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Kerosene Part 2: Blackmail and R’Oud Elements

16th November 2020

Mining the same marshmallow-meets-campfire vein as By the Fireplace by Maison Martin Margiela, albeit only about a hundred times more pleasant and natural-smelling, Blackmail captures that exciting feeling of anticipation your tummy gets at a country fair, the promise of something deep-fried and sugary vibrating on the air like a wind chime.

The luscious berry-tipped incense topnote is a cruel tease – smell it once and then it’s gone, but not before introducing the central block of fruit-over-smoked-oakwood that hangs around for the rest of the ride.

Though distinguished by a wonderfully sour streak of sodden, fermenting oud chips, Blackmail eventually settles into a shape not a million miles away from Broken Theories. They don’t smell alike note for note, but make no mistake – these guys happily fill the same gap in a well-curated wardrobe.

My own personal preferences lean more towards sandalwoody woodsmoke than burnt marshmallow, so I’m currently only tempted by Broken Theories. But, honestly, either would do in a pinch for when I am craving something sweet n’ smoky in that slightly blocky style of Kerosene. And that, really, is my one bone to pick with Blackmail and all fragrances like it. They are always more set pieces – big wooden panels you move around in each scene to achieve a specific effect – than the kind of thing that sets the imagination alight. Mind you, that’s not to say,  as we limp across the finish line of 2020, that there isn’t value to walking around with your own personal country-fair-meets-campfire soundtrack playing on a constant loop over your head.

Photo by Dominik Martin on Unsplash

R’Oud Elements is a total wow for me – just wow! Pairing a bitter orange note (itself lurching charmingly from the naturalness of a freshly-peeled orange to the artificiality of a vitamin C drink) with a savory sandalwood standing in for oud, it has much the same effect as Many Aftel’s Oud Luban, in that it throws open the windows and floods a dark material (oud) with citrusy light.

R’Oud Elements turns the traditional treatment of oud – almost reverential, lengthening the shadows of its dankness with similarly deep, brown flavors, or countering them with truffled rose notes – on its head, making it sing out in hot orange-gold tones. R’Oud Elements is so bright it’s blinding – fizzy, zesty, and slightly mineralic. It smells like someone spilled freshly-squeezed orange juice on a grungy old brown leather sofa, which is all the better for it. The scent stops just short of achieving maximum creamsicle, the bitter orange never quite bridging it all the way to the creaminess set free by the sandal in the base. But feel good? God, yes.

Many people on Fragrantica say that this smells like M7 (Yves Saint Laurent), one of the first commercial fragrances in the West to feature oud. And I suppose that’s fair, though it is the sour, nutty mealiness of cedarwood (or even vetiver), rather than amber, painting an exotic picture of oudiness here. But what this reminds of the most – in effect, if not smell – is that low-high contrast between the aromatic, fizzy ‘dustiness’ of Italian herbs and the satiny, sour-cream umami-ness of sandalwood that runs through much of Lorenzo Villoresi’s work, particularly that of Sandalo and Musk. Something about the rub of something sharp or aromatic (saffron, lavender, orange peel) against something tartly lactonic (musk, sandalwood), fleshed out by an intensely powdery cedar, creates in all three scents the impression of cream lightly curdled by a squirt of lemon juice.

If I didn’t already own Musk (Lorenzo Villoresi) and vintage Sandalo (Etro) to satisfy my aromatic tart-sour-creamy woody needs, I would be setting my cap hard at R’Oud Elements. As it is, I’m still thinking about R’Oud Elements long after my sample is gone.  

Source of Sample: I purchased my Kerosene samples from the wonderful Polish website Lulua. I have used Lulua many times over the past five years to sample American or Canadian indies, such as Slumberhouse, Zoologist, Olympic Orchids, and now, Kerosene, which can be extremely difficult for European customers to track down and smell. I am 100% happy to recommend Lulua, because they provide a terrific service for not too much money, have the best packaging I’ve ever seen for samples-only orders, and they always throw in a few extras too.

Cover Image: Photo by Simon Zhu on Unsplash

Incense Masculine Resins Review Smoke Spice The Discard Pile

Serge Noire by Serge Lutens

20th May 2020

The topnotes of Serge Lutens Serge Noire‘s smoky, dried fruit incense draw me in every single Goddamn time, like a mermaid’s song. And then I am dashed cruelly against the rocks that are this scent’s downfall – the unmistakably oniony sweat of unwashed (male) armpits.

Ask me how I know. No, really. I first smelled this when I was visiting Mont San Michel with my family when I was seven. The children had sat down in a grumpy, sun-beaten heap on the doorstop of the nth church, refusing to indulge our parents any further in their unquenchable thirst for the various religious icons and tchotchkes of French medieval churches, which seemed to us to be identical to the ones we had back home, only a little older and grimier.

From our vantage point, we got to study the interiors of everyone’s nostrils, skirts, and armpits. People passed over us; we were ignored, perhaps not even seen. A middle-aged man stopped under the mantel and leaned against the cool wall for a moment to gather himself, and in that moment, I understood that dried sweat could smell like onions and black pepper and celery – the makings of a mirepoix, practically – when suspended in droplets in the thicket of a man’s armpit hair.

The onion sweat accord can be parsed out later as clove, cumin, black pepper, and incense. While I love clove in stuff like Eau Lente (Diptyque) and the Eau de Parfum by Commes des Garcons, I admit that it can come off as sweaty and metallic to an almost objectionable degree. But the operational word is almost. There’s always something in those fragrances to reign it in – herbaceous oppoponax, a bit of honey, some sandalwood. In Serge Noire, the clove business simply goes too far. It sidles up to the breaking point of human endurance and then waltzes brazenly past it, lurching unchecked into pure onion sweat territory whence it cannot be redeemed.

I keep trying it, hoping I am wrong or that my perception will loosen up, allowing me to glimpse the true beauty of this scent as others describe it. But as of May 2020, and upon my 14th attempt, I have to admit defeat.


Source of sample: Purchased over and over again from Notino.uk to no avail, because I do not and will never ‘get’ this scent.

Cover Photo By photographer Jens Karlsson, Creative Director at Your Majesty, NYC, available here via Stockpholio.net 

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Zoologist Tyrannosaurus Rex

11th September 2018

 

Antonio Gardoni’s style is so distinctive that his work can almost be graded in Gardoni-ness, with Noun being a 9/10 (i.e., immediately identifiable as an Antonio Gardoni creation) and Aeon 001 being a 3 or a 4 (identifiable as a Gardoni only if you think hard about it). I’ve never had the chance to smell Gardelia, but from all accounts, its honeyed white floral softness places it slightly outside Gardoni canon, so perhaps a 1 on the Gardoni scale.

 

For those unfamiliar with the Gardoni style, the recurring motifs might be loosely defined as (a) a lean and elegantly bitter mélange of apothecary herbs and spices, tending towards medicinal, (b) a butch, non-traditional treatment of white florals, especially tuberose, and (c) a complex, brocaded drydown that mixes resins with musks, castoreum, ambergris and/or other animalics. More prosaically, I always think of Gardoni’s creations as possessing an authentic ‘golden’ vigor that’s masculine in an old school manner.

 

Zoologist, as a brand, could also be said to have a distinctive house style. Of course, since each perfume has a different creator, it’s more difficult to pin down the specifics beyond the fact that all seem to be built on an exaggerated scale, with one chosen element (woods, smoke, leaves, fruit) blown up until it towers comically over the composition like King Kong. They are all exciting, vivid fragrances, but often quite rough, probably because they aren’t put through the glossing filter that most other niche scents go through to reach market these days. As an example, Hyrax would be a 10 on the Zoologist scale, because its filth-and-dried-urine-inside-burning-tires aroma makes it one of those hardcore ‘I dare you’ scents that only the nichiest of niche-heads would wear, whereas something like Hummingbird is a solid 2: a frothy whirl of fruit and flowers that won’t scare the horses.

 

Apologies for the lengthy preamble, but anyone dithering over a blind purchase of either a sample or a full bottle of Zoologist Tyrannosaurus Rex will want to know how Gardoni it is, and also possibly, how Zoologist it is, on a scale of 1 to 10. My short answer is that Tyrannosaurus Rex is a 4 on the Gardoni scale, and a 8 on the Zoologist scale. In other words, I don’t know that I’d guess it’s a Gardoni creation from smelling it blind (although digging in, there are a few clues), but I’d confidently peg it as a Zoologist release.

 

Tyrannosaurus Rex opens with a furnace blast of burning tree sap and smoke, featuring both the rubbery green soot of cade and the piney sharpness of frankincense. This sounds rather par for the course for anyone who’s ever collected or smelled the most popular scents in the phenolic category, like Encens Flamboyant (Annick Goutal), A City on Fire (Imaginary Authors), or Revolution (Cire Trudon), but Tyrannosaurus Rex immediately distinguishes itself from this company by layering a core of buttery floral notes through the rough-grained miasma of smoke.

 

In particular, a thickly oily champaca stands out, smelling not of the its usual fruity-musky cleanliness but of the almost rancid, stale ‘Irish butter’ gardenia undertones of Indian champaca, the red ‘joy oil’ stuff that gives Strangelove NYC’s lostinflowers its pungency. Picture the greasy saltiness of gardenia, rose, and ylang butters thrown onto a burning fire with some laurel leaves and fir, and you’ll get a sense of the opening here. It smells like something charred to purge the air of impurities and sickness; the smoke element more medicinal than holy. This facet, plus the fact that it smells the way frankincense gum tastes, identifies it as being Gardoni-esque.

 

The sheer brute force of the opening, however, is more Zoologist in style. The marriage of smoke and oily floral takes some getting used to. It smells rich and addictive, but also a little too much of a good thing, like staying too long at the fuel pump to breathe in the gasoline fumes, or walking through a rubber plantation on fire fully aware that you should run before the toxic fumes get you but also weirdly narcotized into a trance-like state.

 

The smoke, in particular, is what pushes this one up on the Zoologist scale. It’s an element I associate with, in particular, Hyrax, a 2018 Zoologist release, which smells like a well-used rubber incontinence sheet set on fire. While Tyrannosaurus Rex is far more accomplished and not provocative for the sake of being provocative, there’s no denying that the shock factor of the opening is high. Unless, unlike me, you’re one of those people who absolutely live for the most challenging parts of a perfume, like the Listerine mouthwash of Serge Lutens’ Tubéreuse Criminelle’s topnotes or the putrid cherry cough syrup first half of Diptyque’s Kimonanthe, in which case, the ‘burning rubber plantation’ portion of  Tyrannosaurus Rex will be the highlight.

 

For me, though, the latter parts of the scent are the most enjoyable because that’s when everything relaxes and the warning system in my solar plexus stops ringing. This is where things get seriously sensual. Only two components of the drydown are identifiable to me, or at least familiar. First, a minty-camphoraceous balsam note, like a solid cube of Carmex set to melt gently on a hot plate, mixed with the gritty brown sugar crystals of benzoin or some other ambery material. At times, it smells like fir balsam and old leather mixed with vanilla ice-cream (soft and almost creamy), and at others, it is bitter and metallic, thanks to rose oxide, a material that smells like nail polish mixed with mint leaves and rose.

 

The second component in the drydown, for me, is the sandalwood. Although I don’t know whether sandalwood synthetics or natural sandalwood oil was used, the note reminds me very much of Dabur Chandan Ka Tail (Oil of Sandalwood), a santalum album from India that’s sold as an ayurvedic medicine rather than as something to be used as perfume. Dabur comes in a small glass container with a rubber cap to allow penetration by a syringe, which you’re supposed to remove, but that I (not being a meticulous person in general) do not. Accordingly, the topnotes carry a bitter, smoky rubber and fuel exhaust overtone that’s curiously addictive. Tyrannosaurus Rex’s sandalwood component is roughly similar: it is creamy and aromatic, but tainted by all these weird little wafts of rubber and car exhaust that add character to the usual pale milk of sandalwood. It’s sexy as hell. Damn, give me a big, rich sandalwood base any day and you’ve got me. It’s like nuzzling into the chest of a biker who’s ridden through 50 miles of Mysore forest.

 

A friend (and fellow blogger) often teases me for not being clear in my review about whether I like the scent or not, and that’s fair: I tend to get bogged down in analysis and forget to tell you whether or not a scent connected with me at a personal level. So, let me be clear – I absolutely loved Tyrannosaurus Rex. The opening is too powerful for my taste, but for the most part, I loved the warmth and ‘bigness’ of this perfume. It’s smoky, it’s complex, and it keeps you guessing without taxing your brain cells to oblivion. In other words, although there’s a certain amount of head-scratching and puzzling over notes to be done here (which will please bored fragheads), it’s also very easy to step away from the analysis and simply enjoy wearing the thing itself. And you know, apart from the over-fueled opening, I do.

 

Fougere Herbal Lavender Masculine Review Tonka

Tom Ford Fougère d’Argent Review

26th August 2018

 

Tom Ford Fougère d’Argent will prove popular with younger male consumers, because for many, it may be their first exposure to a proper fougere, i.e., one that hasn’t been tonkified or fatted up with sweeteners in the modern manner (see: Tom Ford Fucking Fabulous, Chanel Boy, and Serge Lutens Fourreau Noir). If they’re not familiar with stuff like Yves Saint Laurent Rive Gauche Pour Homme or Azzaro Pour Homme, the bitter freshness of the Tom Ford might smell like a new shape in the air.

 

Only….it’s not. Fougère d’Argent is simply a re-packaging of an old idea for a new audience. The fougere has been around since 1882, which is when Houbigant launched Fougère Royale, a ‘fern-like’ fragrance for (ironically) women. In overall concept, the fougere is analogous to the chypre, in that they are both abstract, perfumery renderings of an idea rather than a smell. Fougeres aren’t rigidly configured to smell like ferns, which don’t have a scent of their own anyway, but to capture a broad range of foresty nuances from trampled herbs to bitter earth. Traditionally, they revolve around coumarin, lavender, and oakmoss, but often feature geranium, vetiver, patchouli, and often, spicy materials like clove or carnation (eugenol).

 

To my nose – and in fact, to most noses – there is something about classic fougeres that smells incontrovertibly masculine. Fougère d’Argent is no exception. It opens with the soapy, metallic sheen of lavender and ginger stretched over a bitter, mossy backdrop. In most modern-day versions of the fougere, like Chanel Boy, Chypre Palatin, or Fourreau Noir, this stinging ‘aftershavey’ quality that women associate with fougeres is muffled by swathes of creamy materials like sandalwood, vanilla, or tonka bean. Fougère d’Argent simply shears off these accoutrements and allows the basic bones of the fougere structure to stand proud.

 

Tom Ford’s approach here shows confidence. He’s a guy with his finger on the pulse of what (many) men want, so he must have picked up on the fact that the pendulum is swinging from the modern taste for sweetness back to a more old school taste for bitterness. Maybe it was the commercial success of his laudably sugar-free Vert series that convinced him the time was right for this.

 

Fougère d’Argent doesn’t smell at all original or exciting, but it does smell good. It’s basically a re-upholstering of Serge Lutens’ Gris Clair, the same central axis of lavender and electrical-socket-haze tonka bean dressed up a bit with the shimmering, aldehydic bitterness of Rive Gauche Pour Homme. It is not as warm or as spicy as, say, the re-issue of Houbigant’s Fougère Royale, which I greatly prefer, nor is it as creamily animalic as Chypre Palatin. Compared to other classic fougeres such as Azzaro Pour Homme, it is slightly sweeter and more synthetically radiant. But it is also nowhere near as sweet as modern fougeres (‘nugères’). In general, it reminds me of the kind of crisp, freshly-applied aftershaves I would smell on the neck of my father before he left for work each day.

 

But, you know, meh. This kind of fresh, clean manliness in fragrance form used to be de rigueur. Men expected it and they got it. It’s only now, in this glut of bloated niche and masstige fragrances, that they’re forced to shell out $250+ per 50ml bottle for the pleasure. I think that men deserve better than a classic idea upcycled. Fougère d’Argent is too cynical for me. It is clearly designed to catch the guy who’s either unfamiliar with sugar-free fougeres or who has been raised on Tom Ford and (rightly) sees this scent as something completely different from its stable mates. My one hope is that men smell this scent and get interested enough to use it as a jumping off point to explore the fougere category in general. At which point, they’ll inevitably come across something more interesting.

 

Coffee Masculine Myrrh Resins Review Sandalwood

Santal Nabataea by Fredrik Dalman for Mona di Orio (2018) Review

11th August 2018

 

Lovers of the sweet, creamy, and foodie representations of sandalwood, I’m sorry but Santal Nabataea by Fredrik Dalman for Mona di Orio (2018) is not for you. If you love the fake milky sweetness of stuff like Memo’s Quartier Latin, Miller et Bertoux’s Indian Study/ Santal +++, or Perris Monte Carlo’s Santal du Pacifique, and your general expectations of how sandalwood should smell are set in that direction, then take a pass on this.

 

Santal Nabataea smells very much like real santalum album oil and very little like the usual representation in commercial perfumery. When I first smelled it, I was first astonished, and then a little teary at the thought that something like this can still exist in modern perfumery. The best way to prepare you for something like Santal Nabataea would be to tell you to beg, steal, or borrow a drop of real santalum album oil and see for yourself how different it is from the creamy, sugary loudness of sandalwood in commercial perfumery.

 

I’ve written a bit about how real santalum album smells like here and here, but to recap, the essential oil itself is quiet, with curiously sharp high notes that can remind one alternately of peanut husks, solvent, glue, and even yoghurt. Australian native sandalwood (s. spicatum) is very sour, with strident green pine notes, but santalum album, used here and also the species from which Mysore sandalwood is derived, is softer, with a dusty incense-and-buttered-toast depth that’s rightly the object of obsession for many.

 

But no matter what type of sandalwood used, it seems that it’s the perfumer who decides whether to push it in a sweet-creamy or arid-aromatic direction. Natural sandalwood features both aspects simultaneously, but sandalwood synths all seem to focus on the sweet, ambery creaminess to the exclusion of the aromatic.

 

To date, the sandalwood fragrances that I feel have come closest to capturing the complex, unami-rich flavor of natural sandalwood have been Lorenzo Villoresi’s Sandalo, Maitre Parfumeur et Gantier’s Santal Noble, and Etro’s Sandalo (vintage eau de cologne). Or more accurately, should I say, they all capture that wondrous push-and-pull between the slightly sour milkiness and the dusty, aromatic aridity of the wood itself.

 

My personal favorite is Etro Sandalo eau de cologne, for two reasons: first, the topnotes feature the same nail polish, industrial plastics, and burning tire weirdness of some natural santalum album oils (which I love and welcome as a sign of authenticity), and second, as a bit of a cop out, it gives me the creamy, incensey milkiness of fake sandalwood in the drydown, a kind of guilty pleasure I can’t seem to wean myself off of. I used to own Santal Noble but although I admired it, I felt its brusque coffee-ish opening rendered it too masculine for me to enjoy as a personal fragrance.

 

I got into detail about these fragrances because I am convinced that Santal Nabataea is as close to Santal Noble as is possible to get this side of disastrous Maitre Parfumeur et Gantier reforms. It has the same touch of resinous coffee funk and the same dusty, earthy brusqueness.  The use of sweet myrrh (opoponax) in the basenotes is also similar,  emphasizing the herbal soapiness inherent to both scents.

 

I always thought that wearing Santal Noble was akin to stumbling upon the private quarters of a very English gentleman and watch him silently getting dressed in his three-piece tweed hunting suit laid out by his valet, tucking as he did a paisley handkerchief sprinkled with aromatic eau de cologne into his upper suit pocket. I didn’t feel comfortable inhabiting the skin of this gentleman every time I wore Santal Noble, so I swapped it away. However, I found and still find the scent of Santal Noble to be richly evocative in a way that few sandalwood-forward perfumes are. Santal Nabataea is similarly evocative; exotic without being derivative.

 

But Santal Nabataea also possess something of the odd, solvent-like topnotes of the Etro Sandalo and the dark, saline weave of aromatic fougere-ish notes seen in the Villoresi. It’s arid, earthy, and deeply unami, reaching parts of you that synthetic sandalwood just can’t. The supporting notes in Santal Nabataea are just that, a chorus of backing singers for the sandalwood soloist. The dusty resinousness of coffee is noticeable in that it dims the lights a bit, and underlines the essentially masculine nature of the scent. But unless the fruity nail polish honk in the topnotes is thanks to the oleander or apricot, I can’t really make them out as distinct shapes or forms in the texture of the scent. If anything, they exist simply to emphasize the astringency of the sandalwood core.

 

That’s not a complaint, by the way. I’m so grateful to smell something that actually smells like real sandalwood for once that I’m glad not to be distracted by a plethora of competing notes and accents. I think the way Fredrik Dalman built Santal Nabataea shows real confidence in his materials and in his own vision. I think he’s also counting on people to notice that the authenticity of the sandalwood heart in Santal Nabataea and read it as the entire point of the exercise. If so, message received. Lovers of real sandalwood and of fragrances such as Villoresi’s Sandalo, Maitre Parfumeur et Gantier’s Santal Noble, and even Etro’s Sandalo will definitely want to at least sample Santal Nabataea. For me personally, it joins the pantheon of great sandalwood commercial fragrances.

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Areej Le Doré Oud Zen v. Oud Piccante v. Russian Oud

11th February 2018

 

Let’s do a little side-by-side with the Areej Le Doré ouds, shall we? It will be kind of like when Basenoters start threads pitting one fragrance against another, like prize bulls, only hopefully not as cutthroat. My reviews will be purely impressionistic – short on helpful detail and long on the images that jump to mind when I wear them, so if you’re in the market for a quick take, read on. If you’re looking for something more detailed, look anywhere else. If that’s not a fair warning, then I don’t know what is…

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Aromatic Fougere Gourmand Lavender Leather Masculine Review Suede Tonka

Tom Ford Fucking Fabulous: A Review

9th February 2018

 

I’d love to get all worked up about the name, but as someone who says “fuck” rather a lot, I really can’t. I’m not proud of it, but in my defense, I’m Irish. In Ireland, people are so foul-mouthed that English shows such as Come Dine with Me film one season over here and then skedaddle back to the UK, their pearls clutched to their throats in shock at the ease with which everyone – everyone – from the tony middle class housewives in Howth to 4-year-old kindergarteners turn the air blue.

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Attars & CPOs Independent Perfumery Jasmine Leather Masculine Resins Review Sandalwood Thoughts Vetiver Woods

Tauer Perfumes Attar AT: A Review

20th November 2017

I hadn’t understood how big a role that cultural misappropriation, or rather the perception of cultural misappropriation, played in the evaluation of attars until I read a comment on a Basenotes interview I did with JK DeLapp of Rising Phoenix Perfumery, which read as follows: “Looking forward to trying it and appreciate the perspective on Attars, but also giving the side-eye to another American appropriating an other’s work and culture and claiming he knows better and can do better.”

 

Funny gif aside, he is making the point that only people of Eastern culture (Indian, Far East, of the Islamic or Hindi faiths, etc.) truly understand how to make an attar, and that Westerners doing it is either a cynical cash grab or a case of cultural misappropriation.

 

This comment, whether founded or not, raises the crucial question of how attar perfumery is perceived in the West. I have noticed a certain awestruck tendency towards attars by Westerners, a kind of mass reverence for the genre, as if all attars and oils hitting our shores were uniformly possessed the magic of the Orient simply because they originated there. This is rubbish, of course.

 

First of all, speaking as someone who has tested hundreds of attars and mukhallats from almost every major brand from Amouage to Surrati, I can tell you that there is as much dreck coming out of the East as there is from the West. I’d estimate the percentage of truly sublime attars or mukhallats at about 5-10% of the mass, which is roughly equal to the hit rate in Western perfumery. Unfortunately, because these oils carry mysterious names, come in a little gold bottle, and are from an exotic-sounding house like Rasasi or Al Haramain, the consumer is psychologically primed to find them amazing even if they’re aren’t. Even Amouage has attars that are dull, nasty, or just plain unimpressive.

 

Second, it’s not the where (the East) that counts, it’s the who. The best quality attars out there are not being made by the big Gulf or Indian brands in the East but by small-batch artisans with a mostly Western background and upbringing. Sultan Pasha, Ensar of Ensar Oud, JK DeLapp, Al Shareef Oudh, Russian Adam, Dominique Dubrana, and now Andy Tauer – these are all people who, no matter whether they are Muslim or not, are Western by birth, location, or background.

 

I mention this because although some people seem to think it is the exclusive preserve of Easterners to make attars, these days it is actually mostly Westerners that take the care to distill oils in the old manner, hand-blend and macerate formulas, and source the purest raw materials. I like to think that they are taking a certain Western propensity towards precision, authenticity, and attention to detail to bear on an old tradition of perfumery.

 

And now Andy Tauer, himself an artisan in the genre of Western perfumery, has joined this elite group. In a way, it’s a natural fit: Tauer already mixes everything for his perfumes by hand (in a similar fashion to blending an attar) and as a longstanding user of resins, sandalwood, and jasmine, he would have all the necessary contacts in the Middle East to source the materials needed for this.

 

Attar AT is excellent work. It succeeds both as an attar and as an atmospheric set piece in the Tauer manner; it contains exotic raw materials but somehow conjures up more of that tough old Americana (cowboy boots, pilgrims, vast open spaces of the American plains) than it does the East. It opens up as an extract of pure boot leather, with a dense wall of fuel-like jasmine, birch tar, and castoreum-driven leather hitting the nose all at once.

 

But despite the tarry creosote-like tone and the fact that Tauer has used materials like this before, mainly in Lonestar Memories and L’Air du Desert Marocain, Attar AT does not make me think of his other perfumes. The leather, although smoky, is smooth and dark, and, crucially, completely free of competing notes like amber or citrus. There is no Tauerade. It is powerful and concentrated at first, but soon becomes very quiet and almost linear. A rubbery jasmine appears just past the opening notes, relieving, albeit briefly, the almost matte darkness of the leather accord.

 

As an aside, it’s funny how noses differ: my husband smelled this and immediately said that there was jasmine in this, as well as a little bit of oud. I, on the other hand, can only smell the jasmine briefly (it is similar to the phenolic jasmine used in the topnotes of Anubis by Papillon, for reference), and the impression of oudiness is only a background one, playing second fiddle to the leather. However, at a distance and at certain points of the attar’s development, it has something of the leathery, fermented smokiness that I associate with oud oil. In general, I think it’s fair to say that Attar AT genuinely has an oud-like tone to it at times, but that it in no way dominates.

 

Perception of sweetness seems to be subjective, but I’d peg Attar AT as being un-sweet, which is not to say that it is piercingly dry or sour. It is more a question of lacking sweetness in the form of amber or a syrupy floral note; if you know the sappy, sooty darkness of perfumes such as Heeley’s Phoenicia or Le Labo Patchouli 24, then you will know what I mean – an unsentimental, un-sweet darkness that nonetheless possesses so much texture and energy that it never tires the nose. Dusty, dark woods in the base only confirm this impression. There is no creamy sandalwood or welcoming amber in the drydown to placate the sweet tooth, only a continuation of the main accord of dark, smoky birch tar leather.

 

As an attar, Attar AT starts off very strong and dense, but soon loosens up into something much softer and quieter. It wears close to the body and doesn’t project much. However, longevity is excellent. So far, so standard for an attar. But people will want to know if there is anything of Tauer’s synthetic signature in Attar AT: my take is that it doesn’t feel synthetic to my nose at all, but be aware that birch tar in high concentration can have a bitter, metallic sharpness to it that some noses may interpret as synthetic. The only hint of something unnatural comes when you try to wash it off, and then (only then) something synthetic does linger on the piece of skin you’ve just washed.

 

Masculine? Yes. I’d even go so far as to say that this is super-macho, especially during the first couple of hours when the leather is blazing streaks across the sky. Attar AT is more evocative (for me) of the landscapes of the American West than of the deserts of the East; something about it celebrates the good-natured but tough manliness of the men who had to conquer large stretches of the American West on horseback, hungry and alone. This is a theme that seems to course through much of Andy’s work.

 

Having said that, there are plenty of women who like this sort of dry, unemotional scent, and I count myself as one of them. Overall, this is a great *masculine* attar for a very reasonable price, and also yet another addition to the attar genre that proves that you don’t have to be Muslim or be located in the East to make an attar that smells authentically, genuinely good.

 

Notes:  animalic leather, birch tar, Java vetiver, dark dry woods, sandalwood, hints of Jasmine, cistus, and castoreum

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