Bricks Wine Advent Calendar 2018: Day 4

4 12 2018

By Peter Vetsch

Well, Ray got his blast from Wine Advent past yesterday, continuing his baffling streak of Austrian dominance (which I believe is now at FOUR Austrian calendar wines in a row, somehow).  Mine came today.  Last year, I was a fresh-faced Wine Advent newbie on December 4, 2017 when I pulled a Manoir du Carra Cru Beaujolais from the Bricks calendar.  Tonight, on December 4, 2018, I unwrapped my designated Advent bottle to find…a Manoir du Carra Cru Beaujolais.  I quickly checked my calendar to ensure I had the right year.

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To be clear, it’s a different Manoir du Carra Cru Beaujolais this time around.  This producer is on its fifth generation of family ownership and has accumulated 34 hectares of vineyard land in an astonishing FIFTY different plots scattered throughout Beaujolais. Last year’s wine was from one of the better-known of the 10 Beaujolais Cru subzones, Fleurie; tonight’s option is from the larger but lesser-known (or at least less visible on shelves here) Brouilly, the biggest and southernmost of the Crus which by itself comprises 20% of the Cru vineyard land in the region.  Brouilly is so named for a massive volcanic hill at the heart of the area, Mont Brouilly, which is itself named for Brulius, a lieutenant in the Roman legion who apparently liked naming volcanoes after himself.  This particular wine comes from the Combiaty lieu-dit (or small plot/area bearing a traditional wine) in the village of St. Etienne le Varenne, located in the south of Brouilly and known best for its dry, nutrient-poor pink granite soils.

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I have a strange relationship with Manoir du Carra, in that I have had their wines on at least a dozen different occasions, but NEVER yet in a full-sized bottle — I’ve had a few splits, a number of glass pours, and a strange but incredible 500 mL bottle (which is a remarkably effective size for a bottle of wine and should be produced in greater quantities).  I assume they actually make normal bottles but cannot confirm.  The Terre de Combiaty comes from Gamay vines that average 50 years of age which are hand-harvested (like everything in the Manoir du Carra portfolio), treated with minimal intervention in the cellar and fermented using semi-carbonic maceration, where the intracellular fermentation processes within the individual grape berries from the carbonic maceration process are joined with simultaneous normal alcoholic fermentation from the crushed berries at the bottom of the fermentation tank, resulting in more colour and tannin than pure carbonic maceration and a scaled-back version of the bubble-gummy carbonic flavour set.

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Cork Rating:  1.5/10 (Further deduction from last year’s edition for not changing the nondescript “Mis en Bouteille” nonsense after being blog-warned.)

This sort-of carbonic Brouilly is a sharp purple colour in the glass but thins quite markedly at the rim.  It is initially much darker than expected aromatically, date and slate and dirt emerging first, with black cherry and chalk peeking through underneath.  Over time, a Banana Runts (with banana leaf?) top note emerges, a nod to its carbonic half, as well as the more anticipated raspberry-rooted Gamay sense of joy.  Fresher and plummier on the palate, the wine showcases its clean, squeaky tannins almost immediately, and fairly laissez-faire acidity results in this Gamay seeming more broad and expansive than its standard varietal signature, albeit while retaining a feathery, wispy sort of texture.  The mineral streak noticeable on first smell lasts throughout, iron and rock dust and magnets, but red fruit blooms as you go along to keep anything from seeming severe.  Bricks, I’d say you are 4 for 4.

88 points

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Spain, Old and New: The Wines of Cune

20 11 2018

By Peter Vetsch

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

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Welcome to Cune. Er, CUNE. Er, CVNE.

My love affair with the wines of Spain’s premier wine region of Rioja goes back almost to the time when I first started taking the contents of bottles seriously.  The area, located in north-central Spain and without question the spiritual homeland of the Tempranillo grape, is somewhat unique among the classic regions of the world for producing two very distinct types of wines, depending on the producer in question.  The traditional take on Rioja is more old-school than almost anywhere else, where both reds and whites spend near-shocking lengths of time maturing in flavour-heavy American oak barrels and even more time in bottle before release, leading to a mellowed-out, oxidative, nutty expression of regional identity.  The modern Riojas reduce barrel time (or even eliminate it for whites), focus more on riper, purer fruit and aim for immediate impact as opposed to patient complexity.  I admit to being a total sucker for the former style, largely because it’s unlike anything else produced in the entire world, a whole era unto itself, frozen in time.  That said, it is easy to see how browned, decade-aged, air-exposed wines don’t attract a universal following in this age of pristine winemaking and carefully controlled everything.  Sometimes it can be hard to reconcile the two different sides of this same regional coin.

Cune does the best job of simultaneously representing both the traditional and the modern epochs of Rioja of any winery I’ve ever come across.  Their wines harken back to the old soul of the area and feature many of its wizened delicate characteristics, while still retaining some of the vibrancy and primacy displayed by the region’s vanguard.  They are themselves part of both the history and the new blood of Rioja, founded in 1879 and now run by the fifth generation of the founding brothers.  Cune’s cellars were designed by a famed French architect by the name of Eiffel…perhaps you are familiar with other taller Parisian works of his.  The name “Cune” is more accurately “CUNE” (an acronym), which itself is more accurately “CVNE”:  Compania Vinicola del Norte de Espana, or “the Northern Spanish Wine Company”…calling it Cune (Coo-nay) for short (and giving yourself a nickname) is borderline questionable, but they make it work.

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The Cune universe is actually comprised of 3 different brands, each of which has its own winery and winemaker.  The Cune brand is based in the Rioja Alta subregion and also encompasses the higher-level Imperial bottlings, made only in very good years; the Vina Real label is based in nearby Rioja Alavesa, as is the Contino bodega, which makes wines only from its own estate vineyards.  Tonight’s Cune introduction is focused on a trio of bottlings from the original label’s portfolio, each of which gives a hint of the heights that this marvellous producer can reach. Read the rest of this entry »





Wine Review: Finca La Linda Malbec Tiers

26 07 2018

By Peter Vetsch

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

In some ways, trendy grapes have it tough.  Malbec has a proud and lengthy heritage as one of the six permitted grapes in red Bordeaux (yes, I’m still counting Carmenere, and shall ever continue to do so) and as the dauntingly famous Black Wine of Cahors, and it is almost single-handedly responsible for giving an entire country a vinous identity that has led to the rediscovery and cultivation of astonishingly high-altitude decades-old vineyards and a re-imagination of what grapes are capable of achieving in Argentina.  It is both an Old World stalwart and a New World trailblazer, pulling off both with equal aplomb and giving itself new life in the process.  But with raging-wildfire levels of success comes an inevitable fight against consumer boredom, particularly amongst the more avant-garde and adventurous in the wine world, which creates a sort of quiet undercurrent of peer pressure to steer clear of what is currently painfully a la mode.

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Great labels, but why is one bottle a third taller than the other??

I feel this way quite a bit, pulled away from the customer staple of the day in part because of my own desire to see what else is out there, but in part because of some innate resistance that I see amongst other wine geeks, some refusal to go along with what is everywhere.  So it was with Australian Shiraz; so it is with Argentinian Malbec; so it will be with whatever comes next.  I don’t really have a hard stance on this, but I have recently tried to make sure that my efforts at open-mindedness in wine extend equally to those grapes and styles that are suddenly ubiquitous as to those that remain esoteric.  I have also tried hard to remember that I once relied very heavily on the Shiraz-laden fads of the day as a gateway that set wine’s hooks into me for the first time, and I enjoyed the living hell out of them.  Fifteen years later, I have a WSET Advanced certification and have been publishing reviews on a wine blog for seven years.  Trends can lead somewhere.  So let’s start somewhere. Read the rest of this entry »





Wine Review: Tom Gore Vineyards, A Tale of Two Sauvignons

14 07 2018

By Raymond Lamontagne

[These bottles were provided as samples for review purposes.]IMG_1713

Cabernet Sauvignon remains the most widely grown quality wine grape in the world, so it is perhaps appropriate that in at least one regard, “Cab” started me off on the path to becoming a serious scholar of wine.  I had previously acquired a taste for certain Canadian Gewurtztraminers, spellbound by how a grape could smell and taste so exotic, although hard-won experience has taught me that many such wines recall one of those chemically augmented gym nuts who can flip a giant tire from a mining truck once or twice, only to catastrophically gas out immediately thereafter: initially powerful but ultimately quite flabby.  Rather wary of this focus, I then snagged a few wine books from a local book sale, thinking that this subject’s unique combination of history, geography, botany, technology, and gustatory delight would give my brain something new and compelling over which to obsess. I noticed right away that in these sundry tomes, blackcurrant or cassis was an aroma descriptor frequently associated with Cab. As someone who adores this particular flavour, I did further research. Not just cassis, but cedar, “cigar box” (I’ve always been intrigued by this one), blackberry, even vanilla and cola and chocolate cake. Wine smells like these things?! I was officially hooked, all this before even seriously tasting a Cab.

Once the actual drinking started in earnest, I rapidly encountered one of Cab’s parents: Sauvignon Blanc. My dad ordered a New Zealand example one nice evening in a Calgary steakhouse, as an aperitif, telling my mother:  “It’s one of those really grapefruity ones you like.” Grapefruit, you say? A cursory look at a tasting wheel for Sauvignon Blanc ultimately reveals a whole litany of “green” aromas, with these ultimately outnumbering the also prominent citrus and sometimes tropical fruits. There are classics like grass, gooseberry, and green bell pepper, along with rather more esoteric takes such as matcha, lemon grass, apple blossom, or even “cat pee”. Maybe we should stick with grapefruit or “tomato leaf”. Go crush and sniff a tomato leaf… You’ll probably get at least an inkling of pipi du chat, if nothing else in the form of a vague association with “funky” or “rank”. Some claim that this character, driven by organic compounds called thiols, is in fact a fault due to vineyard overproduction. Maybe so, although I experience cheap Sauvignon Blanc as something more akin to dilute lemonade in which a few broken fluorescent bulb filaments have been macerated, largely devoid of character across the board. A quick spray of thiols would often do this stuff a favour.

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From http://socialvignerons.com/2015/12/10/infographics-guide-to-sauvignon-blanc-wine-grape-variety/.  This thing is comprehensive and rather fascinating…and there it is, cat pee, complete with schematic depiction.

So in addition to capturing aromas that I find pleasant (maybe at this point forget I mentioned cat pee), Cabernet Sauvignon and Sauvignon Blanc are both associated with formative memories in my quest to experience as much of the wine world as possible. Fitting then that I drew this assignment to review these two varietal bottlings, which interestingly enough hail from the first California wine label named after a grape grower.

Read the rest of this entry »





Wine Review: Famille Sichel Bordeaux Tiers

15 04 2018

By Peter Vetsch

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

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What a Bordeaux progression looks like.

Bordeaux is one of those regions that any aspiring wine geek finds out about roughly 15 seconds after beginning their vinous adventure.  It leads off many textbooks, is (rightly) touted as the spiritual homeland of red grape overlord Cabernet Sauvignon and its consigliere Merlot and is held up as a must-try area both so that new oenophiles can get a sense of the classics and because top-flight Bordeaux can be so memorable that its first-chapter place in all future textbooks is likely assured.  Of course, all of that comes at a price, one that seems to be increasing by the year, as wines from the top chateaux become more luxury commodity and less agricultural product and as international demand in new markets shoots through the roof.  So what are the non-obscenely wealthy wine-curious to do?  Here’s one way to start:  find a reputable producer and taste your way up their lineup, through the quality tiers and nesting-doll classifications layered throughout the Bordeaux appellation.  Even if you don’t make it all the way up to the grand vin flagship of the chateau, you will end up with a really good sense of what makes this rarefied region tick and also start to understand why those tiers exist in the first place.

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I was fortunate enough to test this tasting theory with the wines of Famille Sichel, a producer with whom I didn’t initially think I was familiar until discovering that they are the owners of one of Bordeaux’s hidden gem producers, Margaux’s Chateau d’Angludet.  While the winery is centuries old and the Sichel family’s history in Bordeaux is almost equally entrenched (they have been established in the region as a negociant since 1883 and are on their sixth generation of family ownership), their two paths didn’t cross until the 1960s, when d’Angludet was in a state of extreme disrepair and was bought and revived by Peter Sichel thanks to an extensive replanting and restoration program.  Current proprietor Benjamin Sichel continues both the negociant business (under the Maison Sichel banner) and the Chateau’s estate bottlings with a heavier focus in the vineyard and a defter touch in the cellar.  I have previously enjoyed Chateau d’Angludet on numerous occasions and now got to experience the trail of bottles that leads up to it. Read the rest of this entry »





Wine Review: It’s Go TIME!

17 01 2018

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

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NHL-licensed wine.  Bring on the themes!

No, that title isn’t me exhorting myself into giving 110% on this wine review, playing for the crest on the front of the jersey and leaving it all out on the ice.  It is in fact the actual, somewhat-punny name of a red and white wine duo made as a commercial and charitable collaboration between the Okanagan’s TIME Winery and my local NHL squad the Calgary Flames, with some of the proceeds from bottle sales going to the team’s philanthropic Flames Foundation.  Having recently been to a WHL Hitmen game, I can confirm that the Saddledome boards themselves officially confirm TIME as the team’s official wine supplier (yes, such a designation is a thing), and the bottles are both served at the arena and sold at a wide array of retailers across town.  TIME is a brand owned by Encore Vineyards, a group led by Harry McWatters, a Canadian wine pioneer who founded Sumac Ridge winery the year I was born (1980) and who already has 50 years of local wine business experience under his belt, perhaps more than any other living person in Canada.  After selling Sumac Ridge, McWatters launched TIME in 2013, basing his winery inside an old movie theatre in Penticton and focusing on grapes from the southern Okanagan for his production.

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It is a long-standing tenet of this blog that I am fully on board with a good theme wine, as long as the gimmick doesn’t come at the expense of the underlying substance.  When theme bottles are done well, you win twice, augmenting the already-pleasurable experience of drinking well-made juice with the added enjoyment of the marketing cleverness surrounding it.  When they are not done well, not only are you left drinking crappy wine, you end up feeling a bit like you’ve been had while doing it.  These two bottles stake a sort of middle ground between those extremes, but when combined with their inoffensive price tag ($19.99 SRP) and their charitable underpinnings, they take no steps to dampen my theme wine enthusiasm.  Let’s get into them; it’s go t– …well, you know what time it is. Read the rest of this entry »





Wine Review: Taylor Fladgate 325th Anniversary Limited Edition Port

9 01 2018

Happy New Year!  Pop & Pour returns after a lengthy and dearly needed post-Wine-and-Whisky-Advent break with a bottle that would have graced this page last year but for the 49 other calendar-based things that had to do so in December instead.  Rest assured that the delay is no commentary on what’s in the bottle.  2017 would have been a preferable year to write up Taylor Fladgate’s 325th Anniversary special-release Tawny Port, if for no other reason than that it was the actual year of the 325th anniversary in question, thanks to Taylor’s founding way back in 1692.  Thankfully, the juice is just as delicious in 2018, and there are still a number of stores in town that have stock remaining (though this Limited Edition is sold out at the import agent level, so act fast if you want some!).

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Happy (belated) anniversary, Taylor Fladgate!  We’re back!!

Unlike most fancy commemorative releases from leading lights in the world of wine, Taylor Fladgate has done something daring and remarkable and borderline audacious with this celebratory flask:  it has made it accessible to the drinking audience at large.  Rather than building this one-off Tawny from ultra-rarified sources and then pricing it into the stratosphere (which it could easily have done, and quite successfully), it instead opted to take the top component lots of wines otherwise destined for its 10 through 40 Year Tawny lineup, blend them to about a 15 Year average, then age them together for 18 months so that it could release this (utterly spectacular looking) bottle at a shade below $50 retail.  Taylor intended this to be celebratory and drinkable at large, a monument for the masses, a conversation piece rather than a museum piece.  If this does not instantly become the next birthday gift you want to buy for the wine lover in your life, I worry for you. Read the rest of this entry »








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