Category Archives: Australia

Leasingham Bin 7 Cellar Selection Riesling 2000

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I’ve been steering clear of Riesling since my return from the Mosel. Not that I’m sick of it; indeed, quite the opposite. I enjoyed the Rieslings there so much I’ve been hesitant to dive back into different expressions of the grape. For my return foray, I opened this, an older wine and one that I’ve documented here on Full Pour in the past.

As with my tasting in 2008, this bottle had a Stelvin cap that was fairly welded onto the bottle. It shed a fair bit of crust once I finally wrangled the thing loose. You’d never know it from the condition of the wine, though, which was pristine and youthful.

Shockingly youthful, in fact. Clearly, wines do develop under screwcap (let us not even entertain the contrary notion), but if this wine is any indication they can age slowly, gracefully and cleanly. I don’t regard any of these attributes as bad; indeed the wine exploded from my glass with a mixture of fresh and tertiary aromas. Lime, toast, honey, spice; a range of notes that are both totally correct and very fine. I’ve tasted some Australian Rieslings that showed an unattractive broadness in middle age; this, though, is still tight and linear, even as its developed flavours express.

In the mouth, still taut with acid and lean of line. I don’t imagine this was one of those especially intense wines as a youngster, which translates to a fairly gentle experience now in terms of impact and density of flavour. Unlike the Elizabeth Semillon I had the other day, this wine’s lack of intensity sits better within its style. This is about lightness of countenance and delicacy above all else.

Welcome back.

Leasingham
Price: N/A
Closure: Stelvin
Source: Retail

Mount Pleasant Elizabeth Semillon 1999

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It’s been a surprisingly restrained Christmas chez Coldrey; numbers of both people and wine are slightly down on last year, so I’ve made it out the other side with my liver relatively intact. Of the bottles we did open, a theme seemed to emerge, that being old Australian white wines.

This was one of them. It’s been a few years since I had a bottle, and I see from my last note there’s been some variation in the condition of each bottle. Happily, this one was in excellent condition, sealed by a tight, clean cork. Considering I paid about $12 for it, it’s ageing remarkably well, gaining some additional flavours and softening ever so slightly in mouthfeel. It’s not, however, gaining intensity and, if this wine disappoints at all, it’s due to an impression of slightly dilute fruit. Aged notes, attractive as they are, haven’t yet filled in the gaps, and I don’t know if they ever will.

Even as one notes this about the wine, it remains a nice example of the style, with a set of flavours that is absolutely typical and an acid line that grants focus and precision to the palate. Honey and toast are in evidence and sit alongside primary fruit, with hints of the lovely waxy flavour and mouthfeel lovers of these wines crave. It’s pretty, light and starting to glow with bottle age. Bottles in good condition could no doubt be left for several more years.

McWilliams Mount Pleasant
Price: $A12
Closure: Cork
Source: Retail

Oakridge 864 Willowlake Chardonnay 2012

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There’s an interesting conceptual tension at play with this wine. The Oakridge range is structured, at the high end, around ideas of vineyard differentiation, terroir and the progressively more precise identification of sites and blocks of special interest. A highly Burgundian view of wine, then, and one that is certainly au courant in the Australian wine scene.

The wine itself is, simply, spectacular. It’s surely one of the best Australian Chardonnays I’ve tasted in a long while, and blasts into one’s palate memory through a combination of balance, impossibly fine detail and the sort of good taste that speaks of highly attentive winemaking. The flavour profile mixes crystalline fruit with a whole heap of prickly sulphides and other funk, which sounds like modern Chardonnay gone wrong but which, in fact, comes across as an utterly coherent collection of notes. It’s the clarity and detail of the wine that really allow each element to shine. Rarely are flavours articulated with such precision and placement. It’s a controlled experience from head to toe, with only a flash of lemon juice flavour and acid on the after palate standing out as somewhat separate and simple.

The complex rush of flavours and sense this wine gives of having been orchestrated brings us back to its origins as a single-block-within-a-single-vineyard wine, one that by its nature might suggest a fashionable minimising of intervention in the winery. This is anything but a hands-off wine, though; it’s one made in a very specific style, using obviously beautiful fruit and applying a series of winemaking techniques with real skill and a very firm view of how Chardonnay should taste. This is a wine of its maker as much as of its vineyard and, in being so, honestly engages the reality of winemaking: it doesn’t just happen on its own. I can’t help but think this is a far more intricate and interesting view of wine than one where the role of either the vineyard or the winemaker is pushed into the background. This Oakridge wine, delicious as it is, is a veritable narrative of the way people and nature collide in the course of making wine.

Fascinating.

Oakridge Wines
Price: $A75
Closure: Stelvin
Source: Gift

Hoddles Creek Chardonnay 2006

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Who’d have thought I’d be revisiting an $18 Chardonnay from 2006 with such curiosity and enthusiasm? Such is the state of Chardonnay in Australia. A golden age of sorts, led at the entry level by this label amongst others. The Hoddles Creek Chardonnay (and its Pinot Noir sibling) has quickly become the sort of “must purchase” wine beloved by wine enthusiasts of good taste and limited means (that surely covers most of us). I’ve visited with this wine on a few occasions, two of which I’ve documented on Full Pour (in 2007 and subsequently in 2011). Here we go for a third time.

The lean character of this wine has remained pretty constant over its life so far, and this tasting reveals a wine that in some respects hasn’t moved much since my first tasting. It’s worth pausing to reflect on the fact this is a cheap wine in absolute terms; that it still has life at this point is in itself remarkable. There are some tertiary flavours for sure — honeycomb and nuts mostly — but the wine retains plenty of primary freshness and white stonefruit flavours.

Where it isn’t evolving so much is in weight and opulence; I wondered on previous tastings whether it might gain some weight, and at this stage it seems destined to retain its linear, quite driven movement through the mouth for a while yet. Will it ever become an expansive wine? I’m not sure; in any case, there are plenty of other Chardonnays to satiate that particular craving. A more interesting question is whether its fruit is starting to fall away here; it does seem to lack that last ounce of intensity, and I don’t recall whether it provided greater impact and flavour in previous tastings. In any case, it has a poise right now that flows from a nicely resolved structure and flavour pitched at a moderate level of intensity.

For my taste, I’d like an ounce more generosity, something the flavour profile suggests but never quite gets around to delivering. Still, that’s probably a question of taste more than quality; certainly, this is a striking, important wine in terms of contemporary Australian Chardonnay.


Hoddles Creek
Price: $A18
Closure: Stelvin
Source: Retail

Chapel Hill Sangiovese 2012

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A strong regional imprint is often celebrated: we seek evidence of region and site with Pinot, we love that Shiraz is a chameleon, and Riesling’s transparency gives regions their raison d’être. Sangiovese produced in McLaren Vale isn’t so lucky. The variety’s been in this beautiful, historic region for a while, and the impact of certain early wines like Coriole’s have imprinted this particular region-variety relationship on my consciousness. Yet it’s often criticised for tasting nothing like Sangiovese, by which we presumably mean Chianti, and too much like McLaren Vale. I think I may have even contributed to that line of thinking.

This wine, a modest example of the genre, has me wondering whether tasting like McLaren Vale isn’t such a bad thing. It is, after all, a region that effortlessly produces full-flavoured red wines of considerable appeal, despite being in many ways the stylistic antithesis of Tuscany. The key here is that this wine, and many McLaren Vale Sangioveses, inherit enough of the region’s imprint to take the variety in a new direction. As I smell this, it is a curious mash-up of the red berried exuberance of McLaren Vale and the more angular savouriness of Sangiovese. Some might argue it falls into a stylistic no man’s land as a result; that’s simply a matter of taste. For mine, this is luscious enough to satisfy my cravings for a slutty red wine, and odd enough to mark it apart from more familiar Shiraz and Cabernet siblings. It also has a reductive edge I’m not so hot on, though this seems to be blowing off with some air.

The palate tells a similar story, with little of the structural aggressiveness Sangiovese can show. In its place, rather pillowy tannins and plump fruit that slips and slides all over the tongue as it leaves behind ripe, pleasingly savoury flavours. Acid is quite firm and brings to life some of the more varietal flavours present here — almonds mostly. It’s medium bodied at least and, in terms of shape and size in the mouth, very regional.

It’s a humble wine to hang so much on, but I think it does show some varietal interest while being true to its region. Just don’t expect an Italian.

Chapel Hill
Price: $A25
Closure: Stelvin
Source: Sample

Lost Lake Single Vineyard Pinot Noir 2011

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Partly out of perversity, I was on a Pinot kick while visiting Western Australia earlier this year. So, while driving around the Pemberton, Manjimup and Great Southern wine regions, I sought out as many examples as I could. Pemberton offered up plenty in this regard, with Pinot something of a regional speciality.

Pemberton’s a funny wine region; the vast, well-funded cellar doors of Margaret River are a long way away and the mix of local producers ranges from hobby to medium sized family. Larger wineries like Houghton have historically obtained grapes from Pemberton too, though the number of derelict and decommissioned vineyards I saw in the area suggests this may have recently changed.

Back to this wine, though, which is handsomely packaged in a bottle of sensible weight and represents Lost Lake’s entry level Pinot. The nose is utterly, screamingly varietal, with the lifted floral aromatics and bright red fruit of the variety at its most recognisable. There are edges of dark spice and undergrowth too, not loud enough to distract, but certainly adding some welcome complexity. Balanced, bright and attractive.

The palate is more challenging in that it feels quite extracted given the flavour profile of the fruit. Entry is light and bright, with good acid carrying fresh fruit onto the mid-palate. Here, tannin starts to emerge and the wine’s weight seems to grow. The after palate becomes quite savoury and textured, tannins again a primary feature. There’s decent extension through the back palate, though the fruit here seems less fresh and the flavour profile almost caramelised. It’s not at all unpleasant, but I miss the simplicity and vibrant freshness of the aroma and attack. I’d be interested to taste Lost Lake’s barrel selection, as some more fruit power and density could carry this sort of structure more easily.

Still, a very pleasant wine for not a lot of money.

Lost Lake
Price: $A25
Closure: Stelvin
Source: Retail

Bloodwood Chardonnay 2010

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I like it when wines surprise me, whether it’s a matter of quality or, as with this wine, by showing unexpected dimensions that lift it beyond what I initially believe it to be. This wine, from relatively old vines in the Orange region, is one of two produced by Bloodwood. The other, labelled Schubert, seems intended to be the more outré in style (I’ve not tasted it).

Orange tends to cool climate due to the elevation of its vineyards, so it’s no surprise the aroma here is in a fairly restrained mode, with white rather than yellow stonefruit and aromas tending towards taut flintiness. It’s firmly fruit-driven, though, and quite straightforward as a result.

The palate is what surprises me about this wine. On the basis of the nose, I expected a straightforward flavour profile and equally simple mouthfeel, but this really takes off, texturally. On entry, it slips and slides with stonefruit, but from the mid-palate onwards a nice, raspy mouthfeel creeps in, along with a corresponding tightening of flavour profile, such that the wine ends up expressing tangy aniseed and a sea spray freshness alongside its bright fruit. That salty-sweet tang echoes the addictive qualities of something like Dutch licorice and strikes me quite distinctive. It’s a nice story on the palate and helps this wine to be both more refreshing and more delicious.

Bloodwood
Price: $A27
Closure: Stelvin
Source: Sample

Collector Reserve Shiraz 2006

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Looking back over my notes, I first tasted this in 2008, and again in 2009 with Chris. What’s striking about the glass in front of me now is how little it has changed from, in particular, my initial encounter.

This is still massively primary on the nose, the density of fruit I noted back in 2008 remaining a feature of the aroma profile, as is its just-out-of-the-gate freshness. Rich red and black fruits, pepper and other spices, firm oak; this certainly has the spice of a cooler climate wine along with the assertiveness and rich depth of a warmer climate one. Part of me feels this is Australia’s sweet spot in contemporary Shiraz – wines that show the ripeness and generosity of fruit achieved in our classic styles combined with the sort of spice and meatiness colder weather can bring. Best of both worlds, in a way.

In the mouth, still spicy and dominated by dense, muscular berry fruit. As I originally noted, this isn’t a wine of subtlety, but it never feels caricatured to me, always retaining a sappy, spicy edge to counterbalance its rich fruit. Here on the palate I’m getting a greater contribution from bottle age, with some lightly leathery flavours edging in and adding a sheen to the wine’s primary flavours. I previously suggested this wine was soft in acid, but on this tasting I’m getting good structure, both acid and tannin, which is keeping the wine brisk and firm. The after palate is perhaps starting to lose some fruit weight now, signalling the wine’s future as an altogether mellower experience.

If anything, this wine plays it a bit safe. It’s perfectly formed in its way, yet I wish it showed a wilder streak, something to lift it above being the excellent wine it already is and turn it into something truly memorable.

Collector
Price: $A46
Closure: Stelvin
Source: Retail

Topper’s Mountain Barrel Ferment Petit Manseng 2011

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As I mentioned in my review of the 2010 Tempranillo, a barrel fermented Petit Manseng isn’t something one comes across every day in Australia, so this wine’s very existence is notable. It takes guts to produce a premium-priced varietal wine without the benefit of a recognised noble variety behind it, so hats off to Topper’s Mountain for putting their faith in Petit Manseng on the line.

Of course, it’s foolish to judge the potential of a wine style from a single tasting, but one has to start somewhere, and my impression is there’s some interest here. The aroma is soft and subtle, with florals the dominant element along with a hint of beeswax. It’s the sort of soft focus aroma that finds its equivalent in Flake ads from the 1980s — all smears of Vaseline and sexiness without really showing much.

In the mouth, a good interplay of textures, and I see the wisdom of the winemaking approach here. There’s fullness and generosity on the mid-palate, presumably in part stemming from barrel work, that balances out some reasonably strident acidity through the after palate. There’s a definite textural story here. Flavours are, as with the nose, soft and perhaps a little indistinct, though certainly quite pleasant. For me, though, the interest here is in mouthfeel and the way the wine’s weight modulates along its line. It’s unusual and quite compelling. Incidentally, alcohol sits at a restrained 12.25%.

Topper’s Mountain
Price: $A34
Closure: Stelvin
Source: Sample

Topper’s Mountain Tempranillo 2010

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They’re an interesting bunch at Topper’s Mountain. Working in a — to put it kindly — low profile region, this estate produces a vast array of wines that start at familiar and end at unique (I’m not aware of any other spontaneously and barrel fermented Petit Mansengs being made in Australia, though I’m sure my knowledgeable readership will correct me if I’m wrong). Indeed, there seems to be plenty of experimentation going on, and the quality can be high.

This shows a cuddlier side of Tempranillo. It’s not all savouriness and structure; instead, we get cherry fruit, cola and spice. There’s a lightfooted generosity to the aroma that I like and, although it’s not especially complex, its flavours are well delineated. Oak makes a slightly spiky contribution.

In the mouth it’s less coherent than it smells, with a few elements jutting out. Acid jangles a bit and collides with a rather voluminous, fruit-driven mid-palate. I wish for more evenly textured tannin to counterbalance the wine’s slippery fruit and complement its savoury flavours. But I’m nit-picking. Mostly, this shoots a nice dollop of flavour onto the tongue, with plenty of red fruit, spice and oak. It’s generous but only medium-bodied and generally easygoing, so shouldn’t overwhelm food.

Topper’s Mountain
Price: $A38
Closure: Stelvin
Source: Sample