Australia's King Valley is a region in Victoria with a strong Italian heritage, one that carries through into the grape varieties grown there: Pinot Grigio, Prosecco (not Glera, but let's not get drawn into that), Nebbiolo and lesser-known varieties like white Arneis (another Piedmontese grape). Reflecting a different side of Australian wine as well as a different history of migration and cultural influence, wines made from these varieties make an interesting change from those typically associated with Australia (Chardonnay, Semillon and Riesling for the whites; Shiraz, Cabernet Sauvignon and Pinot Noir for the reds). 

Although the Italian varieties remain somewhat niche and only account for a small percentage of the country’s plantings, there has been renewed interest in them lately. I was particularly interested to see how Sangiovese, that grumpy of old grape from Tuscany, faired in this landscape and at the hands of these winemakers.

Originally from Trentino in the shadow of the Alps, the Pizzini family have been producing wine in the King Valley since the 1990’s. Joel Pizzini, son of original founders, is now their chief winemaker. Having cut his teeth at leading wineries in both Italy (at the renowned Isole e Olena estate in Chianti Classico amongst others) and Australia (in areas as diverse as Margaret River and Mornington Peninsula), he now makes a range of wines from key Italian varietals.

Pietra Rossa is their mid-range varietal Sangiovese. You know immediately the glass comes to your nose that you are in princely Italianate company, but it’s intriguing to note how its Chianti-like profile ebbs and flows as the wine opens up. The wine is a familiar light garnet colour, clear and bright. Initially the nose is a basket of red fruit (redcurrant and above all cherry) heightened and outlined by a good backbone of acid. There is a plant-like aroma to it: not quite flowers and not quite herbs, dried brush describes it best. Underneath, there are hints of coffee and even liquorice but the overall impression is remarkably refreshing, certainly in comparison to the motherland.

There’s none of the rasping, dry tannic heft that can characterise the grape on its home turf. In its place you have a very smooth texture, softened further by oak ageing. There’s a hint of new-oak character but it's not overpowering by any means. There is some pleasing nuance here and I suspect that their two more rarefied cuvées continue this journey on into intriguing complexity. Approachable enough to drink on its own, the Pietra Rossa also slipped down well with wild mushroom ravioli. Its tannins were sufficiently in check not to frighten the cheeses that followed either.

With a few notable exceptions (including the wine above) good value at the cheaper end of the Bordeaux spectrum can be a little tricky to find. One solution is to look to other areas that are doing interesting things with the classic Bordeaux grape varieties. And whilst Sauvignon Blanc is a very different beast in New Zealand or Chile, Merlot, Cabs and their blends often still look to the motherland for inspiration so all-powerful is the red Bordeaux model.

Margaret River in Australia’s extreme west has been on everyone’s lips for some time now. And they are going great guns with the classic varieties. This isn’t just pastiche, however; experimentation is in the local Mediterranean-tinged air. Take Shiraz/Cabernet blends for example (although not, of course, confined to that area).

Here’s a rather bold 100% Cabernet wine. Bold in concept and bold in realisation. It’s made for M&S but the fab Xanadu Winery. There’s a sister wine, a white Semillon-Sauvignon Blanc blend, of rather nice crunchy, green, down-under proportions, but this red is a joy. The medium ruby in the glass belies its quite full body. The nose is quite literally a bouquet: unusual flowery, even lilac overtones gliding over minty, blackcurranty depths. There is a little seasonal chocolate as well which luckily doesn’t morph into generic mint-choc territory. There are unexpected savoury notes, too, bay and loam and eucalyptus along with intriguing incense-like top notes, not too perfumed but playing at the edge of the senses. Delicious and a different side to a variety that can be overly serious and inaccessibly withdrawn.

There’s been some oak action as well (although I don’t have the details) which makes its presence felt slowly as a hint of buttery vanilla adding to the richness and texture. Pitch-perfect oak in fact, beautifully tamed and supportive of the aromas of the quality fruit. I see that my notes have ‘silky textured yet with a filigree structure of supporting tannin: a taut bivouac over a complex bamboo frame.’ Unnecessarily poetic but you get my drift.

The minty freshness suggests happy lamb moments. But also the fat of goose. Would absolutely sing with something like a veal ragu when you are craving a simple pasta supper after all that feasting.