Author: Andy Ellis

Barossa for Ukraine, Tuesday 23 August

Date: Tuesday, 23 August
Time: 6pm
Address: 38 Murray Street, Angaston, SA 5353
Cost: $120 (includes dinner)
Tickets: Book Here

Otherness is hosting a fundraising dinner for the families affected by the crisis in Ukraine.

This will be a night of great food by Sam Smith and wine, including a wine auction, which will give you a chance to get your hands on some very special wines – Full wine list coming soon.

100% of the profits will be donated to Caritas for further information please read here


“War, religious persecution and the massive displacement of populations have a long and ugly history.

It is part of our own Barossa history. The first wave of twenty-six German ‘Old Lutheran’ farmers, originally from Silesia in Prussia settled in Bethany in 1842. From an ancestral home that is now located in southwestern Poland, (not that far from Ukraine) they represented a small group of a large population of refugees who had fled religious persecution in their homeland and dispersed to different parts of the world.

Living in the Barossa, we continue to feel the presence and legacy these refugee settlers made and continue to make to our region.

The Russian invasion of Ukraine resonates uncomfortably with many people I speak to in the Barossa. Perhaps because of our own legacy, we feel a deep empathy with the victims of war; the huge number of civilian casualties, the 226 dead children.

But it is the staggering number of displaced people, mainly women and children that I find equally appalling. 6.5 million within the war-torn country itself, 6 million who have left for neighbouring countries.

I am proud to call the Barossa home and I am determined that Otherness should make some small but potent contribution to relieve the plight of these desperate and homeless families, especially the children.

We invite you to support our first fundraising dinner, either as a paying guest or as a donor of wine or produce” – Grant Dickson.


Riesling Masterclass Saturday, 25 June

Riesling Masterclass with Grant Dickson at Otherness

Date: Saturday, 25 June
: 11:30am – 1pm
: 38 Murray St. Angaston, SA 5353
: $50 per person


Join Grant Dickson in our monthly Riesling Masterclass at Otherness and discover why international wine journalist Stuart Pigott titled his 2014 book “The Riesling Story – BEST WHITE WINE ON EARTH”.

Ten Rieslings will be included in this tasting including the three from Otherness, which are joined by other important current releases as well as some old bottles from the home cellar. The back stories to each of the wines are as compelling as they are delicious.  An absolute must for Riesling lovers!

Upcoming Riesling Masterclass Events


Sandwich Bar, Thursday 2 June

Otherness is teaming up with our co-tenant Breaking Bread to launch a monthly Sandwich Bar. The first of which kicks off on Thursday, 2 June and then the first Thursday of the month therein after that.

Olive Fougasse with Prosuitto from Parma Quality Meats, Provolone & Caponata $16
Country Loaf with Crisp Gumshire Pork Belly, Chilli & Pickles $16
Rye Porridge Bread Toastie with Wild Pine Mushrooms & Section 28 Cheese Fondue $16

Persian Cabbage & Sprouted Lentils Salad $12
Choux au Craquelin filled with Persimmon Cream $6

All sandwiches are available for dine in & take away and will be using freshly baked bread by Breaking Bread.

These sandwiches will sell out, so get in quick! Limited Pre Orders available (by phone).

Our ‘Daily Menu’ will still be on offer in full.

Otherness Open for Dinner!

It has been a journey to say the least but this Thursday, 10 February we open for our first dinner service.

Our aim is to bring something truly special to the Barossa that both locals and visitors want to be a part of, where you can expect exceptional food, wine and customer service in a relaxed atmosphere.

Book a table here: Book Now

Otherness Wine Bar & Cellar Door


It’s been a long time coming but this Thursday 23rd & Friday 24th we will be opening the doors to our wine bar & cellar door at 38 Murray Street, Angaston for a prelude of what’s to come. Opening hours are 8am – 5pm before we open the doors full-time from Thursday, 30 December.

We are also extremely excited to share this space with the immensely talented Breaking Bread (aka Sarah Voigt). Her bread is as good as it gets and we are absolutely thrilled to be able to offer this alongside our wine and food experience.

For the interim we will be offering wine, cheese, bread and salumi as we work towards a more significant food offering in mid-late January when we will be joined by our chef and will also open in the evenings.

We hope you will be able to join us.

23 December, Thursday: 8am – 5pm
24 December, Friday: 8am – 5pm

Familiar Tunes With New Arrangements

This time last year Nick Ryan wrote a beautiful article in the Australian offering an insight into Grant Dickson and Otherness Wines. Given the magnitude of what we were surrounded by at the time, it got somewhat lost. However for your reading pleasure, please read on…

This wine is the sum of many moving parts

Words by Nick Ryan

— Grant Dickson made the move from making music to wine without skipping a beat.

A life in wine is a destination reached by multiple pathways. There’s the path that begins with the baby steps of those conceived under vineyard canopies and born into fermenting families, the path for those with a birthright that can be bottled. There’s the path for those who don’t actually realise they’re on it until it takes them off the edge of a cliff. Having fallen into wine, the traveller soon loses interest in finding a way out and submits to the destiny chosen for them. And then there’s the path that takes you through conservatoriums, the woodwind section of several great orchestras, 750 performances of Phantom of the Opera and the lives of multitudes of music students before depositing you in one of the Barossa Valley’s sacred sites. This path is one much less travelled. It’s marked with only a single pair of footprints and they belong to Grant Dickson.


Dickson is a rare figure in the wine trade. A figure of quiet consideration in a business easily seduced by flair and bluster. He’s an unlikely proprietor of a wine label, but all early indications say he’s going to be a good one. Growing up as a precocious musical talent – oboe and Cor Anglais – in an evangelical Christian household in Sydney’s north, wine wasn’t exactly on the Dickson radar. It wasn’t until a free day on a regional tour with the Melbourne Symphony Orchestra allowed for a day spent touring wineries in Rutherglen. Dickson was instantly enthralled, as much by the people as the product, and the seeds of an obsession were sown.


“When you pull a pendulum too far in one direction, it’s going to swing back pretty hard when you finally let go,” is how Dickson explains his Damascene conversion from teetotaller to wine lover.


When he ended up working in an Adelaide pub while completing musical studies there, he assumed responsibility for the wine list and began forging relationships with local winemakers, most notably Robert O’Callaghan at Rockford in the Barossa. Several years of weekend work in the Rockford cellar door led to an offer of a more significant role there, the only problem being it came the same day as a call from the Adelaide Symphony to join them as they prepared an ambitious mounting of Wagner’s Ring Cycle. Not many employers would be prepared to share staff with a particularly demanding dead German, but O’Callaghan saw the benefit in someone selling shiraz by day and flying with Valkyries by night.


After 15 years with Rockford, Dickson took a different turn on his vinous path, opening the acclaimed Fermentasian restaurant in Tanunda. Building a wine list for a Vietnamese-accented restaurant in a region famous for wine styles most wouldn’t consider natural partners for that kind of food, was the kind of challenge for which Dickson’s nimble mind was well suited. He filled a cellar with great food-friendly wines from the Old World and tapped into a few private collections to offer wines that went deep into the previous century. But the thing that made the Fermentasian list so special, and helped it win Australian Wine List of the Year in 2017, was the way it shone a light on the quieter corners of the Barossa and illuminated the nuance that was too often overshadowed by stereotype.


Now, with his association with the restaurant at an end, Dickson applies that same approach to his new venture, Otherness Wines. The name is concise summary of the philosophy driving it. “It’s a deliberate push to be a bit niche,” explains Dickson. “It’s looking for something beyond the obvious expressions.”


Familiar tunes with new arrangements.


For each of the wines, Dickson recruits a different winemaking friend to help him, conducting an ensemble who each bring individual talents to the pursuit of real harmony. The result is a collection of wines each with a slightly out-of-kilter step, a gently tilted perspective, and a thoughtful rebuttal to conventional thinking. In that way they are a clear reflection of the man himself.


2019 Otherness ‘Urth’ Clare Valley Riesling – Click to Buy
By giving the three rieslings the names of Wagner’s Norns – the “weird sisters” of Norse mythology who shape the destinies of gods and men – Dickson invites us to look at them together. The Clare Valley wine is made with Neil Pike, with half the fruit undergoing traditional fermentation with cultured yeast, the other half allowed to ferment wild in barrel. It’s a shaley mouthful of slate and pith, fresh squeezed lime juice and a faint twang of olive brine. It’s the kind of riesling that seems to turn crystalline in the mouth, shattering in shards as it moves across the palate.


2019 Otherness ‘Skuld’ Eden Valley Riesling – Click to Buy
The Eden Valley wine is made by Ian Hongell, whose day job at Torbreck keeps him busy but doesn’t require his celebrated skills with riesling. So he deploys them here. A neglected, then restored, High Eden vineyard provides the fruit, which is then gently pressed to stainless steel, fermented with neutral Champagne yeast and left for an extended period on yeast lees. It’s packed with vibrant citrus characters that touch on traditional limes then move towards mandarin pith and draw in other elements like lemongrass and quince. It’s a wine with unwavering line and drive with a deftly handled phenolic clip.


2019 Otherness ‘Verthandi’ Tamar Valley Riesling – Click to Buy
The Tasmania wine comes from the Goaty Hill vineyard in Tasmania’s Tamar Valley, sourced by sparkling wine maestro Nat Fryer and delivered to riesling savant John Hughes from Rieslingfreak to work his magic. The off-dry riesling style, where the wines walk the tightrope between residual sugar and forthright acidity, is a tough one to get right in this country, but Hughes has it mastered. The wine shows elements like guava, jasmine and that sweet core of durian that inspires people to push through the stink. A whiff of saffron and paraffin in there, too. Thirty-five grams of residual grapes sugar sits demurely behind beautifully balanced acidity with a minerality that could convince you a marble statue shed liquid tears.


2017 Otherness ‘Tristan Chord’ Barossa Valley Shiraz – Click to Buy
More Wagnerian references, in this case the famously “unresolved” chord that opens Tristan und Isolde and imbues the piece with a palpable tension. That same sense of tension is what’s delivered here, with winemaker Dan Standish foot stomping whole shiraz bunches from Dickson’s home vineyard, allowing the juice to ferment wild and maturing the wine in egg-shaped vessels made of concrete, where it was left until being racked straight to bottle. It’s a savoury and complex wine, a challenge to those who see only the simple stereotypes of Barossa shiraz. Expect dark berries and the straw beds they’re grown in, some cordite and the burnt ends of barbecued brisket, salted plums and dark spices. Some savoury hot chocolate as well.


2017 Otherness ‘440’ Barossa Valley Cabernet Sauvignon – Click to Buy
Marco Cirillo is best known for the sublime wines he makes from ancient grenache vines he treats with greater care than his own children. Dickson challenged him to rethink a wine style neither of them particularly liked – Barossa cabernet sauvignon. The criticism usually centres around a smudging of cabernet character in the Barossa’s warmer climes, so Cirillo and Dickson picked the vineyard in question in three stages over two weeks and different degrees of ripeness. The wine is called 440 after the A440 note Dickson was required to hit on his oboe in order for the rest of the orchestra to tune, the oboe’s distinctive and clear timbre making it the perfect instrument to project clearly through cacophony. Just like the cabernet character in this wine, with its high-toned red berries, shaved cedar, and the scent of a creek bed in high summer, dry gum leaves and cracking red earth. It has a sinewy shape, its architecture still evident, cladding discrete and demure. Fine, wispy tannins, gritting up nicely through the finish.


Words by Nick Ryan, The Australian
21st April 2020

Otherness 2019 Skuld Riesling

The Barossa air is heavy with the perfume of spring. The days are stretching out, slowly fleecing the night of its wintertime domination.

It seems the perfect time to reappraise the three 2019 Otherness Rieslings. Conceived within a restaurant environment, they have always been intended as wines that will enhance the enjoyment of good food. Yes, there’s a special affinity with Asian flavours, but that’s the thing with Riesling, it’s so incredibly versatile. Counter-intuitive perhaps, but I’ve often thought that well marbled Wagyu, cooked medium-rare over coals and well rested can be a perfect match. It’s all in the way a good Riesling cuts through any slick of fat and cleans up the oral cavity between each mouthful.

Otherness 2019 Skuld Riesling Eden Valley Made by Ian Hongell

I’ll never forget Ian Hongell’s approach before we worked together. His admission that Riesling was the one varietal that gave him the goose skin, and his hope to continue his Riesling legacy outside his gig at Torbreck, focused as that is on crafting top-shelf Barossa expressions of Rhone varieties.

We lined up the proverbial ducks, organised the fruit from a High Eden Vineyard that prior to the 2018 vintage hadn’t been picked since 2011. The owner had stumbled during the GFC and let the vines adapt to the vagaries of the next six vintages without any human input.

The viticultural team from Torbreck, led by Nigel Blieschke reclaimed the vineyard in time for Skuld Opus 1, the 2018. As we drove up from the Barossa floor at sparrow’s to pick the grapes for that first 2018 release, Ian told me about his way with grapes, his take on flavours in the vineyard. “I don’t taste flavours, I taste colours, and for me great Riesling is all about Blue and White. And yesterday, this vineyard was textbook”.

We walked together between the rows, Ian pulling off grapes, tasting, passing grapes to me to share the vineyard flavours. “Do you taste it? Blue… Blue and White? Here taste these: a sun-exposed bunch. Yellow and Green: drop them on the ground. We only want blue and white!”

I tasted the flavours. The thing about Riesling is that you actually taste the minerality from the vineyard. The tartness, the puckering tang. I’m not really sure if I saw the colours. But I tasted lime. Grapefruit pith.And I heard E string violin harmonics and Irmgard Seefried singing Pamina. Premonitions of the finished wine.

The picked grapes were rushed to Torbreck where they waited for no one; immediately being gently pressed off in the cool cellar.

The process was repeated in 2019.

‘Skuld’, from Eden Valley comes into its own when you have a platter of the freshest oysters and a few wedges of freshly cut lime. The 2019 Skuld has settled in the bottle and is no longer an expression of planes and angles, as Rieslings often are at release. There’s less brace in the bracing acidity, more weight in the palate weight; creamy lactic flavours splay into the mouth’s peripheries, drenching and seducing the buds with textural nirvana.

Dry and zesty, this is perfect as an aperitif, or with those aforementioned oysters, white-cooked chicken, citrus-marinated prawns with a sprinkling of julienned kafir lime leaves, or then again, absolutely solo.

Skuld is the youngest of the three Norns from Norse Mythology, described as female deities who decide the fates of both gods and men. The Norns appear in Wagner’s Der Ring des Nibelungen, the cycle of four operas that I have been so fortunate to play in several times through my career as a musician. The Norn imagery seemed appropriate due to Riesling’s ability to defy the progression of age. But there is additional synchronicity: my own maternal grandmother was Swedish and Honky’s father is Finnish.

The bottles of Otherness are draped in beautiful labels crafted by Andy Ellis, great Barossa artist and good friend. The iconography suggests the deep dark well into which the Norns peer to glimpse the ripples that they read as other seers might read tea-leaves.

From Nick Ryan’s recent review of the Otherness wines:

“By giving the three rieslings the names of Wagner’s Norns – the “weird sisters” of Norse mythology who shape the destinies of gods and men – Dickson invites us to look at them together.

The Eden Valley wine is made by Ian Hongell, whose day job at Torbreck keeps him busy but doesn’t require his celebrated skills with riesling. So he deploys them here. A neglected, then restored, High Eden vineyard provides the fruit, which is then gently pressed to stainless steel, fermented with neutral Champagne yeast and left for an extended period on yeast lees.

It’s packed with vibrant citrus characters that touch on traditional limes then move towards mandarin pith and draw in other elements like lemongrass and quince.

It’s a wine with unwavering line and drive with a deftly handled phenolic clip.”

And now, a musical match, you’re asking? I’d be turning to the great Finnish composer and multi-synesthete Jean Sibelius who claimed to hear sounds in his mind when he saw colours. His Violin Concerto is one of my most beloved works. There is a sense of terroir in the music, like licking iced quartz rocks or tasting chilled Riesling. Other composers with Synesthesia included Scriabin, Messiaen and Ligeti, all of whom wrote music that would provide a useful soundtrack to this Riesling. Perhaps my dear oboe colleague and synesthete Celia Craig could play ‘Pan’ from Britten’s “Metamorphoses After Ovid”. Perfect!

Otherness 2019 Verthandi Riesling

Not being especially confident that the wines would immediately find an audience in a crowded marketplace, I was determined to make wines that had the capacity to live long lives; that would appeal to the lovers of tension and mineral freshness in their youth, as well as those that enjoyed the incremental accumulation of wine-wisdom and complexity that maturity might bestow. I didn’t wish to make wines that bloomed in their first year before being derailed by early development.

When John Hughes, another special friend tasted those first two wines and heard that they were named after two of the three Norns in Wagner’s ‘Der Ring des Nibelungen’ he enthusiastically asked if he could become part of the project and craft a wine representing the third of the Norns. I had been an admirer and supporter of John’s Rieslingfreak wines since day one; I was both flattered and excited by his request.

I was mindful that the Rieslingfreak portfolio represented and celebrated the regions most often associated with South Australian Riesling. Several of his wines are made from the fruit lovingly grown by his family in White Hut in the northern part of the Clare Valley. The grapes for his other wines are sourced from nearby Polish Hill and the Barossa’s High Eden. Rather than cannibalise his own range, I requested that he find fruit from a different region, suggesting the Adelaide Hills as I have always enjoyed (among others) the Rieslings made by Stephen George at Ashton Hills, with their apple skin scent and bright acid freshness. John spent some months seeking a potential source of excellent fruit in the Hills for the 2019 vintage, without success.

The relationships established over time in the wine game weave together a far-flung network of like-minded protagonists and serendipitous possibilities. In December 2018 I was contacted by another old friend, Natalie Fryar, former Jansz winemaker, now ensconced in northern Tasmania where she creates a range of crystalline sparkling wines under the Bellebonne label as well as the boutique Abel Gins, fragrant with native botanicals foraged from within her region. Natalie was keen for me to taste her most recent cuvees of Bellebonne. Accompanying her was Hugh McCulloch, her partner in business and life and winemaker for his own small label Wellington and Wolfe, dedicated to the production of crisp, pure and expressive Rieslings made from fruit sourced from the Tamar Valley and Pipers River regions of Tasmania.

I had to ask. Not only did Natalie suggest that some quality Tamar Valley Riesling fruit might be available, she and Hugh were thrilled at the exposure a John Hughes-made wine would bring to their region. Natalie confirmed that if I was after ten tonnes of fruit that she would be unable to help, but if I was after one or two tonnes, she could definitely make it happen.

In March 2019 Natalie indicated that the Riesling was approaching early ripeness. I flew down to Tasmania and together with Nat and Hugh, tasted the grapes in the Goaty Hill Riesling vineyard. It was a cool autumn day; a tarpaulin of grey cloud pulled down tight over the landscape.

Goaty Hill Riesling Vineyard, Tasmania

I was immediately struck by the difference of flavours apparent in the grapes in this cooler, more marginal climate. Instead of the lime and grapefruit that I associate with Eden Valley and Clare, these grapes suggested the flavours of rose petals. There were hedonistic floral flavours that reminded me more of Gewurztraminer than of Riesling as I understood it, but with Riesling’s finer line of electric acidity.

Being familiar with John’s preference for earlier harvested fruit, we resolved to pick as soon as possible. Whilst traipsing through that vineyard, Natalie was already on the phone making the necessary arrangements to pick over the next weekend, before a deluge that was forecast for the following Monday.

The grapes were duly picked and immediately gently crushed in Tasmania, the juice sent pronto in a bladder to the Rolf Binder’s winery here in the Barossa. If you follow winemaking ‘numbers’, these were textbook: 11.2 Baume; 9.8TA; PH of 3.0. John Hughes and I immediately organised a tasting. In John’s words:

“As the first Tassie Riesling I have made, I was super excited, when receiving the chilled juice from Tasmania. Tasting the elegance and purity of the juice, I knew we were going to end up with something special in the bottle. The tight acid structure on the juice, screamed Off Dry to me, in terms of wine style. We monitored the ferment daily, tasting and waiting for that moment of balance. Coming in at 9.8% alcohol and 35 g/L Sugar, we found balance and contentment in the glass”.

Over the next ten days, John and I met each morning at 8.30am and tasted the juice, observing the gradual ebbing of sugar, the slow transformation of juice into wine. My initial instinct was to let it go dry, but John was persuasive: he easily convinced me that when the wine had two Baume left, the balance was both perfect and perfectly exciting and that the 35g of residual sugar were ‘hidden’ beneath the vibrant line of acidity.

On 23rd May I met John to taste the finished wine. The wine was beyond my wildest dreams. A lively intensely varietal bouquet preceded a pristine palate, so perfectly balanced that the sweetness is almost invisible. The wine has real ‘tuning fork’ purity, dimension, with unctuous mouthfeel and a long resonating finish.

I asked John to suggest a cellaring suggestion. Emphatically, he immediately declared thirty years, as one might expect from a Kabinett from Joh. Jos. Prum or Keller, held in a cool dark cellar. The wine certainly has the fine acid structure to build and bloom over many years, but now, a full twelve months after the grapes were picked, the wine has already begun to fill out, its edges have softened and it’s a joy to behold.

I imagine drinking Verthandi with fresh oysters dressed with fresh lime juice, shredded Thai basil and kaffir lime leaves; with a hot Tom Yum or a big bowl of mussels in an aromatic broth. But it’s also a perfect Sunday afternoon wine. I imagine enjoying a bottle with friends on a balcony overlooking the Murray or indeed Murray Street in Tanunda. The residual sugar in the wine remains ‘hidden’ within the wine, contributing mouthfeel more than anything at this stage.


2019 Verthandi Riesling is available via the online shop Click Here to purchase.

So lucky to have friends like these

Chance encounters, shared enthusiasms and a willingness to embrace new, perhaps untried possibilities within a region often unfairly stereotyped for producing only richly styled wine.

The Otherness project is always respectful of the Barossa’s status quo. It has no mandate to alter the region’s viticultural or winemaking landscape. The collaborating winemakers’ own projects are often representative of the best of the traditional winemaking practices that continue to draw enthusiastic visitors to our region; wine enthusiasts hungrily collect the wines that they release under their own labels.

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