Glenfarclas is one of the finest distilleries in Speyside. Described by industry icon and Scotch whisky distiller Sir Thomas Dewar as “the king of the whiskies and the whisky of kings”, Glenfarclas has a long and storied history as a remarkable single malt producer.

Glenfarclas 1:1

A spotlight on the Scotch whisky producer, Glenfarclas. We explore how single malts from this traditional, independent distillery became so highly regarded.

Spotlight on the single malt icon, Glenfarclas 

About Glenfarclas

Glenfarclas 

The Glenfarclas distillery is one of Scotland’s most successful. What sets the distillery apart is the family that owns it and has done so for six generations. While most large distilleries in Scotland are nowadays owned and run by large drinks companies and corporations, the Grant family continues to take pride in owning Glenfarclas, seen fully through their timeless slogan: The spirit of independence.  The Glenfarclas Distillery's history The Glenfarclas story began in 1836 when farmer Robert Hay received a license to distill spirit on Rechlerich farm, Ballindaloch. In 1865, after Hay’s passing, John Grant bought the farm and the distillery along with it and it has been owned by Grant’s descendants ever since. Grant was a successful farmer, and while he continued to operate his Blairfindy farm, he
left the new site in the care of his cousin, John Smith, and his son, George Grant. Smith left Glenfarclas and John Grant died in 1889, leaving the site in the hands of his son. Sadly, he also passed soon after leaving the distillery to his widow, Elsie, and his two sons, John and George. The 1890s brought with them a whisky boom which led to an unfortunate partnership with Pattisons Ltd. While expansion was in mind, this partnership led to many hard years for Glenfarclas. Luckily, the Grants retained full ownership of the distillery after the whisky crash, and in 1913 George took full control. John retired due to ill health.  George Scott Grant followed, and led the distillery for 52 great years, until his death in 2002. Under his leadership Glenfarclas built up its name and brand image. Glenfarclas is known to have a large number of very old and rare casks in its warehouses, and this is due to
George S. Grant’s decision to supply less stock to blenders, decades before.  John L.S Grant, the current chairman, has been with the company since 1973 and succeeded his father after his passing in 2002. The sixth generation comes in the form of George S. Grant who joined Glenfarclas in 2000 and works as the global brand ambassador, introducing the world to the amazing story and liquid behind the Glenfarclas brand.  Glenfarclas single malt whisky Glenfarclas has come to be known for its old and rare releases, with huge popularity in unique markets like China and Russia, and a cult-like following across the globe. As a family-owned company, the expansion speed and budget aren’t huge, therefore, they cannot reach the global popularity of The Macallan or Glenlivet. Yet, with an amazing story and even more impressive casks, the team has managed to cement Glenfarclas as both a loved brand for
drinkers and collectors.  Glenfarclas whisky is known for its full-bodied, Sherry matured expressions. The team only releases expressions at natural colour, often at cask strength, aged for long periods. The unique still shapes and sizes, alongside the traditional ingredients and distillation techniques
add to the distinct Glenfarclas character which has led to a very strong and loyal fan base for the brand.  Perhaps, the most famous releases by Glenfarclas come under the Family Cask range, single cask releases from each year between 1952 and 2008. The ongoing series has made Glenfarclas hugely collectable as fans attempt to hunt down each and every bottle. These are bottled at cask strength, natural colour, and retail for thousands of pounds.  Beyond special releases, the core portfolio includes the 10-, 12-, 15-, 17-, 21-, 25- and 30-year-old, and 105 Cask Strength. Most of these are available at very affordable prices for such well-aged whiskies, again showing the team’s amazing warehouse management skills, unlike many brands that have low reserves of well-aged stock.  Glenfarclas's collectability Glenfarclas is becoming increasingly collectable thanks to the Family Cask range, the well-aged Glenfarclas 60 Year Old, 50 Year Old, 40 Year Old, and the famed Glenfarclas Pagoda series.  Beyond this, the distillery has a strict policy about cask trading – almost no Glenfarclas full casks make it onto the market for trading and most do not allow naming of the distillery on the labels. This practice has helped properly control how the distillery’s name is used and given the brand a more “limited” image. Glenfarclas is widely traded in auctions across Asia with strong markets including Taiwan, Hong Kong, and Japan. Some of the brand’s awards include: Distiller of the Year by Whisky Magazine in 2006 Glenfarclas 40 Year-Old: Scotch Whisky Single Malt of the Year in the 17th Annual Malt Advocate Whisky Awards 2011 Glenfarclas 12 Years Old: Best Sherried Whisky in the Single Malt World Cup 2006 Glenfarclas 30 Year-Old: Overall winner at the Australian Malt Whisky Awards in 2004 Glenfarclas LE 1968: Best Imported Whisky in the USA by the Malt Advocate Magazine in 2004 Our Glenfarclas recommendations: Glenfarclas 105  At 60% cask strength this expression brings forth the rich, fruity, spicy character of Glenfarclas at full force. Toffee and apples on the nose, spice and rich sherry on the palate, and a long,
warming finish delivers a well-rounded experience, at a very affordable price.  Glenfarclas 25 Year Old A Glenfarclas fan favourite, at a very reasonable price, the 25-year-old brings dark chocolate, fruit cake, dried fruit, and a delightful hint of nutmeg to the palate.  Glenfarclas Family Casks If aiming to collect Glenfarclas, the Family Casks are a fun and adventurous way to start. With over 40 releases you can slowly work your way up and build up your shelves with the
story of Glenfarclas through decades of struggle and success.  Explore all Glenfarclas listings or browse more Editorial 

Glenfarclas has come to be known for its old and rare releases, with huge popularity in unique markets like China and Russia, and a cult-like following across the globe. We explore the profile of the distillery to find out what makes it so special.

Glenfarclas has come to be known for its old, rare single malt whisky releases. We explore the profile of the distillery to find out what makes it so special.

The Glenfarclas team on putting family first

Glenfarclas Distillery: Family first

Everything about Glenfarclas is venerable. For almost 200 years, the distillery with one of the most enviable addresses in Scotland has remained fiercely independent and committed to quality. Where countless others have amalgamated and joined behemoths of the industry, Glenfarclas has remained family-owned – amassing enviable stocks of aged single malt in the process. Today, the sixth generation of the Grant family maintains many traditional practices, including direct firing its stills, to produce the highest quality, full-bodied sherried Highland single malt possible. This resolution and myriad difficult decisions made by the family during times of immense hardship have led to genuine innovation and secured Glenfarclas a place as one of the most coveted and collectable names in Scotch whisky. But just how has one of the only family-owned Scottish distillers become such an icon and which Glenfarclas bottlings are the most highly sought after? The history of Glenfarclas The Glenfarclas distillery was built on the River Spey in 1836 when Robert Hay was granted a licence to distil whisky. Cattle breeder John Grant took over the farm and distillery following Hay’s death for 511 pounds and 19 shillings and leased it to John Smith who left five years later to build Cragganmore. The site passed between Grant generations until the Glenfarclas-Glenlivet Distillery Company was formed with Pattisons of Leith in the 1890s. This partnership wasn’t to last long and Glenfarclas was fortunate to weather the Pattisons Crash in 1898 that threatened to bring the entire industry down with it. The distillery has firmly remained under the Grant family’s ownership since. George Scott Grant is one of the key figures in the distillery’s long history. During his 52-year tenure, which ended with his death in 2002, George built up Glenfarclas’s name and brand image. George had the foresight to restrict the supply of stock to blenders and squirrel away stocks. This decision has proven extremely lucrative as Glenfarclas now boasts a depth of stock that few other whisky distilleries can rival. John L. S Grant, the current chairman, has been with the company since 1973 and succeeded his father in 2002. The sixth generation is represented by George S. Grant who joined Glenfarclas in 2000. George works as the larger-than-life global brand ambassador, introducing the world to the remarkable Glenfarclas story and spirit. The distillery’s fortunes oscillated throughout various whisky booms and busts. Production has increased, been scaled back, and considerable stock laid down when times were hard. Throughout all this, the Speyside distillery can legitimately lay claim to a series of firsts – it was one of the first single malts to be consistently available when others were concentrating on blends and it was among the first Scottish distilleries to open a visitor centre. It was also the first to introduce a cask-strength single malt whisky. Today, Glenfarclas operates the biggest stills in Speyside and its Highland single malt accounts for two-thirds of the distillery’s annual production – sold in more than 90 markets worldwide. Glenfarclas’s distillery character The distillery, located one mile from the River Spey, is situated on a stretch of land that boasts the likes of The Macallan,  Balvenie,  Glenfiddich and Aberlour. The distillery sources its water from the neighbouring Ben Rinnes mountains. Glenfarclas is famed for its full-bodied, Sherry-matured expressions. The distillery only releases expressions at natural colour, often at cask strength, aged for extended periods of time. The unique still shapes and sizes, alongside the traditional ingredients and distillation techniques add to the distinctive distillery character. Glenfarclas new-make spirit is only ever matured in a combination of first-fill and refill ex-Oloroso casks from the highly regarded José y Miguel Martin. John Grant makes an annual pilgrimage to the bodega in Jerez to ensure his Highland single malt will eventually slumber in the finest quality oak. To this day, all six of Glenfarclas’s stills, which are the largest in Speyside, are direct-fired. The distillery team experimented with steam heating in 1981 to no avail as the family believed the final product to be inferior and lacking its characteristic full-bodied style. The distillery is capable of producing approximately 3.5 million litres of spirit annually. Normally, two of the stills are kept in reserve, while four work around the clock. Glenfarclas single malt whiskies Glenfarclas has consistently released single malt whiskies of exceptional quality from its enviable stocks. The Grant family has more than 50,000 casks slumbering in its expansive on-site warehousing at any one time to draw from. In 2007, Glenfarclas gave the world a glimpse at its incredible depth of stocks with the first release of its highly collectable Family Casks bottlings. The series of 43 (and counting) single-cask, vintage single malts spans seven decades and is highly sought after by whisky lovers. In addition to the limited releases, Glenfarclas bottles a “made to age” core range, which includes the 10 Year Old, 12 Year Old, 15 Year Old, 17 Year Old, 21 Year Old, 25 Year Old, 30 Year Old and 50 Year Old. The distillery also produces an incredibly popular cask-strength bottling named “105 Cask Strength”. Some of the most collectable Glenfarclas bottlings Notable limited releases include the Glenfarclas 50-year-old (released in 2005) and the 175th anniversary commemorative bottling, released in January 2011. The latter was an impressive vatted whisky from casks from 1952 and five successive decades. In June 2015, Glenfarclas launched the highly collectable limited expression £511.19s.0d Family Reserve to mark 150 years of the Grant family’s ownership of the distillery. The bottling was named after the amount (511 pounds and 19 shillings) John Grant paid for the Glenfarclas farm in 1865, and came with a copy of the original bill of sale for the distillery. One of the most remarkable limited releases is the Glenfarclas Family Trunk, released in 2018. Only 60 of the leather shipping luggage trunks containing 50 bottles of 200ml single malt from the Family Casks collection, dating back to 1954, were ever produced. Today, a single trunk, available to purchase from the distillery, costs £120,000. In 2020, the distillery released another highly collectable whisky for the Spirit of Speyside Festival, which was cancelled due to the global pandemic. Each year, a member of the team chooses a spirit to be bottled for the annual whisky celebration. In 2020, the responsibility fell to the men behind the still, and The Stillmen’s Dram was born – a 10-year-old matured in a first-fill Oloroso butt, bottled at cask strength. The Glenfarclas Family Casks Collection The Glenfarclas Family Casks collection is a highly collectable series of single cask bottlings from the family’s extensive stocks. Since the first bottle was released in 2007, the Family Casks whiskies have garnered a loyal following and become a real collectors’ item. The single-cask whiskies, which span seven decades, are some of the finest expressions from each vintage since 1954. Glenfarclas Pagoda series The highly collectable Pagoda series features two of the oldest Glenfarclas whiskies ever released. The extremely limited vintage whisky bottlings are inspired by the famous pagoda kiln which was decommissioned at the distillery in 1972. Each Glencairn crystal decanter is a unique work of art. No two are exactly the same and each element – from the side graphics to the exquisite pagoda stopper – have been painstakingly crafted. The Glenfarclas Pagoda Series is available in extremely limited quantities. Only 180 bottles of the 1954 vintage Pagoda Ruby Reserve (62-year-old), and 1953 Pagoda Sapphire Reserve (63-year-old) were ever made. The outrun of The Pagoda Reserve Trilogy (1956 vintage 59-year-old, 1967 vintage 48-year-old and 1971 vintage 43-year-old) was limited to 100 sets. Browse Glenfarclas whiskies or read more Editorial

Glenfarclas is an iconic, family-owned single malt Scotch whisky producer. As bottlings from the Grant family’s impressive aged stocks become ever-more collectable, Holly Motion charts the fascinating history of this fiercely independent whisky maker

A spotlight on Glenfarclas. We explore how the traditional, independent Scotch whisky distiller became one of the world’s most well-respected names.

Exploring the Scotch whisky icon, Glenfarclas 

Everything you need to know about Glenfarclas

The voice of independence: Lisa Perrotti-Brown MW  After stepping down from the Wine Advocate, this year saw Lisa Perrotti-Brown MW launch her new platform, The Wine Independent. Her first big review was of the 2021 Bordeaux vintage – and she made a mark with it, looking to overhaul the scoring scene today. We caught up with her about the state of wine writing – and why it was time for her to strike out on her own.  Read more  Everything you need to know about Karuizawa  This year saw us dive into some of the spirits industry’s biggest names – with our “Everything you need to know” series looking at The Macallan, The Dalmore and Glenfarclas, as well as Karuizawa. This ghost distillery has become one of whisky’s most exclusive – and elusive – producers. Here we dig into exactly what makes the Japanese icon, and its spirits, so sought after.  Read more  Bordeaux 2021  It’s unsurprising that the latest vintage from Bordeaux was high up the most-read list. The 2021 season was fascinating to delve into – offering our first post-Covid chance to visit most producers, in a year where selection was key. From our first thoughts, full report, breakdown by commune, critics’ round-up and investigation of chaptalisation, you couldn’t get enough of our coverage.  Read all Bordeaux 2021 coverage  Strength in diversity: Cheval Blanc  This year saw Saint-Emilion’s new classification announced, after much public and political division – with Cheval Blanc one of several producers who walked away from the system. We caught up with the property’s Technical Director Pierre-Olivier Clouet about the appellation today – and just what makes it so endlessly exciting.  Read more  The lost wines of Haut-Brion  Pessac-Léognan First Growth Ch. Haut-Brion is one of the world’s most famous producers. It sits at the head of a number of interlinked, illustrious estates owned by the Clarence Dillon family. We dove into the genealogy of the Haut-Brion properties, the wines that were once part of the extended range and where they stand today.  Read more    See what was popular last year or explore more Editorial 

Our team is always on the trail for the most interesting stories in the world of wine and spirits. In 2022, we explored everything from producer histories to the latest vintages released, from interviews with industry icons to essential guides and much, much more – but these were the most popular

The five most popular wine and spirits features we published in 2022 – as chosen by you, from detailed vintage reports to deep-dive interviews

The biggest wine and spirits stories of 2022

The biggest stories of 2022

In the conversation about terroir in spirits, rum arguably has a stronger position than most. There are numerous cane-to-bottle rums and many more with a credible claim to the dictionary definition of the term typically associated with wine. However, as is often true in the rum world, this isn’t an open and shut case. “Wherever unique spirits are found I think there is an opportunity to discuss the influence of terroir on the liquid,” Mitch Wilson, Black Tot Global Brand Ambassador, says. “How people interpret terroir in wine versus spirits is often different – wine terroir focuses on transmission of flavour from the land and the region into the final product. Spirits can be a much broader interpretation of terroir – here we often look at local ‘method’ and ’savoir-faire’ or know-how – how the local traditions together with production choices of the distiller and blender help to create a sense of identity in the final spirit.” Foursquare Master Distiller Richard Seale picks up the point: “Terroir is an interesting question in rum and you will get a different answer in different rum producing countries.” At the Barbados distillery, Seale ferments with added cultured yeasts in one section and pure cane juice natural fermentations in another. When it comes to the latter, Seale says “terroir in the traditional sense of the word is everything”. “The rum depends on the year of harvest, the time of harvest and the field from where it is harvested. It is 100% natural input. [There’s] not even a cultured yeast to give us some consistency or predictability,” he adds. Daniele Bondi, Export Manager at Hampden Estate's global distributor La Maison & Velier, is a staunch believer that terroir exists in rum and is perplexed by any arguments to the contrary. “I never understand when people think that spirits don’t preserve the characteristics of the fermented wash,” Bondi says. “Obviously, the terroir is respected and expressed only if the whole process of production is carefully preserved.” Wilson says sugarcane juice-based rums are undoubtedly the best examples of terroir in its “classical interpretation”. “Their flavour is almost entirely dependent on the local raw material used, and helps illustrate the vast array of differences between different genus of sugarcanes,” he explains. “Sugarcane juice is not easily transportable – when cane is crushed, the natural yeast on the outside of the cane is immediately brought into contact with the fermentable sugars in the juice, meaning fermentation happens spontaneously within a short period of time. This tends to encourage much more local distillation, often on the same estate where the cane is produced, allowing us to more easily focus on environmental terroir in these specific regions.” He says the fact rhum agricole, as well as their sugarcane-spirit cousins clairin and cachaça, are often found unaged means they are excellent examples of terroir. The purity of the raw material is preserved all the way through to distillation and ultimately glass. The climate of ageing has an enormous impact on terroir, according to Seale. He points to the fact a rum will age very differently in Martinique, which is approximately 140 miles away from his distillery in Barbados. Bondi says this crucial stage can negate terroir entirely. “If a product is aged far from the rest of the production, terroir doesn’t exist anymore.” This is something Dictador has played with in its 2 Masters series. Creative Director Ken Grier says rum, arguably, has a more diverse terroir influence than any other spirit category and this is about the influence of culture rather than soil. “Simplistically, the role of the original colonists has the biggest influence on rum production,” he explains. “The rhum agricole style found in ex-French colonies is derived from the juice of the sugarcane. In former British colonies like Jamaica the predominant style has been pot still, drawn from molasses. Ex-Spanish colonies have been more about column stills and finally Cuba is a tapestry of styles. Of any spirit, rum really reflects the history of the place where it is produced.” Sugarcane honey is used as the spirit base for Dictador. A blend of column and pot still rums are matured in oak casks on the coast by the Caribbean Sea. Grier says these factors all contribute to a particularly elegant, well-aged and complex rum. For the 2 Masters series, Dictador laid down between 10 and 20 casks with prestigious partners from the spirits and wine world. The rum was transported for maturation in the partners’ warehouses to benefit from their terroir, according to Grier. From there, the partners have the creative freedom to choose, in conversation with Dictador Master Blender Hernan Parra, which age and style of rum to use and what to do with it. These partners have included the likes of Glenfarclas, Royal Tokaji and Niepoort. The Royal Tokaji project, for example, took a 1977 rum and matured it in 12-year-old 300-litre Zemplen barrels for seven months in Hungary. These barrels had previously been used to age the producer’s 2016 Tokaji Aszu 6 Puttonyos.
 While there is a general consensus about ageing and sugarcane-juice rums, there is less accord when it comes to the role of molasses in the terroir conversation. “Molasses tends to be a fairly homogenous product,” Seale explains. “When discussing the contrasting styles of molasses rum from Barbados and Jamaica, the terroir element is more about the process and the know-how and less about the agricultural input. Much like a lot of Scotch whisky in that sense,” he explains. The decline of sugar production in many regions has understandably presented a problem when it comes to supply and demand. For this reason, many distilleries have resorted to importing their molasses. The same is true of grain in Scotch whisky production, which is often where the wheels come off in the debate around terroir in whisky. “It might be tempting to consider molasses-based rums as lacking a sense terroir (certainly in the wine sense), but this would be unfair,” Wilson says. “I’d be tempted to bet that given the opportunity to taste a line-up of single origin molasses from around the world that there would be enough variety to contribute to the idea of local terroir.” Ultimately, he says, it’s down to the producer at each stage of the production process to decide to what extent to allow the terroir to influence the final liquid. And, lest we forget: their savoir-faire. Explore all rum or read more Editorial 

The concept of terroir in spirits is a comparatively new one. And, in the case of rum, takes on a very different meaning to wine. Holly Motion explores

Exploring the comparatively new concept of terroir in spirits via the lens of rum – and how it takes on a very different meaning to wine. 

Exploring what terroir means in the rum world

Rum: the raw deal

There are myriad fascinating twists and turns in Scotch whisky’s long and storied past. From dizzying boom times to disastrous downturns, the distilling landscape – and the major players within it – has been redrawn countless times. 
There's one era, however, that is legendary – whisky's "golden age". Between the 1950s and '80s, some of the industry's most nuanced single malts were crafted. These are now widely regarded as the greatest ever released, which is reflected in the eyewatering secondary market prices – should they ever appear on the auction block. 
These perfectly imperfect, characterful and wonderfully unique liquids, produced at distilleries that no longer exist, or exist in a very different way today, will never be bottled again – making them real unicorns for whisky collectors. 
To understand what makes them so special, it is important to first appreciate just how little liquid exists from this time. The single malt whisky market was unfathomably small before and during this period and entirely dwarfed by blends. A mere fraction of a distiller’s finest liquid would be bottled as a single malt. These minuscule quantities were also made via practices that are now lost in the annals of history, making them more desirable for collectors. 
For context, Scotch whisky was largely made as it always had been until the 1950s, drawing on traditional methods that had been passed down for centuries. Distillers would use their sight, smell and taste to determine when a liquid was ready to cask, and later, bottle. Whisky-making took mastery and patience – something producers could ill afford when demands on the industry intensified and there was a concerted push to produce more for less during the 1970s. While many producers made these changes around the same time, they didn’t all happen at once, creating a wonderfully varied time capsule of whiskies. 
The 1960s – when some of these great bottlings were produced – was sandwiched in between two vastly different decades. Production in the ‘50s was steady but small. By the 1970s, however, distillers – both large and small – were forced to increase their output by almost double, and names that had fallen silent were reawakened once more as global demand for Scotch whisky grew. 
Sadly, by the mid-1970s, the tide started to turn. The bountiful supply of whisky was not met by demand, resulting in a devastating whisky loch in the 1980s and some of the most difficult years the Scotch whisky industry has ever endured. Swathes of distilleries were forced to close, including the now-legendary Port Ellen and Brora – both of which shut their doors in 1983. This depression continued well into the 1990s with a further 20 casualties (of these, only three ever reopened), before the pendulum finally swung back in the early 2000s when the seemingly unquenchable thirst for single malt whiskies, that is still in full force today, began. 
From the 1950s onwards, holders of the increasingly frayed purse strings sought to reduce inefficiencies in the traditional, labour-intensive practice of whisky-making – which defined the golden age. With the introduction of modern, more mechanised, safer processes, it was a new dawn for Scotch whisky.  During this period in history, every single stage of whisky production was “streamlined”. The money men closed floor maltings, introduced distillers’ yeast, reduced fermentation times, installed semi-lauter tuns, made the switch to indirect-fired stills, replaced worm tubs with shell-and-tube condensers, and introduced ex-Bourbon barrels. By the end of the 1970s, you could almost count on one hand the number of distillers who retained traditional methods. 
It’s important to remember that tweaking one of these processes can alter the entire flavour profile of a whisky – just ask Glenfarclas who reverted back to direct-firing their stills after their new-make spirit lost its characteristically heavy and oily profile during their ill-fated flirtation with steam in 1981. And yet, in many instances, producers permanently changed many of these processes. Traditional practices and know-how that varied slightly at every distillery began to be outsourced as they turned to professional maltsters and installed modern, industrial-scale equipment that increased efficiencies and consistency but in some cases compromised the craft and character of the final spirit profile. 
“Every distillery has its own story and evolution of style,” whisky authority Serge Valentin explains, “their own ups and its downs.” 
Valentin was ahead of his time when he started collecting single malt Scotch, almost exclusively from Old Clynelish and Brora. He couldn’t possibly have predicted what his passion project of buying as many different bottlings as he could “simply because they were [his] favourites”  would become. 
Both Clynelish and Brora – as it would be known – produced heavily peated malt during the late 1960s and early ’70s. Bottlings from this time until 1983, when Brora became a victim of the whisky loch and fell silent, have become highly collectable in recent years. Old Clynelish bottlings, (Valentin’s favourites), which are robustly distinctive with aromas of scented wax and heather, are astonishingly rare and modern collectors clamber over one another to get their hands on these golden-age gems for many times the price Valentin would have paid. 
Stephen Rankin has been fortunate to sample whiskies from one of the most remarkable single malt libraries in the world at Gordon & MacPhail. His team is able to pull out liquids from what he calls “pre-evolutions within distilleries” thanks to his family’s foresight to buy barrels from cash-strapped producers who were selling their stocks for survival. The Elgin-based independent bottler had the luxury and fortitude to bide their time and store casks that would otherwise have been bottled young or blended. He has a particular affection for single malts from what was Milton Distillery, known since 1951 as Strathisla, which he describes as a “great example of a whisky that has the flavours of this past era.” 
Independent bottlers like Gordon & MacPhail played a vital role in bringing many of these now-legendary whiskies into the world. One man in particular, Silvano Samaroli, was responsible for bottling single malts that are now widely regarded as some of the greatest ever released.  
Rome-based Samaroli released his first Scotch whisky series in 1968 in the form of the now-iconic, dumpy Cadenhead bottlings – making him the first independent Scotch whisky bottler outside the United Kingdom. Today, Samaroli’s Bowmore, Glen Garioch, and  Springbank releases are held in especially high regard and his  Laphroaig single malts from 1967 and 1970 are in a league of their own. 
“The late 1960s to the ’80s is definitely one of the most remarkable periods,” Samaroli’s Daniele Liberati says, “largely due to the appearance of certain expressions for the first time.”  
“We started to propose different bottlings, moving away from the classic blends and official distillery releases,” Liberati adds. These included single-cask expressions, numbered bottlings and cask-strength releases, all of which are commonplace today but were revolutionary at the time.
 
In recent years, a handful of new distillers have turned to old whisky-making practices in an attempt to recapture some of its magic. Fledgling Speyside distiller Dunphail, for instance, has faithfully – and at great cost – installed traditional floor maltings, direct-fired stills and wooden, open washbacks where fermentation times are considerably longer than the industry average, to produce a fruit-forward, oily, medium-bodied Speyside whisky. Today, however, these traditional methods are always adopted in conjunction with modern practices in order to achieve all the desirable characteristics of yore in a more efficient way.   While there is the temptation to look back on this era with a rose-tinted view, as there are undeniably some exceptional bottlings from this time, it is wrong to believe that all whisky produced in the golden age was of the same standard. Whisky-making 40 to 50 years ago was imperfect, there was very little consistency in quality and for one good cask, a distiller would likely have 10 or 20 bad ones that never saw the light of day.  It’s also important to appreciate that many of these modernisations were vital to guarantee the safety of distillery workers as several stages in production were unstable. These advancements have also resulted in unprecedented consistency. While nuance and singularity might have been sacrificed, it’s now incredibly hard to find a bad dram.   As times evolve – as they inevitably do – it’s highly unlikely whisky from Scotland’s golden age will ever not be considered precious.    Browse all Scotch whisky or read more Editorial

Some of the most exceptional single malts ever released were produced in an era affectionately known as “the golden age”. Bottlings from this time are painfully scarce and have gained near-mythic status among whisky enthusiasts. Holly Motion explores why whiskies from this age are so precious

Exploring the golden age of malt whisky and its most coveted bottlings that are widely considered some of the greatest single malts ever released.

The golden age of malt whisky

The golden age of whisky

When it comes to whisky, the conversation has long been dominated by maturation – on how long the liquid spends slumbering in which cask, on how big the cask is and what it held before, whether a Sherry butt, wine barrique, first-fill Bourbon barrel or the fashionable mizunara. Recently, there’s been an increased focus on the base product, with producers such as Waterford’s Mark Reynier championing single-site, single-barley, terroir-driven whiskies (and rums, with his Renegade project). But, somehow, there’s a tendency to skip on by the magic that happens in between: distillation.  While grain whisky is column distilled, malt whisky is almost exclusively distilled in copper pot stills – indeed, it’s a legal requisite for Scotch whisky. Crafting these copper beauties is an art – and one that depends on a handful of specialists. Kentucky has Vendome, Germany has Kothe and CARL, Italy has Frilli and Scotland has Forsyths. The equipment these coppersmiths produce lays the foundation the DNA of its new-make.  To the untrained eye, these onion-shaped pieces of kit look almost identical, but the size and shape is distinct to each distillery – defining its style. As distilleries expand and increase production, they don’t buy a bigger still – but commission exact replicas of their existing still(s), with every dent and dimple carefully recreated. Macallan, famously, replaced all its stills when building its new state-of-the-art distillery in 2018, asking Forsyths to create 36 stills that were identical to those it had previously used.  Although there have been attempts to use other metals, copper has long been favoured for distilling – originally for its pliability, making it easy to work and shape. But by the early 20th century, it was apparent that copper had other benefits – stripping the spirit of impurities. As the vapour rises through the still, it reacts with the copper, capturing sulphur, cyanides, carbonates and acids, meaning the liquid that is eventually collected is purer. Coppersmiths play on this purifying effect to create a range of stills, for the longer the vapour spends in contact with the copper, the lighter the spirit you’ll produce. Take Glenmorangie’s tall, 17-feet-high stills which produce a very light spirit, and compare them to the small, squat stills and typically heavy spirit of the Macallan. Of course it’s not quite as simple as that. As well as the ratio of copper to liquid, the speed of distillation, the shape of the still, the size of the neck, the level of reflux, the angle of the lyne arm and venting of stills all have an impact.  Rothes-based Forsyths has been hammering copper into shape for Scotland’s leading distillers for over 150 years. Richard Forsyth OBE (who has now passed management of the business to his son, Richard Jr) was the third generation of his family to run the coppersmiths. The frank, self-effacing Scot remembers working in his father’s workshop aged 15, “I knew this is what I wanted to do… I found it fascinating.” And after 55 years, his eye still twinkles when he talks about the arch of a still’s swan neck, the art of wielding a planishing hammer and the characters that make the industry so interesting.   He joined the family business in 1967 – at what happened to be a pivotal moment for the industry. During the Second World War, the whisky business ground to a halt – and with it the need for stills. In the 1950s and ’60s, however, the industry grew rapidly – too rapidly, it turned out. What was a golden era turned into a whisky lake, with many distilleries soon mothballed. Forsyths – for whom 99% of its business was servicing the whisky industry – had to find something else to pay the bills, and it was up to Richard to find that something else. They branched out first into paper, then stainless steel and – by the late 1990s – oil and gas. Although coppersmithing remained the foundation and heart of the business, these other disciplines became the main money-makers until the early 2010s, when whisky’s current boomtime set in. Today, Forsyths maintains over half of the pot stills in Scotland. For a wash still (distilleries that double-distil have wash and spirits stills, first distilling the wash into “low wines” and then distilling the “low wines” into new-make spirit), the head, neck and condenser wears out in eight to 10 years, while the pot itself may last 25. Add to that developing new stills for the thriving industry – as well as their expansion into rum, Bourbon and tequila – and the company’s not short of work.   Although there is clear resistance to change with an industry that is entrenched in tradition, things have shifted, slowly but surely, over the years. And there have been two significant changes over the last century that have transformed the Scotch whisky world: the firing of stills and the nature of condensers.  When shell-and-tube condensers were invented in the 1880s, as an alternative to old-fashioned worm tubs, it took time for producers to be persuaded. Although shell-and-tube condensers are significantly more efficient and take up much less space, they are completely different – with the copper surface area at least 20 times larger, something which has a key impact on the spirit. To this day some producers (15 to be exact – including Craigellachie, Mortlach, Glen Elgin and Springbank, the latter only for their wash still) retain their worm tubs, valuing the heavier, richer, more complex (and in some instances, even meaty, savoury) spirit character.   Traditionally stills were direct-fired – heated by flames fed by peat, coal or gas. “It’s dirty, messy, difficult to handle – and to control,” Forsyth tells me. A push for safety and efficiency saw producers switch to using steam in the 1970s. But some argue that this shift wasn’t for the better. Fire created a less consistent heat, with hot spots that would burn the wash and promote Maillard reactions (the same reaction that takes place when you brown meat, or during the bottle-ageing of Champagne or other traditional-method sparkling wine) – adding nutty, roasted notes that build complexity, or so proponents would argue. Glenfarclas is known for having briefly dallied with steam before returning to direct-firing, along with the likes of Macallan, Glenfiddich and Springbank.  As the whiskies of this pre-modernisation era – Scotch’s so-called “golden age” – become increasingly coveted, distilleries (both new and old) are looking to recreate these practices. Along with traditional floor maltings, producers like Glen Garioch (owned by Suntory) and Dunphail are investing in direct-firing. (Although, with worm tubs no longer produced, new distilleries have little choice regarding shell-and-tube condensers.)  However they are fired, given their custom nature, copper pot stills don’t come cheap. Much of the work continues to be done by hand, hammering to strengthen and finish the copper. Stills can range from 5,000 to 50,000 litres in capacity, but an average 15,000-litre still and its condenser will require between 1,800 and 2,000 manhours, and set you back around £250,000. And that price has only increased recently, thanks to rising energy and material costs – with a copper shortage proving challenging for Forsyths, a business that is the UK’s second-biggest buyer of the metal.  With the distinct nature of stills and their impact on spirit, plenty of new producers will ask for copies of a particular distillery’s stills – wishing to emanate their style of spirit. Forsyth tells me how one Japanese customer requested a pair each of Macallan, Glenlivet and Glenrothes stills. While of course there are many problems with this imitation game, there’s also no guarantee – as Forsyth tells me – that the same equipment will have the same results, especially when not run with the same wash, in the same way, by the same people. And, of course, a company like Forsyths isn’t going to give away Macallan’s proprietary designs, for example. As such, they’ll recreate something similar, but ensure it’s tweaked so no two distilleries have exactly the same design.   But how much impact do stills really have on the final spirit? Despite his half-century in the trade, Forsyth is quick to suggest, “I don’t think a lowly coppersmith can talk too much about that.” He’s clear that you need good equipment to make good spirit, but it’s one factor in amongst everything else – the barley, water and fermentation times, for example. And how a still is used is as important as its shape or size, with both the speed of distillation and the all-important cuts – dividing the heart from the foreshots and feints. Forsyth firmly believes that good wood is “the single biggest effect in a bottle eight, 10 or 12 years later”. There’s little use having a good base spirit if it’s ruined by a decade in bad oak – but good oak also can’t salvage bad spirit.  Forsyth has seen it all during his 55 years in the whisky business – and has been forced to be as malleable as the metal his family has worked for generations to survive the booms and busts. Despite the challenges, the coppersmith is as enchanted by his trade as when he first picked up a hammer in his father’s workshop. The industry will doubtless continue to ebb and flow, but with a spirit that takes decades to produce, the pace of change is reassuringly gentle. “It almost goes as slow as the running of the spirit,” Forsyth says whimsically. The still room remains the beating heart of distilleries – the basis of a producer’s fingerprint, all thanks to the careful hammering of the artful coppersmith.  Browse all current Scotch whisky listings or read more about spirits  

There’s something romantic about the bulbous sheen of a copper pot still. These behemoths glimmer with the promise of fine spirit – but it’s rare that we talk about what happens within. Sophie Thorpe sat down with Richard Forsyth OBE of Scotland’s leading coppersmiths, Forsyths, to find out more 

Cult coppersmiths Forsyths on the art of crafting copper pot stills for the biggest names in Scotch whisky – and how they define a distillery’s spirit style

How copper pot stills define whisky styles

Copper craft: the art of the still

When people say they’ve put their blood, sweat and tears into something, more often than not, it’s a figure of speech. This is not the case for Bimber Distillery founder Dariusz Plazewski, who has put everything into the build of his dream Speyside distillery, Dunphail. The day before we speak, Plazewski was on the roof of one of his new distillery buildings, mucking in and making sure the mammoth project that was a lifetime in the making stays on track.   The Polish-born Plazewski is a third-generation distiller – or more accurately, moonshiner – who emigrated to London 20 years ago. After observing the English craft distilling boom from afar, the trained architect seized the opportunity to put his family’s legacy and knowhow to good use and set about building Bimber, a single malt whisky distillery based in West London. Bimber’s inaugural bottling, The First, sold out within three hours of release in 2019 – and demand has far outstripped supply ever since.    Fast forward three years and Plazewski is mere months away from realising his dream of producing a single malt Scotch whisky. But it hasn’t been easy.   “There are lots of challenges,” he tells me matter-of-factly. When we catch up, after two aborted attempts, the Master Distiller sounds ever-so-slightly weary – and it’s not hard to fathom why. Today, he is speaking from London, where he’s been “sorting out a few things” at Bimber. He’s boarding a flight back to Scotland in a couple of days and then he’s taking a much-needed holiday – where he confesses he will be on email constantly.   Rest is not in his nature. (Plazewski has been pinballing from one project to the next for decades. By the end of 2022, he says he will have “given up” his other business and solely focus on spirits.) Nor is adhering to the status quo.    Since founding Bimber in 2015, the Master Distiller has prided himself on being a bit of a renegade. Where others have embraced modern whisky-making practices, Plazewski has been staunchly traditional in his approach – and it has served him exceedingly well. “Whisky was always my passion and when I found out that there was a craft movement of whisky and gin distilling, I just started researching,” he tells me. “It took me a long time but I wanted to do something different. I wanted to always do something which was a bit old-fashioned.”  Plazewski’s father and grandfather before him (illegally) made wine, spirits and beer in his native Poland – Bimber translates as “moonshine” in Polish – and Plazewski was an eager protégé with a natural talent from a young age. I refrain from asking how young.   “The good thing is that I understand all the production, all the process, all the fermentation, and how to make alcohol,” he tells me. “Not only whisky but how to make any alcohol really. Sense of smell, touch, and all this just naturally comes to me.”   Plazewski says his fate was sealed the moment he travelled to Scotland and fell in love with Speyside single malts. Dunphail was always going to happen – he just didn’t know when. Starting his (legal) distilling career with Bimber was a shrewd decision. English whisky was then a relative unknown, so Plazewski used this scene as his sandbox to prove to himself and others that traditional whisky production should not be consigned to the history books.   Bimber was, and for the time being still is, a small-scale traditional whisky-making operation. Local barley is grown on a single farm in neighbouring Hampshire. It is floor-malted at Britain’s oldest maltster, Warminster Maltings, and hand-mashed. The two copper pot stills are direct-fired (with a flame, as the name suggests, rather than the more modern and efficient method of steam) and fermentation times are twice the industry average at seven days.  These practices are astoundingly rare in today’s modern whisky world. The majority of producers abandoned floor maltings (the method of malting grain by hand on large malting floors) in favour of industrial malting processes and did away with direct-firing stills (in favour of steam) decades ago, deeming them inefficient and costly. While it is possible to find distillers who adopt some of these techniques – notable examples being Laphroaig, Glenfarclas and Bowmore – it is incredibly rare to find a producer who is able or willing to apply all these labour-intensive and budget-zapping practices.   “I will never be a distiller without floor maltings,” he says physically baulking at the idea of producing whisky any other way. “Never. No. For me, it is crucial,” he adds.    With Dunphail, Plazewski is going one step further than Bimber and building his own traditional floor maltings on-site. This will put Dunphail in a highly exclusive group, and the move has received mixed responses from Plazewski’s peers.   “For me it is very important,” Plazewski says. “I know many people said, wow are you crazy because this is hard work, this is lots of involvement, why are you doing it?”  I can’t help asking him the same. To which he says: “Because nobody is doing this anymore and I want to continue this craft, I want people to see how the whisky was made before. I think it is going to be good fun and I think this is going to be a great feature for our distillery.”  In addition to floor maltings, Dunphail’s stills will also be direct-fired – Glenmorangie was the first to install steam-heated stills in 1887 and countless others followed until only a handful of direct-fired producers remained. Plazewski is the first to acknowledge the practice of heating stills in this traditional way is far less efficient and costly but for him it was non-negotiable and vital to produce the highest-quality Speyside whisky possible – fruit-forward, oily and medium-bodied. He is also in the minority sourcing Dunphail’s barley and peat locally. There are undoubtedly easier routes to produce whisky but the mere suggestion is sacrilege to Plazewski.  Steadfast on his goal, Plazewski set about finding the perfect location to produce traditional single malt Scotch whisky. After years of searching, he settled on a location in the heart of Speyside – a typically renegade move as the majority of new distilleries have been built outside this iconic region. He explains: “The location was really difficult and challenging as well to be honest.”  “I love Speyside – it’s my favourite part in Scotland. First of all, it is a great area because it has got microclimate, so it’s not too cold there and it’s not too rainy. And it’s pretty sunny.” Additionally, he says: “Speyside whiskies are my favourite.”  When asked if he feels the weight of this tradition or pressure to produce a stand-out Speyside whisky in one of the most densely populated whisky-making regions in the world, he says not.   “We are tiny. We’re not going to be competing with the big, established brands. Most of the new distilleries are not built in Speyside, they are mostly built in Fife area. And not many are really going the route we are with the floor maltings and old-fashioned techniques we are trying to apply.”  In addition to the many challenges that come with building a distillery to a blueprint that no longer exists, Plazewski has embattled with supply chain issues following Brexit, Covid and now the war in Ukraine. It’s a minor miracle – and a testament to the tenacity of Plazewski – that the Dunphail build is on schedule and production is set to begin, as planned, at the end of the year.   When asked how he feels, Plazewski pauses for a moment, takes a short intake of breath and hurriedly says: “It’s amazing. It’s hard work. I need a break. That’s why I need this holiday because it’s not only physical work, it’s the mental as well – planning everything.”  He pauses again. “It’s been a stressful and challenging time. But we are on schedule, we’ve planned this well.”  After Dunphail is up and running, and Plazewski has trained his dream team to the standard of Bimber, you wonder what’s next. You sense he won’t just stop after realising his Scottish dream, and that there will be a new North Star.    When asked, he responds to the question with a wry smile, indicating this is not the first time it has been posed to him by others, or even himself. “I would say yes, I’m done after this, but people I know and people around me are saying to me, you are never going to stop, you’re going to find something else.  “But I would say I think I’ve done my dream and when this [distillery] is going to be open, I’m thinking to really concentrate and not do anything more. I don’t think I will put too much pressure on myself and my family again.” A seed of doubt creeps in and then he says resolutely: “No, this is it, it’s going to be my dream, it’s going to be super exciting and I’m not going to go for anything else. I’m just going to enjoy the time and share the drams.” We’ll ask him again in five years’ time.   For the time being, at least, Plazewski (and the wider whisky world) is satiated with turning modern whisky-making on its head and bringing fiercely traditional practices back to one of the oldest and most prestigious whisky regions in the world.   Browse all Scotch whisky or read more Editorial

For the past seven years Dariusz Plazewski has led the vanguard of English whisky-making at Bimber. With his first Scotch distillery, Dunphail, months away from production, the indefatigable architect-cum-Master-Distiller tells Holly Motion how he and his distilleries were built to be different   

Bimber has become a whisky-making icon. Now Master Distiller Dariusz Plazewski has set his sights on Scotland with Dunphail. We explore the ethos behind both

How the brains behind Bimber built Dunphail  

Dariusz Plazewski: grand designs

Navigating the world of whisky sometimes requires a compass. This glossary aims to untangle some of the most common terms that trip people up when it comes to the production and enjoyment of whisky

A guide for all the commonly used and misunderstood terms in the world of whisky. You’ll find everything you need to know when purchasing and enjoying whisky.

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