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Hi, this is one of our (almost) daily tastings. Santé! |
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February 8, 2025 |
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Angus's Corner
From our correspondent and
skilled taster Angus MacRaild in Scotland
A trip to China part 2: Dongwei Distillery
A belated follow up to our previous session where we tasted some Laizhou single malts (and a single blend). This time we’re exploring Dongwei Distillery for the first time. Dongwei is located in Hunan Province and was founded in 2014, they distill a lot with Chinese grown barley, use gas-fired distillation and age all their whiskies for a minimum of six years. Quite a variety of yeast and oak combinations are used apparently. |
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Dongwei (63.9%, OB, cask #C.01, 2nd fill barrel, bottled 2024, 106 bottles) 
A distillery started in 2014 that uses gas fired distillation, six row north western Chinese barley and Chinese peat. Apparently this one was made to deliberately have a slightly soapy character - not sure why that would be, but it sounds both totally mad and completely fascinating… Colour: bright straw. Nose: indeed, there is something fragile and feathery, like old face cream and hand lotion, dried lavender and violets. It’s like one of the more gentle versions of 1980s Bowmore in some respects. There’s a rather brittle and dry smoke fading in and out too, that also comes across as elegantly coastal at times. With water: camphor, clay, sandalwood and beach sand with plasticine and sun lotion. Mouth: indeed, some soap is here. It’s not intolerable levels, we aren’t in 1980s Edradour territory and reaching for the factor 50 toothpaste. But there are distinct flavours that conjure lavender, violets and perfume, with wee hints of fairy liquid. With water: rice wine, some slightly stale notes, salty porridge, hints of waxed canvass and soda bread. Some further generic ‘soapy’ notes’. Finish: pretty long, carbolic, drying, salty and soapy. Comments: how on earth do you score a whisky like this? To deliberately make this kind of profile is highly provocative and almost a philosophical challenge. To me, soap is a flaw, and I have to say, I don’t particularly enjoy this whisky, but I find it technically impressive that someone has created a sort of Chinese 1980s Bowmore tribute dram. I am going to score it purely as if it were a soapy dram in its own right, on its own merits as a whisky, but I also begrudgingly commend the distiller for being so crazy!
SGP: 452 - 65 points. |
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Dongwei (62.8%, OB, cask #C.15, bourbon, bottled 2024, 109 bottles) 
This one should be peated, and hopefully not soapy… Colour: gold. Nose: excellent, clean and tightly focussed peat smoke. Feels rather rich, creamy and thick, with some lovely notes of wood smoke, paraffin and pine resin. Love this rather concentrated, syrupy and camphory character. With water: more coastal and a tad more ‘Scottish’ perhaps, with crushed seashells, seawater, medical embrocations and bandages. Retains an excellent sense of density and weight. Mouth: great arrival! Very peaty, full of concentrated tarry notes, also a lot of herbal characteristics such as old herbal liqueurs, verbena, wormwood and eucalyptus. And a very resinous, fir wood character that runs throughout. With water: more creaminess and spice characteristics from the wood come through here, which in combination with the peat, manifests as a mix of coconut cream, fir wood resins, herbal ointments and wood smoke. Also showing wee notes of oily kippers and creosote. Finish: long, very tarry, peppery, with more fir woods and hardwood resins, camphor and herbal extracts. Comments: seriously very impressive whisky. Feels like the balance of climate, oak, peat and distillate has really been struck brilliantly. I’d also say it’s so far away from cask C.01 that it starts to make that bottling look increasingly very clever by comparison.
SGP: 466 - 88 points. |
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Dongwei (62.8%, OB, cask #C.22, STR barrique, bottled 2024, 152 bottles) 
A mashbill of coffee malt and crystal malt this time. Colour: orangey amber. Nose: more extreme in profile this time, a big sense of bitterness, full on artichoke liqueur, salted liquorice, then tea tree oil, green walnuts, orange cordial and almond paste. Very big and rather extreme whisky. With water: richly on wholemeal breads, game meats, natural tar extracts, hardwood resins and herbal cough mixtures. Like the peated one, it gives an impression of fullness of texture and fatness. Mouth: again really quite full on with big bitter notes of artichoke liqueur, espresso, coffee grounds, very dark chocolate, cheng pi, aniseed liqueur and mole sauce. I have to say, it’s extreme, but there’s something undeniably impressive about the texture and fatness of the whole profile - would that be down to direct firing? With water: enhances these chocolatey vibes, notes of chocolate sauce with chipotle chilli, camphor, aniseed, shoe leather, mushroom powder, BBQ sauce and biltong. Finish: long, back on black salted liquorice, old Burgundian pinot noir, camphor, sooty notes, boot polish and dark chocolate dissolved in espresso. Comments: it’s whacky and undeniably extreme at points, but I can’t help but find this impressive nonetheless. I prefer the peated one, but this is still very good.
SGP: 472 - 85 points. |
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Dongwei (66.9%, OB, cask #C.31, Mongolian oak, bottled 2024, 126 bottles) 
Don’t think I ever tasted anything from Mongolian oak before, but their website suggest that they use this wood type to try to find the possibilities of ‘more Chinese characteristics’ which I think is a very smart endeavour for a Chinese whisky. Colour: gold. Nose: wood resins and runny honey, some hints of caraway and fennel seed too, but certainly also a little closed off by the high alcohol. With water: some green wood, green peppercorn, rosewater and even a subtle hint of Gewurztraminer. Still a sense of wood spices and sappiness about it. Mouth: rather sappy and syrupy, wood varnish, lime leaf, coconut and ground ginger. Quite a bit of oak spice, but a balancing creaminess of texture which carries it well while also thankfully masking the high ABV somewhat. With water: a much broader spiciness emerges, very punchy now, with lots of dried cupboard spices, pink peppercorn and even a hint of Szechuan pepper (but that may be the power of suggestion). A few preserved yellow fruits in syrup also peeping through. Finish: long, but very spicy and a little hot. Comments: probably my least favourite (apart from the soapy one, but it’s increasingly clear that was some kind of deliberate experiment) but it’s still evidently some high quality distillate with distinctive oak influence.
SGP: 571 - 84 points. |
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Dongwei (62.3%, OB, cask #C.19, 1st fill bourbon, bottled 2024, 118 bottles) 
We’re being a bit random with our order selection here, but this is Whiskyfun, not Whiskyorder! (what?) Colour: deep gold. Nose: a lovely nose of acacia honey, wormwood, gorse flower and quite a few bright cereal notes and other elements that suggest natural sweetness, such as lemon barley water, flower nectars and fruity muesli. With water: juniper, oak spices, cedar wood, creme brûlée and some lovely notes of fennel and tarragon. Mouth: excellent concentration and syrupy quality, a real sense of texture and many fruit salad juices and honey impressions. Some slightly dusty pollen notes, white tea and candied citrus peels. With water: pineapple, pine wood resins, some green fruits such as cider apple and gooseberry, but also a slightly firmer, more peppery side emerging. Finish: medium, getting a tad drier and spicier now. Comments: the finish dragged it down a little, but overall I’d say this is another example of where the classic cask types always seem to deliver the more enjoyable whiskies - wherever they’re used in the world.
SGP: 461 - 85 points. |
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Dongwei (63.3%, OB, peated, cask #C.28, ex-rye cask, bottled 2024, 146 bottles) 
A final peated one to finish. Colour: deep gold. Nose: a richer, deeper and more robust smokiness, bonfire and BBQ smoke, with wood ashes, tarred rope, pine resin and camphor. Also hints of coal smoke and lanolin, which adds a soft medicinal undercurrent. With water: creamier and slightly more farmyard in character, earthier, sootier, some roasted vegetables such as parsnips, and still quite a persistent wood smoke note. Mouth: again, very big whisky! Rather tarry, very dry and thick smokiness, lots of creosote and roof pitch - almost Ardbeggy at times. Then some dried black olives and hessian. With water: rather mashy, like sipping peated wort, then smoked sea salt, tarry rope, ointments, mercurochrome and smoked olive oil. Finish: long, on a deeper and slightly sweeter smokiness, with a few maritime characteristics like dried seaweed appearing. Comments: another very solid peaty one, but was this Chinese peat? I preferred the first peated one by a notch, but this is still excellent.
SGP: 466 - 87 points. |
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Looks like there will be some very high quality and fascinating whiskies emerging from China in the coming years, if these two wee sessions are anything to go by. |
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Concert Review
by Nick Morgan
Lyle Lovett
Cadogan Hall, London,
Saturday 25th january 2025
For all that he seems to be constantly on the road Texan composer and singer Lyle Lovett is only an occasional visitor to London. That’s rather a shame, as two very quickly sold out nights at the Cadogan Hall suggests that there’s no shortage of people willing to pay to see him. |
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This long tall Texan, slightly stooped with age, suit jacket buttoned up in a style that would have flattered Norman Wisdom, has a staged presence that would charm the birds from the trees. |
He’s arrived from Scotland and Ireland, nursing a sore throat contracted, he believed from his twins, whom he affectionally describes as ‘seven year old petri dishes’. Water and warm tea (with honey?) keep his voice in good shape, and there’s certainly no half measures in his performance. It’s two and a half hours of pure pleasure. Although there is a surprise start. Before the band takes the stage we’re played what I believe to be Guy Lombardo and his Royal Canadian’s mournful recording of Auld Lang Syne from the 1930’s. I have to assume (it wasn’t mentioned) that this was to honour the fact that it's Burn’s Night. Guy and his boys made it sound more like a New Orleans funeral march song than a celebration of the great Baird. |
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Lovett has lost his once very salient hair-do, but still retains a striking appearance. He’s not wearing his hat but the boots, as you would expect, are on. His mannerisms are unusual; he appears somewhat hesitant, and almost shy as he addresses the microphone and the audience. But at the same time he has an easy way with the crowd, building an immediate and quite intimate rapport. He’s also happy to fall into conversation with a student from his alma mater who’s in the front stalls. Despite the rather forbidding appearance of the Cadogan Hall you could almost imagine that he was sitting in your living room, with his band, chatting and singing. |

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This is Lovett’s ‘acoustic band’, and they are, with no exaggeration, music royalty, each commanding lengthy Wikipedia entries (look them up). Actually that’s not true; pianist Jim Cox seems to have evaded Wiki’s attention, but you can find out some interesting stuff about him here. Russ Kunkel is on drums (Bill Withers, Jackson Browne, Joni Mitchell, Jimmy Buffett, Harry Chapin, Rita Coolidge, Neil Diamond, Bob Dylan, Cass Elliot, Dan Fogelberg, Glenn Frey, Art Garfunkel, Nitty Gritty Dirt Band, Carole King, Lyle Lovett, Reba McEntire, Stevie Nicks, Linda Ronstadt, Bob Seger, Carly Simon, Stephen Stills, James Taylor, Joe Walsh, Steve Winwood, Neil Young, and Warren Zevon). Leland Sklar, a longstanding partner of Kunkel’s, is on bass. I stopped counting how many albums he has played on. Jeff White was playing guitar and mandolin (another huge discography) and Grammy winning Stuart Duncan on fiddle. White and Duncan also supported Lovett with some beautiful harmonies. There is a graceful ease in the way these long-standing friends play together, nothings rushed, no surprises just some wonderful playing. Jim Cox, with a couple of solos towards the end of the set, was outstanding. |
When you have a catalogue of songs like Lovett it’s hard not to deliver a compelling performance – the only hard thing must be deciding which songs to play (a bit, I suppose, like Paul McCartney on his recent tour) We got twenty one, which stretched from his first album (the wistful Pontiac, a pretty brave opening song), to his most recent, from which we heard ‘Pants is overrated’, ‘Are we dancing’, and the eponymous ‘12th June’. One, ‘It’s a naked party’, written with his children on a tour bus (where they were, he told us, running up and down the aisle in the nude screaming ‘it’s a naked party’, has yet to see vinyl). And goodness me, Mr Lovett does have some brilliant songs, which I had almost forgotten. ‘Here I am’, ‘Nobody knows me’, ‘She’s no lady’, ‘I’ve been to Memphis’ (Jim Cox piano), ‘If I had a boat’: these are all songs out of the very top drawer. Sublimely written songs about love and life, about the constant battleground of genders, men versus woman, about strength and weakness, about failure and redemption, terminal regret, and about booze, boots, hats, and Texas. I had a lost weekend of about five days in Austin in November 2016 and it was all of that (Trump had just been made President, the weird city was in shock). That’s the way it is down in Texas, as Ry Cooder might have sung. |
In between the songs and the water and tea (with honey?) we also had some discursive and mostly self-depreciating digressions from Mr Lovett, and quite a lot about his band, and his family. He acknowledged the presence of Daily Telegraph journalist Ian Winwood, and also played his request ‘Creeps like me’ (which he hasn’t played on stage for some thirty years, and described as ‘not a great song’). I wonder how he felt about the fact that even after all these years the Telegraph had to lead the interview with this headline ‘Lyle Lovett on life with Julia Roberts’. The set finished with an encore of the moving ‘North Dakota’ (more Jim Cox piano) and as one might have predicted, a rousing ‘That's right (you're not from Texas). ‘Each day of human life is made up of a song, a smile and a tear’, said the New Orleans Times Democrat in February 1905, and that I think just about sums up every Lyle Lovett gig, and certainly this evening’s. - Nick Morgan |
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