d’Arenberg Ironstone Pressings 1997 and the Emotional Rollercoaster of Vinyl
This d’Arenberg Ironstone Pressings 1997 was tasted directly after the ’97 Rosenblum Zin Sauret and oddly, it made a fitting transition, but we’ll get to the specific tasting notes in a minute. d’Arenberg is a 4th generation family wine company helmed by the unique Chester Osborn whose bottled produce is as unusual and worthy of sincere investigation as the man himself. d’Arenberg is a relatively large producer for the artisan level quality and is just as ready to sell you a ubiquitous $10-15 blend (Stump Jump, d’Arry’s Original), or a moderately priced single-vineyard offering (The Derelict), as a rare and powerful (and pricey) bottle made from 100+ year old decrepit vines, who have already lost a limb to age (The Dead Arm). While I have never met the man, never profited from the sale of any of his labels, I am an avid consumer of it, and it would be dishonest to not admit my bias. Look for the tall, skinny label that reminds you of a diver’s flag and there’s a pretty good chance, there’s some nice juice under it.
I’m listening to an awesome pile of records, which is four obsolete recorded music formats ago, for those of you under 30. I don’t know why it took me so long to set up the turntable and phono stage, particularly with the Krell CD player refusing to open its door, and yes, I tried asking nicely. I had apparently forgotten the frustration of those records that never sounded like they should have. Some albums were recorded digitally and were simply transferred to the analog format for its own sake rather than being specifically re-mastered for the process, which is why the Flaming Lips’ wonderful Yoshimi Battles the Pink Robots sounds completely flat on its super cool translucent red vinyl. And I pre-ordered two consecutive Andrew Bird albums, Mysterious Production of Eggs and Armchair Apocrypha, both of which showed up literally stuck to the sleeve, as if put away wet, and have never once played clean. And then one settles into a sincerely crafted masterpiece, such as Radiohead’s Kid A (on double 10”) which just ended or the 200gram virgin vinyl re-mastered pressing of Hendrix’ Axis Bold as Love, whose controlled chaotic left-handed genius current courses through my auditory system. Now one quickly recalls that every advancement in audio (before digital compression) was a failed attempt to sound as warm and as real as a record. Because we’re all bold as love, just ask the axis. He knows everything.
The d’Arenberg Ironstone Pressings 1997, even at this age, is brooding in the glass and immediately shows copious black and spiced red fruit, cavernous depth, awesome length, and the (al)most unbearable concentration of being. Please forgive the hyperbolic alliteration, but I did warn you that I’m listening to Jimi on vinyl, and this wine really is a stunning blend of typical Australian varietals (Grenache, Shiraz, Mourvedre), pushed to a-typical greatness. It drinks like a burly, brambly, dry-but endlessly lush, version of the previously tasted and much evolved Zin. The ’97 Ironstone Pressings is showing an unusual nose, currently dominated by red cherry, menthol, and volcanic ash. The massive fruit on the palate, after some breath, seems poured over crushed granite with hints of smoked game. Its texture is luscious and rich with an up front (non-syrupy) sweetness and a deep palate-shaking dryness before the long finish. This is a wine that I’ve followed for some time, and unlike the ’98 (which matured much more rapidly), this ’97 d’Arenberg Ironstone Pressings has finally and fully come into it’s own. I look forward to future consideration of the ’97, while getting back into my stash of ’01s and ‘02s, of that same skinny label.