Wine Review: Littorai Savoy Vineyard Pinot Noir Anderson Valley 2010


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littoraiBiodynamic farming is one of the most significant new trends in the wine world although Ted Lemon at Littorai has been exploring biodynamics since the late 1990’s, long before it was hip.  Despite its recent cachet biodynamics has a long history.  Reacting against the expanded use of newly developed fertilizers in the 1920’s, philosopher and spiritualist Rudolph Steiner developed farming methods using only what could be found in nature, viewing the whole farm as a self-sustaining system. This included the use of humus as fertilizers and herbal teas to ward off pests, but also such questionable practices as stuffing the compost in a cowhorn and burying it in the soil and harvesting grapes based on phases of the moon or the position of the planets, all of which is supposed to harness “cosmic forces” in support of growing better crops.

Viticultural scientists are largely skeptical of all of this although some are convinced there is something going on that contributes to vine and soil health. Despite some of the metaphysical musings, biodynamic farming is rigorously sustainable and also forces winemakers and viticulturalists to focus intently on the health of their vineyard ecology. And there is anecdotal evidence that the wines taste differently. In some blind tasting panels biodynamic wines have been deemed superior by impressive margins, and Jancis Robinson reports they tend to have more florality and life than wines made from conventionally farmed grapes. At any rate some of the most esteemed producers in the world such as Dominio de Pingus, Olivier Humbrecht, and Chapoutier are exclusively biodynamic.

Littorai’s Ted Lemon takes a bemused attitude toward some of the extravagant metaphysical claims associated with biodyanamics and he eschews as just marketing the official biodyanamic certification from the Demeter organization. But a tour of his Sonoma operation shows a rigorous adherence to the principles of whole-vineyard ecology and sustainability. Goats, cows, ducks and chickens patrol his property sharing space with attractive gardens of flowers and herbs used to make the teas.somoma-littorai Great care is taken to direct all waste to the compost pile that will be used to introduce nutrients to the soil. Biodynamic farming is a lot of work but it pays off in vibrant fruit and wines that age beautifully.

The lineup we tasted included lovely Chardonnay and several vineyard-designate Pinot Noirs from 2014. But as usual the wine I gravitate towards has some bottle age on it.

Fruity on the front palate, the bright cherry exudes fresh, exuberant charm. But it gathers gravitas at midpalate as a seamless groundswell of cola introduces the long, peppery finish enlivened  by a cool mountain stream undercurrent. The nose has a darker aspect, the sent of an early summer forest before decay sets in. At 7 years past its vintage date the profundity of age is breaking ground. You can smell the hint of a caramel precursor, and the silken mouthfeel leaves the impression of richness without being opulent or lush. Such effortless, aging beauty—if it had not been on the tasting menu I wouldn’t have known to purchase it. Kudos to Littorai for showing their library wines.

Paired with a quesadilla of sautéed mushrooms, caramelized onions,  good cheddar, and an acid-driven green sauce. Superb.

Charming but with some profundity and the call of exuberant nature, Jan Garbarek’s version of Pygmy Lullaby captures the mood.

Score: 93

Alc: 13.7%

Price: $125

The Decline of Blends and Nature’s Way


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blending wineDespite the historical importance of blending wine, especially in Bordeaux, and the current popularity of red blends on the supermarket shelves, increasingly among the wine cognoscenti, wines from a single vineyard, a single block, a single clone, even a single barrel are popular. Winemakers today are less inclined to show off their blending expertise and would rather showcase the distinctive characteristics of a single source, especially the vineyard, unsullied by outside influence.

Is this a fad or a more or less permanent trend? It’s hard to say. No doubt the wine world is fraught with style changes—witness the reduced use of oak in Chardonnay or lower alcohol levels in Cabernet in recent years. It may be that we will tire of the whole fascination with the vineyard and return to the idea of the winemaker as the mad mixer of many influences creating a whole larger than the sum of its parts.

But, on the other hand, perhaps what we have discovered is that nature, once set in the proper direction, can produce greater differentiation on its own. Perhaps we get more differences by letting the ensemble of environmental effects take their own course rather than trying to direct them through conscious intent. If so, the current fascination with single vineyard wines will only accelerate.

In the end it’s about creating difference and nature may be more creative than we think.

What’s the Point?



noma tulumRené Redzepi, famed chef of Copenhagen’s Noma, recently opened a pop up restaurant in Tulum, in the jungles of Mexico’s Yucatan peninsula, for a seven-week run. Called by some “the most enviable meal of the year”, the 7000 tickets were sold within two hours of being released, purchased of course by the dialed in, international jet set/culinary travelers who can afford the plane fare, hotel, and $750 per head ticket after tax and service.

Redzepi is highly regarded as the chef who took locavorism upscale, insisting that ingredients and inspiration be rigorously local so that any restaurant aspiring to international acclaim must exhibit a sense of place. And this pop up seems to satisfy that condition with dishes inspired by the local cuisine and making creative use of its distinctive ingredients.

But Peter Wells the restaurant critic of the NY Times is not having any, refusing to attend or review the event.

“What I find hard to run through my critical algorithms, though, is the idea of a meal devoted to local traditions and ingredients that is being prepared and consumed mostly by people from somewhere else.”

Hmm? What Wells describes applies to most of the restaurants in the world if they cater to tourists? Where would the restaurant business be without tourism? Many places such as Tulum flourish only because of tourism.

Wells grants that Redzepi’s extravagant project was a creative success:

I don’t blame Mr. Redzepi and the Noma crew for coming up with an event that makes my critical lens fog over. They’ve acknowledged that they owe something to Mexico and tried to pay it back. In Tulum, they’re chasing their curiosity and raising new bars to vault over, which is what creative people should do.That’s the artistic side of Noma Mexico.

So what exactly is the problem?

On the business front, they’ve chosen to pour their creativity into something that, because of its planned scarcity and relative expense, has to be seen as a luxury product. Luxury goods tend to float free of the everyday world and create their own cultural context, one of wealth and exclusivity.

Again, this is true of the vast majority of the world’s best restaurants. Is Wells going to refuse to review the best restaurants in New York because they are, indeed, luxury goods?

It is surely lamentable that wealth distribution throughout the globe is so skewed that great food can be enjoyed only by the fabulously wealthy. I doubt that Well’s moral grandstanding does anything to remedy that.

Wineries Face a Predictable Labor Shortage


vineyard workersAs I travel throughout America’s wine regions,  I keep hearing about this looming labor shortage that has wineries concerned about the upcoming harvest:

Research by the Farm Bureau suggests that the federal immigration policy Trump is promoting could result in a massive farm labor shortage across the country, causing domestic fruit output to plunge anywhere from 30 to 61 percent and vegetable production to fall by 15 to 31 percent. Industrial-scale livestock operations and slaughterhouses also rely heavily on immigrants, so meat production could tumble by as much as 27 percent. As a result, the group concludes, US eaters are looking at food price hikes of 5 to 6 percent.

The problem is not just high prices. The timing of harvest is crucial for wineries since wine grapes must be picked when ready. Without reliable labor to pick fruit, rot, rain, early frost and over-ripeness will harm quality, not to mention the amount of fruit that will just go to waste imperiling winery profits.

The farm bureau reports that  for harvest up to 2.2 million farm workers are needed across the country. At least half of these mostly immigrant workers will lack legal status. And this is work most U.S. born Americans won’t do. When Trump’s winery put out a call for workers, not one U.S.-born person was among the 13 applicants.

All of this was of course predictable since many states have enacted anti-immigrant legislation and suffered as a result:

Just after taking office that winter, Georgia Gov. Nathan Deal signed a bill that, he vowed, would “crack down on the influx of illegal immigrants into our state.” Known in civil-liberties circles as Georgia’s racial-profiling law, House Bill 87 encouraged local police officers to check the immigration status of anyone suspected of violating any regulation, including traffic rules, and imposed harsh penalties on anyone caught “harboring an illegal alien.” The governor probably didn’t intend for his signature immigration law to cost his state’s farm sector loads of cash. But his timing couldn’t have been worse. A shortfall of 11,000 workers—representing about 85 percent of peak employment—caused $75 million in crop losses that spring alone, with a total hit to the state economy of $103.6 million that season, according to a study by the University of Georgia. Neighboring Alabama passed an even more draconian law later that year, spurring its immigrant farmworkers to exit en masse and costing the state up to 6 percent of its gross domestic product.

Instead of rousting immigrants we should be celebrating their willingness to work hard and the contributions they make to society.

Wine Review: Serra Vineyards Syrah Applegate Valley Southern Oregon 2011, 2012



serra vineyardsSandwiched between the acclaimed Willamette Valley to the north and the iconic wine regions of California to the south, Southern Oregon has no place to hide. They’re not the only game in town. They can’t claim to be outside the wine-world loop doing their own thing.  Comparisons with their better-known neighbors are inevitable. Time will tell if they’re up to the task and I’ll have more to say about their potential when I have poked around a bit more. But my first impressions are enthusiastically positive. Warmer than Willamette Valley but cooler than much of California, with lots of sunshine and stunning diurnal temperature shifts, Southern Oregon is a sweet spot—almost anything will ripen but the growing season is too short for over-the-top ripeness and the cool nights keep acid levels high. So think new world/old world hybridity—bold fruit, but lots of earth and freshness.

Our visits to wine regions succeed when we find a person who can unlock the region for us and in Southern Oregon that person was Liz Wan, assistant winemaker at Serra Vineyards in the Applegate subregion of the Rogue Valley. A bundle of energy and a jet stream of information about Southern Oregon wines, she not only provided us with our itinerary but poured some lovely wines created by owner/winemaker Scott Fernandes with Liz’s able assistance. If I understand their working relationship, Liz supplies the numbers and Scott the judgment and intuition. At any rate, their wines are a delicious representation of Southern Oregon viticulture.

Their award winning Cabernet Sauvignon was great but I found the Syrahs intriguing because, well, I always find Syrah intriguing.

Despite warm summer temperatures and very little summer rainfall, there is substantial vintage variation here and so I was fascinated by this comparison between the warm, almost perfect conditions of 2012 and the cool, troublesome 2011 vintage. In the end, it was hard to pick a favorite.

Syrah 2012

Dripping with ripe, blackberry, mocha, and as it opens up, earthy aromas of wet leaves and white pepper, this is a wine with depth and vitality.

Inky in the glass, the palate is rich and full bodied with dark roast coffee notes emerging. As the mouth fills with darkness the experience is enlivened by an harmonic convergence of incisive acidity and refined tannins so seamless it’s hard to distinguish the textural layers.  This textural integration is the heart of this wine. The medium length finish remains flavorful to the end. Not too drying, and never grippy, it’s both sumptuous and bristling.

Score: 91

Price: N/A

Alc: 15%

Syrah 2011

Lighter in hue, this is  fresh and bright with red berries and pomegranate dominating, cossetted by enticing mint and chocolate. Lifted and elegant, but with tension and energy, the cracklin’ minerality on the finish gives the wine a nervy, taut aspect. This is more sinewy than the majestic 2012.

Both wines have great acidity and tannins that provide structure without being too assertive.

Score: 90

Price: $55

Alc: 13.5%

When thinking about music pairings, the bright acidity and minerality puts me in mind of jangly electric guitars. Where do you find profundity and jangly electric guitars? Well U2 of course.

For the 2012 Pride (in the name of love) has that same balance of piercing top notes and rich, firm foundation

For the 2011, Magnificent has a pretty, upliftiing yet taut, percussive drive that captures the mood of this wine.

Reviews based on industry samples

Sonoma Pilgrimage


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somoma-saladA quick stop in Sonoma before heading to Southern Oregon was part pilgrimage and part voyage of discovery.

The pilgrimage was to the place that launched the food revolution on the left coast—Alice Water’s Chez Panisse, still going strong in the same location not far from the UC Berkeley campus. In the 1960’s, Waters was ensconced in the hippie/free speech culture at UC Berkeley when a sojourn in France convinced her that the revolution must be catered. Upon her return, despite the fact she had no culinary training or experience, she opened Chez Panisse in 1971, dedicated to serving exquisitely prepared food using only fresh, local ingredients, a radical, new idea at least in the U.S.

Chez Panisse played a large role in my book American Foodie helping to develop themes regarding the importance of culinary pleasure in one’s life. But I had never had the chance to eat there until recently. Lunch in the upstairs café was the only option; no dinner reservations were available until next month. Iconic restaurants often have trouble maintaining their quality and cachet since people interested in food are notoriously fickle and perpetually seek out what’s new. But I’m happy to report that Chez Panisse is still at the top if its game. This salad of cucumber, Tokyo turnips, and radishes à la crème with watercress pictured above was as delicious as it is pretty, and the grilled lamb chops and braised shank dressed with yoghurt and mint sauce, accompanied by crisp, smashed then fried potatoes and greens, was the epitome of the up-dated, French country cooking for which Chez Panisse is known.

A second icon checked off my list was Littorai Wines. Biodynamic winemaking is still controversial but it is increasingly becoming accepted by the wine culture mainstream as a disciplined approach to vineyard management that forces winemakers and viticulturists to pay close attention to the ecology of their vineyards. Ted Lemon, owner and winemaker, was a pioneer of biodynamic winemaking long before it was cool. Having worked in France for many years, he had long noticed the failure of conventional farming to solve problems in the vineyard. Soon after starting Littorai in 1993 he gradually began to introduce biodynamic principles into his vineyard practice replacing fertilizers with compost and controlling pests with the strategic use of herbal teas and an army of chickens, ducks, goats and other animals that contribute to ecological balance. somoma-littoraiBiodynamics, as originally developed by Rudolph Steiner in the 1920’s, involved a lot of questionable metaphysical beliefs such as making harvest decisions based on the phases of the moon. Ted takes a bemused attitude toward most of that and bases harvest decisions on his judgment about when the grapes are ready. For him biodynamics is practical—healthy soils create healthy vines which produce better grapes for winemaking while preserving the soil for the future.

A tour of Littorai is one of the better tours you’ll find in the Napa/Sonoma area. The Littorai property is a fascinating study in biodiversity and the staff at Littorai do an excellent job of explaining how all the elements fit together to create healthy vines. We were fortunate to be able to chat with Ted for a considerable time about his life in the wine world and his fascinating approach to viticulture. The flora and fauna on this property are interesting in themselves independently of their contribution to wine quality. But does all of this lead to better wines? It’s hard to say. But his Chardonnays and Pinot Noirs sourced from Sonoma and Anderson Valley are fresh and elegant with significant tannic structure and an electric minerality that sets them apart from more typical Sonoma Coast fruit.

After all this history, it was time to seek innovation. I wanted to focus on wines made under the banner of “natural” which is the source of a lot of the energy and novelty in the wine world today. Unsurprisingly, Berkeley supplied the venue. Donkey and Goat is a small urban winery in downtown Berkeley sourcing grapes from the Sierra Foothills, Napa, and Mendocino with a yearly case production of about 6000. Their approach to winemaking is low intervention, meaning unfined and unfiltered, using only native yeasts and no additives or additional enzymes in the winemaking process, allowing fermentations to take their own course when possible.  But they aren’t dogmatic about it. They use minimal sulfur when needed and will intervene if a ferment is going south. After all there is no point in wasting a good barrel of wine just to make a point. Their approach to winemaking is evidence that the natural wine movement is growing up, becoming more pragmatic and less ideological. Of course that means “natural wines” are not much different from traditional, artisanal wines which have long been made without much intervention from winemaking technology at least in good vintages.

What  is different about these winemakers flying the “natural” banner is that they aren’t afraid to be unconventional. And winemaker Jared Brandt is no exception. His Twinkle bottling is a light Mourvedre that hovers uncertainly between a Rosé and a California GSM, airy and bright but with a tannic foundation that provides textural contrast and structural integrity. And his “orange wine” called Stone Crusher (see my review here) is an hedonic assault on the senses, one of the most distinctive wines I have sampled .  The 2013 Syrah (Fernaughty Vineyard), (2015) Perli Vineyard Chardonnay, and a white Rhone blend called Eliza all had electric acidity and layered textures, taut, complex, and savory.

Thanks to a recommendation from Donkey and Goat’s tasting room manager, we headed up 101 to pay a visit to Healdsburg’s Idlewild Wines.  Like Donkey and Goat, they profess commitment to low intervention winemaking. But what is extraordinary is their commitment to making wine, not only from Italian varietals, but exclusively from varietals found in Piemonte. Arneis, Cortese, Dolcetto, Barbera,  and Nebbiolo, sourced from mature vines from a vineyard in the hills of central Mendocino Valley,  all were delicious and varietally correct albeit in a somewhat riper style than you would find in Italy. The Barbera was especially dense and fruit-forward; the Arneis surprisingly full bodied and luscious. But for sheer originality, Idlewild’s version of Cortese wins the prize. 25% of the grapes were fermented on the skins like a red wine and then left to macerate after fermentation producing a wine of extraordinary body and texture. But alas my heart was won by the Nebbiolo, because I’m always a sucker for Nebbiolo. Some very carefully handling of the grapes has produced a seductive, accessible wine with all the standard characteristics–rose, fennel, dried cherries, and tar–but without the mouth ripping tannins that require 15 years of bottle age to calm down.

With temperatures soaring alas we had to abandon wine tasting in the valley and escape to Bodega Bay in search of cool temperatures, oysters and crab, happily consumed under this jealous eye.


Budget Wine Review: Castelvero Barbera Piemonte 2015


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castelvero barberaThe so-called “wine of the people”, Italian Barbera is Nebbiolo’s oft-ignored friend, occupying the lesser sites of Piemonte and producing high yields to wash down salumni or gnocchi. Its high acidity makes it a great everyday food wine.

Castelvero’s version has pronounced blackberry with hints of lavender and the barest suggestion of nutmeg on the nose. The palate is juicy with mouthwatering acidity and soft, meager tannins, a classic expression. Some Barbera sees a lot of oak but this one shows very little oak character. With gobs of fruit and the acidity under control so it isn’t too tart, this is a great choice if you’re tired of Chianti yet still want Italian simplicity.

Wine of the people to accompany music of the people, Bocelli’s Con Te Partirò

Score: 86

Price: $10

Alc: 12.5%

The New Sammy’s Cowboy Bistro: Mom and Pop Excellence



new sammysWe’re camped in Southern Oregon tasting wine but today the story is about food.

A few minutes north of Ashland on a quiet, semi-rural highway sparsely populated with lower middle class homes stands one of the most acclaimed restaurants you probably have never heard of—New Sammy’s Cowboy Bistro. The building looks like it could be a restaurant although the vegetable gardens surrounding the property suggest a cook on the premises.

At any rate, this small, low-key restaurant has been featured in many magazine lists of worthy foodie destinations and has been lauded by critics all over the country. It’s been operated by Vernon and Charlene Rollins since 1989.

Long story short, Vernon and Charlene met at Alice Waters’ Chez Panisse in 1978. Charlene was a cook and Vernon imported French wine. Shortly after marrying, they opened a restaurant in the boonies in a place called Booneville, two hours north of San Francisco, with the help of lots of high powered investors. For awhile due to their exquisite attention to detail and love of home-grown fresh ingredients, it was one of the hottest restaurants in the country, but they proceeded to run it into the ground due to bad management. It’s rumored that they hi-tailed it out of town in a borrowed car leaving investors and employees holding the bag. At any rate, after a year in France, they resurfaced in Talent, Oregon opening New Sammy’s Cowboy Bistro, named after their son Sammy and their desire to feed the cowboys living in the neighborhood.

They use the best organic, local ingredients, much of it grown on premises and the wine list was reported to be one of the best in the country a few years ago before they started selling it off. Even today the list is full of impressive wines from France, Italy and Spain at bargain prices. Premier Crus Burgundy for under $70 in a restaurant is unheard of these days but there were several on the menu.  The dining room is spacious but has only about 10 The price of lunch is only $15 dollars. The menu included only 4 items one of which was unavailable. But the cooking is exquisite. Perfect ingredients prepared with the utmost attention to detail.

new-sammys-vegetable-stewA stew of various vegetables, black beans and polenta was so well balanced it felt weightless in the mouth. Despite the sheer number of ingredients each component was distinct and perfectly cooked. The burger made from grass fed beef topped with bacon, goat cheese, spinach and alioli was bursting with flavor.

This is the quintessential mom and pop business, purely dedicated to quality.

Alas the Rollin’s are well into their 70’s and announced their intention to sell the business late last year. So if you’re in this part of the country, check out this icon before it’s too late.

The Controversy Over Cultural Appropriation


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culural appropriationKenneth Malik’s NY Times article “In Defense of Cultural Appropriation” is important generally, but specifically, it is important to the food world. As Malik reports:

In Canada last month, three editors lost their jobs after making such a defense.

The controversy began when Hal Niedzviecki, editor of Write, the magazine of the Canadian Writers’ Union, penned an editorial defending the right of white authors to create characters from minority or indigenous backgrounds. Within days, a social media backlash forced him to resign. The Writers’ Union issued an apology for an article that its Equity Task Force claimed “re-entrenches the deeply racist assumptions” held about art.

Another editor, Jonathan Kay, of The Walrus magazine, was also compelled to step down after tweeting his support for Mr. Niedzviecki. Meanwhile, the broadcaster CBC moved Steve Ladurantaye, managing editor of its flagship news program The National, to a different post, similarly for an “unacceptable tweet” about the controversy.

And, as Malik further explains, countless artists have had their work condemned as cultural appropriation because they depicted historical events or artifacts from cultures that were not their own. Essentially, cultural appropriation involves making use of someone’s else’s culture without their permission, and it’s often treated as a form of theft if not outright racism. Critics of the practice are motivated by a desire to prevent exploitation and allowing cultures to speak for themselves.  No doubt some forms of cultural appropriation are racist if the use is not respectful or traffics in negative stereotypes. But as Malik argues:

In the case of culture, however, what is called appropriation is not theft but messy interaction. Writers and artists necessarily engage with the experiences of others. Nobody owns a culture, but everyone inhabits one, and in inhabiting a culture, one finds the tools for reaching out to other cultures.

In fact, it’s hard to imagine what culture would be like without appropriation. Christianity flourished by incorporating the ideas of Greek philosophy. Islamic culture had a profound influence on medieval Europe.  Was the Beatles use of the Sitar cultural appropriation? The British got their enjoyment of tea from the machinations of the East India Company. Are Chinese people who make ramen appropriating Japanese culture, even though ramen is a descendant of Chinese noodle soups? Is an American chef who owns a Tapas restaurant guilty of cultural appropriation?

As I discussed extensively in American Foodie, white musicians were surely appropriating the music of African Americans in the 1960’s when the blues was resurgent.  But if it was done respectfully with a full understanding of the idioms and nuances it becomes a form of appreciation. And the history of food is a history of rampant cultural appropriation. After all, tomatoes were not indigenous to Italy; potatoes and eggplant did not originate in India. Yet today they are prominent in those cuisines.

Moreover, preventing cultural appropriation is unlikely to have much effect on racism. As Malik notes:

But imagine that Elvis had been prevented from appropriating so-called black music. Would that have challenged racism, or eradicated Jim Crow laws? Clearly not. It took a social struggle — the civil rights movement — to bring about change. That struggle was built not on cultural separation, but on the demand for equal rights and universal values.

To condemn all forms of cultural appropriation would entail that forms of cultural identification across ethnic or racial lines are impossible. Surely that is not likely to advance the cause of social justice. There is unlikely to be a hard and fast line to be drawn between cultural theft and legitimate use. We will have to learn to live with that ambiguity.

Wine Review: Donkey and Goat Stone Crusher Skin Ferment Roussanne El Dorado 2015


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donkey and goatDonkey and Goat is a small urban winery in downtown Berkeley sourcing grapes from the Sierra Foothills. They make so called “natural wine”—wine with no additives, native yeasts, little intervention from winemaking tricks of the trade, and as little sulfur as possible. But most importantly their wines are both good and unusual. I enjoyed their soft, spare Mourvedre,  called Twinkle, which drank like a rose but with more flavor and grip. Their Perli Vineyard Chardonnay was so rich and flavorful I just might start drinking Chardonnay again. Eliza was a scrumptious blend of white Rhone varietals. With layer upon layer of texture, it was like drinking a symphony. Their Syrahs were big and muscular.

But the most intriguing wine was the Stone Crusher Roussanne, a white wine allowed to rest on the skins for 12 days during fermentation so it develops tannins and skin-derived flavors. This style is called “orange wine” because the skin contact produces an orange tint.

Ginger-spiced pear and baked apple aromas mingle with pretty, floral top notes. Though the aromas are abundant but a bit shy, the palate is in your face. The skin contact produces an etched mouthfeel of phases. The tantalizing fruit  hints at a lovely weightless quality before the hefty, chewy tannins ravage the mouth ushering in a dry finish with a long slow fade showing tart apricot on the coda.

10 months in neutral French oak.

I’ve never tasted a wine quite like this. Unfortunately, I don’t have a steak in the fridge because I think the pairing would be extraordinary.

Like some wronged and restless spirit this wine is nervy, on the edge, but self controlled.

Like the taut, rumbling undercurrent, and shattered prettiness of Costello’s Dust 2

Score: 90

Price: $32

Alc: 12.4%