Rachel Barrie of Glendronach and Rob Lewis give whisky a new sonic dimension!

Διαβάστε αυτό το άρθρο στα Ελληνικά

*Original article in Greek

Can whisky be heard? Can the sounds of its creation be captured and composed in a way that actually elevates the experience of drinking it? Glendronach, one of the most historic distilleries in Scotland’s Highlands, has taken a bold leap into the unknown — turning the whisky-making process into a musical composition. If you’ve already raised an eyebrow but are curious enough to follow along, then this is for you. Open-minded, slightly skeptical, curious by nature — you’re in the right place.

Dr. Rachel Barrie, Glendronach’s Master Blender, explains the project’s core aim: “explore the inherent link between the senses, taste and sound, in whisky drinking”. The result of her collaboration with Emmy-nominated composer and cellist Rob Lewis is a piece of music designed to be paired specifically with Glendronach 12 Year Old.

Titled Valley of the Brambles —now available on Spotify— the composition blends cello with ambient soundscapes sourced directly from the Glendronach distillery. Rob Lewis visited the site and recorded not just the acoustics of his cello within the space, but also impulse responses and environmental sounds. These recordings were then transformed into percussive textures and melodic layers woven into the final composition.

The inspiration came from Dr. Barrie herself, who has described Glendronach 12 as reaching a sherry crescendo. Lewis set out to mirror that crescendo musically. “Every sound captured in the distillery was manipulated and woven into the piece. These sounds form the backbone of the percussion, all derived from the distillery itself, and appear as subtle textures and pitched elements throughout”, the British composer explains.

Dr. Barrie believes the final track is the perfect sonic companion to the whisky. And if you’re wondering how or why that’s even possible, the project also drew interest from Charles Spence, Oxford University’s leading figure in gastrophysics and one of the most prolific researchers in the field. He provided the scientific framework, situating the work within the field of sonic seasoning —a growing area of study examining how sound influences our perception of flavour.

According to Spence’s research, music and ambient sound can amplify specific taste perceptions, whether it’s sweetness, bitterness, dryness or depth. The brain, it seems, doesn’t taste in isolation —it listens too. And Valley of the Brambles was crafted with that premise in mind: as a sensory complement to your dram.

Now, I’m not in a position to assess the scientific rigour of Professor Spence’s studies, nor do I intend to question the artistic choices of two creators —one in whisky, the other in music. But I do reserve the right to be cautiously curious about the final product. The mind and the heart remain open, as they should with any sincere act of artistic expression.

That said, perception —and more so, preception— often plays a bigger role than science in moments of enjoyment. Tasting a whisky in its natural habitat, somewhere in the misty Highlands; sipping a cognac in a French château; or pouring a rum under tropical heat — these experiences transcend measurement. Science comes in only when we try to explain that feeling to someone who wasn’t there. In those cases, sure, feel free to cite Charles Spence.

Beyond the track itself, there’s a beautifully shot making-of video on Rob Lewis’ YouTube channel. Pour yourself a dram while watching — and see if it stirs something. Does it hit different? You tell me.