For my first bottle to be his 2015 Shea Vineyard, from the now-famous plot that he almost single-handedly put on the map, can’t be more perfect.  Welcome to the last week of the calendar, which almost surely can’t get better than this.

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Ken Wright was first exposed to wine as a waiter and student in Kentucky, and the regular staff tastings at his part-time job soon led to a complete change of vocation and an enrolment in the prestigious UC Davis viticulture program in California.  He spent close to a decade in the state honing his craft, but a single visit to Oregon in 1976 convinced him that his destiny lay there, where he felt North America’s pinnacle expressions of Pinot Noir could be made.  He loaded up his family and all his earthly belongings and founded his first Oregon winery in 1986 (Panther Creek Cellars, which still exists today, though Wright has since sold it), then his eponymous winery in 1994, which focuses entirely on single-vineyard expressions, mostly of Pinot Noir, from 13 different vineyard sites.  Shea Vineyard, the home of tonight’s bottle, is in the Yamhill-Carlton AVA in the northern part of the Willamette Valley, a sub-AVA that Ken helped define and create (along with five others) back in 2004.  Ken also established his winery’s tasting room in the heart of the small town of Carlton, echoing his belief in the power of site for his grapes by connecting his business directly to their land of origin.  His was the first winery to take root in Carlton, and it has now been joined by a large tasting room in the town’s old train station. Read the rest of this entry »


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Bricks Wine Advent Calendar 2018: Day 13

13 12 2018

By Peter Vetsch

Rioja!  I stand to be corrected, but I believe this is the first bottle of Rioja in which we have ever partaken in an Advent calendar…thus my Groundhog Day Advent 2018 curse comes to an end and I get to dive into something sui generis to close out my blogging week.  In.  After last night’s more eclectic offering, tonight seems as safe and comforting as a St. Bernard with a collar barrel of brandy, and it barely misses continuing the 2013 vintage trend we’ve seen a lot of over the past week, although the 2014 vintage designation on this bottle suggests it’s a year beyond the likely current vintage of this wine.  “This wine”, in this case, is the 2014 Bodegas Franco-Espanolas Bordon Rioja Crianza, which is a mouthful to say, let alone type.  But as with so many things wine-related, the name tells a story.

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If you were reaching for your Spanish phrasebook or your Google Translate bookmark, I will save you the trouble:  yes, the producer’s name actually DOES mean “The French-Spanish Winery”.  The winery was founded back in 1890, when a great deal many Frenchmen in the viticulture and viniculture industries were fleeing a country where their livelihoods were literally being eaten away by the phylloxera louse, a scourge that absolutely decimated the vineyards of entire regions in France before the antidote of grafting native vitis vinifera vines onto American bug-resistant vine rootstocks was discovered.  One such Frenchman was Bordelais (and remarkably French-sounding) Frederick Saurat Anglade, who was one of many winemakers from Bordeaux to find refuge in Rioja and then like it so much that he decided to stay.  Along with Spanish partners, he founded his multinational bodegas, perched in prime territory on the banks of the Ebro River, which has since grown into one of Rioja’s biggest.

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This might be the first old-school wine from Rioja that I’ve seen use varietal labelling, but there’s the word “Tempranillo” plain as day on the front label.  This dose of consumer informational assistance is not quite as helpful as it seems, because the 2014 Bordon Crianza is actually only 80% Tempranillo and 20% Garnacha.  Close enough?  The wine spends 15 months in the traditional Riojan staple, American oak barrels (which the winery website is kind enough to advise come from the oak haven of Ohio), followed by additional time (minimum one year) in bottle before release in satisfaction of its legal “Crianza” designation aging requirements.

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Cork Rating:  5.5/10 (Amazing coverage and graphics, but major deduction for being, by FAR, the shortest cork of December to date – see corkscrew evidence above.)

The result of this regimented aging process is a gorgeous rich ruby hue and a slate of classic Spanish aromas, from tobacco and new leather jackets to wet beach, smoked meat/chorizo and cedar with quietly fresh purple fruit overlaid with the dried red berry rendition most commonly associated with 100+ year-old Riojan wineries.  Bright and juicy, the Crianza hums with vibrant acid, its luxuriant round fruitiness a nod to modern influence but its wood-aided papery tannin and its cigar smoke, dust and char flavours a throwback to the good old days.  The two eras of this legendary region dance together marvellously here, and to this day I still haven’t met a Rioja I didn’t like.

90 points


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Bricks Wine Advent Calendar 2018: Day 12

12 12 2018

By Peter Vetsch

Halfway!!  As in past years of blogging Advent, I arrive at the midway point of the calendar wondering what the hell I’ve gotten myself into and why on Earth I keep doing this every December.  The pre-Christmas pressure is getting to all of us, but we persevere — these wines aren’t going to analyze themselves.  The random division of blogging days is starting to coalesce into possibly pre-ordained wine patterns:  while Ray’s calendar selections tend to focus on things from 2013 and things from Austria, mine all seem trapped in calendar nostalgia, directly harkening back to bottles we pulled one year ago.  And here we go again:  tonight’s wine is a trip down memory lane squared.  When I first opened the wrapping paper I actually thought it WAS the very same bottle that kicked off the inaugural Half-Bottle Advent:  the 2016 Bella Wines Rose Brut Natural “Westbank”.  From the front it looks identical, but closer examination of the back label reveals that, while this is also a Bella traditional-method sparkling Gamay, it’s from a different vintage (2017 vs. 2016) and a different vineyard.  And what a difference both of those things can make.

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Bella Wines is uncompromising in its vision and is probably unlike anything the Okanagan Valley has otherwise seen:  a 100% bubbles-only natural wine producer that makes only single-varietal, single-vineyard offerings, most of which are from a single vintage.  They source grapes from organic vineyards, avoid any additives in the winemaking process, ferment only with indigenous yeasts and use cooler fall and winter outdoor temperatures to help with cold stabilization.  The goal is to create the purest and most transparent picture of the place and time that gave the grapes life; the flip side of that coin is that, when the land and the season do not want to cooperate, the picture painted may not be an appealing one.  But Bella is like a war-zone photographer:  the idea is not to appeal, it’s to reveal. Read the rest of this entry »


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Bricks Wine Advent Calendar 2018: Day 9

9 12 2018

By Peter Vetsch

Before getting into tonight’s wine, allow me a brief moment of self-reflection.  I realized partway through the current Advent blogging blitz that one of these recent half-bottle calendar posts marked the 500th piece of posted content in Pop & Pour’s history.  I have been writing this blog since March 2011, and never in my wildest dreams did I think it would reach half a thousand articles.  So much has changed in my life, my work and my family since then, but PnP has remained a constant, and it has been immensely gratifying to see it grow and expand with new writers, each with their own new approaches and perspectives.  It has been even more gratifying to have people engage with the site and remind me that I’m not just writing into a vacuum, screaming into the void.  See you all in a few years at post #1000, I hope.

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Back to tonight.  After Ray enjoyed consecutive new takes from Moldova (of all places) and cool-climate Cali, I jump back into the fray and seem to continue the Advent 2017 nostalgia tour, with yet another bottle that takes me right back to last year around this time.  Day 8 of 2017 was the 2012 Chante Cigale Chateauneuf-du-Pape, a bottle that I felt was already markedly past its prime, a surprising disappointment from a top-end region.  Tonight brings another five year-old half-bottle from CNDP, this time the 2013 Domaine de Cristia Chateauneuf-du-Pape, from which I hope for better things.

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This family estate started 70 years ago with 2 hectares’ worth of Grenache plantings owned by founder Etienne Grangean.  Etienne’s son expanded the property and added Syrah and Mourvedre to the varietal mix a few decades later (although Grenache remains 85% of the total acreage), and a decade ago Etienne’s two grandchildren came on board.  Now the Domaine has 58 hectares under vine, 20 of which are in Chateauneuf-du-Pape proper, in the eastern sandier part of the appellation. The parcels there face northeast, away from the afternoon sun, promising slower ripening and longer hang-time.  Domaine de Cristia was certified organic in 2008 and use no chemical fertilizers, pesticides or herbicides in its vineyards; it also focuses on indigenous yeast fermentation in the cellar, at lower temperatures in an effort to preserve freshness.  “Of prime importance are finesse and elegance”, says their website.  Sounds good to me, but the proof, as always, is in the bottle. Read the rest of this entry »


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Bricks Wine Advent Calendar 2018: Day 5

5 12 2018

By Peter Vetsch

Once more into the breach, my friends, and on Day 5 of Advent 2018, once more into the bag of Advent 2017 synonyms:  a Moscato d’Asti from a strong producer, much like last year’s Day 10.  That wine (I maintain to this day) struggled with some bottle condition issues, and I am happy to say that this one is clean as a whistle and full of youthful spirit. It is the 2017 G.D Vajra Moscato d’Asti, and spawns stories of history, of production method, of flavour.  Which to tell first?

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Let’s start from the start, I suppose…which it turns out is much more recent than I expected.  Despite its highly traditional-seeming name and labelling, G.D Vajra is barely 45 years old, a complete baby by the standards of Barolo, founded in 1972 (albeit from family vineyards from a couple decades earlier) with its first commercial vintage not released until 1978.  It is named after founder Aldo Vajra’s father and was started because, in Fresh Prince of Bel-Air style, Aldo participated in a student protest revolt in the city where he lived at age 15 and was thereafter immediately sent out to the Barolo countryside to live with his grandfather on a farm for the summer, away from the sway of proletariat rebellion.  That summer in Barolo (as it likely would for all of us) triggered a deep and abiding passion for wine, which ultimately resulted in the bottle here before us.  One little fight and his mom got scared…

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My favourite thing about Moscato d’Asti, apart from its dangerous low-alcohol crushability, is the trivia behind how it’s made.  It is one of the few types of sparkling (or frizzante, in this case – lightly sparkling) wines that do not go through two fermentations:  one to vinify a dry base wine, the other to re-ferment that wine with additional yeast and sugar to create the bubbles.  Instead, it combines both processes into one through a highly ingenious process called the Asti method.  Fermentation begins as per usual, but in a pressurized steel tank that is sealed off from air partway through the process, with the result that the carbon dioxide that is a fermentation byproduct cannot escape the tank and is trapped in the wine.  Then, when the half-bubbly wine is still quite sweet and considerable amounts of yeast and sugar remain that would normally continue to make sweet magic and craft a higher-alcohol dry wine, the tank and the wine inside are chilled to near-freezing to halt fermentation (yeast don’t like cold much).  The yeast is then filtered out of the tank while it is still under pressure (so that fermentation with the remaining sugar does not continue when the wine warms back up) and the wine is bottled under pressure — only lightly bubbly, at 5-6% alcohol and with a bunch of residual sugar.  Brilliant.

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Stelvin Rating:  8/10 (That green is just beautiful, especially in person, and the powdery sheen works.)

This particular Moscato hails from a single vineyard in the perfectly named commune of Mango, located on a steep slope at elevation in the Moscato d’Asti region.  It is a gleeful tropical fruit salad on the nose:  mango (of course), kiwi, canned oranges and pears, banana leaf, star fruit, and onward down the orchard Rolodex, spiked with gobs of potpourri and spring flowers and chemically Alka Seltzer and city pool chlorine.  Lush and quite notably sweet, even for Moscato standards, it is lent a sense of airiness due to its sloshy frizzy bubbles, which are not quite as penetrating or scouring as you might anticipate, a product of the not-quite-sparkling frizzante fermentation process (which is also why this can be bottled in a normal bottle and closure as opposed to a thicker Champagne-style bottle — it’s under a lot less pressure).  All I can taste is pineapple Life Savers, cream soda and every single flavour of Gummy Worm on overdrive.  The finish is slightly cloying, thanks to acid that doesn’t quite stretch all the way to the end of the line and can’t quite balance out the Moscato’s immense sweetness.

As a beverage, this is freaking delicious.  It took no time at all for the entire half-bottle to disappear.  As a wine, I wouldn’t rank it among the top Moscatos I’ve had because the rest of the wine can’t quite keep up with the sugar levels, leading to things getting a little bit flouncy.  But it’s hard to be too unhappy after a couple glasses of Moscato.

87 points


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