I hate that I like Blue Bottle Coffee. Do I live under a rock or did this unassuming coffee house attain international hype status out of seemingly nowhere? Where did this pretentiously minimalistic label even originate from anyway? (California, of course.)
I carried my skepticism with me when visiting the brand, materialising its first Southeast Asian outpost in the form of a concept store in August. I learned that beans are sourced from Yemen (alleged birthplace of coffee) and Indonesia (one of the largest coffee producers worldwide). In limited supply and thus, small batches.
Senior Director of Global Coffee Experience and person with the most apt surname Benjamin Brewer rightly pointed out that this is historically the first time there exists such great quality of coffee available globally.
It was Blue Bottle Coffee's aim to remove barriers and simplify the means to enjoying a good cup of joe. As he surmised, "instant is just another method". The resulting fine coffee powder actually shimmers. Nicknamed 'gold dust', it's a natural byproduct from a combination of ideal subzero temperature and concentration during manufacturing.
The retail front is decked out with streamlined cold brew drippers in place of clunky espresso machines, checking off that small carbon footprint checkbox. Ultimately, I'm told, it's all about the experience. Well clearly, looking at the prices.
Yet I'm ashamed to admit that when I went home and steeped a single serve with equal amounts of cynicism, it turned out a markedly aromatic brew. The process obviously effortless, and the taste pretty damn rich. Now I count myself among the people who sadly, get it.
So if you, like me, seek to understand why, Blue Bottle Coffee is hosting activities led by the maestros themselves. Mr. Brewers would be joined by Michael Phillips, a barista champion and Global Director of Coffee Culture; and esteemed Café Trainer Justin So.
Across this week, prepare to be bestowed wisdom on the art and alchemy behind each transcendent cup. Choose between a hassle-free 30-minute Coffee Seminar or a more hands-on 75-minute Pour Over Workshop, where experts will introduce signature fundamentals in tastings or let you experiment your pours with specialised brewing tools.
The Coffee Seminar (SGD42) is inclusive of a SGD40 voucher that can be redeemed on the day of the seminar. The Pour Over Workshop (SGD100) is inclusive of a complimentary pour over kit and a 200g bag of coffee beans selected by Blue Bottle Coffee professionals.
In the spirit of the season, there's surely an exclusive festive lineup rolling out. Blue Bottle classic whole bean Bella Donovan offers a fruity, luxurious taste profile, Hayes Valley Espresso demonstrates the label's best expertise, and this year’s Winter Blend delivers the flavours of jam, molasses, and dark chocolate.
Accompanying gifts like the limited-edition Holiday Claska Mug—crafted in Japan with soothing caramel and a dash of Blue Bottle’s iconic blue—complete the Pour Over Kit. This thoughtfully engineered set includes a Kinto carafe and bamboo filters. Perfect for ensuring consistent quality and informing everyone that you too, are a newly minted reluctant fan.
Dates: 11 to 19 November
Location: LUMINE Singapore, Raffles City
Get tickets to the Blue Bottle Coffee Coffee Seminar and Pour Over Workshop.
As I write this, Taylor Swift will be boarding one of her private aircraft and jetting off for Paris, bringing to an end the months of foolishness that culminated in her six sell-out Singapore stadium shows. Out of love for my daughters, I spent hours in front of the laptop unsuccessfully attempting to purchase tickets to those concerts. 'Twas a fool's errand. Matched only in silliness by the task of schlepping to the stadium this past weekend and standing in the midday sun for 90 minutes to secure the consolation prize of outrageously overpriced Swiftie merch.
While we missed Tay-Tay, earlier this year, my eldest and I were fortunate enough to catch the opening night of another artistic showcase. One possessing somewhat greater cultural merit than Ms Swift’s 3.5-hour performances of polished pop. (At least, that’s what I thought. My teenage daughter may beg to differ.) Held as part of Singapore Art Week, Translations: Afro-Asian Poetics was an exhibition staged by local non-profit The Institutum across several venues at Gillman Barracks. The exhibit collected the works of 100 noted artists of Asian or African background, including Ai Wei Wei, Yinka Shonibare CBE and Nick Cave (the American sculptor, performance artist, fashion designer and academic, not the moody Australian troubadour).
The exhibition’s curator, Zoe Whitley, director of the Chisenhale Gallery in East London, said it intended to highlight "the solidarity and synergies between cultures of the Asian and African diasporas." In conversation the day before the opening, Whitley told me beyond that goal, she hoped the art on the show would confound preconceptions of African or Asian art and defy more granular, national-level stereotypes. "People should come with an open mind," she advised.
"A lot of the artists in the exhibition have the lived experience of—certainly with institutional invitations— being asked to do something because they’re Korean, because they’re Malaysian, because they’re South African," or what have you, she said. Whitley felt the works she’d curated would surprise visitors carrying pre-conceived notions of what Asian or African art might look like. "The fact that by just looking at it, you wouldn't necessarily be able to identify which artwork came from which part of the world is kind of the point," she said.
"In thinking about what’s projected onto us, it’s important for us to not necessarily be tethered by expectations," she explained. "None of the artists in this exhibition are reducing themselves or their possibilities. You wouldn’t look at Bronwyn Katz, for example, and think, oh, that's quintessentially South African art. Every artist (featured in the exhibition) is thinking in new and exciting ways," she said.
"With this exhibition, what is crucial is the diasporic experience," Whitley noted. "That sense of what it means to spread, to migrate, to be from one place and to make a home somewhere else." She felt this common background of being a migrant or the descendant of migrants—an origin story shared by every one of us in Singapore—was what bound these works by artists of disparate racial, national, spiritual and cultural backgrounds.
"Once you've come from somewhere else, what does that mean for creating a new culture?" she pondered. When you’ve settled in a new country, "What does it mean to be Chinese? What does it mean to be Korean? What does it mean to be Ghanaian or Nigerian or African American?" Whitley asked. "So many of the artists, those who I know personally in this exhibition, have had that sense of not being X enough in one place, or being too X in another"—a foreigner in both the land of their origins and their adopted home.
As the surname suggests, winemaker Max Schubert’s family were of German background. Regardless, he didn't hesitate from enlisting with the Australian army and shipping off to fight the Nazis during WWII. After serving with distinction, Schubert resumed work at Penfolds Wines, where he'd started as a messenger boy in 1931. Appointed chief winemaker in 1948, aged just 33, Schubert journeyed back to Europe to see how things were done at legendary Bordeaux estates such as Château Lafite Rothschild and Château Margaux.
He returned to Australia with a vision for making a wine that would stand up against anything produced in the Old World; a robust red that would get better and better with age. Initially working in secret, Schubert created a bold yet nuanced shiraz he dubbed "Grange Hermitage". Some 70 years later, Grange is among the world's most respected and sought-after wines, described by uber-critic Robert Parker as "a leading candidate for the richest, most concentrated dry table wine on planet Earth."
Several years ago, I sat at dinner next to a representative of a historic, highly respected French winery. They whispered in my ear as a glass of Grange was served, "Ah, mais non, we have nothing that can beat this." I recently related this story to Penfolds' senior winemaker Steph Dutton. I asked how she felt about being the guardian of what is probably Australia’s foremost luxury export.
"You feel excited and proud," she said. "And nervous. Australians have a huge affection for Penfolds. And obviously, they're incredibly proud about Penfolds Grange representing 'Brand Australia' to the rest of the world." As the market for Grange spans the globe, Dutton said, "Export markets are always going to be important to us as a brand. So making sure that we benchmark against the world's best of the best—that keeps us operating to a higher standard."
As a vigneron, you're always thinking about legacy. About leaving something for the next generation, preserving the brand's reputation for the long-term, Dutton said. "There’s this lovely reminder that as winemakers, every single time you put something to bottle, it will probably outlive you, with our flagships anyway: Grange, Bin 707, and so forth," she said, namechecking Penfolds' top-tier shiraz and cabernet sauvignon, respectively.
Bottles of Schubert’s inaugural 1951 vintage Grange are still being consumed. One was sold at auction in December 2021 for a record AUD157,624 (SGD138,630), the highest price ever paid for an Australian wine. This longevity means Penfolds' best wines preserve triumphs and failures for decades to come. "If there's something that's not right, you're probably going to have to face up to that literally for the rest of your life," as Dutton put it. "That is a good double-check we use when we're doing our work: if we're not proud of something, let's figure out what we need to change."
That's not to say Penfolds is mired in tradition. Don't forget that the very creation of Grange was an act of rebellion, and many of the house's signature bin-numbered labels began life as risky winemaking experiments. "Our winemakers do a really good job of respecting the work of their predecessors and looking at what tradition counts for," Dutton said. But she reckons the company’s design and marketing departments keep the traditionalists on their toes with moves like bringing Japanese street-style icon, A Bathing Ape founder Nigo, aboard for creative collabs. "They do a really good job of making sure that we’re always nudged forward." Looking to the future? Nothing foolish about that.
There's contentment and there's stagnation. For The Glendronach, it's not satisfied with being content or remaining still. So, onwards and upwards, as they say with the label redefining expectations with a new look and the launch of its “Raise Expectations” campaign.
Primarily targeted at the new generation of whisky lovers, the robust Highland spirit and its influence of the Spanish sherry casks they are matured in, The Glendronach has always been about tradition with flair.
The revamped packaging is a clean, pared-down look with subtle bespoke patterns that feature brambles and rooks; an homage to The Glendronach's appellation ("valley of the brambles" in Gaelic). With a sleek aesthetic, the appearance cuts to the quick at its contents—the unchanged core collection. Its continual maturation in Pedro Ximénez and Oloroso casks from Andalucia, The Glendorach's 12, 15 and 18-year-old single malts are consistent in their flavours and qualities. Later in the year, The Glendronach will unveil its Master’s Anthology that will showcase three new expressions—alongside ultra-premium additions—that include a 21, 30 and 40-year-old release.
Consumers can try The Glendronach at various restaurants and bars as part of a special collab that's only available for a limited time only. Said restaurants and bars include The Lobby Lounge at InterContinental Singapore (80 Middle Rd, Singapore 188966); Nook Nowhere (11 Craig Rd, Singapore 089671) and Wallich Manor (9 Wallich St, Level 6 Sofitel Singapore City Centre, Singapore 078885).
Scottish-born photog and director, Rankin, is roped in to handle the visuals of The Glendroach's new campaign. Working with Spanish flamenco dancer Rocio Dusmet Orellana, Rankin created an arresting imagery of The Glendronach's duality—the dance of Highland whisky maturing in Spanish casks.
Reflecting on the project, Rankin shared, "I loved the idea from the start. I’m familiar with the whisky world, and this felt different and exciting. The mix of cultures, bringing flamenco to the Highlands, really struck a chord with me as a Scot. It’s a beautiful collision of tradition and passion."
Dr Rachel Barrie, The Glendronach’s Master Blender, adds that Rankin's work captures the brand perfectly."The Glendronach is all about exceeding expectations. From the first taste, there’s a richness and depth that go beyond what you’d expect from a single malt. With the reimagined visuals, we’re elevating the brand to match the exceptional quality of the whisky itself."
It takes huevos to change. For The Glendronach’s reimagined identity; change is a given. While tradition is deep-rooted, there still exists virgin fields for innovation.
Nestled in the heart of Forres, Scotland, Benromach Distillery released a highly limited 50 Years Old single malt. As always, Benromach prides itself with whiskies that are crafted by hand and overseen by the expert eyes honed by years of experience.
Bottled at 54.6 per cent ABV, the whisky offers a medley of aromas and flavours. On the nose, expect a burst of lemon zest with a whisper of subtle smoke. The palate is greeted by layers of stewed fruit, orange zest, and a hint of aged leather, all coming together for a long, full finish marked by cracked black pepper and lingering smoke.
Stephen Rankin, Director of Prestige at Gordon & MacPhail, said that it's the human element that plays a major role in the whisky's 50-year maturation. "We have our distilling team watching the process of the whisky play out. They are just learning and evolving, developing these whiskies and looking back on how they would ultimately turn out. Keith [Cruickshank, Benromach's Distillery Manager] takes great pride in this project, having had a hand in the maturation of all the whiskies at the distillery."
“I’m incredibly proud to oversee this release,” Cruickshank says. "The Benromach 50 Years Old is a true celebration of our heritage and craft, created entirely by hand. It’s a whisky that reflects the spirit of our distillery, and the decanter captures that same passion.”
In true Benromach fashion, the liquid is presented in exquisite handcrafted glass decanters, designed by renowned artisans at Glasstorm, a hot glass studio in Ross-shire. These decanters were sculpted using the delicate "battuto" technique, where the molten glass is beaten into the bottle shape.
Brodie Nairn, Glasstorm’s owner, says that "there’s a beautiful synergy between glassblowing and whisky-making." "Both crafts require years of honing, often passed down from master to apprentice. The battuto technique used for these decanters is a tradition I learned in Italy 25 years ago, and I knew this project was the perfect way to showcase it.” There are only 248 bottles available worldwide and, like the whisky, great care and expertise are lavished on each bottle that's handmade.
Given that there needs to be some substantial groundwork to be laid out, will Benromach be able to put out another far-older expression?
"That's a really good question. A tough question to ask. Will [a] Benromach [whisky] reach the dizzy heights of 70 or 80 years?" Rankin muses for a beat. "The chances are slimmer. A lot slimmer. We've casks from that period of time but there's less certainty around it; it all boils down to the quality team.
"Benromach has the Heritage collection, which are from the casks [already maturing] before [Gordon & MacPhail] took over the distillery. These whiskies are absolutely beautiful but the character for those are a bit lighter than what we currently have today. Our current whiskies have more tropical notes and have a reasonable body to them. Only the most exceptional cask will make it. So, can we get a 70-year-old? There are not many left [casks] from the 1960s or the early 70s. We have casks right through to '83—so at the moment, I would say there's maybe the odd cask but it would probably be from the 80s. Which means when it comes out, it'll be in 2050.
"We'll have to meet then and talk about it," Rankin says with a laugh.
The Benromach 50 YO retails for SGD31,500 and is available now
New restaurants, bars, and menus perfect for a fancy date night or casual dining with friends …would be how we start this article off with a slew of SEO-keywords, can you tell? Though that’s still an honest description of these establishments, which maybe didn’t quite make the cut for a full feature (sorry?) but are nonetheless very worthy mentions that have earned their spot on this highlight. Or if you have already been eyeing these places, take this as a lowdown of key dishes to try.
Previously Fat Belly Social, one of the renowned places in town for a feather blade gets a new menu. And you know the steakhouse turns alternative cuts into exceptional ones when the Wagyu Flat Iron significantly outperforms the 65-day aged Cote De Boeuf. Don’t be mistaken; the latter is no weak contender when Australian grain-fed tender and seared with a caramelised crust. Still, having tried a Flat Iron steak elsewhere, this Wagyu cut with a marble score of 9+ had such undeniable flavour each bite you won’t need the sauces.
Mashed potato fans would appreciate the sinful, velvety Ratte Potato Puree that’s whisked with crap ton of milk and butter (do eat it fast before the gluten hardens). The Roasted Honey Saffron Cauliflower is a lighter side, and the florets are served atop a bed of homemade ricotta that has a lovely citrusy tang. A flavour punch would be the Kuju Kushima Oyster Mornay where the fat piece is quite literally blanketed in a luscious reduced cream, grana padano, and wilted spinach (we know how it sounds, but the combination works).
Vibe: That classic, neutral shophouse restaurant that’s safe to bring anyone
Wallet damage: $$$
Meadesmoore is located at 21A Boon Tat Street, Singapore 069620.
Why yes, this is the one you saw on Instagram. The one with the progressive menu, ambient lights, intimate seating, and ay, glass block feature. Perhaps expectations were high, but it did seem like drinks outperformed their culinary counterparts. For appetisers, Olives come satisfyingly enhanced with citrus and chilli, though at SGD10 before tax for the fruit (yes, it’s a fruit, we googled) may look hefty. The Trout Carpaccio and Seafood Spinach dumplings can’t be faulted apart from portion size, but we can’t help but wish the Umami Noodle and Chicken Mazemen packed more of a punch (pairing chillis were chefs kiss though).
Here, the Gin & Tonic is a signature and besides using house-made tonic, the unique frothy beetroot topping tells you why. The Pink Frog is another refreshing gin-based starter, especially for lovers of egg white foam on cocktails. Except you’re probably more up to try the unconventional koji rice fermented tomato brine Tomato, Tomato, or the machetazo duck-fat washed salmiana mezcal-centric Ducktini. The savoury two are undeniably subject to personal preferences, but if you want to double down on the pepper, order the Duck Kut Teh Mee Sua to go with the latter.
Vibe: The contemporary casual bar you want to be caught dead in
Wallet damage: $$
NOU Noodle Bar is located at 45 Craig Road, Singapore 089683.
Speakeasies are great, better yet if they are unintentional and serve solid slices. Up the subtly-lit stairway and through a shadowed doorway you find the petite nook away from street buzz. Helmed by veterans, the refreshed tipple menu is concise but has sufficient variety. Two are subjectively polarising—the Pillar to Post (think medicinal aperitivo) and the Ok Go (think boozy ice cream soda). On the other hand, Dawn Chorus is easy to nurse for Old Fashioned regulars, thanks to the comfortable balance of sweet from the cornflake-scented Tennessee Whiskey and housemade salted honey whey. Box of Stars steals the show as a Bellini-inspired, Champagne-dosed hit that is truly complex, with a pleasantly distinct aftertaste.
One primed to be completely up your alley is the customisable Sour What What. It’s your genie drink with freedom of spirit and presentation choice; just tell the trusty duo your profile preference. What makes you return though, will probably be the handmade pizzas literally pulled and toasted before your eyes. We thought ourselves strict fans of thin crust until we had a go. Something about the freshly warm, doughy goodness that’s simultaneously airy and crispy… Where were we? Right. Opt for the creative, non-mainstay options and definitely complement them with the housemade lao gan ma-style chilli that’s hardly spicy but so damn addictive.
Vibe: The super-chill post-dinner/early-supper hangout
Wallet damage: $
Puffy Bois is located at 20A Bali Lane, Singapore 189856.
Taking over Camp Kilo grounds, this pop-up lands a good spot not only because it’s pet-friendly and around till the end of the year, but also has the capacity to offer a nice multi-concept mix. First of the five homegrown brands is of course, The Goodburger, head honcho behind last year’s Gourmet Park RWS. As you devour their signatures, you kinda forget that they’re plant-based, and you get why their food-truck biz is still around today.
Another burger maestro (Chef Adam Penney of Potato Head Folk, Three Buns) makes a teaser appearance here, but with indulgent British breakfast fare Carnaby, which is set to launch at Roberston Quay later this year. Keeping up the backyard soul of the space is Meatsmith, which iconic char needs no introduction. Our biased favourite is Quattro, specifically the Cacio e Pepe amongst an array of Neapolitan-style pizzas and pastas. Finally, dessert is not left out with Backyard Bakers‘ homemade brownies. And fret not, there will be coffee and cocktails. We’re told to expect kitchen takeovers and more collaborations in coming months, so keep an eye out on their socials.
Vibe: The barbeque party you never got invited to in your late teens
Wallet damage: $$
Gourmet Park Kampong Bugis is located at 66 Kampong Bugis Ground Floor Patio, Singapore 338987.
From the dramatic landscapes of contemporary Scotland, William Grant & Sons proudly introduces WILDMOOR, an exquisite collection of high-aged rare blended Scotch whiskies. Embodying the untamed beauty of Scotland, WILDMOOR invites whisky enthusiasts on a journey through ancient moorlands, rugged coastlines, dense forests, unspoiled mountain ranges, and imposing lochs.
It started 60 years prior when William Grant & Sons went on a quest to acquire a vast reserve of rare, high-aged malt and grain whiskies from every corner of Scotland. WILDMOOR is one such acquisition. Selected for its unique character, much like the ever-evolving Scottish landscape, these whiskies have matured over decades resulting in a phenomenal depth and complexity.
Further honed under the keening eye of Master Blender Brian Kinsman, WILDMOOR's catalogue can be seen as a "flavour map" of Scotland. Within each glass of WILDMOOR, you're transported to the Scottish territories beyond the confines of a single distillery style. WILDMOOR's core range is recognisable by its dark hue—a unique profile to its whiskies—thanks to the sherry cask maturation.
All WILDMOOR bottle exteriors are designed with the rugged, elemental textures and forms of the Scottish landscape. From rural lowlands to unspoiled uplands, coastlines, rivers, and lochs; each bottle acts as a physical panorama of Scotland's epic beauty.
A blend of Highland and Speyside malts combined with Lowland grain whisky. Matured in both American and European oak, this whisky evokes the windswept moorlands of Scotland, its rich flavour further enhanced by an Oloroso Sherry cask finish.
Drawing inspiration from Scotland's rugged western coastline, you get notes of peat, sea air and crashing waves. This bold whisky blends smoke with rich stone fruit, culminating in a lingering finish. The Oloroso Sherry cask finish adds an extra layer of complexity.
The Travel Retail exclusives include the WILDMOOR Waking Forest: 23 Year Old, WILDMOOR Tropical Coast: 30 Year Old and the WILDMOOR Black Mountain: 40 Year Old (the Black Mountain is also available for domestic sale).
Waking Forest marries virgin oak and sherry oak that results in smooth vanilla flavours with a rich sweetness. While, the Tropical Coast captures the essence of Scotland’s northwestern coastline in summer. Finished in a Caribbean Rum cask, it is smooth, fruity, and sweet with a touch of rum spice. Lastly, the Black Mountain is an extraordinary blend that features rare grain and Highland malts, enriched with Ghosted Distillery stock. Finished in a Pedro Ximenez cask, it delivers an intense, deep, and elegant experience.
WILDMOOR Travel Retail range is available at an exclusive pop-up. Located in Terminal 1 Departures (Transit), this immersive space invites visitors for a multi-sensory adventure through Scotland’s rugged lands. culminating in curated whisky and food pairings at the pop-up bar. Exclusive gifting and complimentary personalisation are available with every purchase.
The WILDMOOR Travel Retail range, including the 23 Year Old Waking Forest and 30 Year Old Tropical Coast, will be available at Singapore Changi Airport Lotte Duty Free shops until 23 May, 2024, and in selected Travel Retail markets from 24 May, 2024. The rest of the WILDMOOR range will be available at selected retailers and online.
Every EDITION hotel in the world has a Punch Room. As an EDITION staple, each Punch Room has its own identity. Ours is swathed in "Yves Klein blue". The interior hits you like a punch of the whimsy as you stay for the drinks. With a focus on punch (duh), the bar uses spices and teas that are unique to our litte red dot.
Believed to be the first "modern day cocktail", punch was originally infused with ingredients that were the go-to in 17th century sailors’ trade routes. As a homage, the Punch Room Singapore replicates said ingredients of the Southeast Asian region, which includes starfruit, butterfly pea and betel leaf.
But aside from alcohol, the bar also offers a unique afternoon tea experience. This tea time offers savoury and sweet delights inspired by the five main ingredients that make up punch—spirits, spices, citrus, teas and sugar.
Upon arrival, guests receive the signature Welcome Punch. Guests will also choose between organic Jing teas or free-flowing punch bowls and Ruinart champagne. Next comes the first course, a savoury marvel of Poached Lobster. Placed atop blackcurrant and hibiscus tea gélee and citrus cream cheese, it is the perfect fusion with the acidic notes of raspberries and vintage balsamic.
Then, the Signature Finger Sandwiches are dished out. They are available in two combinations—roast beef with blueberries and osetra caviar, and smoked salmon with lemon cream cheese and ocean trout roe. The black and white bite-sized sandwiches are accompanied with a hot and fragrant Black Truffle Cheese Donut. Lastly, the savoury courses end off with a Crispy Tart composed of duck foie gras and spiced spirit poached plum.
Enter the desserts. Firstly, a Frozen Punch is presented, a rendition of Daeng’s Punch from the main menu. It is a great palate cleanser, marking a refreshing transition from the savoury to the sweet courses. Afterwards, we have the Punch Inspired Desserts. These jewel-like pastries comes in the flavours of the various teas and spices found in punch. They include the Chamomile Mascarpone Kochi Yuzu Tart, Piedmont Hazelnut and Milk Chocolate Pleyel, Pink Peppercorn Chocolate Éclair and Matcha Green Tea Namelaka in a hojicha Cone.
Following up, Executive Pastry Chef Alex Chong’s Kusu Island Punch Semifreddo is a play on the Kusu Island Punch. No prizes for guessing that this was inspired by the local legend of Kusu Island. Resembling a blue sphere, the dessert is reminiscent of the sculptural blue ceiling pendant in Punch Room.
Finally, the menu ends with an afternoon tea classic, soft buttery scones. Served with house-made strawberry jam and yuzu lemon curd instead of the usual butter or cream, the yuzu's tangy notes gives a satisfying finish to the whole set.
Reserve a table for the Afternoon Tea experience is available from SGD75 per person, from 2pm to 5pm on Fridays and Saturdays.
The sea speaks of salt tang and stories, of siren calls and shanties about sea-faring lovers lost to the briny depths. The Psalms talk about revelation, where ”the secret sources of ocean are exposed”. And over 20 years, hidden along Scotland’s northeast coastline, a Glenglassaugh warehouse accommodated numerous rare casks.
Laid down back in the 1970s, these casks were left nigh forgotten and left to mature through the years with the coastal environment shaping their contents. They were uncovered in 2008 and the rest of the maturation was overseen by Glenglassaugh’s master blender, Dr Rachel Barrie.
“It is extremely rare to find casks that have been left to mature in coastal locations for such a long period of time,” Dr Barrie says, “and our warehouses, perched on cliffs overlooking Sandend Bay, have acted as the custodians of this old and rare liquid for over five decades.
“These casks give a unique insight into the nature of whisky making at the distillery before it was closed and capture a moment in time like few other expressions can.”
Termed as the Serpentine Coastal Cask Collection, the range takes its name from the serpentine marble found in the surrounding cliffs of the distillery. For this collection, only three expressions were bottled. They are the 48 YO Aleatico Red Wine Barrique (distilled in 1974); the 49 YO Bourbon Barrel (distilled in 1973) and the 51 YO Oloroso Puncheon (distilled in 1972).
This liquid gold is contained in glass bottles inspired by the sand of Sandend Bay and sealed with a serpentine marble closure. The 48 YO has a pleasing blueberry and peach scent and tastes of blackberry, lychee and raspberry and a hint of sea salt. Whiffs of exotic fruit, like guava, emanate from the 49 YO, with dried fruit enveloping the palate. Finally, the 51 YO has blood orange preserve, spiced vetiver on the nose and tastes of salted treacle infused with a tempting orange and balsamic raisin.
Limited to a few hundred bottles worldwide, their scarcity is another reason to indulge in this serendipitous find of the year. Prices are available on request.
There's a certain responsibility saddled to the superlatives of the world. With Martell—the oldest of the great cognac houses—that onus requires the Maison to maintain its legacy while honouring its past. Since its inception in 1715, Maison Martell decided to set its sights back to where its heart is: home base. More specifically Martell’s historic family estate, the Château de Chanteloup, where creation of the new L'Or begins.
It's a tribute to Martell’s evocation of art de vivre (the art of living). The idea of just "letting things be" and there's no better example than the ageing of Martell's spirits. This time the process is in a partnership with a prestigious French château. With the blends of more than 1,400 eaux-de-vie from the four terroirs in the Cognac region, when it comes to the ageing stage, the liquid is usually aged in 300-year-old oak barrels at a dedicated cellar in Cognac. For this occasion, after the maturation process takes place at a dedicated cellar, it's completed at the aforementioned Château de Chanteloup.
Talking with Martell’s Cellar Master, Christophe Valtaud, we were told that a year into maturation, the flavour profile comes to fore. “The next château,” Valtaud adds, “will be completely different, in terms of the cellar’s condition, so the tastes would be unique.”
Only 1,000 individually numbered decanters are available worldwide, with less than 100 available in Singapore. Three more châteaux are planned for the next edition of L’Or de Jean Martell. On the palate, there are notes of iris and wild carnation that blithely coil around aromas of cherry and blackcurrant. A hint of spice lingers.
To contain such a complex cognac, it must be contained by a decanter of fine complexity. That’s where Baccarat, renowned for its crystal craftsmanship, comes in. The crystal decanter is shaped to look like a single drop of cognac. The decanter is topped with a 19-carat gold-painted neck that details the château the cognac is aged in as well as the limited edition number. A crafted wooden box is made for The decante. Housed within are also two stoppers, one is for transportation and one for display.
As the interview comes to an end, we can’t help but ask Valtaud, if Martell’s goal was to reintroduce art de vivre to the world, is there consideration to age the blend outside of France?
“We want to spend a little bit more time in France for now,” Valtaud says smiling, “because we wanted to create a strong product... but in the future, we might head outside France. Who knows? When it comes to art de vivre, it’s not relegated to the borders of France; it is a mindset.”
The L’Or de Jean Martell – Réserve du Château de Chanteloup retails for SGD9,888
Coffee has a rep. And it's a well-earned rep, especially in a society that practically reveres as something to kickstart the rest of the day. But you can give that dark brew a little more edge like alcohol. And one Australian company has run with that and made it their forte.
Mr Black—the brainchild of Philip Moore, one of Australia’s foremost distillers, and Tom Baker, coffee-fiend and designer—made its Singapore appearance at the 2019 Asia's 50 Best Bars awards ceremony. Bearing a range consisting of Cold Brew Coffee Liqueur and Coffee Amaro, it can be poured over ice and enjoyed during that morning meeting as you quietly sip with a cryptic smile on your face—some might say, a "shit-eating grin".
ESQUIRE: Do you find any correlation between your past industrial design work to what you do now?
TOM BAKER: Once a designer, always a designer. While my day-to-day job now is very different from what it was, the approach is the same: thinking, iteration, and craft. Our goal is to make products that both taste great and speak to people and their desires. That’s what being a designer is, and I still do that every day at Mr Black.
ESQ: What’s the trickiest part of the cold brew-making process?
TOM: Consistency. The production of Mr Black is as much a science as it is a craft. Our head of coffee has a PhD in Chemistry—we’re that serious about it. We’ve made over 1,400 individual batches of Mr Black now, and we have an encyclopaedic knowledge on the impact of coffee varietal, seasonality, roast, and ambient temperature to name just a few variables. All of this rigour is in service of creating an exceptional and consistent bottle of coffee liquor each and every time.
ESQ: There’s as much thought that goes into the packaging as well as with its contents.
TOM: The goal of our packaging is simple: reflect our religious worship of the miracle of coffee, and do justice to the craft and care that goes into the divine liquid inside each Mr Black bottle.
ESQ: Is there any botanical you want to marry with the coffee in the future that you’re unable
to do so now?
TOM: The biggest challenge we have is not with botanicals, but rather coffees. We’re always looking to explore the flavour of coffee through our spirits. By way of example, recently we’ve been working with naturally processed coffees which are subject to a light fermentation before processing. They make delicious hot brews, but their intricate flavour can be lost in a cold-brew technique. There are more isolated flavours in coffee than red wine—Mr Black’s goal is to take that world into the night.
ESQ: What is the worst thing you can do with a Mr Black cold brew or an Amaro?
TOM: People never believe me, but coffee genuinely works well in most drinks. It’s delicious with tonic, soda and ginger beer. With whiskey (to make a Cold Fashioned), it becomes boozy and nuanced. From a craft coffee cocktail before dinner to a neat Mr Black after, there is genuinely no right or wrong way to drink it. The worst thing people can do is not give it a try—Mr Black is truly delicious and has to be tried to be believed. Coffee works with everything—except fish. That’s a strange pairing—don’t do that!
ESQ: I don’t suppose the Mr Black line would have a decaf liqueur in the future? Or is decaf just anathema to the very idea of coffee?
TOM: Death before decaf! Mr Black has the perfect amount of caffeine in it. It’s low enough that it allows you to have one drink before bed without keeping you up all night. Equally, if you want to turn it up, have a few and you’ll start to experience the caffeine a little more.
Mr Black is available online
Originally posted on 6 June, 2019
The move to Sofitel Singapore Sentosa Resort & Spa marked a new milestone for Maduro. Formerly located at Dempsey, the move to the luxury resort on Sentosa Island aligns with Maduro’s vision. Keeping to its goal as a lifestyle destination, providing an unparalleled experience for whisky and music enthusiasts in the region.
The beautiful new venue is filled with globally sourced artwork. Curated by Maduro’s culture-loving founder Peter Ng, the pieces add to its eclectic interior. Guests may spot a Banksy or two when exploring their new space. It is a haven of the arts for patrons looking for a respite from the relentless buzz of city life.
Since its opening, Maduro has managed to build an identity and brand with patrons and the community through the gift of music, cementing itself within the local live music scene. Live music is held on most Friday and Saturday evenings, and it sure does know how to attract a crowd. Music takes precedence at Maduro, whether it's classical music, contemporary, fusion, pop or jazz. Unlike in other bars, when the music starts playing, the crowd goes silent as they listen attentively. No one talks over the music.
(Editor: Look, we really wanna to highlight the negative effects of smoking. We don't endorse smoking but you're an adult with excellent reading comprehension so you can make your own decision, natch.)
With a special private room meant for cigar smoking, Maduro provides a wide selection of Cuban, Dominican and Nicaraguan blends. There is a 24-hour temperature and humidity-controlled walk-in humidor, creating a sublime smoking experience. Additionally, a cosy retail corner offers a range of Davidoff accessories including humidors, cases, cutters, and Maduro merch.
At the whisky bar, a key highlight is Maduro’s focus in sourcing non-mainstream labels for their bespoke whisky selection, presenting a curated range of premium whiskies from Independent Bottlers (IBs). Regular masterclasses and tasting sessions are organised to unpack these gems, where guests are taken on a sensorial journey of smell, taste and storytelling led by a whisky connoisseur. Unlike mainstream whiskies, IB whiskies are bottled at cask strength, displaying the full flavour of the barrel and elements of the environment they were produced in.
Exclusive bottles include: Cask of Distinction Lagavulin 200th Anniversary Special Collector’s Edition Aged 15 years, Isabella’s Islay Aged 30 years, and Eidolon Port Ellen 1983 Aged 36 years Sherry Butt, to name a few. Besides whisky, Maduro offers a range of other beverages such as rum, cocktails, champagne and wines.
“We are excited to present these new and choice selections and experiences to our clientele, many of whom are our loyal regulars who have grown with us since our early beginnings,” said Ng. “We look forward to welcoming new guests to Maduro and hope that they too will find comfort, inspiration and joy in our space.”
Maduro is located at 2 Bukit Manis Rd, Singapore 099891 Lower Lobby of Sofitel Singapore Sentosa Resort & Spa
For its latest promotional effort, Martell has brought Hong Kong’s finest together: the iconic Tony Leung and the charismatic Eddie Peng. To celebrate the Martell Cordon Bleu and the Martell XXO, Leung and Peng appear in two films by Wing Shya and Ryan Hopkins.
The Shya-directed short film, featuring the Martell Cordon Bleu, sees Peng leading Leung in a chase over Parisian rooftops. The Hopkins-directed piece featuring the Martell XXO has the two men outrunning an avalanche as they snowboard down the snow-covered slopes.
Together, Tony Leung, a veteran actor and recent Lion d’Or recipient in Venice, and Eddie Peng, a sought-after lead in over 30 box-office hits, mirror the prestige of the two cognacs. And how fitting that these intergenerational titans of the acting world represents Martell’s enduring legacy.
While this isn’t the first time that Martell has dabbled in the world of cinema, it showcases the maison’s audacious spirit in elevating a sensorial journey—one that goes beyond the discerning palates into the untamed imaginations of cognac connoisseurs.