When I first moved to Kentucky and got into whiskey, rye was my first love. I adore the spice, the flavor, the distinctive nose that varies so profoundly with different styles—each equipped with its own tale from the fledgling years of our country’s history. After years of diving deep into American whiskey, I slowly dipped my toe into what would become my ultimate obsession: single malt. Scotland called me, intriguing me with its regional expressions and wild variety of terroir-influenced drams. I remain amazed by barley, and how vastly different spirits from one grain can be.
Setting out to create K&L’s first small batch rye whiskey, I did not expect to stumble upon a mash bill with such an obvious nod to my personal whiskey journey: 51% rye, 49% barley. Even stranger, the recipe tasted nothing like American single malt. The spice was off the charts, but balanced by subtle stone fruit and a rich nuttiness beloved by fans of classic Speysides.
I had more to discover: a number of these barrels were being finished in a wide variety of casks, and their interaction with this oddball recipe created some truly unique moments on the palate. One in particular, finished in Madeira for nineteen months, grabbed me. It was funky, grassy, floral, with an almost marshmallow sweetness that wasn’t overbearing. I decided it was just what I needed to complete my story: an element of weirdness that K&L whiskey aficionados would surely appreciate. All five barrels turned eight years old before bottling and were married together for two weeks while being gently and slowly proofed down very slightly. Since I was born on 11/11, it was a whimsical stroke of luck that 111 proof turned out to be the perfect strength.
On the nose, I get dark fruit, fragrant dried flowers (Bee Balm), walnut, some Madeira sweetness. The first sip has chicory and cinnamon, followed by freshly cut grass, orange blossom, and a touch of old leather. There’s something funky there, like wet soil laced with plum. The finish feels like a hit of dry cacao with a touch of perfume.
For a brand new release, I wanted a brand new label; something markedly different from the other bottles on our shelves. We partnered with the design team at Punchout Creative, who created a distinctive “Faultline” through the label itself. The two men pushing this faultline into place represent K&L’s founders, Todd Zucker and Clyde Beffa, Jr., and the artwork was created in the 1970s by my grandmother, Dorelle Heisel.
Every whiskey has a story; this one is full of happy convergences. It is my hope that sharing a glass will create even more.
