“Sod the wine, I want to suck on the writing. This man White is an instinctive writer, bloody rare to find one who actually pulls it off, as in still gets a meaning across with concision. Sharp arbitrage of speed and risk, closest thing I can think of to Cicero’s ‘motus continuum animi.’

Probably takes a drink or two to connect like that: he literally paints his senses on the page.”


DBC Pierre (Vernon God Little, Ludmila’s Broken English, Lights Out In Wonderland ... Winner: Booker prize; Whitbread prize; Bollinger Wodehouse Everyman prize; James Joyce Award from the Literary & Historical Society of University College Dublin)


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30 December 2012

CLARE RIESLING : WHERE'S THE WORTH?


Grosset Springvale Watervale Clare Valley Riesling 2012
$37; 12.5% alcohol; screw cap; 88+ points
 

Clare is not a valley.  It’s really the North Mount Lofty Ranges: more of a mess of upland vales which drain in different directions, out of those ancient nuggety hills onto the surrounding badlands.  They display a similar fine mess of varied geologies, which gives the joint some of its fascination, and might begin to justify two vales and a valley finding their way onto this label in spite of the fact of the fruit coming from the one site.  Another common confusion is the popular bullshit that like Coonawarra, the Watervale vineyards are in terra rossa topsoil over limestone.  Wrong.  The white stuff of Watervale is calcrete. The best explanation I can easily lay my hand on comes from western Kansas and you can read it here. But back to Watervale.  This wine smells like Watervale.  It has that slightly acrid dust-and-stubble whiff that greets you when you drive all the way there in the summer and suddenly open a car window or door. And it smells of the classical lemon and lime pith of Watervale.  The wines from these fine slopes are usually less complex and less tropically fruity than the Polish Hill/River/Valley wines, and, while tight, a fair deal more generous of spirit than the highly austere schoolmasterly Rieslings of Eden Valley.  This ticks all those boxes, but to me it seems to lack the tight finishing focus I expect of the best of the Watervale calcretes, and like its Polish sister, seems a little floppy and fuzzy.  Especially for 2012.  A nice drink, but.  Rizza for the Chablister Sisters and the lo-oak Chardy Cardies, but wha?  At this price?  Naw.  Not really.  

O’Leary-Walker Winemakers Watervale Clare Riesling 2012
$20; 12.5% alcohol; screw cap; 92++ points
 

The claim to limestone on the back label here is probably the wine’s only real fault.  This is classic Watervale Riesling, rich with lime juice, lime pith, and slightly toasted lime skin, as if somebody’s put the spent peel on top of the woodfire stove like my Mum used to do.  Sure beat Glen Fucking Twenty.  It’s a more generous aroma than the coolest Clares offer, richer than, say, a Chablis, and much richer than Eden Valley, but with a whoof of that summery Clare air, laden with stubble and dust and gorse and a little stringy bark. It’s a real good drink: not as cold and Presbyterian spinstery as some Watervales, but lush and clean and streamlined and cushioned just enough to make me dribble at the thought of scallops on the half-shell roast over real charcoal with aged soy and shredded mandarin peel and a little fresh spring onion garnish added before tabling.  But that’s not limestone.  It’s calcrete.

O’Leary-Walker Winemakers Polish Hill River Riesling 2012
$22; 12.5% alcohol; screw cap; 93++++
 

The Doctors’ Vineyard was for many years the source of Grosset’s famous Polish Hill Riesling, a name he guarded jealously, as if he'd settled the district. O'Leary-Walker Winemakers now have a very happy relationship and contract with the same physicians while Grosset takes his fruit from a new vineyard next door.  Across Blue Cutting Road you’ll find farm master Martin Smith’s Riesling vineyard.  I say master because Smiffy’s something of a doctor in his own way: setting up many of the earliest modern trellised vineyards around the Polish Valley in the ’eighties.  In his brutally practical and intelligent manner.  Both the Smith and orginal Polish Hill vineyards contribute to this wine.  Which seems a touch shy and withdrawing right now, as if it needs a good quarter of a century to get a civil tongue in its head.  But let it sit in the glass awhile, and it o-so-gradually begins to drop the surly “So whatteryou lookin at?” routine to more of a sassy “Okay I’ll show you my tits if you promise not to touch ’em.”  It’s a tight, seamless thing to sniff, first giving the hooter a summery tickle of the mean old schists, slates, and mudstones that make up the scant soil.  Then the flesh starts to pucker and swell, tropical and spicy. Lychee, rambutan, cherimoya, carambola, plantain, feijoa: you’ll find whiffs and twists of the whole damn fruit market in there if you linger.  The flavours are intense and authoritative, but perhaps even more ungiving than that bouquet was at first. It has a slurpy, steely viscosity that’s more burnished whipsnake than brittle citric, but it’s still unmistakable Polish Hill River Riesling of the highest order.  It’ll take many years to properly settle and bloom - pack some away! 

Grosset Polish Hill Clare Valley Riesling 2012

$49; 12.5% alcohol; screw cap; 90++
 

This wine’s more open in the shirt division than the O’Leary-Walker – it’s more a creamed-and-powdered Liz Taylor teasing Jimmy Dean in Giant than the bossy, lean and mean Kathryn Hepburn/Barbara Stanwyck style O’L-W gets from the original vineyard.  (I reckon them gals woulda preferred to wear bracing men’s perfume, with the dimethyl sulphide edge of the ocean, salt, citrus, and plenty of vetiver.)  This style gap could simply be a result of the vast difference in the age of the vines: these younger ones, right next door to The Doctors’ vineyard, are maybe just a little more blowsy; but the claimed numbers aside, I suspect this one’s of higher alcohol, too – these aromatics are more of the alcohol-soluble type.  The aroma shows more fleshy lychee and rambutan than do the more austere, woodier fruits of the neighbour, and quite some lime cordial after the Bickford’s style. The texture is immediately more viscous and fluffy, and the acids seem softer if a little more obvious and separate.  Not nearly the muscly, lean style of the O’L-W, but more of an early drinker, if just a little breathless and dissolute.  I can see why some love it: it’s easier to love.  More of a pushover.  But friggin expensive. Who are these people?

 
Johnny Ruciak was the last Pole to live in the Polish Valley area, south-east of Clare toward the famous slate-mining town of Mintaro.  I took this photograph of him and his dog leaning against the wall of his house in about 1985.  He had hard mud floors and no electricity, and was a beautiful peaceful and helpful person who never understood what idle meant.  Johnny kept a perfect copperplate diary of  the weather and the garden (vineyard) activities every day of his long and happy, but very hard, life.  He always enjoyed taking me in there  for a cup of tea - after lighting a fire to boil the water - while he explained the details of every change in climate and weather over seventy years, always pulling another precious volume of his fastidious writings from the seaman's trunk his grandparents had brought with them from Silesia.  He recorded forensically accurate details of everything, from the way the sky looked to the flavour of the tomatoes and the moisture in the soil, every day of his life.  I never heard him complain.  Those stones are what gives these Polish Valley wines their special flavours.  Johnny was a real good man.


PS: A note about price: Riesling is a tough, acidic white grape. To make wine from it, you typically pick it, press it, remove the juice from the skins, store this in a chilled stainless steel tank, add yeast or let wild yeast ferment it by letting the tank warm a little, cold-settle it for clarification, sulphur it for preservation, filter it and bottle it.  This can be done in days. No oak is required, and no sophistry other than cleanliness need be involved in the procedure. In other words, the wine should be inexpensive. So how can one producer charge so much more than another when the vineyards are virtually adjacent? Fame? To this critic, the choice is a no-brainer.  But if you find yourself feeling sorry for Jeff Grosset as you buy your bottle of  O'Leary-Walker, buy the latter anyway, and send Jeff $20 for each bottle you purchase.




YOU CAME AND STOOD BY MY TABLE


WINES OF GREAT DEPTH # 0036


28 December 2012

KRUG 2000 - THE DRINK OF MY LIFE?



Krug Vintage Brut Champagne 2000 
$514.39; 12% alcohol; cork; 97++ points 

This could be the best drink of my life.  Two weeks ago, it invaded me more than seduced.  Just took over.  Still it haunts me, freshly, as if the King had just now walked out of the room.  Having pushed aside the long-stored mental records of many other magnificent wines, it sits glowering in my memory like a heavenly cloud. And not only the gastronomic part of my brain’s library: this liquor took over many other sections, spilling into the history shelves, the music sector, the colour charts.  It dumbfounded the language files completely. I couldn’t talk.

When it was poured, its miasma was not content to merely spill across the table as other vinous rarities sometimes do.  This thing occupied the building.

After half an hour of marveling at its bouquet, I murmured “It doesn’t even smell like wine.”

You know how Tasmanian Leatherwood honey has a dark perfumed richness about it, setting it well aside from all other honey?  You should think like that of this wine: it immediately brought Leatherwood to mind, but it doesn’t really smell like that.  It smells like a master has poached ripe Passe-Crassane pears in it and served them warm on a toasty brioche floating in perfect sabayon.  This Normandy pear is a delicious, granular cross of a pear and a quince. So the bouquet is deeper, more autumnal and complex than simple crunchy pear.  Then there’s that basement of alluring, mysterious spice: some scorched Curaçao orange peel, for example.  Maybe mace, maybe nutmeg, maybe cinnamon, maybe allspice, maybe roast stringy bark.  Which brings me back to the Leatherwood.  And we already know it doesn’t really smell like that: all these insinuations and innuendos have been melted and forged into the one perfectly smooth golden ingot.

When eventually I remembered it was actually a drink I had in my hand, and I took a draught, I lost my voice again.  It sure does taste like wine, but wine crossed with cinder toffee and burnished gold.  It rang my receptors like a carillon.

Everything else is gonna be a letdown.

2000 was really a shit of a year in Champagne, a chaotic juggernaut that commenced with too much mildew-promoting rain then savage hailstorms in July.  But what the hail hadn’t blitzed – like 3,000 ha: one tenth of the appellation – was generous to the point of corpulent after all that water.  August brought a see-saw of further downpours, interspersed with hot sunshine. Then, in mid-September, just before harvest, there was a burst of record heat. That big crop made possible some very careful fruit selection for the fussiest producers, who finally enjoyed a calm, drawn-out harvest in a beautiful Indian summer.

They were still picking clean Côte des Blancs Chardonnay well into October, which may begin to explain why Krug winemaker Julie Cavil employed a little more of it than usual – the blend is 43% Chardonnay, 42% Pinot noir and 15% Pinot meunier.

Over the years of considering the wine’s intricate composition before assemblage, the Krugs ended up calling this astonishment their Gourmandise Orageuse - Stormy Indulgence.

“This vintage brings together the complexity and the generosity of a very exciting year,” Olivier Krug understates on the family website.  “Krug 2000 is one of the most intense, dramatic and romantic Krug Vintages ever made.  It also has a very high ageing potential.”

Nobody would know better.  The wine certainly has sufficient acidity to keep all that opulence and extravagance in harmonious balance, and given the Krugs’ longstanding philosophy of maximum oxidation until bottling, we can be assured there’ll be no more of that occurring as this mighty dream of a drink smoulders on for decades, corks willing.

And the bead?  That lazy, persistent stream of the tiniest bubbles that can make Krug identifiable on sight alone?  Again, just perfect.  Which reminds me of Henri Krug drily remarking on one of my visits to that gracious, understated but totally authoritative maison, “Why are they so small?  I leave that to our technical people, Philip. Just let me say I have spent many years counting them.”

These are the sort of bubbles I could easily spend the rest of my life counting.  I’ll have to sell the Veyron.

Back in the day: brothers Henri and Remi Krug, planning assemblage

23 December 2012

A NEW GEORGE FOR OUR FUNNY BOOK

George Grainger Aldridge called by this week, to hand over an inch thick stash of cartoons like this for our forthcoming Funny Book. Pardon my snap - I have no scanner other than this camera and the old eyelid cinema ... click image to crisp.

22 December 2012

MAYNARD SUGGESTS A SONG FOR EXMESS

I invited that beloved cobber of DRINKSTER, the Caduceus winemaker, Maynard James Keenan, to nominate which of his songs he might suggest as being pertinent to this hard and cruel time in poor old America.  Which by its nature now includes the whole friggin world. He reckons this one pretty well sums it up.  Thanks Brother - I look forward to seeing A Perfect Circle and Puscifer on your vintage tour ,,, keeping a fork polished!

19 December 2012

BIG YANGARRA FAMILY COOL AT YULE














































 




























The big family of Yangarra Estate celebrated the season and the oncoming vintage with a delightful lunch at the recently-purchased Clarendon Vineyard, a few kilometres away on the uplands above the Onkaparinga Gorge ... photos Philip White