Stylistic differences generated by the use of various moto starters – a Sakeist masterclass by Julia Scavo DipWSET
Ichi: koji. Ni: moto. San: tsukuri. First – the koji, second – the moto, third – the brewing. This statement testifies to the importance of the moto. But what is moto? Moto or Shubo is a “mother culture”, a starter that is prepared by mixing steamed rice, kōji, yeast and water. This then becomes the starting point of the fermentation process in the main moromi mash, in a way being the “mother” (bo) of the “sake” (shu). There is no more to write about the importance of the moto / shubo today, as many texts abound. However, the choice of the moto / shubo has a profound impact on the style of sake in terms of aromas, acidity, and umami in correlation with the polishing rate, the choice of yeast and the parameters of the future fermentation. The following lines retrace the use and history of the various moto / shubo, depicting their specificities in detail to deduce their stylistic impact on four sakes of the Moriki Shuzo brewery –Rumiko no Saké range.
First, why prepare a shubo? The brewer could choose his best tank during fermentation and use it to seed the others. However, this method will not give consistent results. The yeast population will not be in the necessary quantity, nor the most vigorous and will manifest a risk of welcoming other microorganisms than those desired. This is why shubo is initiated as an acidic environment to prevent the proliferation of unwanted microbes. Historically, the method encouraged the natural growth of desirable lactic acid bacteria to increase acidity levels in the shubo. This makes it possible to select and grow the most efficient yeast in the shubo itself. A newer method is to add lactic acid directly. The way lactic acid is produced or added also affects the taste qualities of sake.
An Old-school shubo method of Buddhist origin dating back to the 14th century and developed by the monks from the Shoryaku – ji temple in Nara is the bodai- moto 菩提酛 ou mizu- moto 水酛. It is a specific starter that uses raw rice and the activity of amylolytic bacteria and natural lactic acid bacteria Leuconostoc mesenteroides. Raw rice together with a small quantity of steamed rice are mixed with water under warmer conditions, to create Soyashi-mizu (Soyashi-water). Soyashi-mizu is left for three – eight days for the natural lactic bacteria to start propagation through heterolactic fermentation. No kōji is used, steamed rice and kome- kōji are added only after obtaining the Soyashi-mizu.
Kimoto 生酛 was developed after bodai- moto with written historical evidence by the end of the 17th century and is considered a traditional shubo method for cold season. Although old Kimoto could be quite funky, the “ki” particle meaning pure or true suggests they were cleaner than Bodai – moto sakes. Kimoto uses the laborious yamaoroshi (山卸し) method with heavy mash-mixing using oar-like paddles (kai). Mixing 3 times takes place over ten to twelve hours. In the second sessions, traditional songs help the brewers stay in rhythm and keep track of the time. First, nitrate reducing bacteria multiply in the mash and begin to produce nitrous acid. Next, lactic acid bacteria grow, producing lactic acid. The combined effects of nitrous acid and lactic acid inhibit the growth of wild film yeasts, and, in the meantime, the rice is progressively dissolved and saccharified, allowing the accumulation of the nutrients necessary for yeast growth. Low temperatures are also necessary to prevent spoilage. After 25-30 days, the mash is complete, hence this is a long method. At Moriki Shuzo it even takes longer, up to 40 days as mother culture for the Tokubetsu Junmai Kimoto 60% brewed with Hattannishiki rice and almost totally indigenous yeast. Superb nectarine peach combines with the Kimoto markers such as yoghurt mingle with rice powder and lactic notes. The palate is dry, lean, yet textured and dense, showing vibrant acidity with concentration, saline notes and a long savoury, umami- rich finish. Ripe fruit, rice notes and spices such as pepper come along with a generous twist. To sum up, sake made with Kimoto method typically has extra flavour and fullness, higher acidity, and richer peptides.
In 1909, soon after the creation of the NRIB, professor Kinichiro Kagi discovered that the yamaoroshi was un- necessary for the yeast development in the shubo. His new technique has hence called “yamaoroshi hai- shi” meaning stopping the yamaoroshi, simplified to yamahai! 山廃・山卸廃止酛 Yamahai and Kimoto follow the same steps, except for the yamaoroshi, hence mashing temperature should be higher for yamahai. Yamahai also uses “mizu- kōji” process to help better extract kōji enzymes. Tokubetsu Junmai Yamahai Omachi 60% offers intense nose with deep lactic, aromas such as yoghurt, again a traditional moto marker, in this case for the yamahai, complemented by apple and yellow plums, some almonds and earthy overtones distinctive of Omachi through almost wild ferment. The palate is dry, acidity is fresh, elevated for a sake while texture is dense, umami- rich. Savoury, with saline back palate, lively and refreshing finish, typical for the traditional motos.
Sokujō 速醸酒母 is the “quick fermenting” school of making yeast starter, invented in the late Meiji Period (around 1909). In 1899, Eda Kamajiro had the brilliant idea to short-cut traditional techniques that produced an acid shubo and directly add lactic acid. Yeast starter can be made safely with little influence from temperature fluctuations and microbial contamination. It takes two weeks shorter than kimoto to produce, offering large economies of labour as well as constant quality. Water, Kome- kōji and steamed rice observe the same proportions as for traditional methods, the difference coming from the addition of 0,65% lactic acid that lowers the pH to around 3,5 – 3,8 protecting the environment. Junmai Daiginjo Yamadanishiki 40% appeared fruity- scented with notes of crunchy apple, green melon, and pear, interlacing blossoms, and almonds with an aniseed touch. Off- dry, with a fresh feeling, yet moderate acidity. The palate is round and full, with a slightly warming spiciness, its generous core brings texture and suaveness, light umami, together with fresh fruit like apple, pear, notes of almonds and some peppery hints on the long finish. Slightly raising the temperature to dissolve the rice as is the case here (although in combination with other factors) increases the acidity and amino acids levels.
Higher seimaibuai rice is less soluble than the lower, with minerals and vitamins in the rice activating yeast vitality. It is the case of the Tokubetsu Junmai #9 Yamadanishiki, Isenikishi 60% The nose mixes delicate fruit like apple, banana peel and rice crackers with lactic notes. Dry and soft with moderate, balancing acidity while the texture is umami- rich, dense, with integrated warmth. The finish is spicy, lingering with umami savouriness, zesty notes, refreshing minty character. However, Seimaibuai is not an isolated factor. Modern polishing has somehow led to abandoning traditional methods in favour of more aromatic, less acidic and less umami’s sake. Correlated with fermentation temperature and yeast as highlighted above it plays an important role in the production of sake using Sokujō – moto, additionally showing that this starter can also produce fresh and tasty sakes.
To conclude, having four sakes from the same brewery using three types of moto allowed us to understand the impact of each type of mother culture on the aromatic characters and structural elements. The two Sokujō – moto with two different Seimaibuai level and various temperatures or yeasts also made it possible to evoke the influence of polishing, rather than that of the rice variety on the organoleptic characters of sake. We have thus gone back in time, from the most modern techniques to the oldest methods with concrete sando and amino-sando data in support, in addition to the demonstration by our senses. If the importance of the choice of the moto is no longer to be demonstrated, its stylistic impact generates profound implications on the use of sake, its serving temperature and culinary pairings.
“Moriki Shuzo brewery is located in the Iga region of Mie Prefecture, the birthplace of high-quality rice and water. In 1998, the brewery decided to no longer add distilled alcohol to its products, specializing in Junmai sake, which are brewed only with rice, koji and water. Aiming for sake that goes well with a wide range of dishes, their products are appreciated through a wide range of temperatures. Some brands, such as “Hanabus a”, are made from rice grown without pesticides or herbicides, enhancing th original flavours of Yamada Nishiki rice.
Kuramoto and first Toji of the brewery, Mrs. Rumiko Moriki became involved in the company after her father’s sudden illness. At the time, associating sake brewing and women was very difficult. Soon after, Ms. Moriki discovered the famous manga “Natsuko no Sake” (written by Mr. Akira Oze) about a woman who took over a brewery and struggled to produce sake. It was in fact Mr. Oze himself who generously designed the Junmai’s label “Rumiko no Sake”, which is directly inspired by his original work. Nowadays, the responsibility for brewing has been entrusted to Toji Rie Toyomoto, who has accumulated many years of experience in the field. Moriki Shuzo Brewery is now known to be home to these two consecutive generations of Toji women, a source of pride for the company. Moriki Shuzo also attracts the attention of sake lovers from all over Japan for the rarity and value of its products.” Anna Akizuki – Sakeist CEO