Dalmunach distillery

Dalmunach is one of Scotland’s newest, largest, and more innovative distilleries.  But before we delve in too deeply, let’s set the scene and appreciate the contrast…

If you’ve been fortunate enough to visit one of Scotland’s older distilleries – say the likes of Strathisla, Glenkinchie, Ardbeg, Cragganmore, or Cardhu – then you’ve caught a classic glimpse of the Scotch whisky industry’s traditional distillery.   With their old, romantic 19th century buildings and quaint (but dormant) kilns and pagodas, these are the distilleries that are typically captured and displayed in whisky’s current literature and promoted by the brand ambassadors.   

The common thread that weaves through these distilleries is that they have been renovated, refurbished, and re-worked over the years to accommodate production capacity expansions, and also to keep up with modern distillation techniques and – in many cases – to be brought into line with current work, health, and safety standards!  As such, they can be a hotch-potch of disjointed buildings and re-purposed structures.  Strathisla and Dalmore are both two good examples.

In stark comparison then, what of the all-new, purpose built, modern and state-of-the-art super distillery?  Diageo started the ball rolling with Roseisle in 2009, and Pernod Ricard have followed suit with their own jewel in the crown:  Dalmunach.

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An afternoon with Colin Scott (Master Blender for Chivas Bros)

It’s not every day you get the chance to meet with and listen to a Master Blender, so when the good folks at Pernod Ricard Australia hosted an afternoon with Colin Scott recently, I was happy to accept their kind invitation.

I’ve actually spent a bit of time with some other Master Blenders: Richard Patterson of Whyte & Mackay; Tom Smith of Johnnie Walker; Robert Hicks of Teachers/Laphroaig/ Ardmore/Glendronach; Iain McCallum of Morrison Bowmore; Brian Kinsman of William Grant & Sons; and then other whisky creators like Jim McEwan (Bowmore/Bruichladdich) and Bill Lumsden (Glenmorangie/Ardbeg).   I’ve also had a few decent attempts at blending myself, having undertaken some formal blending sessions both in Scotland and here in Australia.  (And whilst my “attempts” have been decent, my results have been very indecent!)

What I’ve learned from these people and experiences is that (a) blending is incredibly difficult, and (b) the people who do it commit to a lifetime of learning and application. Colin Scott is no different.

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