“Our competition isn’t Napa Valley; it’s Bordeaux.”

That’s how Lou Kapcsandy sums up the goal of his 3,000 (ish) case production winery, a building that nestles up to about 15 acres of vineyard land that formerly went into Beringer’s `75 Private Reserve (“we purchased it in 2000 without them knowing anything about it,” he told me), and which might best be described as ‘polished-industrial.’

But that kind of upscale nondescript casing is fitting for the no-nonsense Kapcsandy, particularly when you consider that he’s a former chemical engineer and wine importer (not much use for flash in those endeavors).

But just wait until you get a load of what Hungarian-born Kapcsandy has going on in the vineyard and inside that Napa Valley production facility; you engineering types are gonna get a slice of geek heaven out of this.

Let’s start with the land: the Kapcsandy’s had 34 (!) pits dug into the vineyard for analysis, concluding that “literally within fifty yards, the growing conditions are different” on the heavy clay-ladden former riverbed. “At one point,” according to Kapcsandy, “it was 118.5F in the vineyard; the next morning, the same spot was 50F.” NASA-style satellite imagery was employed, convincing them to plant the vineyard along a magnetic north-south orientation, and dense plantings. Fruit is dropped, pesticides are avoided when possible, and generally Lou Kapcsandy frowns a lot when talking about “”what he calls “vineyard gymnastics.”

The results are mostly red blends that, in my experience, stand up to Napa’s best (and particularly shine come Premiere Napa Valley time – those tastings are what prompted my visit to the Kapcsandy’s in the first place). Expensive, for sure, but ludicrously good. Which is why I am waxing poetic about them here in the first place, of course.

So… yeah, let’s geek out on the in-winery stuff now…

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Depending on who you are, California’s Ventura County will spark up a number of mental images: beach stay-cations; Tony Stark’s mansion; a place to refill the gas tank en route to wine country in Northern California.

But there are a host of urban wineries (now numbering over a dozen) that are attempting to carve out a wine trail in Ventura, buoyed by the success of kosher powerhouse Herzog and critical darling The Ojai Vineyard, and sourcing grapes from their more famous Northern Cali cousin regions.

I’ll be talking more about all of this in a feature (I’ve yet to write…!) for PalatePress.com, based on press trip I took to the region last year. The short version of the tale is that I admired the gumption of those urban, bootstrapped wineries, most of which have been established by former hobbyists who went totally off the deep end and graduated their production into rented winemaking spaces, tasting rooms, and in some cases full-time gigs (can’t say they’re not courageous…).

Has Ventura arrived, wine-speaking? Not yet. Are they doing better than we ought to reasonably expect from such a ragtag group of independent upstarts? Yeah. Mini-reviews will be coming forthwith,  but a brief highlight of some of my faves is up now at Answers.com.  More of that trip will be put to light in the prospective Palate Press piece (only with less consonance… probably…).

Anyway, one of those upstart standouts is Four Brix Winery, a play on the U.S. grape ripeness measurement, and the number in the name represents four of the wine regions that got the founding partners (the Noonan, Simonsgaard and Stewart families) into this whole wine mess in the first place: Spain, Italy, France, and (naturally) California. If you find that a bit kitschy, just wait until you see how they name their wines…

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Back on December 18th, 2013, a Sicilian dessert wine made from dried Zibibbo (aka Muscat of Alexandria) ruled the wine twitter world for an hour.

Think about that for a minute. A $40 half-bottle of sweet wine. Of Zibibbo. From Sicily.

I recently wrote up the top five most mentioned wines online in 2013, and Sicilian dessert wine was… uhm… not anywhere near that list… nor in the top twenty… I’m guessing it wasn’t in the top 600…

As good as the wine is (and it’s great – more on that in a few minutes), I was skeptical after I received Donnafugata’s invitation to join their twitter tasting of the then newest Ben Ryé Passito release. First of all, after last week’s top ten Most Interesting Wines 2013 roundup (the 2008 Ben Ryé made the cut), how much more publicity did they need from me? And there was no structure whatsoever to the tasting, which isn’t typical of most simultaneous twitter tasting gatherings; usually, there are more than one wine to taste, someone sets the order, and those with the wine (mine was received as a sample for the event) are paced through the tasting by a leader, who fields questions snet via twitter to winery representatives, sometimes with video involved. This Donnafugata tasting had none of that. Until the day of the tasting, they hadn’t even announced a hashtag to use for summarizing all of the tweets involved.

But… I wanted to try the wine, had a free hour that evening, and it was being spearheaded by a friend of mine, Master of Wine candidate and indefatigable wine promoter Luiz Alberto. And so I figured, what the hell, let’s do it. I was unprepared for the outpouring of love that Ben Ryé received. Let’s take a look at the numbers, ‘cause they don’t lie…

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By now, many of you reading this will have come across a handful of articles on the Global Interwebs proffering the idea that the current style of high-scoring, high-end fine wines (prominently oaky, complex, high on the alcohol and low on the acidity) will always reign supreme in fine wine sales, and that it’s only a matter of time before Millennial consumers “grow up” and stop buying higher acid, inexpensive imports and trade up to the “real” stuff.

Many of these arguments are well-written and intelligently presented. But to me, they don’t read like the Queen’s English; they look more like this: “Blah blah, blah-blah-blah, BLAH-BLAH!!!”

Some of the crystal ball gazing has been done by those with a vested interest in prolonging the reign of the current style of high-scoring, high-end fine wines, but I don’t really have any issue with that potential conflict of interest. Also, I’m willing to ignore the fact that one of the key pillars of their arguments – that an entire generation will “grow up” to fundamentally change how they interact with brands – has no previous viable example in the entire history of luxury goods consumption on planet Earth.

The real nail in the coffin of these arguments is that no data are ever offered in support of them.

Meanwhile, we have examples of exactly the opposite happening; younger consumers buying fresher, higher acid wines, because that’s what they can afford and therefore it’s the style on which they’re cutting their wine loving teeth, informing their future purchases and tastes from this point onward.

What examples, you ask? How about roughly eight million bottles, is that a good enough example for you?

8 million is the annual bottle production of Mednoza’s Luigi Bosca, a producer I visited during my stint earlier this year judging the 2013 Argentina Wine Awards. The results of that visit – aside from yielding a handful of tasty recommendations for you (more on those in a few minutes) – underscored nearly every aspect of the speeches I and my fellow judges gave to the Argentine winemaking community during the AWAs, and yielded one of the most telling illustrations of the changing tastes of younger wine consumers I’ve yet encountered…

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