By Peter Vetsch
[These bottles were provided as samples for review purposes.]
When the intrepid Dwight Sick left his longtime position as winemaker at Stags Hollow Winery and took up the same role at the Naramata’s Moraine Winery, he took two things with him: (1) a trailblazing sense of adventure, forcing drinkers to check their premises regarding which grapes can work best in the Okanagan Valley, and (2) access to the best and most established plantings of Grenache in Canada, from the Kiln House Vineyard near Penticton. That combination could never lie dormant for too long. Sick helped plant the Kiln House Grenache vines over a decade ago, and he nurtured them into the Okanagan’s first bottling of varietal Grenache after years of effort and patience. It didn’t seem right to let the red Rhone dream die, so soon after it had been realized. So Sick didn’t.
Enter Amulet Wines: a special new side project that Sick has undertaken in collaboration with Dylan and Penelope Roche of the thrilling recent Okanagan venture Roche Wines, fulfilling a vision 15 years in the making. Amulet is focused solely on Okanagan-grown Rhone varietals, a lesser-known but burgeoning (and shockingly effective) subset of British Columbia’s melting pot of grape influences. The inaugural Amulet release is a duo of bottlings, both blends, both heavily featuring the Kiln House Vineyard, both aimed at proving that Canada is (or at least can be) a New World Rhone haven. As Dwight Sick was one of the first to make me believe the truth of this latter proposition, I was eager to see how far an entire brand focused on this goal, and inspired by his vision, could carry it.
First things first: god damn are these visually commanding bottles of wine. I don’t know how gripped I am by the “good versus evil” thematics that pervade the Amulet branding, but I am entirely enthralled by the bottles themselves, which harken back somewhat to Sick’s old Cachet bottlings from Stag’s Hollow in their transparent monochrome-and-red colour scheme. However, what particularly elevates these new offerings are their centrepieces: the curved golden metal coins emanating from the heart of each bottle, which are apparently replicas of Elizabethan-era “Gold Angel” coins, depicting St. Michael slaying a dragon, that were carried or worn as amulets to ward off evil. Whatever these coins added to the overall production cost of the bottles, it was worth it — they are simply stunning. I tried to pry mine off the bottles once they were empty, but to no avail. I’ll look for a dragon next time. Were the wines equally as compelling as their packaging? Read the rest of this entry »
cabernetdialectic (Raymond Lamontagne)
Dan Steeves
Peter Vetsch
tylerderksen
pop & pour 