If you've ever found yourself midway through an omakase thinking some Japanese whisky would go well with that polished piece of sushi before you, you are far from alone. Wine, whisky and cocktail pairings are common in our accoladed bar scene, but a tailored lineup of the Japanese blended spirit to complement the famously bespoke dining practice? Surprisingly less so.
Most, if not all, of our first encounters with Japanese whisky originate from The House of Suntory. This year, the acclaimed brand follows up on its Tsukuriwake Selection from two years ago, and a big centennial anniversary last year.
This limited edition release is simply unabashedly showing off what it does best; with Tsukuriwake ("artisanship through a diversity of making") coining the approach. Whether the spotlight falls on cask maturation, barrel choice (some 1.2 million), or other elemental diversification, each series rightfully has its thing. 2024 is all about that raw material.
The respect for core ingredients in both premium alcohol and cuisine is no different. Just as you'll see only reinterpretation or deconstruction in traditional omakase dishes, you'll rarely see an unconventional cask finish in these whiskies. So pairing the shared Japanese reverence for craft makes perfect sense.
Named after the special barley cultivated in Scotland in the 1960s, the Yamazaki Golden Promise harkens back to an era of solid whiskies. The premium grain was eventually switched out with cost-effective alternatives (in terms of crop yield) for most whiskies, at a compromise of quality. So reviving the OG goodness and high standards in a bottle here is indeed special.
Notes: You don't need decades of experience nosing and swishing whiskies to tell the difference—the sweeter, maltier profile is obvious. With a longer finish, we'd best describe it as a creamier and fuller-bodied version of the 12 Year Old.
Islay peat needs no introduction to those who are fond its charred character, but remember, this is Japanese whisky. The malt is treated to the softer waters of Yamazaki (allegedly half the hardness of Evian), as well as a meticulous maturation process.
Notes: The difference in dimension is just as pronounced in the first sip. It is distinctively lighter on the tongue than typical peated whiskies, where the smoke serves more as an undertone. There's a touch of sea-salt savoury and smooth texture which makes it easier for the peat-aversed.
Mizunara (literally translating to 'water oak') is a variant that's native to Hokkaido, and to add on to its rarity, is protected by the government. Not only do Japanese carpenters prize it for luxury furniture, it's also a sign of luxury in the whisky world thanks to the higher skill required to turn them into casks.
Notes: There's no subtlety on the trademark incense aromas here when the porous wood allows the liquid to soak it all in. The spice of sandalwood rounds off a rich texture, alongside a tropical hint amidst the peppery palate.
A peated expression cut from a different cloth, the low-profile blend of the lot is unique for its forest distillery roots. The distillery is also one of the highest in elevation globally, and why Hakushu whiskies gain fame for use of pristine water from the alps constantly filtering through ancient granite.
Notes: This is pretty great on the nose, and the bright scent gives way to a layered reading on the tongue. Not a whisky expert clearly, but its complexity can be divisive. Many hardcore fans of the Hakushu range enjoy the herbaceous base, but it really comes down to a matter of preference.
Just picture a refreshing Highball of Yamazaki Distiller’s Reserve with snow crab and uni in yuzu jelly. Or velvety foie gras wrapped in monaka wafer between sips of lightly-smoked Yamazaki Islay Peated Malt. Or a tender slab of Wagyu beef in sukiyaki-style, complete with a runny Japanese egg and chased down with a bodied Yamazaki Mizunara 18. You get the gist.
This year marks a first for the Tsukuriwake series where the tasting experiences are arranged with Japanese chefs. The House of Suntory handpicks these distinguished partners for their sensory-mindedness to pair the four expressions to signature creations. And like we said; perfect pairing.
Shinji by Kanesaka
15 - 16 August, from SGD650.
Takayama
20 - 22 August, from SGD520.
Sushi Ryujiro Singapore
23 August, from SGD588.
Wakuda
Until 29 August, from SGD328.
Hamamoto
Until 31 August, from SGD288.
For more information or to reserve your seat at Tsukuriwake Tastings, visit The House Of Suntory.
There is this pervading sense that once you’ve had one omakase, you kinda had them all. I don’t speak for native Japanese, or self-proclaimed connoisseurs (ace a blind taste test and I’ll be convinced). It’s a sentiment observed and shared with the ground, and not necessarily a bad one.
After all, it is the epitome of premium Japanese produce expressed in time-honed tradition. Apart from seasonal offerings and rare creative deviance, the over thousand-year-old culinary craft is not liable to accommodate great change. As a consumer, neither would you want it to.
The gleeful anticipation of getting to sit down for one though, never fades. In bid to experience it all afresh once again, I invited my mother, frequent patron of sushi chains but rookie partaker of the higher art form, to join me on this adventure.
It’s no spoiler to reveal that the courses were served in pretty standard sequence. Your zensai, onmono, -insert number here- kinds of nigiri, etc. As expected, you can’t fault the cuts that come your way. It was almost déjà vu seeing a newcomer’s reaction to seared kinmedai exactly mirror mine years ago—sheer delight.
If anything, you’ll discover that each omakase takes its distinct style after the chef whom the restaurant bears its name. At risk of sounding like a painfully obvious statement, supplement it with this. Not only do chefs display skill taught by the particular regions they understudied at, all those years of influences both inside and outside the kitchen forms the type of menu they envision best to share with their guests.
Or as my life-giver so profoundly articulates, “It’s not like the sushi sushi.”
It’s always fun to be reintroduced to familiar dishes prepared in a different way. While not squeamish, my first acquaintance with shirako i.e. fish semen was less than impressive. Here at Suzuki, lightly scorched and bedded with spinach sauce, its texture was able to shine with the flavours.
Another unique dish was Chef Suzuki’s signature palate cleanser. Perhaps stemming from common childhood indoctrination to “eat your greens” or a personal penchant for a healthy diet, the unconventional maki of shiso and wasabi leaves with white radish wrapped in nori was simple and brilliant.
The Shizuoka-born chef, who moved to Kyoto at the age of 18 to train at three Michelin-starred Kikunoi, inherited a respect for simplicity from its owner and head chef. Lessons on focusing on the original character of ingredients and keeping seasonings to a minimum are principles he carried through his career up till the most recent stint as head chef at Ishi, InterContinental Singapore Robertson Quay.
Reflecting this regard for purity are the interiors. As you may be familiar, most of these esteemed establishments come in an intimate setting. It’s no different at Suzuki, save the thoughtful designs by renowned Tokyo-based architect Kengo Kuma, whose work here marks his debut in a commercial project in Singapore.
Daylight filtered through Kyoto bamboo weaved along the full-height glass allow for a relaxed seating than an otherwise dark and intimidating environment. This is matched with a petite courtyard garden centering the restaurant, complete with faux skylight overhead, which was a surprise to learn given how natural it looked.
The fountain within is made from a solid piece of Nagano stone, and the pebbles surrounding the kakehi water feature are collected from Gifu, allegedly millions of years old. The largest however, would be the 600kg ancient plinth from the same region that serves as the reception desk you see at the entrance. Statement piece indeed.
Of the private rooms encountered thus far, the one here is certainly a choice. As the chef’s backdrop from where guests face, bottom panelled glass discloses an odd, below-the-knee peek at diners inside. Hello, foot fetish. Still, the half scrim is made of washi paper, and every single piece of furnishing in the restaurant is either bespoke or handmade.
Cloth napkins embroidered in hiragana by celebrated Kyoto-based calligrapher Tomoko Kawao. Antique soup bowls and classic modern birch chairs Kuma first created for Tokyo’s Nezu Museum café. All these curated touchpoints together with quality Japanese cuisine make a nice rendezvous that any beginner can appreciate.
Suzuki is located at 83 Neil Road, #01-09 Mondrian Hotel Singapore.
