New Malts from A.D. Rattray

Here's the new bumper crop of casks from our friends the Morrisons:

Aberfeldy 18 Year Old A.D. Rattray Single Barrel Cask Strength Single Malt Whisky $105.99 – Quite floral and perfumy on the nose with hints of lavender, but nothing like the late 80s stuff from Bowmore. This is rather malty in the middle and it finishes with a nice kiss of vanilla on the back. A fun expression from an often overlooked distillery.

Benriach 23 Year Old A.D. Rattray Single Barrel Cask Strength Single Malt Whisky $115.99Much leaner than the more textural distillery releases, this is similar to our 21 year old Linkwood cask with that soft fruit and those light Speyside grain notes. Kyle really liked this one.

Bunnahabhain 23 Year Old A.D. Rattray Single Barrel Cask Strength Single Malt Whisky $139.99I really love older Bunnahabhain, when the earthy fruit mingles seamlessly with the more subtle peat flavors. This is textbook. Lots of delicate subtle flavor from a cask that’s down to 45% naturally.

Glencadam 22 Year Old A.D. Rattray Single Barrel Cask Strength Single Malt Whisky $105.99Glencadam is part of the odd Angus Dundee portfolio along with Tomintoul – distilleries that don’t have too much presence here in the U.S. Of the few Glencadams I’ve tasted, this is right line with what I’ve previously experienced: rather chewy and oily on the initial sip with some plump fruit and vanilla on the back end.

Tamdhu 24 Year Old A.D. Rattray Single Barrel Cask Strength Single Malt Whisky $119.99I really enjoy the opportunity to try old Tamdhu casks from time to time because there are some great old malts to be had. This is one of them – soft fruits, rustic Scotch flavor, vanilla, sweet grains, and bit of honey. Lovely.

-David Driscoll


Agricultural Distillation

When we were planning our recent email launch of the K&L Exclusive Fuenteseca Tequila (which sold a record 350 bottles in 48 hours), our owner was readying up his list of spirits enthusiasts, preparing to send out the message. That's when I intervened and said, "Hold that thought. You may want to use the wine list for this one." I'm not sure why it's the case, but at K&L there's a decidedly more passionate interest in tequila from wine drinkers than from whiskey drinkers. That may seem odd considering that spirits geeks usually stick with the distilled and wine geeks with the fermented, but I truly haven't noticed much crossover appeal from grain to agave.

There may be many reasons for this phenomenon (the fact that wine drinkers are more likely to listen to Sammy Hagar, or perhaps vacation in Puerto Vallarta), but it might have something to do with the agricultural link – namely, that there's a lot of similarity between how the soil, altitude, and general terroir affect the flavors in grapes and the flavors in agave. Most great wines are the product of great vineyards – special locations where the weather combines with the right combination of geological influences. There are hillsides that have great drainage, so that the vines have to struggle deep into the ground for their water supply, soaking up more of that mineral goodness. There are plains of rich soils, full of vegetal matter and earth that somehow seep their way into the juice of each berry. There are cool climates, and warm climates, each producing grapes different levels of ripeness and acidity, and therefore the levels of sweetness and tartness. These are all factors that wine makers and passionate wine drinkers take into account when tasting a wine. They are the core components of what makes wine appreciation so compelling.

I've rarely tasted a whisky (the 2006 Bruichladdich Bere Barely does come to mind) that purely reflected the grain from which it was distilled. I've never tasted a whisky that reflected its grain's specific geographical terroir. While terroir may play a role in its ultimate flavor (i.e. corn grown in Iowa vs. corn grown in Mexico), I've never heard a detailed explanation as to why or how it does. Most whisky producers focus on fermentation, distillation, and maturation. In Cognac and Armagnac, where viticulture and terroir do play a large role in the ultimate flavor, the distillates are aged in wood for decades – to the point that the uniqueness of the pure eau de vie itself is no longer the focus. Some gins and liqueurs capture the essence of various herbs and spices, but that's more of a maceration or secondary distillation process. Vodka is vodka, for the most part, and it's tough to get excited about that. When you go down the list and cross off all the various options of distillates, the only spirits that specifically, and purposefully for that matter, taste like their base ingredients are fruit brandies (like Poire eau de vie, Calvados, and Kirschwasser) and tequila/mezcal.

Fruit brandies have never really caught on here in the U.S. We've done our best to bring the magic of Calvados to our customers, but it's a very limited market with limited interests. Tequila, on the other hand, enjoys a broad interest in America, partially due to its close proximity to Mexico. What's interesting, however, is that only recently have we really begun to understand and appreciate what quality is for high-end tequila and what that quality can offer us as drinkers. Many producers have marketed rich, smooth, caramel-flavored, Cognac-esque tequilas that taste little like agave. Very few producers have focused on, marketed, and (most importantly) explained why pure, unadulterated, unaged tequila tastes the way it does. No one has spent much time doing this because no one has ever really cared, honestly. Today's conoisseur is different, however. We've gotten to the point where most people appreciate a good story, and even more appreciate clarification and information. What we've started to discover about tequila is that – like wine – the better the agave, the better the spirit. We've learned over the years what makes for "good" grapes. Now we just have to understand what makes for a "good" agave.

As I've continued to filter our tequila selection here at K&L in an attempt to focus on producers who shun the use of additives, I've learned a bit more about the distilleries where many of these spirits are produced. Most of the brands we carry are simply the owners of the label – they do not produce the actual tequila themselves. For example, the ArteNOM reposado, Siembra Azul, and Gran Dovejo tequilas are all produced at Feliciano Vivanco distillery (NOM 1414) in Arandas. Rather than simply trust the owners of each brand, I decided to give Sergio Vivanco (the guy who actually makes these tequilas) a call this afternoon to get his thoughts on a few questions I had. The Vivancos are fifth generation agave growers and all of their agave fields are in Arandas, some near the border of Atotonilco.

"What makes tequila from Vivanco so special?" I asked. "It seems all the best producers want to work with you."

Sergio explained, first and foremost, that they are very particular about their agave and how they cook it – roasting it for 24 hours in an adobe oven, then cooling it for an additional 24. The most important part of the process in Sergio's mind, however, was the use of native yeast for fermentation. "If you use a vanilla yeast in your fermentation, then your tequila is going to taste like vanilla," he told me. "We make sure to use only native agave yeast, however, so that our tequila tastes like agave." A yeast culture is taken from the best of each crop and that strain is used in the fermentaion of the mosto – the agave wort, so to speak – and that yeast keeps the flavor focused on the agave itself.  Agave was the focus of our conversation, mainly because I had recently met with Siembra Azul owner David Suro-Piñera who spoke gravely about the blue agave situation in Jalisco – namely, that monoculture and overproduction were in danger of wiping out the species. Sergio didn't think the situation was as dire, but he did point out that they were very particular in their planting of new fields. "We're very concerned about genetics," he said, "we look for plants that have higher sugar levels and are more resistant to bacteria and we plant only these cuttings."

Given that three of our most popular tequilas are all produced at his distillery, I asked Sergio what differentiates the three expressions to help our customers understand the differences. "Siembra Azul have their own alembic still that they bring in for the secondary distillation," he stated, "Plus, both Siembra Azul and Gran Dovejo use their own distiller Leopold Solis. He has his own recipes and we've learned a lot from working with him. They also use a different yeast." Jacob Lustig's ArteNOM selection is the result of a different heart cut (corazon in Spanish) that separates the heads and tails (cabezas y colas) at a different point. One of the things Vivancos is famous for is his use of classical music to stimulate the indiginous yeast strain he cultivates. He said only Vivaldi while the ArteNOM tequila ferments. Maybe that's the reason it tastes so good!

One of the biggest agave growers in all of Jalisco is Enrique Fonseca – the man responsible for the ancient tequilas in our upcoming Fuenteseca release. I had never spoken directly to Enrique before, but I figured now would be as good a time as ever, so I gave him a ring as well. Fonseca owns agave fields in a number of different regions – Arandas, Atotonilco, Tototlan, Tepatitlan, even on the edge of Lake Chapala. No one understands better how these different soils and climates affect the flavor of agave, and ultimately the tequila itself. "Soil and altitude are very important" he said, "we have agave that is grown on a high plateau, about 1800 to 2400 meters above sea level, and they create a tequila that is more fruity and spicy. Some are grown on the sides of hills, with yellow and black soils, maybe 1400 to 1700 meters above sea level, and they usually result in a more floral and mineral tequila, due to the flinty soil. Then we have agave in the lowlands, on the floors of these canyons below 1400 meters, that are also fruity, but vegetal and earthy at the same time. The town of Tequila, for example, on the other side of Guadalajara, is at about 900 meters above sea level, so their agave is also different."

I also asked Fonseca about Piñera's claim that blue agave might face a shortage soon, but he didn't seem as worried. One of the problems, he said, was that larger producers were trying to control their own agave by growing it themselves, but ultimately they're tequila producers not farmers. Some of the big guys are having difficulty keeping their agave healthy, it seems, and are facing issues with insects, bacteria, and fungus. Fonseca seemed to believe, however, that these problems were avoidable and that better agricultural practices could relieve these symptoms. He didn't anticipate too many issues with his own agave. Another aspect that Suro-Piñera had stressed in our conversation was the role of the jimador (the agave harvester) and the size of the jima – the cut that the jimador takes when he cuts off the pencas (agave leaves). I had never heard someone speak so romantically about this process, so I asked Fonseca about his thoughts concerning their significance: "This is indeed a very important part of the ultimate flavor," Fonseca explained, "because a lot of the character comes from the penca the vegetal flavors."

Fonseca continued to detail how the role of the jimador became quite fashionable nearly ten years ago when producers like Don Julio and Patron believed that a low cut jima (fewer leaves) would produce less methanol in the distillate – providing a cleaner and smoother flavor. When I said that some producers were starting to list the jima cut on their label (Siembra Azul for example lists "2 cm") he stated that unless they're using two to three inches it was rather insignificant. "We try to cut the jima like they did in the old days about two or three inches because we want that vegetal flavor. Most mezcal producers will use three to four inches, which is where a lot of that intense and vegetal flavor comes from. Sometimes it can be overwhelming."

One of the aspects of agricultural labeling he did find compelling was the use of the CRT tarjeta registration number – an agave passport, so to speak, that can be used to show inventory levels of agave plantings per producer, as well as the origin, date of planting, and date of harvest for each crop. Of course, I asked Enrique if he would be interested in producing a set of these tequilas for K&L, all blanco, each with their own CRT number, regional location, altitude, and soil type on the label – hoping to illustrate the differences between the agave and their affect on the flavor of each spirit. "Someone needs to make a big map," I said, "just like the ones we see from Bordeaux and Burgundy that details the terrain and elevation of each plot. That would be cool." He suggested that I come down and do it myself. He would be happy to help.

And, of course, we could distill those blanco tequilas while we were at it. But after talking to Jake Lustig today and his importer Haas Brothers here in San Francisco, it seems like they might already be in the works. Fuenteseca Single Cosecha Blanco tequilas? I'm drooling.

-David Driscoll


2013 Faultline Pre-Arrivals, Baby


It's on. Whisky Season 2013 is back in full effect with our own private Faultline label exclusives. In case you didn't know, all of the labels have so far been designed by K&L customers. If you're a graphic designer, you may want to start throwing your hat in the ring.

Today we've got three new casks to pre-order that should be here around late-September/early-October. There are another six Faultline casks coming up after these. Check out David OG's notes below:

1997 Bowmore 15 Year Old Faultline "Palm Tree" Single Barrel Cask Strength Single Malt Whisky PRE-ORDER $89.99 - This cask, from one of the true historical gems on the Queen of the Hebrides, is the perfect example of why I believe Bowmore should still be considered one of Scotland's best distilleries. The distillery itself is a working museum and the distillery bottlings are usually very safe and well crafted. After some "difficulty" at the distillery during the 80s and early 90s, speculation is that they were pushing the distillery to hard. Since then the Bowmore distillery has come roaring back producing some of the most consistently delicious juice we've tasted over the last several years. It's not in their nature to take risks or challenge the market place, but it's certainly in ours. Part of the reason we haven't been able to sell a Bowmore under the Faultline label yet is that when it's good, it's obvious. The bottlers are coveting their stocks and that means that highend product from the 70's which cost $300 two years ago, is going for $900+ today. We're not buying that stuff because there's just no way we could sell it all. Suppliers see those numbers, look at their young Bowmore stocks and salivate. We were incredibly lucky to find this medium aged Bowmore at this fabulous price. This is full force Bowmore in all its beautiful intensity. It's powerfully smoky and exotic. The label pays homage to a famous independently bottled Bowmore from the 1960s (David OG).

2001 Royal Lochnagar 10 Year Old Faultline Single Barrel Cask Strength Single Malt Whisky PRE-ORDER $54.99 - This powerful little Lochnagar is basically the only independently bottled around Lochnagar and certainly the only cask strength version on the market in the US we've seen released recently.  We managed to get a great price on this cask from the little distillery deep in the Cairngorm mountains. After ten years in a hogshead this whisky already has a lot going on. The wonderful fresh character of this miniscule distillery is at the forefront. Grass and fresh apples, with whiffs of something tannic in the background, maybe it's a bit of black tea. Texturally rather rich for the age, but it's not a massive malt. Slightly waxiness as it finishes on the pepper and grass. Fun stuff and it should be around for a little cause this cask contained just over 300 bottles, but it won't be this price forever. (David OG)

1979 Faultline 32 Year Old Single Barrel Cask Strength Blended Scotch Whisky PRE-ORDER $99.99 - (NOTE: Proof is 53.1%) This is just some sort of ridiculousness. When we stumbled across this absolutely wacky cask in a warehouse in Southern Scotland, we hadn't even realized it was in the realm of legality to sell this sort of whisky. This is from a lot of whiskies all distilled in 1979. At some point in its maturation, it was blended and rebarreled in a single sherry hogshead. It's highly likely that was done relatively recently, but honestly it could have been done two decades ago. We think that this whisky may have come either from a larger blender who was planning to add this to one of their house blends and either lost it in the warehouse or sold it as part of a larger parcel. Otherwise, we think it could have perhaps been a lot owned by a smaller broker which was ultimately consolidated as the whiskies began to evaporate. Either way, this stuff is totally unique. We have no knowledge of another cask strength single cask single vintage blended whisky being released in this country or any other for that matter. If you know differently please let us know. What's really important about this whisky is that it's absolutely delicious. It's got all the complexity and depth of the best blends and is exceptionally well balanced even at full proof. Plus, the price is uncomfortably low for the age and quality of the whisky. This is truly a unique gem plucked from a dingy warehouse, which ended up polishing up perfectly. (David OG)

-David Driscoll


Whisky as Art

While I was holed up in the Standard hotel a few weeks back, I lay in my bed, watching the Art House channel on repeat, catching the ten minutes or so I had missed from each portion of the Jean-Michel Basquiat documentary that had been on a 24-hour repeat loop. Listening to his early patrons talk about his ability, but his difficulty in breaking through to the mainstream New York modern art scene, I was reminded quite a bit of Bryan Davis and his Lost Spirits single malt whiskies. Namely, the fact that Basquiat's work was originally considered crude, rough around the edges, and primative. Then Warhol embraced him, he showed up in a few exhibits, and suddenly his paintings were cutting edge. Today, Basquiat's paintings sell for tens of millions of dollars and are some of the most coveted by art collectors everywhere.

One day Basquiat is a street kid playing around with paint. the next day his paintings are worth millions. His art didn't necessarily improve, or change, or get better, it's just that the public perception of art caught up to where he was already at. This type of phenomenon can happen when people don't understand the nature of what a particular artist is doing, especially if it doesn't match up with what they're used to. That's called being ahead of one's time. For example:

This is a self portrait painted by Basquiat.

This is a self portrait painted by Cezanne.

The Cezanne is what many people traditionally think of think of as a classic painted portrait – so romantic and rustic in its own post-Impressionist way. Can you imagine being an art collector in the early 80s and being told that you should buy the Basquiat painting instead of the Cezanne? They'd have said, "You're out of your freakin' mind!" The Basquiat looks like a cave version of street graffiti in comparison, yet today is recognized as a masterpiece of its own particular asthetic.

In a similar scenario, the people who have criticized Bryan Davis's whiskies usually do so in comparison to other peated whiskies, a la Ardbeg or Laphroaig. "I'd rather drink Lagavulin for that price," they say. Fair enough. Some people would rather look at a Monet exhibit than a Jackson Pollock display. However, much like I wouldn't compare Cezanne to Basquiat, I wouldn't compare the Lost Spirit whiskies to anything from Islay. Or Scotland, for that matter. Sure, they're both distilling barley flavored with peat, just like Cezanne and Basquiat are both using a canvas with paint and brushes. But while Scottish distilleries are producing a classic style of whisky, based on hundreds of years of tradition, Bryan Davis is creating an entirely new genre. The more I taste them, the more I'm convinced that they need to be judged completely on their own context.

Of course, saying that someone is "ahead of his time" is an easy way to deflect criticism when it's aimed at ability and talent. Sometimes an artist isn't ahead of his or her time, they're simply not all that good. I don't think that's the case with Bryan Davis, however. Every time I taste a new whiskey from him it's better than it was previously. And he's getting more creative, more ambitious.

Maybe his whiskies are a little rough around the edges and primitive. But maybe that's the direction we're going with American single malt and maybe Brian is paving the way.

It's too early to tell right now, but there are a lot of people who appreciate his whiskies already and recognize his talent.

-David Driscoll


Photo of the Day II

Cutting peat outside of Port Ellen on Islay.

It was rainy, misty, and cold that day and it made us crave a glass of peated whisky. In fact, looking at this photo makes me want a glass right now.

-David Driscoll