The gap isn’t because molecular techniques aren’t an interesting area of innovation. Way back, I split approaches to molecular mixology into two fairly broad categories – equipment led, and ingredient led. The thing is, a lot of the time, that equipment or those ingredients can be pricy in terms of both money and time. With that said, I’ve still managed to find a little of both to try out a couple of things. One of my recent acquisitions is a Perlini cocktail carbonation system. It sounds pretty impressive and, seeing as it cost me £150 (they’ve gotten a little cheaper since I got one), it really should be.

For your money, you get a suitcase that bears a passing resemblance to those handcuffed to secret agents in movies containing a the mutant child of a bell jar, a T-Virus canister, and a three-piece shaker, and a small black gadget that holds a 16g CO2 charger and looks kind of like a sex toy. There’s a one-way valve built into the top of the shaker and the process is simple enough: shake your drink as normal and then feed the carbon dioxide into the shaker. Leave for 30 secs and all of sudden, you have fizzy cocktails.

Carbonating cocktails is undoubtedly fun but while a fizzy daiquiri tastes equal parts of amazing and uncanny, I don’t know if it’s much more than a novelty and it took a while for me to happen upon a good reason to use the technique. Sloane’s Gin had started up a cocktail competition and were asking for entries based on the idea of “twisted traditions” and I chose the Gin & Tonic as the tradition I wanted to play with.

It wasn’t a totally random choice: Sloane’s Gin is named for Sir Hans Sloane, the first medical practitioner in Britain to be granted a hereditary title, a former president of both the Royal College of Physicians and the Royal Society, and doctor to three successive monarchs (Queen Anne, George I and George II) and that fitted in well with gin’s origins as medicine. I also remembered that while British colonists were partial to tonic water as their preferred preventative against malaria, French colonists would turn to aperitif wines such as Byrrh and Lillet to get their fix of quinine. The idea came together pretty quickly after that: combine the British – gin – with the French – tonic wine – and use carbonation to present something that’s reminiscent of a classic Gin & Tonic but at the same time something new as well.

French Tonic

35ml Sloane’s Dry Gin
25ml Lillet Blanc
15ml lemon juice
10ml sugar syrup

Combine all ingredients in Perlini shaker; shake with ice; charge with CO2 and reserve for ~30 seconds. Strain into an ice-filled highball and garnish with a twist of orange zest and a twist of lemon zest.

There are a couple of interesting foibles to this recipe; for one, I’ve generally found that I’ve had to make drinks a little sweeter than I normally would before carbonating them (hence the 10ml of sugar syrup) and that seems to be down to the carbon dioxide itself. The citrus flavours of Lillet Blanc work really well with the botanicals in Sloane’s and provide a nice counterpoint to its dominant vanilla note.

The carbonation is the key part of the drink. It allows me to present something that plays on our expectation of an instantly recognisable drink and that’s always an interesting area to play around in. The Perlini system isn’t the only way to make drinks fizzy – honestly, it might not be the best way, particularly if you’re planning on making them in any great volume but it’s turning into a useful tool for me to broaden my horizons.

But if there’s one category that hasn’t seen explosive growth in recent years, it’s aperitif liqueurs. Products are often rediscovered or introduced to new markets, but it’s an area that’s long been dominated by a handful of brands and that makes the decision to take on the likes of Campari and Aperol an interesting one for a first foray into spirit/liqueur production.

Alex Kammerling is well-known in the UK bar industry thanks to a long stint as Grey Goose’s brand ambassador on these shores and his recently re-branded Kamm & Sons Ginseng Spirit represents his first attempt at entering the marketplace. Alex describes it as “a cross between gin, bitters and a liqueur”, produced by distilling 45 botanicals (including four different varieties of ginseng root along with juniper berries, echinacea, gingko biloba and goji berry) in grain spirit and mixing that distillate with a herbal infusion containing manuka honey, wormwood and gentian. The light amber colour comes from annato seeds and with responsible service and consumption of alcohol being a thing these days, the liqueur comes in at 33% ABV.

Kamm & Sons is definitely reminiscent of a particular style of slightly sweeter amaro; it has some really interest herbal notes throughout shot through with a hit of citrus and while it is sweet, it’s not cloying. There is definitely some bitterness on the palate – which as a general fan of amaro, I fully support – but it doesn’t dominate: it can be deployed as a stealthy means of introducing the idea of bitterness as a desirable flavour to those who maybe might otherwise avoid it.

I’ve found some mileage in using it in place of Campari here and there – using the Negroni formula with Kamm & Sons, Sipsmith Gin, and Lillet Blanc is the basis for awesome – but also in using it as a base ingredient in café style cocktails (some vermouth or similar, a liqueur, something fizzy – lower on the ABV but still super tasty) and as a modifier in fun, refreshing sour style cocktails.

Beyond the rainbow

25ml lemon flavoured vodka (I used Ketel One Citroen)
25ml Kamm & Sons Ginseng Liqueur
10ml triple sec (Cointreau)
20ml lemon juice
1 bsp sugar syrup (2:1)

Shake all ingredients with ice and fine-strain into a chilled stemmed glass.
Garnish with a twist of grapefruit zest.

I’ve met Alex a couple of times and he’s always blown me away with his attention to detail as a bartender and as an ambassador, so it isn’t surprising that he’d come up with something so versatile and inviting. He’s on record as saying that one of his favourite aspects of tending bar was creating things and Kamm & Sons is one of his creations that he’s proudest of. For me, it’s always fun to play with new stuff, particularly if it’s in an area that doesn’t often see a lot of innovation so it’s exciting to see a new independent producer taking on that kind of challenge.

Now, this being nominally a blog about cocktails and all, would be the point at which I’d direct your attention to the Bobby Burns. It’s one of the all-time great Scotch whisky drinks and is more than worthy of carrying the name.

But I’m not going to do that. One of the hallmarks of Burns’ poetry is finding the profound, the wonderful in something that might seem otherwise unremarkable. In To a Mouse, on Turning Her Up in Her Nest with the Plough (1785), one of his most famous works, Burns takes that initial calamity – for the mouse, at least – as the starting point for a train of thought that takes in man’s attitude to the world he inhabits and whether all the bells and whistles of civilisation are ultimately worthwhile.

By all means, if you have access to some vermouth and Bénédictine, raise a Bobby Burns to commemorate Burns’ 253rd birthday. Me, I’m going to leave off wearing any tartan or listening to bagpipes. I’m going to pour myself some Scotch and see where it takes me.

A couple of notes before we get started:

• These stats have been pulled from Google Analytics; I haven’t done any kind of comparison with other analytics tracking services because I’m a) cheap, and b) lazy, so don’t think of this as advocacy for that particular service.
• I don’t have any data between March 3rd and April 30th; my WordPress install was hacked a couple of times and it took a while for me to notice that I’d screwed up incorporating the Analytics code while reinstalling WP.
• Monkeying around with numbers can be a lot of fun, but I’m not writing this post to trumpet my (un)spectacular traffic figures. It’s trivia, more than anything.

The Matinee

50ml Bacardi Superior
2-4 kaffir lime leaves
12.5ml Martini Rosso
12.5ml lemon juice
12.5ml vanilla sugar syrup
12.5ml egg white

Shake all ingredients with ice and fine-strain into a chilled stemmed glass. Garnish with a kaffir lime leaf.

One of the difficult parts of a competition entry is the name and it’s always interesting to hear how they come about. Metinee says that “the Matinee itself is based – not on my name, even though it start out as a joke, but on the basis that I wanted the drink to a form of entertainment you can enjoy, day or night. I also felt that it’s a nice, short and memorable name and it suits the drink well.”

That changed a couple of months ago, when representatives from Bols Genever and Maxxium UK got in touch with the general manager at Sygn looking for a venue for a Scottish final for the competition. After a couple of meetings, they agreed a date in early November and selected six finalists – Grant Neave from Monteiths, Tom Walker from Bramble, Ryan McDonald from the Voodoo Rooms, Jo Karp and Byron Abbot from Bond No. 9, and me. The final was covered by two intrepid correspondents from Imbibe magazine and is due to be featured in the Jan/Feb 2012 issue.

After we’d all presented our original online entries, word came down that the judges had picked two competitors to face-off for the prize – a trip to Amsterdam with the winner of the English final and Bols brand ambassador John Clay. The two finalists were Tom and myself and we were given fifteen minutes to come up with a contemporary style cocktail using Bols Genever.

I was keen to keep the genever at the forefront but I also wanted to complement it with ingredients that don’t require too much buy-in from a customer. One of the things I’d talked about with John Clay earlier in the day was the difficulty in getting the idea of genever across to a customer in, say, two sentences. It’s a really interesting category, but it takes some explaining and that can be tough to do in a busy bar environment.

I opted to make a long drink and I opted to make a sour-type drink; for all their qualities, aromatic-type drinks lack the same degree of accessibility, particularly for people are massively into cocktail culture. As I put the ingredients together, I realised that I was making a pale drink with a ginger top so I named it after a painting by another famous son of the Netherlands, Vincent Van Gogh.

Starry Night

35ml Bols Genever
15ml apricot brandy (I used the Bitter Truth)
25ml lemon juice
25ml apple juice
2 bsp acacia honey
Top with ginger ale

Shake the first five ingredients with ice and strain into an ice-filled highball glass. Top with ginger ale and garnish with an apple fan.

Tom went down a different route, taking his inspiration from the New York scene and the work of Sam Ross in particular. It was an impressive drink and hopefully he’ll get something up on his blog about it. Ultimately, I think that my focus on making something consciously accessible to people unfamiliar with the category helped; I won, by something like one point between three judges.

It’s alway nice to do well in comps, and it’s extra special to be able to do it on home turf. Thanks to John and everyone at Bols Genever and Maxxium UK, and to the guys from Imbibe for taking the time to check out the Edinburgh scene.

Distillation, though, is not something that requires a lot of space in itself and that point was well-illustrated when I stopped by an open day at the Sipsmith Distillery in West London during London Cocktail Week.

If you didn’t know what you were looking for, it would be easy to miss the otherwise unremarkable garage amongst Hammersmith’s rows of terraced houses. But the unassuming setting hosts the first new distillery to be granted a licence in London since Beefeater in 1820.

At the heart of the distillery – even though she’s located at the back of the room – is another rarity. Where many new products are made either under licence or in second-hand or recycled stills, Sipsmith’s range is produced in a new copper pot still. Dubbed Prudence, the still was created by CARL, Germany’s oldest still manufacturer, and also has small column attachment – through which Sipsmith’s English barley vodka is passed – and a Carterhead attachment which has apparently been used for experiments in flavouring vodka.

One of the upsides of a micro-distillery is that the tour doesn’t take too long and our group (of six people from anywhere between Manchester and Japan) spent a large chunk of the afternoon tasting the range with Sipsmith’s James Grundy. Their London Dry gin and English barley vodka are fairly well known (partly thanks to the involvement of drinks historian Jared Brown, I suspect), but they’ve recently expanded into liqueurs with a sloe gin and a damson vodka – the interesting aspect of the latter two is they seem much less sweet than liqueurs of that type generally are which lets the base spirit come through more, particularly in the sloe gin.

Sipsmith are an almost perfect definition of the kind of operation craft bartenders fall for. They’re not pushing the boundaries of spirit production, but I get the sense that, for now, they’re not inclined to do that. It’s a range of artisanal spirits produced by people with a clear passion for both the process and the products they create and it’s hard not to like that outlook.

Sorting out the award was the first order of business, and the other nine finalists and myself – Justyn Bell (Hausbar, Bristol), Ryan Chetiyawardana (Worship Street Whistling Shop, London), George Collyer (Hotel du Vin, Bristol), Maxime Creusot (The Player, London), Jamie Jones (Cocktail & Spirits Initiative, Chester/NE England), Tristan Stephenson (Purl, London), David White (Tigerlily, Edinburgh), Susie Wong (Australasia, Manchester), and James Wynn-Williams (All Star Lanes, London) – met at the Cabinet Room in Bermondsey to do battle over three drinks and a written test set by the Soulshakers‘ Kevin Armstrong.

The Cabinet Room, incidentally, is the bar that takes up the ground floor of Simon Difford’s apartment. It’s among the more impressive living rooms I’ve seen, with cabinets of vintage glassware adorning one wall, super comfy leather sofas, and a fully featured bar right in the middle. The back bar contains no less than three different brands of blue curaçao – that stat just became my benchmark of how well stocked a bar is.

The three drinks required were a classic Daiquiri, “any cocktail of your own creation” (with a Bacardi Brown-Forman Brands product as the base spirit), and a classic cocktail drawn at random from a list of fifteen. My Daiquiri didn’t come out as well as I’d hoped – I made some good decisions (using the Bacardi 1909 Heritada limited edition bottling at 44.5% ABV as opposed to the standard Superior) and some bad ones (there’s a reason no-one uses icing sugar as a sweetening agent, I guess); I drew the Whisky Sour for my classic and that went pretty well, although some of the judges felt it may have been a touch too sour for their tastes. I was happy enough with my original drink but the point I kept hearing back from the judges – CLASS magazine editor Simon Difford, BBFB’s head of training Alex Turner, 2010 winner Joey Medrington, and Kevin Armstrong – was that they felt bourbon and Campari wasn’t a natural pairing; by extension, perhaps the recipe’s missing just one more ingredient to bridge to the two.

Sophomore

45ml Woodford Reserve Bourbon
15ml Campari
15ml clarified lemon juice
10ml grenadine

Stir all ingredients with ice and strain into a chilled 8oz stemmed glass. Express and then discard a twist of orange zest. Garnish with a cocktail cherry.

The written test was appropriately brutal, fully a reminder that, for all that I claim some kind of knowledge about spirits, cocktails, and alcoholic beverages in general, there is so much I don’t know. Helpfully, that no longer includes the Latin name for Hops, the recipe for a Scarlett O’Hara, or the knowledge of what a “spile” is.

I didn’t win; Purl’s Tristan Stephenson took the honours, and I’ve no complaints about that. I felt that there were at least three guys who absolutely nailed their presentations and Tris was definitely in that group. It was a fun day, and I didn’t leave completely empty-handed – I’m pretty certain I beat Dub-Dub in a blue drink shake-off.

With the comp out of the way, I spent the early part of the week checking out some of the trade events at the Drinkology Studios in Shoreditch. There was a decent chunk of the Edinburgh scene on show at the BBFB Training Team‘s Magic of Maturation talk, presented by Ian McLaren and Craig Harper and featuring an interesting discussion on aging cocktails with Bramble‘s Jason Scott and Mike Aikman (and I totally managed to score a barrel-aged, hand-bottled Affinity cocktail, which are generally in short supply up here).

I did a couple of other things in LCW – a visit to the Sipsmith Distillery in Hammersmith, which is probably deserving of its own post, for one – before I hit the CLASS Awards at the Old Street Classic Car Club and met up with probably everybody I know in the industry. With four different bars – Belvedere (Red), Tiger, Sailor Jerry, and Bacardi – we were well served for drinks (apparently, yes, you can have too many Last Words) and the cabaret theme was suitably epic. Although the Scots missed out on a couple of awards – Tonic were nominated for Best Classic Bar which went to Be At One, and Edinburgh alumni Meimi Sanchez (Havana Club) and Shervene Shahbazkani (Bacardi) were up for Best Brand Ambassador against the eventual winner, Grand Marnier’s Julien LaFond – we didn’t go home empty-handed with the Best Bar Menu award going to the Blythswood Square Hotel in Glasgow.

For a sophomore effort, London Cocktail Week was really impressive. Over 250 bars signed up to offer £4 cocktails to attendees over the week and there were trade and consumer events all over the city every day. I don’t have a frame of reference to compare it against but what I did see seemed to run smoothly and was well-received, and that’s to the credit of the organisers – particularly Hannah Sharman-Cox at Odd Firm of Sin, and to Simon Difford and Emma Ramos who had to put up with my chat on more than one occasion.

All of this became particularly relevant as I accompanied Andrew Kearns from Monteiths, the winner of the Edinburgh heat of Caorunn Gin’s cocktail competition, to the Balmenach distillery in Speyside. We travelled up with the Glasgow party, including regional winner David Smillie from the Blythswood Square Hotel and Caorunn’s brand ambassador Ervin Trykowski, and met up with 99 Bar & Kitchen‘s Mike McGinty and the Aberdeen contingent at the distillery.

The word Speyside should be familiar to anyone with an appreciation of single malt Scotch. Of Scotland’s whisky producing regions (the others being Highland, Lowland, Islay, Islands, and Campbeltown), it’s home to the greatest number of working distilleries – including those of the world’s top selling single malts, the Glenlivet and Glenfiddich.

The Balmenach distillery isn’t a new addition to the scene; it was established by James McGregor at some point in the early 19th Century (it’s often dated to 1824, when it was officially licensed but it’s a fair guess that they’d been producing before then). It remained in family ownership through 1922 before changing hands a number of times through the 20th Century, until it’s then-owner, Diageo, opted to mothball the site in 1993. Balmenach was taken over by Inver House in 1997 and production started anew in 1998.

Scotch whisky is, as many spirits are these days, subject to a whole raft of legislation governing what may and may not be used in its production, the method of production, length of maturation, and so on. As far as ageing goes, in order to qualify as a Scotch whisky, it must be barrel aged in Scotland for a minimum of three years and one day. If you wanted to bring a single malt to market, you’d be up against a lot of 10 and 12 year old expressions, so you’re looking at a decade before you can bottle something and that’s before you consider that the age statement on a bottle of Scotch refers to the youngest whisky in the blend (even for single malt). If you want to compete, then it could be upwards of fifteen years before you have the stock on hand to blend a whisky that you could label as a 10 year old.

Ageing whisky is not a cheap process, and so it makes a lot of sense to use the equipment you’ve got to make something that you can bring to market a lot sooner than, say, fifteen to twenty years and that means white spirits. In the case of Caorunn, the equipment goes some distance to shaping the product; they found two berry chamber stills -they would have typically been used in the production of perfumes.

Essentially, high-strength spirit is pumped into a vaporiser and turned into vapour. That vapour is channeled into the base of the berry chamber and passes upwards through five perforated drawers which contain a loose mixture of the eleven botanicals. Simon Buley, Caorunn’s creator, says that the process differs from that used by other gin producers in that all of the vapour comes into contact with all of the botanicals; there’s no other way out of the chamber.

The final product sits somewhere between a traditional style gin and newer, more exotically flavoured efforts. There are six traditional botanicals – juniper, lemon peel, orange peel, coriander seed, angelica, and quassia bark – and five Celtic ones – rowan berry (Caorunn is the Gaelic word for rowan), heather, bog myrtle (also famed as a midge repellent), dandelion, and Coul Blush apple (a local variant bred to survive in the changeable climate of Northern Scotland). It’s an interesting product to work with, and we headed back to Grantown-on-Spey to see that demonstrated by the three regional finalists later in the evening. The winner was Mike McGinty from 99 Bar & Kitchen in Aberdeen, with drinks called the Haughs of Cromdale and the Celtic Fizz.

Photo courtesy of Jamie Faulds at 3rdparty

The Haughs of Cromdale

37.5ml Caorunn Gin
12.5ml Costacalda Passito Bianco (sweet dessert wine)
10ml Calvados
20ml lemon juice
15ml homemade apple gomme
muddled pink lady apples
smoked heather bud in boston shaker

Using a lighter, set a sprig of heather on fire. Hold the tin from a Boston shaker over the sprig to capture the smoke. Muddle the apple in the other part of the shaker and add the other ingredients along with cubed ice. Cap with the smoke-filled shaker and shake. Fine-strain into a chilled red wine glass.

Garnish with a slice of apple and a sprig of heather.

Celtic Fizz

50ml Caorunn
20ml lemon juice
20ml pressed apple juice
15ml homemade spiced apple gimme
1 dash egg white
topped with Brewdog Punk IPA

Shake the first five ingredients with ice and strain into a chilled highball glass (straight up). Top with IPA.

Garnish with a single star anise.

Thanks to everyone at Caorunn and 3rdparty for making the trip happen!