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Karlsson's Gold Vodka

Every year some 200 vodka brands hit the market worldwide. Most are gimmicks. There's one that comes bottled in a glass skull. There's one flavored with smoked salmon. There's one dyed black. Only two of those 200 live much beyond their first birthday. Can Karlsson's, an upstart brand from Sweden made from new potatoes, buck the trend?

Maybe. But only if it can buck another trend as well: the belief that good vodka has to be flavorless, colorless, and—to this whiskey fan, at least—soulless.

Underneath the marketing and food coloring, almost all vodkas are the same. They're made from grain, usually wheat or rye, and distilled until the taste and color are removed. Some are better than others, but there's no art to the process: the better the ingredients and the more thorough the distilling, the higher the premium. Partisans may swear there's a difference between Grey Goose and Ketel One, but really.

Karlsson's runs against the grain, so to speak, of vodka's obsession with purity. This is a dirty drink.

It wasn't always so. Before the 1960s very few people outside the "Vodka Belt"—Scandinavia, Russia, the Ukraine, Poland—drank the stuff at all, and regional differences predominated. In Sweden it was made mostly made from potatoes. Grains dominated in the steppes. And because purity wasn't as important, underlying flavors came through in the final product: vodka made outside Malmo tasted different from vodka made outside Stockholm, let alone Warsaw.

That all changed in the late 1970s, when Absolut, a state-owned brand from Sweden, got a makeover and started selling globally. Part of its marketing campaign, devised by the legendary Hans Brindfors (who later helped make IKEA a household name), was to emphasize purity over variety. The master blender, Borje Karlsson, switched the recipe from potatoes to winter wheat, which imparts a cleaner flavor. And Mr. Brindfors dressed it up in its now-iconic bottle, hiring artists to design ads that, within a few years, became de rigeur on the walls of college dorm rooms across America.

Absolut remained state-owned until 2008, when Sweden sold the brand to Pernod-Ricard for $9 billion. In the meantime, Absolut became one of the largest and most-recognized liquor brands in the world and the definition of high-quality vodka, averaging over 120 million bottles in worldwide annual sales. By then Mr. Brindfors and his marketing colleagues Olof Tranvik and Peter Ekelund were long gone. But a few years ago the trio got back together to give vodka-making another go. They're all obscenely wealthy men, and they could have spent a small fortune to bring out a wannabe Absolut—packaged, perhaps, in a bottle shaped like a half-naked Kim Kardashian.

Instead, in what can only be described as a rite of penance, they went local. Mr. Ekelund, who works for a private equity firm, also owns a farm in southern Sweden, and he understands what fluctuating food prices can do to small-time agriculture. So he approached his neighboring potato farmers with a plan: what about, instead of storing their excess produce, distilling it? They brought in Mr. Karlsson, the now-famous "father of Absolut," to develop a recipe, and a few years later—backed by Mr. Ekelund's fundraising, Mr. Tranvik's marketing skills, and Mr. Brindfors's branding genius—Karlsson's Gold was born.

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Karlsson's is in many ways the opposite of Absolut. "Success for us," Ekelund says, "will be to sell 100,000 cases in five years"—or about 240,000 bottles a year, or about two-tenths of 1 percent of what their former brand sells annually. "We actually have real physical limitations," Ekelund says. "Our fields could produce a maximum of 400,000 bottles annually." Mr. Brindfors's bottle is short and stout, shaped something like an oversized glass hand grenade. And Karlsson's marketing is entirely word-of-mouth—no Andy Warhol ads this time. The company has just 15 employees, and the participating farmers are all shareholders.

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Clay Risen is an editor at The New York Times, and is the author of A Nation on Fire: America in the Wake of the King Assassination. He has written for The New Republic, Smithsonian, and The New York Times Sunday Magazine.

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