From Snowy Paris, Visions of Terre 2 And New Writing On Phylloxera

Greetings from freezing cold Paris! It has dumped snow here, which is very pretty, but I am chilled to the bone after a week of tasting in damp cellars in the Jura and the Auvergne, making my way toward La Dive and the other vin nature salons in the Loire. Expect an update from me soon on the highlights from those events!

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Tasting with François Saint-Lo at Les Anonymes in Angers

Meantime, I’m starting to edit Terre Issue 2, which will come out in May. It’s going to be really, really good; we’re building on our global support and bringing in new writers, artists, and photographers. Tomorrow, I head to Copenhagen to report on one of the world’s most exciting and experimental distilleries, for Issue 2. Announcements are coming soon about pre-ordering the issue and subscribing for the year, and don’t miss out, because we sold out last time and surely will again, even though we plan to double our production. (You can sign up for our newsletter to be the first to know about all this.)

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How to prevent the spreading of phylloxera

I also want to share a story I’ve really enjoyed working on, an updated explainer about the phylloxera pest, with recent reporting from Australia and elsewhere. Everyone who loves wine should understand the history of phylloxera, because it’s affected grapevines and wine production everywhere, and it’s also a really fascinating story of plant genetics that continues to impact winegrowing today. Link is here

Lastly: I’ve done something pretty unusual, and created a sort of “tip jar,” a link on Paypal where, at any point, you’re welcome to send me a bit of cash. When I left New York and started working on Terre, I had a tentative book deal and potential gig writing a magazine column. They both fell through, and then Terre became so time-consuming, that before I knew it I was living on credit cards and sleeping on friends’ couches to save money. Writing about wine isn’t lucrative but I do it because I love meeting growers and understanding the political-cultural histories of wine regions. I was inspired by this excellent piece on the New Worlder site to be more vocal and honest about how unglamorous this job can be. Here is the link to my “tip jar.” Even a five-dollar donation means a lot to me. Thank you!

Off to jump on a call with my Terre colleagues, to discuss artwork for the issue and launch events in May. Thanks for being with us on this journey!

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Terroir Is Boring, And Other Gems From Austrian Winemaker Christian Tschida

In a hypercommercialized world where even natural wine, once culty, is now fetishized to death on social media (guilty!), people like Austrian winemaker Christian Tschida are refreshing. Christian doesn’t take in harvest interns; doesn’t use Instagram; doesn’t put cute cartoons on (most of) his labels; with few exceptions doesn’t particularly like to attend natural wine fairs; and somehow is maybe the only producer in the “Brutal” collective who is allowed to put his name on the front label. He’s somehow both gruff and nice at the same time, giving the impression that, while he’s actually a very considerate person, he’s not out to impress anyone with politeness.

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This past summer, a small group of us who are fans of Christian’s wines, and wanted to better understand them, visited Christian at his home in Austria’s Burgenland region. I was accompanied by Valentina and Misiska of the natural wine salon Humbuk Bratislava, and Ed, aka the Winestache. It was a gorgeous, warm day. We didn’t go into the cellar or vineyards, just hung out in the backyard, with the stark white walls of the house lending an oddly Mediterranean atmosphere, and drank wine and talked.

“I want to make wines the way I want to drink, but also wines that age, and that I can think about,” is how Christian speaks of his winemaking. He wants to achieve a lot with his wines; they should be drinkable, but also age-worthy and meditative. Christian’s father was a third-generation winemaker in Burgenland, and founded an association that promoted organic wine growing. Ten years ago, Christian started making wines under his own label, working to assert a unique style. He has always done skin contact with the whites, he told us, and since 2010 he has bottled his “experimental” wines separately. Echoing what many winemakers working with skin contact whites have told me, Christian explained that maceration can be tricky and has to be closely watched in terms of picking at the right time and leaving skins on for just long enough, especially since Christian uses no sulfites.

The estate is around 10 hectares, all organic, and vines are trellised in a “double planting” system, with two rows of vines alongside each other, which Christian says improves the acidity and lets the roots go deeper. (Christian’s UK importer, Newcomer Wines, has some helpful information about his work in the vineyards.) Christian picks grapes for acidity, especially the Muscats, of which he has a few different kinds (“You have to avoid the stupid Muscat taste, you know what I mean?”).  Read more

Nobody Drank Much Water At H20…

I hope that my latest feature on Sprudge Wine will serve as something of a lighthearted mood-lifter (tu te calmes and carry on, is perhaps what Thierry Puzelat might say…?). It’s a write-up of the raucous and extremely well-curated two-day natural wine fair H20 Vegetal, held last month in Catalunya, Spain. You can read it here

xRachel

In Ten Years, We May All Be Drinking “Ruby Cab” From Texas: Here’s Why

Whether you prefer the “doom and gloom” approach to writing about climate change, or perhaps yearn for more of a “think critically and talk solutions” framework, there is no denying (unless you’re our sorry excuse for a fake president) that it’s happening. With regard to agriculture especially, there will be drastic and far-reaching consequences of rising temperatures, and the world is going to have to respond.

I’m a big believer in bottom-up change, and I think it’s interesting to glimpse what’s happening in the winemaking world, to see how people are anticipating the effects of global warming. That’s one of the reasons I honed in on a young woman named Krista Scruggs for my latest piece on Vice MUNCHIES. She is working with hybrid grapes in off-the-beaten-path viticultural regions like Vermont and Texas, despite having started out her career with Constellation Brands in Central California. Part of Krista’s mission, which she has adopted while apprenticing for the passionate and studious Deirdre Heekin of La Garagista, is to prove that hybrid grapes are not “second class citizens” to vitis vinifera. As we continue to observe the effects of climate change, it’s worth asking whether her quest may become more and more relevant.

But the other reason I wanted to write about Krista is that she doesn’t fit the mold of your typical winemaker. The wine industry is not only overwhelmingly male, as has often been pointed out; it’s also mainly made up of white, heteronormative people. Let’s hope that increased diversity in this industry, as more people like Krista come into the fold, will lead to deeper and more progressive conversations about issues like sustainability, climate change, and supporting innovation from the ground up (literally).

Read my feature about Krista Scruggs and her quest to prove the worth of hybrid grapes on Vice MUNCHIES, here. In ten years, we may all be drinking Ruby Cab from Texas instead of Napa Valley Cabernet–and in the best case scenario, that won’t be just because of climate change; it will be due to the delicious, exciting wines coming from young winemakers like Krista. Happy Friday!

It’s All Greek To Me, But Only Some Of It Is Worth Drinking

What’s old is new, and what’s new is old, right?

Nowhere does that seem more true than within the culture of natural wine. After all the money spent on science and technology in the late 20th century, with the goal of creating a commercial wine industry, and thousands and thousands of wineries installing temperature-controlled, stainless steel tanks for a quick and consistent fermentation, people all over the world are now putting their grapes into clay amphorae, fermenting them without sulfites, and letting wine be just about as wild as it was back in the days of Dionysus. 

Crazy, right? Next thing you know, people will actually be talking to each other in cafés instead of perusing Instagram on their phones. Er, probably not . . .

In Greece, a country with 4000 years of documented viticultural history, modern winemaking dominates, and is strongly influenced by Bordeaux-style oenology. But there are a few people making really interesting, low-intervention or natural wines, and elevating the country’s fascinating indigenous grapes. My article about the producers leading the way for natural wines in Greece is up on Sprudge Wine, read here

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I had the pleasure of tasting many of these wines during a recent visit to the country. What’s important to mention here, too, is that the wines really shine especially with Greek food, which is rich in flavor and features lots of fresh Mediterranean vegetables, like eggplant and tomato, as well as plenty of meat, feta cheese, and dolmas. So, ideally, that would be the way to enjoy the wines; however, I did recently have a fantastic 2013 Xinomavro from a producer named Oenos at a restaurant here in Paris (cute place called Tannat, in the 11ème), and it was perfect with duck. (Although Xinomavro with moussaka, that’s just, like, boom.)

moussaka!!! so good!

If you live in New York, I really recommend the restaurant Molyvos, where I first tasted many of these wines a couple years back with the very knowledgable wine director, Kamal Kouiri; the food is really delicious and classic.

Thanks for reading!

 

Committing To A Long-Term Relationship With Burgundy

a berry of Gamay Teinturier in the Mâconnais

I hail from a place where just about everything is, in the grand scheme of things, fairly new. The houses are, maybe, 75 years-old. The schools were built in the ’60s. Supermarkets did not replace small artisanal bakeries and butchers, because there hardly ever were any. Growing up in the typical American suburbs, one’s sense of the past is vague, illustrated in high school history books but hardly livable or comprehendible in any way. Heritage is whispered about during visits from grandparents, who generally would rather forget the past, its global wars and times of bare-cupboard scarcity.

What, then, gives me, a child of the American suburbs, any right to delve into the profound mysteries of Burgundy? Can a Millennial do justice to a region whose history stretches back over a Millennium?

I am writing from Paris, after spending a week traveling around the Côtes d’Or, visiting producers including some whose wines I’ve deeply admired for many years. I am humbled by the experience. It was my second visit to Burgundy; the first was in 2014 when I somehow got myself into cellars of the likes of Frédéric Mugnier, knowing very little about what I was experiencing. Now, I have a much stronger grasp of wine tasting and wine writing, and my French is finally good enough to do an entire visit in that language in cases where the vignerons don’t know much English. But still, I feel that I am really only seeing the tip of the iceberg, in Burgundy, just beginning to understand the diversity of grape varieties there–meaning, the various clones and older varieties of Pinot Noir, Chardonnay, Aligoté, and Gamay–and the nuances of vinifying Pinot Noir in particular.

talented vigneronne Fanny Sabre, age 32, who worked for Philippe Pacalet for several years

What helps, though, is that there is a forceful, somewhat younger generation in Burgundy–people like Julien Guillot, and Fanny Sabre, who have learned from their parents and mentors, and who believe deeply in the terroir they work with, and have their own, strongheaded ideas about how to best represent them.

Along with Guillot and Sabre, I have a lot to think about after stimulating visits last week with Sylvain Pataille, Jean-Yves Bizot, Antoine Jobard, Pierre de Benoist of Domaine de Villaine in Bouzeron, Dominique Derain, Pierre Fenals of Maison en Belles Lies, and JJ Morel.

Sylvain Pataille in the Clemengeots vineyard, Marsannay

Burgundy is not only an old and storied winemaking region, it is constantly changing, and quite significantly in the second half of the Twentieth century. New issues arise all the time–some related to climate (frost and hail, mainly, as well as the Suzuki flies of 2014), and others related to winemaking techniques, such as the much-discussed premox problem. Every year, there seems to be less and less wine made in Burgundy; meanwhile, the region’s top talent is churning out better and better wines, but at higher prices. I’m privileged, as a wine writer, to have access to some of these domaines for tastings, but I can’t really afford to drink most Burgundies on my own dime, unless we are talking about young Village-level or Bourgogne appellation wines, which I’m always happy to drink.

I guess the answer to my above rhetorical question is: I don’t really have any right, per se, to cover Burgundy as a journalist–except for the fact that I find the region fascinating, and I really do love the wines when they are made with care in a non-interventionist way. And I have a lot of respect for the vignerons working in this fashion, despite the market pressures.

Anyway, over the next few weeks and months, I’ll be working on some stories based on this tour, and I’ll try to do justice to such a complex and fascinating region. But the fact is, I need to commit to Burgundy, if I want to truly understand it. This isn’t a region you pass through and say, “well, that was fun,” and never revisit. It requires a lot of study and attention, over time. I can say for sure, after this trip, that I’m captivated enough by the wines and the terroir to gladly lend myself to the task.

Jean-Yvez Bizot overlooking his Gâchés vineyard, in Vosne-Romanee

By the way, I have a new story out, focused on the main New World sister winemaking region to Burgundy–yep, Oregon! I covered a recent tasting of Gamay wines from all around Oregon for the August issue of Wine & Spirits Magazine. Read the article here.

I definitely encourage you to seek out Oregon Gamay; many of the producers are treating the grape with the same attention that you’d find in Cru Beaujolais wines, so these are wines of finesse meant for aging. A few that I really liked are in the following slideshow; reach out directly to the wineries via their websites for availability and pricing.

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A bientôt! RS

 

What Does One Drink During A Heat Wave In Paris?

The answer: anything and everything. Lots of water, cold cold beer, and soooo much vin de soif.

Paris, and most of Europe, is just emerging from a terrible heatwave. This past week, an energy-zapping, torturous, four-day cloud of brutally strong sunshine and 37 degree Celsius temperatures made the entire city into a greenhouse. My brain felt cooked. I tried to get work done, but it was really difficult to sit still and concentrate.

That said, I did have an article come out on Monday, ruminating on the phenomenon of “hipster celebrity natural winemaking,” in this case with the launch of Action Bronson’s wine, made in collaboration with a French grower and micronégociant Patrick Bouju. Read the story for Sprudge Wine, here

Other than that, I spent the week working on Terre Magazine; we’re assigning stories to writers around the world, plotting the corresponding artwork, and delving into the massive task of layout design. It’s interesting working with Erika and Katie across the sea, but actually it’s not so hard to communicate. We have some really compelling and unique stories in the works, and I’ll be editing throughout July and August. (For those interested in writing, see these pitching guidelines.)

Due to the heat, I really had no choice but to drink quite a bit this week. Here’s what I’ve gotten into (some of these are from the previous week; my liver’s not THAT hardcore):

Collaborative Septime x Vouette et Sorbée Champagne 

Not your average house wine! The restaurant Septime partnered up with biodynamic Champagne grower Vouette et Sorbée to make a killer special cuvée; it’s effectively the producer’s signature Fidéle blanc de noirs, made from Pinot Noir grown on Kimmeridgian soils in the Aube, but in this case élevage and tirage go a bit longer, according to the woman working at Septime Cave, where I purchased it. The juice is from vintage 2014; disgorgement was in December 2016. All of the V&S wines are rich in texture, vinous, and deeply mineral, and this one is no exception; it had notes of bitter almond, tree barks, and preserved lemons.

Cidrerie du Vulcain, cuvée “Trois Pepins”

I am smitten by the Swiss ciders from garagiste Jacques Perritaz, a former biologist who works with nearly-extinct heritage apple varieties, “remnants of a bygone polyculture,” as written on the Becky Wasserman site. This cuvée blends apples with quince and pear; it’s only 5 percent alcohol and refreshing without being sweet, loaded with mouth-puckering acidity and complex flavors; a perfect drink for aperitif at the charming caves-a-vins La Buvette in the 11ème.

Cancelli “Vini Rabasco” bianco
Trebbiano from a small estate in Abruzzo, niente chimica added, showing the true potential of this grape; the wine has luscious mouthfeel and a healthy dose of salinity layered with good concentration of fruit. Truly a pleasant wine to drink with small plates at La Buvette. I’d drunk the red several times in the U.S. but I actually think this one is more interesting. Not a wine to age, but wonderful for enjoying in a casual setting, and fantastic with pâté.

Etienne Courtois, Romorantin, 2011

If any of you out there have money and want to plant vines in a cool climate wine region, please please find a pépinière (vine gardener, essentially) who has Romorantin and grow it! It’s one of my favorite varieties on the planet, a mouth-puckering combination of lemon drops, white peaches, and stony minerality, and only about 60ha are left in the Loire Valley. The barrel-fermented and -aged Romorantin of Etienne Courtois is one of my favorite wines; it could age for another few years but right now it’s drinking marvelously and it tamed my thirst perfectly the other night at Aux Des Amis.

Luici Tecce, Taurasi, 2011

A bold, ripe Taurasi on a sweltering summer night? Might seem counterintuitive, but I’d been invited by a friend to hang out at a newish spot selling Italian natural wines called Vino Nostrum in the 11ème, and when the owners told us they had only one bottle left of this extremely limited-production, culty Taurasi… we obviously had to buy it and open it on the spot. The DOCG appellation of Taurasi features the Aglianico grape grown on volcanic soils about 500m above sea level, and the wines receive extensive aging in barrel (minimum of three years prior to release, at least one year in wood). Luigi Tecce, who is considered something of a wizard in the region, inherited the family estate in the late 90s when his father passed away; it has 5ha of vines, including some that are over 80 years old. Licorice, smoked meats, tobacco, and ripe raspberries made this a contemplative, complex wine.

La Ferme de Sept Lunes, Viognier/Roussanne, 2015

Rhone whites are under-appreciated. True, they can be flabby and sweet-tasting, but in the hands of certain producers, the unique white varieties of this region really do shine through. La Ferme de Sept Lunes, in Saint Joseph, came onto my radar during a salon I attended a few months back, called Découvertes en Vallée du Rhone. I drank this Voignier/Roussanne blend at La Buvette, and it was the perfect balance of ripe fruit and fresh acidity. In true biodynamic fashion, the estate is polycultural, working with grains and stonefruits. You can purchase their apricot, pear, and grape juices at La Buvette right alongside their wines.