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Gifts of the Three Magi: A Myrrh-athon

30th November 2020

What is myrrh? Myrrh is a gum produced by the Commiphorah myrrha species of tree native to the Arabian Peninsula and North-East Africa. Deriving from the Arabic word مر (mur), meaning ‘bitter’, myrrh oil is used all over Arabia, China, and India as a traditional medicine.

Oil versus resin: Myrrh oil is quite different from myrrh resin. Myrrh oil can be bitter, rubbery-smelling, and often quite saline (mushroomy). The resin smells earthier, slightly sweet, with musty undertones – when lit, it smells quite smoky (well, duh).  

What does myrrh smell like? While frankincense is a soaring series of sunny, high-pitched notes like lime peel or crushed pine needles, myrrh is dark, fungal, and gloomy, reminding one of the dark shadows behind massive stone pillars in a cathedral, signed pine, tar, anise, licorice, and the scent of freshly-sliced ceps. It can be soapy, fatty, or rooty. In perfumery, myrrh lends a subtle, earthy tone pitched halfway between soil and stone. It has a sepulchral quality, leading some to categorize it as Gothic or moldy.

Some facets of myrrh are intensely bitter, while some smell like sweet licorice, anise, or rubber. Often the resin smells latex-y and saline (in cookery terms, if frankincense is a citrus fruit, myrrh is volcanic salt).

Personally, I often perceive myrrh as smelling ‘hollow’, as if there were a tear in the fabric of the fragrance where the aroma is supposed to be (a sort of negative space). Myrrh has a deeply atmospheric smell, redolent of the air inside centuries-old European cathedrals.

Below are some examples of myrrh-based fragrances, or fragrances where myrrh plays an unexpected or pivotal role, even if unlisted.

Photo by Sebastian Unrau on Unsplash

Oriental Velours (Les Indémodables)Fog Machine Myrrh

This is a magisterial – and wholly original – take on myrrh. I find something new to marvel at every time I wear it. Fresh spearmint, spruce, rosemary, and fennel pollen crushed hard between my fingers, releasing a bitter, foresty odor into the chill night air, where it meets the equally bitter, foresty myrrh in its natural habitat, oozing from a hundred different cracks in a tree stem. But not the twisted, sun-battered husks of Commiphorah myrrha tree native to the Arabian Peninsula and North-Eastern Africa – imagine instead a Northern pine or spruce standing tall in a Scandinavian forest, weeping big fat sticky tears of myrrh, which magically disintegrate into a million powdery spores once they leave the tree.

The texture of the scent is important to note. Though both fir balsam and myrrh are sticky, dense, resinous materials that are about as easy to manipulate as a tin of molasses, here they seem to cancel each other out and disperse through the air in a sheen of glittering, super-fine mica. The effect is of myrrh and mint plunged into a dust cloud of ‘matte’ peppery notes that smell half like the business end of a just-lit firework and half like the sharp, grey chemical fog emitted by an over-enthusiastic fog machine (think Baptême du Feu by Serge Lutens, the recent Crimson Rocks by Amouage, or Fleurs et Flammes by Antonio Alessandria for similar ‘fog machine’ or gunpowder effect).

The more I wear this, the more I think that the damp, mealy bog land vetiver used here plays the largest role in achieving this textural effect. Gunpowder, fireworks, sulfur – whatever it is, it makes the scent feel exciting and taut. The vetiver acts as a gray-green, washed out, faded piece of velvet tamping everything down, giving the scent a mellow, low-key grassiness that is nonetheless devoid of sunniness or light.

There is something so simultaneously cleansing and plush about this scent that it feels like being wrapped in ermine while breathing in the air of a snowy forest. I’d like to say that the experience feels wholly natural, but of course, it does not. Aside from the ‘fog machine’ or gunpowder effect, there is a tiny hint of that metallic aftershave undertone that anything pine or spruce-like brings to the party.

Happily, though I first perceived this first as a spoiling dose of Iso E Super, I have found that if I re-frame this note for myself as more of a hangover of pine than a deliberate application of some burnt-smelling wood aromachemical, then I can live with it. (I am good at talking myself through the rough spots in a scent that I really love).

Interestingly, the clash of vanilla against this aromatic set of notes, plus that gray-green nutmeal vetiver, creates a brief whoosh of something that feels as powdered and plush as a tin of cocoa powder blown out into hot glass. The ‘velour’ part of Oriental Velours is accurate even if the ‘oriental’ is not – this is old velvet and ancient wooden furniture collapsing with time into dust spores that carry the breath of the forest with them. Licorice, mint, grass, and root buried under acres of quiet, black dust.    

Myrrhiad (Huitième Art) Myrrh for Myrrh Pussies 

A single nugget of myrrh mercy-drowned in a pudding bowl of waxen vanilla, with a sweet amber accord thickening it up like arrowroot. Myrrh will out, of course, and in Myrrhiad, it comes through as the soft, sappy licorice accent running along the back of the scent like rubber tracking.  Think the chewy licorice vines you get in the pick n’ mix at the cinema that are more texture than flavor, rather than the oily, resinous, or mushroomy twang you have in real myrrh. This is essentially myrrh for myrrh pussies, which might be an accurate way of describing me. Balmy, vanillic – Bvlgari Black-lite. Love it.

Photo by Anuja Mary Tilj on Unsplash

Baume du Doge (Eau d’Italie)Myrrh Agrodolce  

Like its brothers, Bois d’Ombre for the same brand, and Dzongkha for L’Artisan Parfumeur, Baume du Doges (Eau d’Italie) is emblematic of a period in Bertrand Duchaufour’s career when he seemed deeply interested in excavating the vegetal, vinegary side of resins for brilliant effect in incense compositions stuffed with dried fruit, smoky grasses and roots, and odd accents like whiskey or wet newspapers. The effect is that of sourness balanced by sugar and a hit of smoke – a sort of myrrh agrodolce.

True to form, the opening of Baume du Doge emits a sharp vetiver and cedarwood frequency that smells like the burn in your throat of a particularly smoky Laphroaig. This spicy burn is simultaneously calmed by a balmy orange milk accord and revived with a clove note that splits the difference between a licked spoon and a virulently camphoraceous mint. This creates a wonderful vanilla-orange-peel-incense accord that smells like Christmas morning. The vanilla is restrained; just a smear of something friendly to take the sting out of the astringent myrrh.

Because this is essentially a myrrh perfume. With its gloomy demeanor, myrrh is the sulky emo teen of the resin family, but here, a smile has been pasted on its face by way of a bright, boozy sparkle that feels like the crunch of cassonade on a crème brulée. The brown-gold depth this creates is not a million miles away from the deep dried fruit, vodka and whiskey notes in Ambre Russe (Parfums d’Empire), minus the black tea and leather notes that take that great perfume in another direction entirely. Still, I think it’s remarkable that both Baume du Doge and Ambre Russe manage to smell quietly but resolutely masculine, despite the presence of sugary, ‘edible’ notes.

The richness of the resin against the vegetal tartness of the vetiver and cedarwood smells absolutely right, as if the basic bones of this successful marriage already existed in the air, waiting for a perfumer with vision to come along and bring it all together. Unfortunately, Baume du Doge runs out of steam quickly, getting quite threadbare in the drydown, so those looking for that brilliant, rich orange peel incense and milk accord to be sustained throughout may be disappointed.

Myrrh Casati (Mona di Orio)  – Flat-Coke Myrrh

Myrrh Casati is something of a head-scratcher. The first Mona di Orio fragrance to be composed by someone other than Mona herself, following her tragic death in 2011, it is rendered in a style that seems to deliberately side-step any of Mona di Orio hallmarks. It lacks the almost overbearingly rich, dirty woodiness of Vanille and Oud, the dry-ice almond musks from Ambre and Musc, and the harsh animalism of Nuit Noire and Cuir. Without these little olfactory clues that tucked so deftly into the sleeves of her work, I am lost. Myrrh Casati could be the work of anyone.

If her other perfumes are rich tapestries, then Myrrh Casati is a silk gauze. It is beautiful but simple to the point of being spare. The opening is particularly striking. A dark, dry spice note fuses with a warm, cinnamon-tinted Siam benzoin and sharp black pepper to form the exciting specter of tarry Coca-Cola. There is also an arresting black rubber tint to proceedings, prompted by saffron or the myrrh itself (which can sometimes smell like rubber or latex). But this opening salvo of richness or darkness quickly attenuates. Within minutes, all that remains on the skin is a vague glaze of something spicy and something minty-licoricey, loosely held together by the benzoin.

Eau d’Iparie (L’Occitane)Mossy Myrrh   

Apart from a honeyed, fruity (almost berried) topnote not present in the original, the reissue of Eau d’Iparie remains mostly the same as before – a very natural-smelling, balsamic myrrh fragrance that sets the myrrh in an outdoors context rather than in the typically dark, Gothic-churchy one.

The honeyed radiance of myrrh resin predominates at first, but soon, the scent shakes off this cozy mantle in favor of a flinty minerality, which smells to me very much like water running over moss-covered stones in a stream. With its unpretentious, earthy demeanor, Eau d’Iparie is the type of non-perfumey perfume that smells good to people for whom fragrance is a secondary ‘grooming’ thing rather than a full-on obsession.

Photo by Rodion Kutsaev on Unsplash

Avicenna Myrrha Mystica (Annette Neuffer) – Sunlit Myrrh  

America has Mandy Aftel,  Australia has Teone Reinthal, and Europe has Annette Neuffer. I’m not sure why Annette doesn’t get the kind of attention that the other natural or indie perfumers do, but I suspect it has less to do with her natural talent than with her reluctance (as with many indie perfumers) to engage with the quid pro quo sleaze involved in the social media marketing and self-promotion that these days goes hand in hand with making and selling perfume.

If you want to see what Annette Neuffer can do, though, I beg you to try something like Avicenna Myrrha Mystica. She has a way of turning this rubbery, dense, semi-bitter resin into pure ether. Applying a balmy orange peel note to make the dusty myrrh bright and juicy, and surrounding the resin with a puffer jacket of velvety cocoa powder for comfort and depth, Neuffer feeds us a myrrh that’s been massaged into its most agreeable shape yet.

Mid-section, it develops a wonderfully damp (almost soggy) cardboard sweetness that reminds me a lot of Cocoa Tuberose by Providence Perfumery, and in fact, both scents share a soft, smudgy feel that is as sexy and endearing (to me) as the idea of Jeff Goldblum breathing on his spectacles to fog up the glass and clean them with the corner of his wooly sweater. Part cocoa powder, part flat Coca Cola, backlit with a dry hyraceum note that adds a faintly musky, funky quality to the myrrh.

But that orange peel persists, and that is what wins out in the end – a fresh, resinous orange (or perhaps a fresh, orange-tinted resin?). Either way, I find Avicenna Myrrha Mystica both utterly engrossing and a breeze to wear, and it is not often that you can say both things about myrrh, especially in an indie or all-natural take.       

Alien Essence Absolue (Thierry Mugler)Hubba Hubba Myrrh

Alien Essence Absolue is primarily a thick, rich floral vanilla but one in which a dollop of bitter myrrh has been placed to keep things in balance. It smells like bitter almonds, marzipan, and papery tobacco, all folded into a thick vanilla and jasmine custard. When applied lightly or dabbed on, the cool, minty anise of the myrrh emerges, backlighting the warm ambery vanilla. The jasmine is so creamy and rich it almost takes on a coconut edge, briefly summoning up the feel of a tropical gardenia. As an aside, the bottle is shaped like a butt. And who doesn’t have shelf space for something shaped like a butt, I ask you sincerely?

Messe de Minuit (Etro)Sepulchral Myrrh 

I’d always been puzzled when people would describe Messe de Minuit as a gloomy fragrance, because until about a year ago, the only version with which I was familiar was the modern one, which has been cleaned (and brightened) up so much that none of the original descriptions of the scent made any sense. The latest version of Messe de Minuit smells like a gloomy Italian cathedral with the flood lights suddenly turned on and the doors thrown open to let the fresh air in. It is an incredibly cheerful smell – bitter orange peel and mixed with the lime-peel and pine brightness of unlit frankincense.


The older version, of which I now own a bottle, is a different story. Though still not quite as nihilistic as the very first version, the reaction to which saw Etro scuttling back to the drawing board to ‘fix’ it, the dour, fungal dampness of myrrh mixed with a powdery, spicy benzoin produces an aroma that recalls with a startling degree of accuracy the scent of cold stone floors, mildewy papers, and  the slightly metallic, inert air of a closed-up sacristy. The chill of the myrrh is eventually warmed a little by the golden labdanum lolling around in the basenotes, but the scent never truly shakes off its central character of cold, dusty, ancient stone.

Though I understand why not everyone wants to wear the smell of rising damp on a sacristy wall (carrying with it the unsettling suggestion of neglect), you have to give Messe de Minuit credit for making its wearer feel like they’ve been plunged into a particularly dark Goya painting, and I am thinking here of the one where Saturn is devouring his own son.   

Photo by Jordan Nix on Unsplash

Myrrhe et Délires (Guerlain)Macaron Myrrh

As I inch closer to collection completion (or the end of my ‘scent journey’), I have had to get very tough with my Guerlains. L’Heure Bleue, for example, doesn’t make it into my final edit (I’ll finish the small vintage parfum I have, as it is delightfully trashy and rich compared to the candied floral that is the current EdP), and, much as I enjoy wearing them from time to time, neither does Chamade, Tonka Impérial, Cuir Beluga, or the much vaunted Après L’Ondée. These are not the essential Guerlains for me.

Testing Myrrhe et Délires under such conditions reveals my lines in the sand. A few years ago, I would have forgiven this scent its flaccid body for its charming violety-irisy topnotes, which smell like those lilac-colored macarons in the window of Ladurée, or what I imagine the pastry scenes in Sofia Coppola’s Marie Antoinette must have smelled like – all spun sugar, candied violets, and sugar paste roses. If I had tested this during my violet phase, fuhgeddaboudit. Would have sold my soul, probably.


But honestly, from where I’m sitting now, Myrrhe et Délires just doesn’t make the cut. Full marks, though, for rendering the bullish myrrh – a material whose darkish, mushroom-water tonalities usually drown delicate floral notes like candied violet – into a lace doiley’s worth of frothy anise and soft bready notes. Taken together, Myrrhe et Délires smells like Chowder’s violets and those soft black licorice rolls so mild that you could thumb them into the mouths of babies. But with great age comes wisdom; I can tell you that Guerlain’s own Black Perfecto is a much punchier, more emphatic spin on the same idea.

fallintostars (Strangelove NYC)Oudy Myrrh

Review here. What I smell in fallintostars is really an act in three parts: Hindi oud, followed by champagne-and-vodka amber, and finally a huge honking myrrh not listed anywhere. Of course, it is entirely possible that Christophe has managed to work the inky, astringent tones of saffron and hina attar (henna) with his feverish fingers into the shape of a rubbery, mushroomy myrrh. It is also possible that it is just myrrh.

Bois d’Argent (Dior Privée)Woody Myrrh

Aptly named, Bois d’Argent is a creamy, smoky woods scent with a streak of silvery iris running through it. The iris is here only to cut through the heaviness of the other notes – a lump of levain mixed into a heavy bread dough – so most of its lovely grey rootiness or butter tones are lost in the fray. However, without the soulful lift of the iris note, I think this composition would be a heavy, sodden mess – a dense genoise rather than angel food.

Bois d’Argent is primarily a sticky myrrh scent to my nose. Myrrh is a tricky material to work with in a perfume. Myrrh oil can be very bitter, mushroomy, and ‘black’ in its favor profile, although I suspect that the perfumers went more for the myrrh resin smell here, which is earthier, woodier, and sweeter than the oil itself, which can smell very rubbery.

As in similar fragrances such as Bois d’Iris (The Different Company) and Myrrhe Ardente (Annick Goutal), the myrrh in Bois d’Argent is paired with a sweet honey and vanilla pairing designed to tone down the bitterness of the oil, and a polished woods basenote to play up the smokier notes of the resin. There is also a faintly licorice-like note here, a note frequently matched to the anisic qualities of myrrh oil.

There is a crystalline texture to Bois d’Argent that I also note in Myrrhe Ardente, like crunching on honey candies, the small ones you sometimes get with coffee in Italian bars – they look and taste sweetly creamy, but quickly explode into shards when you crunch down on them. And, as with the candies in question, myrrh, when this sweetened, has the tendency to cloy.

For this reason, I find Bois d’Argent striking but ultimately exhausting to wear. The silvery iris and woods opening is beautiful, but the sweet vanilla in the base is far too syrupy, and the myrrh just continues droning on in its monogrammed monologue for hours on end, like the dinner guest who has zero self-awareness and thinks that we will all be as fascinated by his role in corporate finance as he is. The same complaint applies to Bois d’Iris and Myrrhe Ardente. There are times when these fragrances work on me, but inevitably, something in them eventually clogs up my airways and wears on my spirit.

Photo by Ruth Enyedi on Unsplash

Ilang Ilan (Mellifluence)Tropical Myrrh

Ilang Ilan bursts open with a pungent ylang note, vibrating at an especially evil level of banana-and-petroleum fruitiness inherent to the material. But almost immediately, this is counterparted by the chewy licorice snap of myrrh, whose dark, anisic saltiness stuffs a cloth in the shouty mouth of that exuberant ylang, telling it to calm the f&*k down. For a while, this is so good that you wonder why ylang is ever paired with anything else other than an equally pugnacious myrrh.

Alas, it is an all too brief display of force. In the drydown, the ylang departs, leaving only the mineralic, mushroomy facets of the myrrh to dominate. It smells like water you’ve soaked ceps in. For myrrh fanatics, this might be a boon. For the ylang enthusiasts, this will feel like bait-and-switch of the worst kind.

However, Ilang Ilan is worth at least a sample, especially if you’re into the excitement of an action-packed opening. The leather, the rubber, the fuel, the licorice…whoever said that tropical florals are not for men just haven’t tried the right ones. There is no creamy, trembling banana custard here, and certainly no tropical leis draped on Gaugin-esque island beauties. Instead, this is ylang with the sinister shadow of myrrh standing over it, dagger in hand.

1000 Kisses (Lush)Marmalade Myrrh

For once, Lush’s strategy of unceremoniously dumping a vat load of bolshy, untrimmed raw materials into a scent and letting them all duke it out actually works. The osmanthus takes the form of a cooked apricot jam spiced heavily with almond essence and cinnamon, making me think of boozy Christmas fruitcakes slathered in apricot jam and carefully wrapped in a layer of rolled-out marzipan. But if there is cooked citrus jam, then there is also something nicely fresh here, in the form of that metallic, juicy brightness that stains your fingers for hours after you’ve peeled a mandarin.

These layers of both juicy and jammy citrus interact with the dusty but headily spiced myrrh to accentuate the Coca Cola-ish aspects of the resin, complete with its dark ‘crunchy’ sweetness and joyful, nose-tickling fizz. If I could spread 1000 Kisses on a slice of toasted panettone, I totally would. A uniquely cheerful take on myrrh.

Myrrh & Tonka (Jo Malone)Mass Market Myrrh

A stodgy almond Battenberg of a tonka bean cups a chewy licorice lace myrrh in its sweaty clasp, and they both drown in the disappointing chemical buzz that is the standard Jo Malone base. Pro: it is stronger than most Jo Malone scents and will last all day. Con: it is stronger than most Jo Malone scents and will last all day.

Photo by Zuzana on Unsplash

Thichila (Parfums Prissana)Plastic Balloon Myrrh

Sorry to be bossy, but I’m really going to have to insist you disregard any reviews you see for Thichila that make it out to be tremendously complex, floral, incensey, old school, or even chypre-ish – it’s really none of those things. Because Thichila is one of those perfumes that happens to be composed in an Eastern style and uses complex-smelling, exotic naturals, many people – mostly Westerners – may mistake its complexity for a matter of construction. As a matter of fact, Thichila is simply one big bridge built between two massively complex materials – a natural Thai oud oil and a big, rustic myrrh. These two monoliths happen, in this case, to share a peculiarly rubbery-rooty-oily-anisic character that makes it difficult to tell where one ends and the other takes over. I find Thichila fascinating precisely because of this.

The Thai oud smells charmingly like the inside of a party balloon or a bouncy castle – plasticky, rubbery, with the far-off twang of trampled fairground straw and sticky, jammy-fruity children’s handprints. It reminds me very much of one of FeelOud’s more unusual-smelling oud oils, whose name I can’t recall right now, but which smelled like the air that escapes from plastic lunchboxes that you’re opening for the first time in three months when the new term is starting.

At some point, the sweet, plasticky rubber tube of oud rolls into the scent of myrrh – gloomy and rubbery, but also sweet and crunchy, like giant golden sugar crystals dipped in anise and spread in a hard, glittery paste across your skin. I think Thichila is, on balance, a great perfume, but fair warning – you have to love this particular style of oud oil and this particular sort of myrrh for it to be a success for you. A very specific perfume, therefore, for a very specific taste.

Sutera Ungu (Agar Aura)Myrrhic Oud

Some oud oils are so complex that they can display notes such as mint, white flowers, honey, and ambergris without actually containing a speck of these materials. In oud cannon, it is usually Chinese oud oils that are known to feature notes of myrrh, but this is a great example of a myrrhic oud oil that actually comes from one of my favorite oud terroirs, which is Malaysia.

Distilled from wood from the Terengganu region of Malaysia, Sutera Ungu displays both characteristics from the fruity Crassna and the typical Malaysian structure. Cutting past all the gobbledygook, what this means is that there is a complex series of shifts from top to bottom, often separating into two layers – smoke on top, and fruity leather beneath. Agarwood from the Terengganu region is said to be particularly perfumey and rich, a theory borne out by this oil.

Immediately, I can smell smoke and fruited wood, backed by a smoky incense quality. Once the saturnine drama of the opening settles a bit, it is possible to discern subtle little gradients of color and tone. There are waves of freshly-stripped bark, clear furniture polish, green apple skin, and fermenting dried fruit, all dispersed within a boozy vapor akin to dried fruits soaking in brandy for Christmas pudding. You get all this and more, filtered through a haze of incense smoke.

As pure oud oils go, this is perfumey in the way of an older Chanel extrait, and I am thinking of vintage Coco Parfum in particular here (something about the rich fruits in brandy feel). In the heart, the smoke parts to reveal an earthy myrrh note, old wooden chests, and, darting through the darkness, the reddish iodine snap of pure saffron threads soaked in oil. None of these materials exist in Sutera Ungu as notes, you understand – just their nuance.  

But the show is not over just yet. In a whiplash move, the oil circles back on itself to the dry, incensey woodsmoke that greeted the nose in the topnotes. Sutera Ungu is a rich, complex, and thoroughly enjoyable Malaysian oil experience from top to bottom. It is both an oud oil and a proper perfume in its own right. I highly recommend Agar Aura oils to beginners because they are exceptionally smooth, light-to-medium weight in terms of darkness and possessed of a depth of flavor that does not sacrifice legibility.   

L’Eau Trois (Diptyque)Piney Myrrh

Most of the older Diptyques smell like ancient medicinal salves made out of crushing various barks, spices, and unguents down into a fiery yellow paste and applied to an open wound (Eau Lente, L’ Eau). L’ Eau Trois flips the trope a little, taking it outside to the sunburnt hillsides of Greece or Southern France where the healer combs up tufts of wild rosemary, pine needles, and mastic from the maquis, and uses his cocaine fingernail to dig out sticky yellow globules of myrrh and pine sap from ancient, shrubby trees bent over with age and wind, before singeing it all over a fire so that greenery takes on a burnt, bitter flavor, and mashing it all down to a paste in a pestle and mortar.

Smoky, wild, and herbaceous, L’Eau Trois this is myrrh at its most confrontational. It smells of incense, yes, but also of bitter greenery that will either kill you or cure you if ingested. Less like a perfume than something born of the bowels of the earth.    

Photo by davide ragusa on Unsplash

Balsamo della Mecca (Abdes Salaam Attar)Sanctifying Myrrh

Two versions of this scent exist – an eau de parfum and an attar. Here I discuss the attar, which, to my nose, is distinguished by its use of myrrh.

Although the crepuscular darkness of the resins is essentially the same from eau de parfum to attar, Balsamo della Mecca attar has a very different texture and therefore a completely different feel. Whereas the original is so dry that it threatens to ignite on the skin at any moment, the attar is a concentrated tar, like molasses seeping from a rusty pipe. Dense, sticky fir balsam, myrrh, frankincense, cade, and who knows what else, all boiled down to a medicinal salve one might rub onto an infection. Despite its opacity, it feels purifying.

The labdanum is downplayed in the attar, allowing the rubbery, fungal saltiness of myrrh to take the spotlight. By corollary, the eau de parfum is dustier and sweeter, thick with labdanum. Given its greater diffusiveness, the eau de parfum has a spiritual, if not ecclesiastical, feel; the attar, on the other hand, feels gothic and a little bit sinister. Put it this way –  I would wear the eau de parfum to Midnight Mass, and the attar to an exorcism.  

Little Egypt (BPAL) Honeyed Myrrh

Little Egypt is a bright, resinous honey scent with a sharp green calamus note running through it to keep things fresh. All the honeyed, sticky sweetness of myrrh has been drawn out and emphasized in this scent, but none of its anisic or earthy-mushroomy nuances. This makes for a very sweet blend indeed, but the inherent smokiness of myrrh resin, plus that crisp calamus note, does a good job of holding back the syrup. Myrrh fanatics may want to hunt this one down.

Photo by Ivan Aleksic on Unsplash

La Myrrhe (Serge Lutens)Elegant Myrrh

Pairing the fatty, soapy aspect of myrrh with a spray of fatty, soapy aldehydes is genius because, like any solid marriage, they compensate for each other’s failings. The fizzy aldehydes lift the heavy resin up into space, exploding it into stardust, while the bitter, rubbery characteristics of myrrh add depth and drama to the lower register of aldehydes, lending it a rooty, sub-woofer substance just as the champagne bubbles begin to fade away. In the base, a creamy jasmine and sandalwood turn up to mitigate the ‘rubber ball’ astringency of the myrrh, essentially taking over the reins from the sweet, effervescent aldehydes.   

Because the aldehydes in La Myrrhe smells very much like the kind used in Chanel No. 5 (fatty, soapy, waxy, slightly rosy), many people find it to resemble No. 5, though to my nose, it smells rather like Chanel No. 22 with its Fanta-and-incense-on-steroids mien – with one key difference. La Myrrhe has a lurid almond-cherry-ade aspect to it that reminds me of Cherry Coke, rather than Fanta. Picture a single candied cherry lifted from a jar of (cough) syrup and dropped into a bag of pure white soap powder, causing the powder to explode outwards and upwards like a cluster bomb.

La Myrrhe is a sensational myrrh fragrance, and unfortunately hard to find these days unless you live in Europe and can order direct from les Salons du Palais Royal in Paris. It is worth the effort and expense, though, especially, if you prefer the gauzier, more light-filled creations of Serge Lutens over the stickier, fruitcake-and-incense ones, like Arabie, Fumerie Turque et al. With the anisic, rubbery bitterness of the resin perfectly juxtaposed against the sweet, frothy soapiness of aldehydes, La Myrrhe will appeal enormously to lovers of Douce Amère, Chanel No. 5 Eau Première, Chanel No. 22, Guerlain Vega, Rêve d’Ossian by Oriza L. Legrand, and Miriam by Tableau de Parfums (Tauer).  

Mirra (Acqua di Parma)Ambroxan Myrrh

Myrrh my ass. This is Acqua di Parma halfway down the slide from its once glorious position at the top of classic Italian heritage to the mosh pit of bro-pandering the brand is currently strutting around in. A flurry of citrus and herbs in the opening 0.02 seconds of Mirra convinces me that nothing is unforgivable and maybe the brand can claw its way back, but this is quickly drowned in that unnatural concoction that greets me in so many of the ‘perfumes for the modern man’ these days – a vile and droning medley of synthetically radiant Ambroxan or Iso E Super drowned in enough ambery syrup to fell a horse at ten paces.

It depresses me that the bones of Sauvage are everywhere, lurking in even the oldest, most heritage-y of heritage brands, waiting to pop out at me. For all that Luca Turin lauds Italian perfumery as being where it’s at these days, most young passers-by – women and men, professional or preppy – that I smell in Rome smell like this rather than of invigorating lemons of Santa Maria Novella or something cool by Antonio Alessandria.

For me, Mirra is nothing more than sweet, sugared woods inflated with enough Ambroxan to send a thousand chemical ice picks aimed at my head, but for anyone not as sensitized to these woody alcohols, it probably comes across as something gorgeously fresh, clean, and well, radiant. I can see the appeal of stuff like this for those who do not pick up on the awful grimness of those modern aromachemicals. But I feel personally attacked by Mirra and the 967 other modern masculines that smell virtually identical.

Iranzol (Bruno Acampora)Anachronistic Myrrh

Iranzol is a perfectly-preserved time capsule of a time in perfumery when perfumers were free to use the stinkiest of floral absolutes, plant oils, and resins in their perfumes. Iranzol smells like the seventies, which makes perfect sense because it was launched in the seventies. What is extraordinary is that the formula seems to have remained unchanged since then; this is the perfume in its original form. In a day and age when brands reformulate every few years to keep up with IFRA recommendations, it is a small wonder that something like Iranzol can and does still exist.

The opening is as damply mushroomy as Acampora’s own Musc, brimming with wet soil, freshly-cut mushrooms, raw patchouli oil, and possibly some salty Italian kitchen herbs, like dried lavender and fennel root. There is definitely myrrh in the blend somewhere, helping those wet earth notes along.

Clove is also suspected, because there is an accord here that is half-claggy, half-dusty, like the sour, unwashed smell of sheets folded away while still damp. This accord is both medicinal (clean) and animalic (unwashed, dusty, stale), which, although not entirely pleasant to my nose, is effective at creating an atmosphere of gloomy, faded grandeur. One imagines a dusty chaise longue in an abandoned mansion by the sea somewhere.

The drydown diverges from the central accords found in Musc by finishing up in a dry amber and sandalwood base. It retains, as most of Acampora’s oils do, that brusque connection to the earthier, more aromatic smells of the seventies, when men wore either Jovan Musk or barbershop fougères and shaved with proper soap. In other words, the sandalwood is dry and astringent, and the amber vegetal. No cream, sugar, or butter anywhere in sight. You might have to adjust your television set when attempting Iranzol for the first time – it is neither modern nor easy. It is an anachronism, an earthy scent for those who like the pungent, untouched smells of nature and their fellow human beings.

Sirocco (Solstice Scents)Caveman Myrrh

First, a sunburst of saffron, its astringent aroma redolent of hay, leather, and iodine. This quickly gives way to the mitti, which smells of wet soil rather than the dry earth of true Indian mitti. Last to emerge is the rubbery, mushroomy myrrh, which smells like the plain essential oil one picks up at the health store, i.e., bitter, saline, and musty. The myrrh dominates the scent completely; once it pops its head around the door, it is here for breakfast, lunch, and dinner. 

In short, don’t trust the scent description given by the company – Sirocco is not the hot, dry ‘desert’ scent billed in the description, but instead, given the prominent role of the myrrh, the fungal scent of caves. If you like the wet, sepulchral side of myrrh, and earthy, medicinal smells in general, then you will love Sirocco. If you are specifically looking for dry heat, deserts, and sand, look elsewhere.

Photo by Jarritos Mexican Soda on Unsplash

Myrrhe Ardente (Annick Goutal)Root Beer Myrrh

A dry spackle of resin at first, golden, crunchy, and slightly herbal – austere enough to wear to the bank – that becomes steadily stickier and gummier with a heavy pour of tonka, amber, and honey. When I wear this, I can almost feel the myrrh crystallizing in huge chunks on my arm, thick enough to smash out into a resinous paste.

There is also a nigh-on-bitter smack of cherry cough syrup floating against something medicinally creamy, which is essentially what Americans know as the ‘root beer float’ flavor – this is a pronounced characteristic of myrrh that comes out to play a lot anywhere there is amber or vanilla.

I would place this in the same group as Myrrhiad, i.e., a dry-creamy myrrh amber thickened up with lots of licorice-scented vanilla in the background, designed to soothe and cosset rather than excite. I sold my bottle a long time ago, however, once I began to perceive a piercing woody aromachemical note that ran rampant all over the scent’s original ‘weighted blanket’ premise.     

Cashmiri Black (Agarscents Bazaar)Coca Cola Myrrh

Cashmiri Black is a wonderfully odd mukhallat that nudges Agarscents Bazaar out of its comfort zone of Indian-style musks and ambers, and into a slightly more ‘niche’ perfume area. The blend opens with an accord that smells like salted buckwheat honey or molasses smeared over pieces of hardcore Scandinavian licorice, shot through with plumes of sooty fireside smoke. Black pepper, oily and pungent, explodes all over, recalling several modern Comme des Garcons efforts such as Black Pepper and Black.

A firecracker dose of saffron soon joins the fray, streaking across the dark canvas created by a fusion of tarry, resinous myrrh, creating an effect that is half Idole (Lubin) and half Nesquik-y Darbar attar. There is a faintly fizzy Coca Cola effect providing lift in the background. Thanks to the myrrh, the texture is chewy and medicinal, with a hard-boiled, anisic blackness. It is smoky and cocoa-dry, but this syrupy facet lends a nice textural counterpoint.

Cashmiri grows drier and smokier as time wends on, finishing up the ride as a tinder-box mixture of fiery cedarwood, myrrh, powdery (chocolate) musk, malty licorice, and charred woods. Cashmiri Black is an excellent alternative to expensive Arabian style niche smoke-and-resin bombs such as Black Afgano or Black Gemstone.

Photo by Raspopova Marina on Unsplash

Parfum Sacre (Caron)Cashmere Myrrh

Parfum Sacre is one of those perfumes that I find hard to write about because it hooked me early, at a tender time of my life when I needed a Big Perfume Love, and therefore is utterly resistant to any attempt at objective analysis.

If pushed, I would say it smells like an ancient carved sandalwood chest filled to the brim with myrrh resin reduced to a fine golden powder and tender pink curlicues of rose soap loving carved off a block of Camay with a pocketknife. It smells full and soft, like cashmere, but studded with little kitten licks of black pepper and lemon that trickle the back of the throat.

The myrrh is fuzzy and warm, especially in the round-bellied vintage eau de parfum, where only its muted fatty-soapy-waxy facets have been coaxed out. In the modern eau de parfum, the myrrh smells sharper, more astringent, and woodier, thanks to the vigorous dosing of black pepper to compensate for the lower quality of sandalwood. Best of all, perhaps, is the salty, golden radiance sent in by natural ambergris to lift the myrrh and woods in the now discontinued Parfum.

But even the thin, reedy version of Parfum Sacre available to buy today possesses that gently pepper, rosy, soapy quality that says ‘Mother’ to me. It therefore continues to be one of my Big, Albeit Incoherently Described Perfume Loves.

Myrrhe Impériale (Armani Privé)Obnoxiously Loud Myrrh

Yes, Myrrhe Impériale is impressively loud and rich and voluminous. But once you get past the clattering noise of the opening – oiled galoshes, radiating resin, treacly licorice – you realize that it is not much more than a powerful fruitcake amber dressed up with so much Amber Xtreme or Norlimbanol that even a knuckle daub’s worth is unbearable. It is like a large, expensively dressed man whose braying laugh and physical volume seems to swell to fill the entire room, impregnating all the available air pockets until you feel you will still be able to hear/smell/taste him from two countries away. These niche behemoths are designed to be impress you at ten paces, steam-rolling over any distinguishing features other than its own powerful, magnetic radiance. An olfactory Charles Atlas. Meh.    

Sources of Samples/Bottles: All reviews above are based on samples, decants, or full bottles that I have purchased with my own money, swapped for with friends, or tested in store. My blog is not monetized, I make no money from my content, and if you want to quote me or a piece of my writing, go right ahead (just please credit me as the source). I am neither a shill nor an unpaid marketing arm of a brand, i.e., I do not accept free bottles or samples in return for a positive review. If I like something, or find something interesting, then I will write about it. You might not always like my opinions, but you may trust that they are mine and mine alone.     

Cover Image: Photo by Y S on Unsplash

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Fallintostars by Strangelove NYC: A Review

27th November 2019

Fallintostars by Strangelove NYC is clever because it pairs the 15th century smell of Hindi oud – the dank, rotting, wet wood smell of animal hides piled high in a medieval dungeon – with the 21st century radiance of a modern amber. For the first half hour, the dissonance is dizzying. The oud is so authentically filthy that I feel like I’m being pressed up against a wall by an lout with a shiv and bad intentions. It’s as funky as a plate of fruit and cheese furred over with mold, wrapped in a length of freshly-tanned leather, and buried in a pile of steaming, matted straw.

But just when you fear you’re slipping wholesale into slurry, you notice the bright, peppery overlay of something radiant and electric, like sparks popping off a shorted wire. This accord calls to mind the aromachemically fresh, smoky black tea opening of Russian Tea (Masque Milano Fragranze) more than the pink pepper the notes tell me this is likely to be. The distance between the light and the dark is perfectly judged. It’s more of a whoosh than a lift. It smells exciting – sexy even. I’m tempted to douse myself in it and force strange men to come sniff my neck, even though, technically, this hard, peppery smell is more masculine-leaning than otherwise.

But wait, because we haven’t really talked about the amber yet. Poor Christophe Laudamiel – I bet that after the category-defining glory that is Amber Absolute (Tom Ford) he’s afraid to touch labdanum for fear of either never reaching those heights again or being accused of repeating himself. But then again, this is Christophe Laudamiel we’re talking about – a man who, as I’ve said before, when confronted with a straight line instinctively starts to zig zag wildly across the page like a wild hoss. He seems to create restlessly in one forward motion, refusing to circle back to even his most hallowed of halls.

So, no, this is not the benzoin-thickened incense amber of Amber Absolute, but (unexpectedly) the bright, hard sparkle of a champagne-and-vodka amber in the style of pre-reform Ambre Russe (Parfum d’Empire). Like a shot of those clear gold liquors served in the Alps after dinner, I’m not sure which I want to do more – drink it or apply it to a wound. It smells…well, excuse my language, but fucking amazing. How does a perfumer get amber to smell as rich as leather but as transparent as jelly?

My nose fails me when it comes to the other notes. I don’t get any of the green, hay-like barnyardiness of narcissus (unless it’s giving the dirty straw notes in the Hindi oud some welly) or indeed any of the gentler, more jasmine-like nuances of the jonquil variety, and there’s nary a hint of rose. I don’t perceive the benzoin at all, which is strange because even if I can’t smell it, I can usually feel it thickening the texture of the basenotes into a flurry of papery dust.

What I smell in Fallintostars is really an act in three parts: Hindi oud, followed by champagne-and-vodka amber, and finally a huge honking myrrh not listed anywhere. Of course, it’s entirely possible that Christophe has managed to work the inky, astringent tones of saffron and hina attar (henna) with his feverish fingers into the shape of a rubbery, mushroomy myrrh. It’s also possible that it’s just myrrh.

Anyway, what I like about this perfume is that it transcends its raw materials to make you think about the way it is composed. The modern, near slavish adoration at the foot of complex-smelling naturals such as Hindi oud or rose or labdanum often results in muddy, brown-tinged accords that speak more to their own worthiness than to joy, especially in the indie sector. In Fallintostars, Christophe Laudamiel takes heavy hitters like Hindi oud and makes it smell like bottled fireflies. And that is alchemy, pure and simple.

Disclosure: A sample of Fallintostars was sent to me by Strangelove NYC for review. My opinions are my own.

Image by Alina Zakovyrko from Pixabay

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Papillon Artisan Perfumes Bengale Rouge

8th July 2019

 

I have an opiate opoponax problem. It started with an unexpected capitulation to the Red Hot charms of Eau Lente, segued into a sudden and slavish devotion to Jicky, and culminated in a shameful episode a few weeks ago, when I found myself outside a train station at 7.30 a.m. palming a wad of cash to a shady eBay guy for a brown paper bag containing two smeary half-bottles of Carthusia’s Ligea La Sirena.

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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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Zoologist Camel: A Review

17th October 2017

There’s a famous delicatessen in Milan by the name of Peck. Established in 1883, it’s a Mecca for food enthusiasts, its shelves stocked with the finest cured meats, cheeses, wines, and truffles of Italy. When I lived nearby, I would often take the train down to Milan at the weekend, and walk through the store, drinking in the unami-rich air. I remember in particular huge glass jars of mostarda – neon-colored orbs of fruit preserved in a clear mustard seed pickling juice. When the afternoon light caught them at the right angle, they glowed like the gaudiest of paste jewelry: emerald, yellow, and orange.

 

The guys behind the counter would goad me into taking a little with my prosciutto and salami snack, and they’d laugh as I gingerly nibbled at the edges, the virgin blandness of an Irish diet having ill-equipped me to deal with the gush of hot, sour, sweet, and savory flavors on my tongue. When I first tried Arabie by Serge Lutens, its dried fruits over a sour asafetida base reminded me immediately of my trips to Peck. But although the association charmed me, Arabie proved too syrup-saturated for regular wear, so I passed it by.

 

I’ll admit that when I read the notes for Zoologist Camel, I thought we were looking at a re-tread of Arabie. But while the dried fruits and dates in the topnotes give a rush of sweetness, Camel is far more sour and savory than it is sweet, and thus reminds me more authentically of Peck and its mostarda than does Arabie.

 

I think that Victor Wong, as a creative director, is not afraid of a little earthy sourness in the perfumes he commissions. In a sea of sweet niche releases designed to appeal to a mass sweet tooth, he doesn’t mind going sugar-free every now and then. And I like that about him.

 

Perhaps his bravery with salty-savory flavors comes from an inherent love of unami or the sweet-salty-sour balance in Chinese culinary tradition. I will always remember Victor’s review of M/ Mink for his blog, Sillyage, where he discusses the link between M/Mink’s bleachy opening notes and the smell of Chinese calligraphy ink and dried shellfish. It was the first review of M/Mink that ever made sense to me, because he was able to place it in the context of non-traditionally perfumey things like salt, iodine, and fish. Through his words, I came to understand and finally love that perfume.

 

Camel has a streak of kimchi running through the dried fruit, amber, and orange blossom, which stops the perfume from tipping into a syrupy cliché of Arabian perfumery. Forget the ad copy about deserts and camels. There is a brief hit of booze, dried fruit, and rose up front, but the frankincense here is limey and tart, and there’s a layer of sealing wax over everything to mute the fervent glow of the fruit. It is rich, but astringent, like a vin jaune from the Alps.

 

The sourness is given an extra boost in its rather classically French (or so it seems to me) heart of civety jasmine over a pillow of powdery musks. The jasmine is greenish and as fizzy as a vitamin tablet dropped into a glass of water, later developing the leathery profile of sambac jasmine. There is something here that resembles the moist skin under a wristwatch after a long day in the sun. The griminess of the jasmine stands shoulder to shoulder with its gritty, soapy cleanliness, giving the perfume an almost aldehydic buzz.

 

This tart, soapy, tightly-woven stage of Camel makes me think that Malle’s Superstitious (2016) must indeed have been quite influential on the perfumery scene. There are clear parallels between the Malle and Camel, especially in the acidulated jasmine, the slight raunchiness (without warmth), and its general angularity. Jardin d’Ombre by Ormonde Jayne, which came out in October 2016, the same month as Superstitious, also strikes me as a variation on the theme. In all three perfumes, one might read the notes and think “warmth” or “sweetness”, but the actual scent in each case is of the opposite of lush: astringent, cool-blooded, and definitely more French than oriental in tone.

 

I admire Superstitious greatly but prefer to gaze upon it from a distance, like watching Joan Crawford rehearse from the safety of a locked wardrobe. Camel, with its pert charm, has fewer pretensions to greatness and is therefore much more approachable. Despite the orientalism of its composition and ad copy, Camel avoids every cliché inherent to the genre, particularly the cheap rosy feel of most modern oriental releases. Its soapy (but dirty) jasmine, musk, and civet combo imbues what might otherwise have been a heavy “souk” amber with weightlessness, as well as a certain French je ne sais quoi.

 

As long as you’re ok with a little salty-sour funk, Camel might be the modern twist on an oriental you’re missing in your collection. Camel is predominantly French in character, but there is perhaps also something a little Chinese or even Peck-ian in its balance between sweet, sour, salty, bitter, and unami.

 

Notes: dried fruits, frankincense, palm date, rose, amber, cedar, cinnamon, incense, jasmine, myrrh, orange blossom, civet, musk, sandalwood, oud, tonka, vanilla, vetiver

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Areej Le Doré: Translating Attar Perfumery into Extrait Form

13th May 2017

Guys, if you want to smell something truly great, then buy the Areej Le Doré sample set. Costing $40 for samples of three beautiful perfumes that contain real oud oil, santalum album sandalwood, and genuine deer musk, it’s a small price to have your mind blown and eyes opened as to what can be achieved when superlative raw materials meet a talent for composition.

 

Fear not: Areej le Doré is not one of those brands set up in the West to take advantage of the current fashion for haute-luxe Arabian perfumery. It is, in fact, a natural extension of FeelOud, an outfit based in the Far East that has been artisan-distilling wild oud oils for several years now. Led by Russian Adam, a name that will be familiar to real oud oil fans all over the world, FeelOud focuses on producing quite wild, almost feral-smelling oud oils in the old school manner, with little concession made to  who take their oud oil smooth and with a bit of sugar.

 

FeelOud recently diversified into the area of sandalwood oil, recently producing a superb santalum album oil distilled from the buried rootstock of old santalum album trees (long since felled and harvested), the age of which is estimated to be between 80 and 100 years old. The resulting oil, called Sandal 100k, sold out in 24 hours when it was put up on the FeelOud site. It’s beautiful; I give a description of it further on.

 

First, a bit of background on this mysterious-sounding Russian Adam chap. I’ve been sampling Adam’s wares for quite a few years now, at first buying from his Book of Oud store when he was still based in the UK, and then testing a wide cross-section of oud oils produced by FeelOud, which he set up when he moved to the Far East to be an artisan oud distiller.

 

In his trajectory, Adam is following in the footsteps of people like Taha Syed of Agar Aura and Ensar of Ensar Oud, both of whom also relocated from comfortable, middle-class environments in the West (Canada and America, respectively) to the steamy, flea-ridden jungles of the Far East so they could distill wild oud oil on the ground. It’s the only way to do it if you want to ensure a good result, but by all accounts, it is an often times hard life, fraught with frustration and danger. I don’t envy these oud artisans, but I sure as hell respect them for what they do.

 

But now, onto Areej Le Doré. The name itself appears to be a blending of the Arabic name for a girl, Areej, which means “the fragrance from under an orange tree”, and the French phrase for “the golden one”. The ethos behind the brand is to create fragrances that are luxurious explorations of the raw materials with which Adam frequently comes into contact as an artisan. In terms of business strategy, there is a clear evolution here from distilling raw materials (oud and sandalwood) to developing value-added products that blend the raw materials in a complex, abstract composition.

 

And having tested all three perfumes extensively over the last few weeks, I can tell you that these are not some ham-fisted throwing together of a few essential oils – there is evidently a real skill for composition at work here. Each of the perfumes feel “finished” and refined to a high technical degree. In fact, in terms of overall positioning, I would place Areej Le Doré perfumes alongside the first three perfumes by Parfums Dusita, perfumes that are similarly priced and beautifully blended to the same high polish. Dusita is phenomenally successful, and deservedly so: now I wish the same sort of brand trajectory for Areej Le Doré.

 

The Areej Le Doré fragrances are as follows: Siberian Musk, Ottoman Empire, and Oud Zen. They are all technically extraits de parfum, but I would define them more as rich, dense attars translated to spray form through the addition of some indentured alcohol. Also thinning out the attar format are hydrosols distilled by Russian Adam himself – a hydrosol being the water left over after hydro-distillation of some fragrant material like rose or oud wood, and after the essential oils have been separated from the distilling water. After having been passed several times through the fragrant material, the hydrosol is itself highly fragrant and useful in perfumery.

 

Siberian Musk is the one I tried first, and it resulted in the sort of jaw-dropping-to-the-floor awe that happens very rarely in the life of this particular perfume writer. After a bright citrus and pine start, the scent settles quickly into a full-fat, clotted-cream musk redolent of rosy beeswax, apricots, orange blossom, and the salty intimacy of a post-coital embrace.

 

The musk component manages to be seriously filthy but in a refined way, with a buttery floral purr that typifies a French sort of polish. I have smelled quite a few samples of genuine deer musk before, including a 20-year-old Himalayan musk so frighteningly feral that I thought a herd of sweaty goats had taken up residence in my nostrils. This is not that. The musk here is authentically sensual and animal-like, but it comes across as a creamy, rounded smell, not sharply urinous or sweaty. Texture-wise, it has the silky density of yellow fat skimmed off the top of raw milk. Think Muscs Khoublai Khan crossed with the decaying roses and adiposal wax of Rose de Nuit, backlit by the subtle glow of resin, orange blossom, and citrus peel. The contrast between the fresh notes and the fatty, un-fresh musk is perfectly pitched.

 

As the scent progresses, the musk deepens and smolders, like a Persian cat stretching in the sun. Sultan Pasha once described the smell of deer musk to me as saccharine sweet, almost cloying, a smell that clings to the hairs of your nostrils for hours after you’ve smelled it. I sense the same clinging depth of the musk here, and there is a faintly sugared quality to the florals that help the impression along. But it is never cloying (and I agree with Sultan that some deer musks – depending on their geographical provenance, age, and level of heat used during the tincturing process – can be almost claustrophobically sweet).

 

Let me be clear: the musk used here is genuine deer musk, a raw material never used in commercial perfumery these days. Apart from the various legal and ethical concerns, there is the problem of sourcing the darned stuff: perhaps 99% of all deer musk goes straight into the hungry gaping hole that is Chinese medicine, with the remaining 1% trickling down as crumbs to the poor man’s table of perfumery. In terms of perfumery, therefore, only small-batch, artisanal attar makers and perfumers can viably access and use real deer musk. Furthermore, within the artisan attar making community itself, only a few are open about their use of the material.

 

I am writing an article about the issue of musk, which will be published later on this year, but for the moment I will say that Adam’s use of Siberian deer musk here is both ethically and legally fine, because it comes from legal hunting in Siberia, sanctioned and controlled by the Russian Government through seasonal licenses and hunting lotteries. Every part of the deer is used – the meat, the hooves, the skin, everything – and the hunting helps support the incomes of local hunting families.

 

In other words, don’t be afraid that by buying this perfume you might be contributing to illegal hunting or unethical trading practices. Yes, the musk deer still dies to give up his musk – but he is not dying specifically because of the perfume sector. (You might want to start asking the Chinese medical sector some hard questions, though.)

 

The second perfume, Ottoman Empire, is also stunning, but in a different way. Although I suppose technically it is a rose-oud, containing as it does real Assam oud oil and expensive rose absolutes from Afghanistan, India, and Bulgaria, it does not really come across as a typical rose-oud. Instead, it reads more as a buttery rose chypre with a dark, mossy drydown that reminds me of the hippy, retro floriental style of Neil Morris, especially his Rose of Kali, which is a rose slowly left to molder and wither in a damp church basement. In other words, there’s a fair bit of myrrh here. There is also the chocolate-rich dustiness of closed-up spaces and old books, which makes me think of the 70’s style of the original Norma Kamali perfume (not Incense, the namesake perfume itself).

 

The rose oils used in Ottoman Empire are beautiful, and display a wide range of nuances ranging from the fruity apricot hue of the Afghani rose to the sour earwax quality of the Bulgarian. In the context of the blend, the roses are largely subdued by the resins and oakmoss in the base, but their essentially rosy character burns brightly through the blend, like a heat lamp under layers of parchment.  The oakmoss used here, by the way, is real and unneutered: firstly, because it is Indian oakmoss (charila), a lacy oakmoss-like material covering trees in the forests of the Himalayas, and secondly, because, well, Adam is not based in Europe and doesn’t have to be IFRA-compliant.

 

In summary, then, Ottoman Empire is a waxy, mossy rose chypre crossed with souk perfumery (oud and spices) crossed again with a certain hippy, 1970’s style as espoused by certain American indie perfumers. If I’ve made that sound confusing, then don’t worry – the perfume makes perfect sense on the skin. Wear it and see for yourself.

 

The third and last perfume is Oud Zen. People who are a bit wary about the oud note need not worry; the Indian oud oil is authentic (and smells authentic) but it is not nearly as animalic or as feral as uncut Hindi oils can be, when worn neat on the skin. Instead, right from the start, the leathery, sourish smoke of the Indian oud is folded into sweet, smoky woods and vetiver that together smell rather like the saltwater taffy of labdanum. The Hindi oud oil is also moderated by the fresher, more sparkling aspects of a Papuan oud, a variety that often displays surprisingly hints of green tea, mango, and flowers.

 

The main impression is woody, smoky, and leathery, with the Hindi elements of fermentation slowly fading away in the heart, leaving a trail of cool, ashy woods. I suppose it is a traditionally masculine perfume, but I think any woman who wants to could certainly rock it.

 

Interestingly, just as I think the perfume has given up its last breath, it revives and puffs out its chest in a death display of feral honey, vetiver, and dry leather, a combination very much in the vein of Vero Profumo’s Onda Voile d’Extrait or the far reaches of vintage Habanita when the powdery florals have burned off. An extraordinary finish, and one that gets me spraying again and again, just to arrive at the same destination.

 

Lastly, a word about Sandal 100k, FeelOud’s first venture into sandalwood distilling. Sandal 100k was distilled by Russian Adam himself using wood from the buried roots of old santalum album trees that had long been harvested and cleared from land in Indonesia. Forgotten about, the rootstock of these noble old trees lay in the ground until the locals figured out there was precious oil in them there roots!

 

To make the oil, the roots of old trees, all aged around 100 years, are dug up, cleaned off, and left to dry out. Then the roots are broken down into small shards, and finally into a sawdust-type mixture which is put in the distilling pot. The wood was sent from Indonesia to Russian Adam in Thailand, which is where he distilled it himself.

 

To all extents and purposes, the root stock has the same value as heartwood from 100-year old santalum album trees: experts have determined that the age of the santalum album species chosen for distilling is more important to the aroma profile than where the tree actually grows. Therefore, while this oil is not Mysore because the tree (and its roots) was not harvested in the Mysore region of India, it is an incredible santalum album oil because of the age of the heartwood from which it was distilled.

 

Sandal 100k smells bright, greenish, and terpene-rich at the offset, with all the nutty, savory sourness characteristic of santalum album perched just behind it. The slight green bitterness dies back quickly, allowing the salty, buttery sides of the oil to emerge. For the first part of the ride, I’d place this oil in the aromatic, fresh category of santalum album, but as time goes on, the oil gathers force and bursts into full being as the perfect sandalwood – rich, nutty, creamy, salty-sweet, and almost meaty in terms of body. It’s absolutely beautiful, and I urge people to buy it when the second batch of oil is ready for sale. Since my personal ne-plus-ultra of sandalwood oil, Ensar’s 1984 Mysore, is no longer available, this is the next best thing.

Myrrh Oriental Review The Discard Pile

Mona di Orio Myrrh Casati

19th February 2016

Mona di Orio Myrrh Casati is somewhat of a disappointment. Mona’s style was always rich, thick, dirty, lush, and as dense as a brick wall – it’s what her fans loved about her. I don’t see her style in this perfume. Myrrh Casati is the first Mona di Orio fragrance to be composed by someone other than Mona herself, following her tragic death in 2011. And you can tell.

Myrrh Casati, while very nice and wearable, does not have any of the special Mona di Orio signatures that could be traced from one perfume to another like a vein on a lover’s arm. It lacks the almost overbearingly rich, dirty, creamy woodiness of Vanille and Oud, the dry-ice, almond-like musks from Ambre, Violette Fumee, and Musc, and the harsh animalism of Nuit Noire and Cuir. Without these little olfactory clues that she tucked so deftly into the sleeves of her work, I am lost. Myrrh Casati could be the work of anyone.

If her other perfumes are rich tapestries, then Myrrh Casati is a silk gauze. It is beautiful but simple to the point of being spare. The opening is particularly striking. A dark, dry spice note fuses with a warm, cinnamon-tinted Siam benzoin and sharp black pepper to form a gorgeous aroma of tarry coca-cola. There is also an arresting black rubber feel to the opening, arising from the use of saffron, or perhaps plain old saffraleine, and it is a smooth complement to the licorice.

But any opening richness or darkness quickly attenuates. Within minutes, I am left with a rather bare bones resin scent with a faint but noticeable minty smoke note from either the myrrh or the licorice. I’m a myrrh lover and a big Mona di Orio fan, but this one leaves me wanting more.

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