Just like the caricature on the label, this is a big broad wine. White peaches, apricot and kiwi flavours are all brilliantly knitted together with a moreish creamy, nutty texture. Some skin contact and maturation in large, old oak barrels has provided body and structure.
It’s different enough to make you sit up and notice, without being remotely scary or “difficult”. Limestone soil.
Mechtild is one of two single vineyard wines made at Gut Oggau, in this case 60 year old Grüner Veltliner. There’s a salty, iodine tang on the nose, yielding to a fat, creamy palate. Fresh acidity and a lovely mineral finish.
White wines from the baking plains of southern Portugal are often rather flabby and dull, but this perky number from one of the region’s best producers is anything but, showing tangy acidity, bright, citrus peel flavours and a minerality that wouldn’t look out of place in Chablis. Bring on the seafood.
The guys behind this outstanding Marlborough operation stopped emphasising their historic link with Cloudy Bay some time ago, and you can see why. These days Dog Point is cheaper and invariably better than the wine that inspired it. Where many local Sauvignons are one dimensional, this one has layers and nuances, with notes of struck match and minerals, some pink grapefruit and beautiful line and length.
When he was at Cloudy Bay (and that was for over 20 years) Kevin Judd was better known for his Sauvignon Blancs thatn his Chardonnays, but the latter were sometimes even more exciting. This superb effort from the top notch 2010 vintages deserves a place among the country’s best interpretations of the grape. It’s smoky and toasty, with flavours of citrus and hazelnuts and a long, minerally finish that wouldn’t look out of place in Puligny-Montrachet.
The fourth release from Kevin Judd’s Marlborough winery is an example of what great winemakers can achieve in tricky vintages. It’s a more restrained style than in the past, owing to a cooler season, but it’s still a lovely wine: fresh, focused and long with attractive gooseberry, pear and orange peel complexity.
2011 was a slightly tricky vintage in Chablis, so hats off to the Co-op for finding a wine that delivers under £10. It’s a fairly soft, forward style, but there’s enough steeliness to stop it cloying. It’s fresh and appealing with no oak and supple pear and spice on the palate.
Caroline Mooney’s wines are some of the most exciting things I’ve tasted from Australia in the last three years. This barrel-fermented Marsanne shows the variety’s classic honeysuckle and aniseed notes, well integrated with oak and sustained by bright acidity. Honey and some white flowers add extra complexity and texture.
Typical (and gratifyingly so) of the top end Chardonnays emerging from Australia’s best cool climate areas at the moment, this is all about structure and acidity rather than easy, up front fruit flavours. Notes of lemongrass, vanilla and citrus fruit are nicely intertwined on the palate, wrapped in a creamy, lees-derived texture.
A candidate for the title of Australia’s best Viognier (and that’s not meant to sound like faint praise), this is true to its varietal, but in a subtler way than many New World examples. White flowers, some cream, a hint of spice, nuanced oak and enough acidity to keep the wine tingling nicely on the palate.
The oak is fairly prominent on this three-way blend of native Portuguese grape varieties, but there’s enough flavour and texture to cope with it. It’s a spicy, herbal number with notes of fresh bread, aniseed and wild thyme. The acidity is deliciously mouthwatering, giving the wine a sappy, refreshing finish.
It’s remarkable to discover that Rui Cunha’s innovative white blend of Gewürztraminer, Riesling and Malvasia Fina comes from the Upper Douro, a region usually better known for full-throated reds. But there you go. This tastes as good as it looks: spicy and aromatic with a hint of Burgundian style struck match, notes of lime and ginger, plenty of minerality and a long, nuanced finish.