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Oud Taiwan by Areej Le Dore

22nd August 2024

 

Oud Taiwan by Areej Le Dore smells great, but not the ‘perfume’ kind of great.  It smells great in the way that certain spaces –  a carpenter’s workshop, a fuel court, a supplies closet – smell great because of what they hold.  After a brief sinus-clearing Listerine topnote, I smell the inner workings of a car repair shop.  There is the smell of metal pistons sliding into cold hollows, cans of gasoline soaking into the porous concrete slab, a two-bar electric heater heating up, and the splutters of a dirty exhaust pipe being cranked up.  A furry indole note adds to the chemical – or inorganic – feel of the scent with its rubbery ‘Magic Marker’ twang. 

 

This makes me understand two things.  First, that natural materials like indole or camphor can smell like chemicals.  Second, that some chemicals just smell incredible.  Think of the smell of school glue, the binding of a book, the pages of a magazine, or nail polish. 

 

Oud Taiwan doesn’t smell entirely inorganic, though.  The third spike of the wheel – counting the wintergreen mouthwash/Dettol accord and the car shop miasma as the first and second respectively – is an oud oil that smells initially like a funky wolf pelt smeared with toothpaste but increasingly like a stack of horse blankets, pleasantly damp with dander, horse sweat, and once-pissed-upon hay.  This adds a mammalian warmth and roundness to the cold, hard steel of the more industrial-smelling accords of the car shop.  I say ‘adds’ but in truth, the two accords – one cold and chemical, the other warm and animal – gnash their teeth against each other rather than merge smoothly, which makes for an unsettling effect.

 

The oud oil that went into Oud Taiwan is warmer and sweeter than the oud accord in the scent, with its nuances of caramelized wood and woodsy-horsey finish.  It smells like wool, leather, and skin – not clean per se but not filthy either.  Just a lightly exercised animal steaming post-trot with all the other animals in a heated barn in winter.

 

Where Oud Taiwan differs from its constituent oil is in its hardcore myrrh finish.  Fans of myrrh’s bitter, latexy gloom will love the drydown of Oud Taiwan.  It smells like Scandinavian licorice rolled in cathedral dust.  There is no sparkle to this incense resin.  It is severe and moody, the Snapes of the resin world.  What’s more, myrrh opens up a hollow space in the scent that throws me for a loop.

 

It also tires my nose.  The myrrh note, coupled with the persistent industrial chemical miasma, which one always finds intoxicating at first but then almost nauseating after sustained exposure to it,  begins to wear me down.  Something here is overdosed.  It drones on, seemingly interminably, which is never good, because the longer an accord goes on, the more time I have to find bones to pick with it. 

 

In short, I think Oud Taiwan smells great, in the way that some places smell great.  But while I admire how it was constructed, I did not want to wear it past the testing phase.  It doesn’t wear like a perfume, which, um, forgive me for being basic, is how I want to experience a scent. 

 

But in my house, the testing of Oud Taiwan over the course of a week became a family affair, with every member weighing in on it.  My husband loved Oud Taiwan because whenever he smells real oud – and there is a significant amount of it here – his jaw tightens and he paws the ground.  He says it takes him back to being in a leather store with his father when he was young. 

 

My sense of Oud Taiwan being the scent of a place rather than a perfume is borne out by his comment on the second day of testing, when he noted that it also smells like walking into the family’s old village house near Skadar Lake and breathing in the smells of the salamis hung up to cure from the roof, the smoke from the neighbors clearing the land of scrub, and the soot and dust snaking up every surface – smells that, over time, ingrain themselves into the fabric of a house and turn it into ‘home’. 

 

My teenage son said that, for an oud, it smelled really great and not too animalic, but rather like an old, clean house or stables somewhere desolate.  I think what both of them were trying to say was that Oud Taiwan is a whole atmosphere, not just a perfume. 

 

Source of sample:  Sent to me free of charge by Russian Adam for review.  My opinions are my own. 

 

Cover Image:  Photo by Francisco Gonzalez on Unsplash

 

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Chypre Floral Hay Honey Incense Independent Perfumery Iris Review Violet

Epona by Papillon Artisan Perfumes: A Review

15th July 2024

 

Epona is pure gorgeousness.  Though I do have an equestrian background myself, horsey perfumes can be a little bit too on the nose with the mane accord – Arabian Horse by Pierre Guillaume, Corpus Equus by Naomi Goodsir, for example – for people sans horsey background to really enjoy.  Epona sidesteps the trap of literalness by being a fully-fledged perfume built around an agrestic scene rather than a hammer hitting the pony button over and over again.  Let me put it another way – this is a horsey perfume for someone whose idea of horse heaven is more Chanel’s genteelly-saddle-soapy Cuir de Russie or a horse seen through the soft glow of a Tiffany lamp than the actual animal itself. 


The opening, for example.  With its rush of astringent violet and iris ionones, you are plunged into a forest glade with spring flowers and roots pushing up through the frozen soil.  Rather than sweet, it smells chalky, like stamens and roots split open, diffused in a cloud of wood or floral esters that make my head swim as effectively as waving a newly opened bottle of grappa under my nose.  Emotionally remote flowers in cold storage, plus the beginnings of something mossy and brown-ish that makes me think of Jolie Madame or Miss Balmain (Balmain).  On reflection, this makes sense to me because there is something about Balmain perfumes, especially in extrait form, that smells modern and old at the same time.


Past the chilled ionone rush of the topnotes, there develops a sweet, slightly smoky-grassy note that I first felt was hay, but am confident now is incense, and specifically an unlit stick of nag champa.  This dusty-powdery accord comes in so closely behind the chalky violet-iris opening that it momentarily confuses the direction of the perfume – you begin to wonder, is this an austere Miss Balmain-ish thing or are we going in the direction of a New Age momma?  I got my son to smell my arm, and he said immediately, old church.


And for a while there, Epona does smell ‘old’ in a really good way, like the wood in an old church, dusty old clothes in a trunk to explore, and so on.  What I appreciate about Epona, though, is that this is just one stage in its development, because just when I begin to wonder where the horse in this picture is, the perfume begins its slow slide into the outdoors, all sun-warned hay, narcissus, alfalfa, woodruff, a light starchy leather, and the softly ‘rude’ aromas suggestive of, first, a pasture, and then, finally, a horse.  But only the vaguest suggestion of a horse.


The trajectory from cool to warm is so smooth, you barely register what’s happening.  Though mostly a pastoralist aroma-scope, the warm, boozy aura makes me think of a childhood spent walking into rooms where the adults are or were drinking glasses of a slightly smoky Irish whiskey.  Perhaps it is the ionones creating a familiar sweet, newspaper-whiskey tonality (subliminally Dzongkha-ish in my memory palace), but either way, it is extremely pleasant.


So extremely pleasant, in fact, that I can’t stop imagining that Epona – in this phase at least – smells like the Caronade the way I remember it, fully loaded with Mousse de Saxe and those complex, brandy-ish De Laire amber bases.  Now, it is no small feat to pull off an approximation of an older Caron extrait (En Avion and Nuit de Noel are the ones that jump to mind here), and I have no idea if that’s even something Liz Moores was aiming for, but that is exactly what I feel I am smelling here – a complex, mossy-smoky-sweet leathery floral that is half spice and half face power.

 

Of course, nothing this beautiful lasts forever, but I enjoy the hell out of this Caronade phase until it trails off into a persistent honey note that smells like a pissy narcissus material to me, not a million miles from the drydown of Tabac Tabou (Parfums d’Empire).


This is by far my favourite of the Papillon perfumes.

 

Source of Sample: Gratis sample sent to me for review by Liz Moores.

 

Cover Image:  Photo by Bozhin Karaivanov on Unsplash

 

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All Natural Independent Perfumery Review Rose Single note exploration

Three Roses by Annette Neuffer

11th July 2024

 

The only possible reason why Annette Neuffer is not discussed in the same breadth as other talented, self-made European perfumers (Andy Tauer, Vero Kern, Antonio Gardoni, etc.) is because, unlike these, she has been unable to professionalize her operations or achieve economies of scale in her production so that her perfumes are priced at a point where regular perfume wearers can buy them. 

 

In Europe, at least, there is great respect for Annette’s style, and a rather robust grey market in swapping samples and full bottles of her work.  But not even a glowing review from Luca Turin in the Guide 2018 wasn’t enough to shoot the brand into the indie stratosphere currently occupied by Teone Reinthal, Manuel Cross, Clandestine Laboratories, Zoologist, Tauer, and so on.

 

Which is a shame because it proves that a certain measure of market exposure and self-promotion is what gets some perfumes talked about, therefore keeping them ‘alive’ in the mind’s eye, while others, none the less important or beautiful a creation, risk trailing off into the darkness of the void.  This is why it’s important for people to write about Annette and people like Annette.  I don’t claim that my words have any impact – blogs have been dying for years now, and this one is no exception.  But as the lights start to go out on this ship, there is a certain sense of freedom in realizing that I can write about anything that strikes my fancy, with no regard for what might be current or ‘hot’, because nobody is watching.  

 

And what I want to write about today is Annette Neuffer, because unless she suddenly starts sending free bottles of perfumes out to YouTube and Instagram perfume ‘influencers’, her work will remain largely unknown to all but those who deliberately seek her out.  Her perfumes are as worthy of the intense fandom discussions that swirl around around Teone Reinthal or Zoologist.  A jazz musician living in Freising, Germany, she works completely in naturals, but with a deftness of touch that made even Luca Turin – famously a critic of all natural perfumers – marvel. 

 

I don’t like everything she makes, but even those I don’t like, I find myself thinking about and trying to understand how they work.  Enter clumsy yet obligatory metaphor about jazz; though I don’t understand jazz and its weird, cacophonic ‘non-structure’, I enjoy it at a subliminal level once I stop trying to analyze it.  I think that’s probably the key to Annette Neuffer’s work too.

 

First up, three roses.

 

Honeysuckle Rose is a fat but wilting white flower, a vine of jasmine or tuberose curling in on itself, buried in swathes of beeswax and furniture polish.  It smells like sweet tea and nectar and female skin putrefying in a Southern heat so intense that you can almost see the beads of moisture popping up.  I smelled a honeysuckle bush once in the South of France and was shocked by how fleshy and sultry it actually is, in contrast to its rather innocent reputation. 

 

This perfume smells like honeysuckle in the air – heady, rudely floral, honeyed – but powdery and slightly dank on the skin, like a cup of over-stewed tea.  The oily cedar-like notes of a dank rosewood add to the impression of a flower floating in a gong bath, a flash of something white and delicate in the Vantablack gloom. 

 

It is only later, once the bitterness of the tea and woods has subsided, that Honeysuckle Rose reveals its final, true form – a sunny orange blossom busily licking the sticky grunge of beeswax and rosewood off its fur.  The contrast between light and dark is startling, like a bar of the whitest goat’s milk soap carved from a block of resin.  A trace of warm, dark honey lingers underneath this, like licked skin, recalling some of Vero Kern’s perfumes (Rozy in particular, with its attractively stale, louche rose breath). 

 

 

Rosa Alba is based around a rare, white Bulgarian rose varietal named, well, Rosa Alba (rose of the dawn).  It has simple but powerful beauty of a freshly picked rose from a wet garden, with its alluring mixture of lemon zest, geranium leaf, and finally, a trembling, jellied, pink rosewater loukhoum nuance tucked deep into the tightest folds near the heart. 

 

A resinous, powdery (slightly sour) sandalwood is the only other element here, lending the fragrance the feel of a traditional Indian attar.  This is the immense, timeless beauty of a flower stuffed inside the flimsiest of shells.  And though arguably a direct copy of nature, you’d have to be a marble statue not to be moved by a smell like this.

 

 

Avicenna White Rose & Oud is my personal favorite of Annette Neuffer’s takes on rose, perhaps because it turns such a (by now) familiar paradigm on its head.  The marriage of rose and oud is a natural one, the gentle, bright sweetness of rose tempering the sour, moody darkness of oud, and as such is a popular trope in perfumery.  But even a template this good gets old after a while. 

 

What I love about White Rose & Oud is that it reimagines the rose-oud pairing in the context of a witch’s apothecary in the Middle Ages, giving it new angles I hadn’t considered before.  The opening is a pungent herbal lemonade that has dried to crystals on a mantelpiece somewhere, before being swept into a pestle and mortar with a bunch of dusty culinary herbs and ground to a fine powder.  But before you think, wow, this is super sour and harsh and I don’t like it, in rolls an intoxicating lush, Turkish delight rose that softens all the sharp edges.  The interplay of that rosy loukhoum against the tart, almost brackish oud – which you realize is what the deeply sour herbaciousness in the topnotes was camouflaging – is brilliant. 

 

The umami, wheaten sandalwood in the basenotes interacts with the oud and other woody notes to create an accord so dry and 3D and aromatic that it feels like watching plumes of barkhoor smoke hanging heavy in the air or hot benzine shimmering in the thick air at the fuel court.  

 

But while recognizably (finally) a rose-oud scent, White Rose & Oud never feels exotic in a tokenistic manner, perhaps due to its persistent streak of antiseptic sourness – that medieval apothecary vibe – that runs through it from top to bottom.  I like to think that Bernard Chant would have liked the witchy 1970s feel of this, even if he didn’t quite get the whole rose-oud reference the way modern perfume wearers do. 

 

Source of sample:  I bought a sample set directly from Annette Neuffer’s website back in (I think) 2017 or 2018.  

 

Cover Image: Photo by Christina Deravedisian on Unsplash

 

 

 

 

 

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The Musk Collection by Areej Le Doré: Reviews

20th March 2024

I can’t help feeling sad that ‘regular’ people who just love a good, well-constructed perfume rather than obsessing on one or two of their constituent raw materials will likely never get to smell the Musk series from Areej Le Doré.  Except for one, none of the perfumes in this collection are terribly animalic, all of them use exquisite materials like real sandalwood, oud, and jasmine, and most of them smell like whole, actualized perfumes rather than the sum of their parts.  But then, the people who love perfumes for the entirety of their composition or for the personalized soundtrack they provide to the mundanity of the everyday are upset enough that the 2014 Dior Addict or the 2009 Hermes Hiris are no longer available, so can you imagine their feelings about perfumes that sell out and become unobtanium in the space of a weeks, if not days? 

 

Perhaps it is best that only the oud heads and sandalwood obsessives that lurk in dark corners of the Internet get to smell these.  Most Areej Le Doré perfumes smell like proper perfumery bases bought in from somewhere, dressed in a careful arrangement of natural oils and essences that the perfumer has sourced or distilled himself – incredibly silky-funky ouds that smell of wood rot but also of hay and mint, the powdered goodness of well-resinated sandalwood, buttery white flowers, or the citric, briny spackle of white ambergris.  Sounds amazing, right?  And it is.  But what the perfume-wearing GenPop want is for a beloved perfume to smell reliably the same from one day to the next, and ideally, from one bottle to the next.  The naturals used in Areej Le Dore perfumes are too mercurial and unreproducible to guarantee that level of security.

 

Take Crème de la Crème, for example.  My favorite of this series and the easiest to wear, it has nonetheless never smelled the same way on me the three times I have donned it.   The first wear induced rare feelings of euphoria, because it reminded me of a soft, vintage floral perfume – L’Air du Temps perhaps – worn down to a barely-there skin scent clinging to the baby hairs at a woman’s neck.  Soft yet strong, like a photo I recently saw of Jean Harlow one day before her death from kidney failure, her delicate yet bloated frame held firmly in place by her co-stars Clark Gable and Walter Pidgeon, who seemed to sense she was near collapse. 

 

This version of  Crème de la Crème was sweet, clove-ish, dried-rose-petalish, shot through with the citrusy brightness of ambergris and bathed in the dusty but resinous sweetness of sandalwood.  There was a absinthe-like note floating around in there too, reminding me of the cloudy, bittersweet herbaciousness of Douce Amère (Serge Lutens).  The final aftertaste, however, was of the delicate Indian attar-like floral sandalwood of Alamut by Lorenzo Villoresi, only airy and astringent where the Villoresi is sodden with sweet milk.

 

The second and third wearing immediately revealed the minty-camphoric sting of a clean island oud – like a Borneo, but in reality, an oud from the Philippines – sweeping in the medicinal radiance of hospital-grade antiseptic fluid.  How had I missed this the first time around?  Now I could smell the sharpness of lime leaf as well as the familiar richness of the sandalwood, which in its second outing smelled like a century old sandalwood elephant ground down into dust for zukoh incense.  Reddish wood, all powder on the surface but with globules of calcified amber rolling around like a bag of marbles underneath. This is immediately recognizable as real-deal Indian sandalwood, its tart, yoghurty nuances darting in and out of the sweet richness, coating your tongue with the kind of roundness and balance you really don’t get with sandalwood synthetics.

 

Roundness doesn’t mean sweet or feminine, though.  The slightly mossy bitterness at the center of ambergris gives the sandalwood a fern-like character, making me think of those big, old fashioned fougères, redolent of shaving soap, oil of cloves, and bay rhum.  The sweet-sour-soapy finish of the sandalwood reminds me a lot of Jicky, but also by extension, Musk Lave, except that in Crème de la Crème, there is a faint spicy-floral breeze that nudges it into the realm of the Caron carnation (Bellodgia or Poivre).

 

Third time around, like the second time, but with more pronounced soapy-leathery-amber notes that made me think of the floral, oiled galoshes of Knize Ten Golden Edition, the plasticky ylang of Chanel No. 5 eau de parfum, and of Pears soap.  This is not unpleasant, just surprising.  Perhaps it is the creamy, dusty airiness of Crème de la Crème that makes it so quixotic and mutable.  Like one of those shifting sand pictures that changes every time you shake the frame, it softly accommodates whatever fantasy or feeling you project onto it.

 

 

Cuirtis opens with the most divine, almost mouthwatering accord of sweet, cuminy bread, a fruity dill, aromatics, and a peach-skin osmanthus.  This may sound odd, but I love the effect.  I think the word I’m looking for here is hawthorn.  There is a familiar chord here that stirs up some good scent memories for me, one I can only really identify as being broadly ‘peak L’Artisan Parfumeur’ in tone – a touch of the dry, smoky (but also fruity) nagamortha of Timbuktu, some of the complicated whiskey-vetiver-old orris soap of Dzongkha, and even a touch of the sweet, armpitty doughnut of Al Oudh, perfumes that have fallen slightly out of fashion or have been discontinued but still remain part of my personal perfume hall of greats.

 

The dry, smoky birch tar, when it bursts through this almost watery-fruity-aromatic dillweed layer, does indeed smell like a fine cuir, but not one produced by Chanel or Dior.  Rather, I smell a lot of Ambre Fétiche (Annick Goutal) here, with its parched, leathery benzoin simplicity – also characterized by a strong birch tar note, by the way – as well as a sliver of the melony smoke of Breath of God by Lush and some of the watery, metallic violet leaf and hay dandiness of the late, great Cuir Pleine Fleur (Heeley). 

 

Thus far, this review has been one long run-on sentence of other perfume references, but I am not suggesting that Cuirtis is overly referential.  Indeed, it is very much its own animal.  But whenever I bump into a smell that jolts me back in time to 2014 when I was happily discovering the perfume greats on my own, I scramble to triangulate the references in my perfume mind palace so that I can settle on the source of the big feelings I am feeling.  Though ultimately I can’t identify what single element is triggering me in Cuirtis, I rather love for its own good self.  It is incredibly aromatic, herbal tincture-like, but also sweet, smoky, and dry, all at once.

 

 

Royal Barn is clearly named as a sop to Russian Adam’s die-hard animalics fans who egg him on to dirtier and dirtier things with each collection.  I suspect they would prefer for him not only to edge up to the great, steaming piles of horse shit in this putative barn but to plunge his hands in and start smearing it all over the stalls.  But the name’s a con.  This is the animalic floral oriental-chypre of the collection, and as such, is only dirty in the way Bal a Versailles (Jean Desprez) is dirty, meaning that underpinning the morass of rich, creamy florals, fungal oud, greenish rose, and spiky woods is a lascivious schmear of honeyed civet, there to add that unmistakably ‘French’ je ne sais quoi of soiled panties.

 

At first, everything is as dense as a brick of floral absolutes and waxes mashed together, and it feels rather wet and slurry-like in texture.  Then two things happen simultaneously.  First, the perfume dries up, with a leathery tone that reminds me of castoreum, but may just be the hay absolute sucking all the moisture out of the barn.  Second, the fruitiness of the champaca-rose tandem and the crisp, green-white juiciness of palmarosa somehow make a break for it, peeking out from behind the barn wall.  The contrast between the leathery, dry (austere) civet and hay layer and the fruity, creamy, almost girlish pop of peach and egg yolk yellow florals is amazing.

 

Now, real talk – does this really smell like a barn?  Well, civet – the real stuff, as used here – can be terribly sharp, honey-ish in its high-toned shriek, and foul even when its floral nuances are detected.  However, when used judiciously in a perfume, it just adds this hot, whorish glow to the florals that magnifies their impact.  Royal Barn is much drier, muskier, and ten times more pungent than Civet de Nuit but they share a similarly fuzzy, under-panted warmth.  If this is a barn, then it’s a clean one, ripe with animal but not fetid with neglect.

 

Regular perfume-wearing folk will want to know where it falls on the skank-o-meter.  It is less animalic than La Nuit (Paco Rabanne) and Salome (Papillon), but more animalic than Bal a Versailles (Jean Deprez) and vintage Gold Man (Amouage).  I would put this on par with Kouros (Yves Saint Laurent), but this is far more floral, so imagine Ubar (Amouage) with a drop of Kouros mixed in.   

 

 

Paradise Soil reminds me very much of a certain era in perfume making – not so long ago – when everyone was flipping out about these huge, dirty florid fragrances that were slightly crazy in their construction, smashing together untrammeled Big White (or Yellow) Florals with thick musks and enough nag champa and patchouli to stop a hippie in their tracks.  I’m talking stuff like Manoumalia (Le Nez), Daphne (Comme des Garcons), Tubéreuse III (Animale) by Histoires de Parfum, Le Maroc Pour Elle (Tauer), Mauboussin, etc.  If you love that style of fragrance, then you’ll love this too.  Paradise Soil smells like if tuberose was a dog and that dog rolled around in muck and is begging with his eyes to get back in the house but you just cannot be mad at him.

 

Huge armfuls of damp jasmine, ylang, and tuberose are mashed into the humid black earth of a tropical jungle onto which all the petals drop, decaying over time to make a rich mass of soil organic content, except that half the soil is made up of pulverized Pan di Stelle cookies.  So, florals and chocolate, yes, but not truffled, and despite the saffron, not vegetal.  More dry chocolate biscuit in the Montale Chocolate Greedy manner than the melted dark chocolate of Noir de Noir.

 

My only complaint about Paradise Soil is that the florals – especially the tuberose, which I feel is the pushiest flower in this particular bouquet – become too sharp and insistent in their sweetness, the sort that is so intense that it almost tastes bitter on the back of your tongue.  There is a distinct bubblegum tone as well, which when added into all the muddy sweetness going on here tips it into what I call Nights in White Satin territory.  Skirting uncomfortably close to the overall sledgehammer effect of Giorgio and Amarige, I can’t really love it past this point.  It feels like wearing fur and two inches of panstick foundation on a hot day.

 

And unfortunately, the underlying oud notes are not strong or woody enough to claw this back into neutral for me.  Paradise Soil is somewhat in the vein of Ambre de Coco or the other chocolate-oud explorations of the house (Russian Oud possibly being the most famous), but this is a far sharper, more white floral-forward version.  Still – I think fans of the big, satiny floral-incense extravaganzas of the late 1990s would absolutely love this.

 

 

Forbidden Flower is not a flower and ‘forbidden’ is all wrong too because that is a word that promises something naughty but nice.  This is not nice.  Vibe: Industrial waste but make it grape-flavored. 

 

I have worn Forbidden Flower on the skin exactly one time and that was still once too many.  I am smelling it now again from a paper strip in the hope that I can figure out – in a more rational manner – what exactly it is about this thing that makes it so traumatizing.  I mean, technically, I know it must be the skunk.  But why.  Why, Adam.

 

This is a deeply disturbing scent.  In the opening notes, the aroma of fruity green leaves and milkweed mixes with the inorganic fumes of acetone, mouthwash, mercury, and what I can only describe as the liquid from a leaky battery.  The fumes are so potent that I feel light-headed and more than a bit high.  It smells both like the school supplies closet (solvents, paper, magic markers) and a long-abandoned farmstead with metal farm machinery rusting away between the weeds and ditches that a family of wild cats or indeed skunks have marked repeatedly as their personal pissing patch. 

 

This mix of organic and inorganic stinks is deeply original but unpleasant, in a similar vein to M/Mink by Byredo (which Forbidden Flower does not resemble at all except in its metallic weirdness).   It eventually dries down to a rubbery, latexy accord technically assembled by a doughy benzoin, patchouli, and cedar but the blackest myrrh in all but name.   This sort of thing – vaguely similar to Narcotico (Meo Fusciuni), But Not Today (Filippo Sorcinelli) and Vierges et Toreros (Etat Libre d’Orange) in that they are all dark, bloody-metallic takes on the cedar/patchouli leather theme  – is just stomach turning to me, even if at an intellectual level I admit that it is original and high concept. 

 

I started this collection review by saying how sorry I was that normal frag heads never get to sample these perfumes, but in the case of Forbidden Flower, I think it is for the best.

 

 

 

Source of samples:  Samples sent to me free of charge for review by Russian Adam.

 

Cover Image:  Photo by Karim MANJRA on Unsplash

 

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Aromatic Barbershop Independent Perfumery Masculine Sandalwood Woods

Il Dieci X by Bogue: A Review

12th January 2024

 

Il Dieci X by Bogue had a very short run of 50 bottles produced in 2019, so perhaps it doesn’t even make sense for me to write about it.  But I have to say, if you’re like me and curious about what a sandalwood from Antonio Gardoni might smell like, then this review might surprise you.  First, because the scent’s linearity and simplicity are not properties normally associated with Bogue’s Italian apothecary style.   Second, because if you assumed, like me, that the extreme limits placed on production pointed to the use of a very vintage Mysore santalum album oil, then you’d be, like me, dead wrong. 

 

Instead, Gardoni seems to have made the decision to produce a turbo-charged version of the citrusy, sour-yoghurty, and pine-like facets of Australian sandalwood (santalum spiccatum), when he then drapes over a traditional barbershop fougere structure.  I respect this decision, even if this means that I would have to morph into a 60-year-old wet shaver for Il Dieci to be to my personal taste.

 

Objectively speaking, though, this is one heck of a handsome masculine.  The topnotes smell like a silvery shard of wood stripped from a young tree, rubbed with citrus peel and mint for extra sting, while the basenotes smell gently powdery and clean, like the scent of your hands after washing vigorously with sandalwood soap.  And in between, there is that astringent, but not unpleasant aroma of a freshly shaved male cheek, complete with hot towels, shaving cream, and the hiss of steam. 

 

I think my father would have loved this.  Oh, don’t worry – he’s still with us.  But given that this doesn’t feature – to my nose anyway – anything particularly rare or exclusive, I don’t understand why Il Dieci is not.   

 

Source of sample:   Very kindly sent to me by Antonio Gardoni for review. 

 

Cover Image:  Photo by Adam Sherez on Unsplash 

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Herbal Honey Independent Perfumery Review Spice Vetiver

Onda Voile d’Extrait by Vero Profumo: A Review

11th January 2024

 

I always thought of Onda by Vero Profumo as a difficult perfume, but now, at a distance of a decade, I understand that I was just not grown enough for it.  Though I first smelled – and liked – the parfum in Campo Marzio 70 in Rome, my mistake was ordering a sample of the eau de parfum, not knowing that the formulations were very different.  The putrid-smelling passion fruit note, the pissiness, and the fungal brown wetness of it all repulsed me.  I couldn’t imagine anyone wearing let alone loving it. 

 

When I referenced its urinous aspects, laterally, in a review of Maai (Bogue Profumo) for a now-defunct blog, Vero herself took offense and, as the kids say, put me on blast publicly for having a scat fetish.  (Yes, I had to look that up too.  No, I don’t recommend doing a Google image search.)

 

Wearing the Voile de Parfum, an extenuation of the original parfum, now, I still think that the dark, mealy honey-vetiver dankness of Onda gives a little freshly cleaned bathroom stall, but in an unctuous way that also makes me think of brown velvet and the dull, chocolate-y glow of Tiffany lamps.  There is no repulsion.  It turns out that it was me all along that was the problem, not Onda.  And when I was ready to grow the F up, Onda was there, waiting for me. 

 

Still, Onda is by no means for the uninitiated.  Salty, wet, and a bit furry, it is a perfume that smells of feral cats in a den hidden in the undergrowth, albeit a world removed from the agrestic ‘smells’ turned out by indie perfumers to simulate an environment or an animal that lives there.  Onda is a wild-reared, 100% grass-fed, organic experience that just happens to be chypre-shaped.  There is no sense of it having been born, just of it arriving in the world fully formed – a creature with native intelligence.    

 

There are no perfumes that smell like Onda, but the medicinal (and medieval) dustiness of the mace note remind me of other ‘brown-grey’, shadowy, and sepulchral things like Djedi (Guerlain) and Marescialla (Santa Maria Novella).  The ‘artisanal’ apothecary vibe reminds me a lot of both Maai and MEM (Bogue Profumo), as well as the turgid funk of several O’Driu perfumes, including Ladamo.  Still, even in this company, Onda stands out as being impenetrable and a little disturbing.  

 

But then, the greatest perfumes in the world all have something impenetrable or disturbing about them, don’t they?  Mitsouko is a prickly creature, sometimes smelling of peaches and wood, sometimes of formaldehyde.  The clove and honey notes in Comme des Garcons Parfum are sharp and unlovely at first, reminiscent of a sweaty crotch.  L’Air de Rien carries with it the distinct whiff of unwashed scalp.  Yet these are perfumes worth spending time with and trying to unlock, because behind that door lies greatness.  Of course, there is absolutely nothing wrong with wanting to only smell amazing.  For most people, perfume is an extension of their grooming ritual.  You can enjoy beauty without worrying about whether or not it has a dark side.  But if you believe that perfume is art, then it stands to reason that your perfume should transmit a message that goes above and beyond a good ‘smell’.   And love it or hate it, Onda is a great example of perfume as art. 

 

Source of sample:  I have owned the parfum and the Voile de Parfum of Onda since 2015.   

 

Cover image:  Photo by Bram Azink on Unsplash 

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Raven by Teone Reinthal Natural Perfume: A Review

12th July 2023

 

Raven by Teone Reinthal Natural Perfume (TRNP) is the kind of rose chypre that hasn’t been in production since the 1980s – big, tart roses spread strewn across bittersweet, glittery balsams and a dank, woody patchouli that smells more of mold than of the oakmoss it’s standing in for.  Something about its opening reminds me both of Oha, a dark, musky rose chypre by Teo Cabanel that has been sadly discontinued, and L’Arte di Gucci, a very civety, rude, ‘full bush’ type of rose scent.  At first you think this is going in the moody, Goth-chic direction of Voleur de Roses, but once that peachy ylang and that spiced amber comes in, you realize that this thing is wearing shoulder pads rather than black eyeliner.

 

I am consistently impressed how Teone Reinthal manages to wring a whole Coco, Opium, or even a Giorgio out of a restricted palette of naturals.  Perfumey to the point of abstraction, what Raven loses in clear-sighted focus on the rose or patchouli or ylang it makes up in sophistication: it is something that your mother or aunt would have smelled like on the nights when they came in to kiss you goodnight before leaving you with the babysitter.  Ah, the mysterious power of adult women….

 

All of which to say that Raven is a freak on the streets – the hairspray sharpness of the opening, the wet mold, the gaseous fumes off that hissing ylang – and a Chanel-blazer-wearing lady between the sheets.  It is both astonishingly beautiful and entirely too mature for my taste.

 

 

Source of sample: My friend, Alex, gifted me her sample a couple of years ago.

 

Cover Image: Photo by Birmingham Museums Trust on Unsplash

 

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Ladamo by O’driu: A Review

26th April 2023

 

Ladamo by O’driu smells like a Christmas craft store – scads of thick, velvety dirt, fallen apples, mulled wine, grated ginger root, the whole nine yards – but without the nasty chemical edge of the candle or stock oils that many American indies (BPAL, Possets, Alkemia, etc.) tend to rely on to create that type of vibe.  It could be because Angelo Pregoni uses a ton of naturals, especially immortelle, to do the heavy lifting.  But I’d bet that Pregoni’s famously kooky (and largely impenetrable to me) artistic sensibility plays a large part in it.  

 

Some reviews point out that that Ladamo is basically an immortelle soliflore, but I disagree that that’s the case, at least at first.  I mean, yes, you certainly get that bronzed, curried maple syrup vibe that accompanies immortelle wherever it goes, but the mossy dampness of the soil tincture, the watery (almost aquatic) magnolia, the metallic ginger-tobacco combo, and the smoky licorice note build it all out into something far more complex than is suggestible by one material alone.

 

The upshot is that Ladamo smells of all the brown, good-smelling things of autumn – root cellars, apple rot, and the hummus of the forest floor – mulched down into one compact but vibrant layer.  An amber this may be, but spiritually, Ladamo shares a lot of ground with Comme des Garcons’ Patchouli, and artistically, it is what Foxcroft by Solstice Scents wishes it could be when it grows up and taps into a bigger budget.    

 

The first half of Ladamo is borderline intoxicating to me.  Boozy, deep, sweet but also bitter and earthy, it sells me a fantasy of my former Goth self, striding through a forest full of wet, fallen yellow and brown leaves, wearing long leather boots, a riding crop, and way too much eyeliner.  But cool, you know?  The Gucci ‘hobo chic’ version of that, not the crunchy granola one hastily knocked up by your teenage self in your nearest health food (New Age) store.

 

Alas, as the day goes on, Ladamo loses it stamina and eventually becomes just another old codger shuffling forward on the crutches of that immortelle, because immortelle is always the last to die.  What was initially a complex, every-evolving smell doing an insane loop de loop from curry to brown sugar to maple syrup and golden leaf and hay and spice and back again, eventually whittles itself down to the faintly dusty, monochromatic booze sweat territory that most immortelle-heavy fragrances wind up in.  Still, worth it for the first half of the ride.

 

 

Source of sample:  Part of a sample swap with a friend.  Ladamo seems to be no longer available.

 

Cover Image:  Photo by freestocks on Unsplash

 

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Fruit, Flowers, and Funk: Hedonik Obsessive Devotion

21st February 2023

 

 

I love that in the promotional materials, Francesca Bianchi refers to the fact that champaca absolute has a fleshy, ‘human bodies’-like smell.  It really does.  In perfumery, champaca is managed in one of two principal directions, namely, either towards its shampoo-like and fruit-custardy facets (touched here and there by mint and green apple), making it the perfect accompaniment to tropical floral perfumes, or adding it to nag champa-heavy compositions so that a line is drawn to the original dusty floral incense stick smell of Indian agarbatti, which used to feature real champaca absolute before being dumbed down for cost reasons.

 

But Francesca Bianchi doesn’t go down either of these routes.  Instead, she chooses to accentuate the rich, musky ‘body odor’ aspect that lingers in the unneutered, un-interfered-with absolute.  (Well, of course she did, she’s Francesca Bianchi.  If you’re surprised, you must be new here).  The only other perfume I’ve smelled that accentuates this part of champaca was the challenging Afrah by Amouage, but not only is this long discontinued, but it is also revolting.  Obsessive Devotion is Francesca Bianchi* showing Amouage how it should be done.    

 

The opening is so sharp and gasoline-like that I urge caution when lighting a match anywhere near it.  This is the coarsely fruity honk of ylang and champaca flowers dunked in petrol and laid out on peach skins to dry.  Along similar lines to Tropic of Capricorn by Olympic Orchids, there is the sensation of piles of wet fruit peels and flowers stewing in equatorial heat, turning slightly garbagey at the core, but with the sharp elbows of rot tamped down with a chalky cocoa-ish note.  This ensures zero shriek.  Yet, dusty as this secondary accord may be, we never stray into nag champa territory.

 

In fact, over time, it is the bitter, saline oakmoss that prevails, pulling the scent out of the Caribbean and back into Europe.  The sexy Bianchi DNA of acidulated leather-iris is also firmly present.   As these basenotes emerge and thread their wares into the fruity-floral funk of the main body of the scent, you notice that Obsessive Devotion is retro in feel, to the point of being downright chypric – it is rich, swampy with oakmoss, a bit perfumey and bitter in all the right places, and powdery when it needs to be soft.  The far drydown is a tip of the hat to Mitsouko (Guerlain) in that it smells pleasantly acrid, like the sweated-and-dried skin of a lady following a moderate tromp through a city.  But that humid funk of that champaca never quite departs the scene.  Obsessive Devotion is Parisian 16th arrondissement in the front but all Marseilles in the back.  

 

* How often do you guys think I can say Francesca Bianchi in this review without summoning her to appear through my bathroom mirror? 

 

Source of sample:  Sent free to me by the brand in PR. 

Cover Image:  Photo by Del Barrett on Unsplash 

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Areej Le Doré Exclusive Attar Collection: Thoughts and Reviews

10th January 2023

 

 

Thoughts

 

As of 2023, anyone stumbling onto Areej Le Doré for the first time might be a bit confused about what the house does and what it stands for.  After all, there are regular perfumes but also mukhallats (oils), a series of attars commissioned from traditional attar makers, and now, a series of attars that the brand has distilled or mixed itself.  A newcomer would be forgiven for wondering if Russian Adam is a perfumer, a distiller, an educator, or a patron of traditional attar wallahs.

 

In fact, he wears all of those hats, sometimes simultaneously and sometimes separately.  His evolution from the small, two-person ‘Book of Oud’ oil outfit in London (circa 2013) to the artisan oud distillery of FeelOud (circa 2015) to the luxury French-inspired, but Eastern materials-based operation of Areej Le Doré (circa 2016) is a trajectory worthy of study and admiration.

 

For the perfume enthusiast, though, it is worth taking a moment to unpack the context of any new Areej Le Doré ‘drop’.  The original spray-based perfumes released by the brand in collections of four or five perfumes each year (which normally follow the pattern of an oud, a musk, an ambergris, and a floral) were where most of the brand’s fan base came on board, and where most of the support still pools.  These annual collections see Russian Adam in full-on compositional mode, mixing his own distillations and those of others into precise formulas of bases and accords for a result that reads as perfumey as a Guerlain. 

 

But 2022 saw Russian Adam launch a passion project that was both a stylistic and commercial departure, namely, a series of traditionally distilled Indian attars (which he did not make himself but entrusted to an experienced attar distiller), quickly followed by a set of spray-based perfumes that used traditional Indian attar perfumery as a springboard into something more conventionally perfume-like.

 

The traditional Indian attars (thoughts and reviews here) were Russian Adam with his educator hat on and his perfumer hat off.  Deeply passionate about Indian attar perfumery, he wanted to give his followers (yes, I use the term ‘followers’ deliberately) a set of benchmarks for what a rose (gulab) or jasmine (motia) smells like when distilled into sandalwood in the old Indian manner.  Pure, linear, and delicate, these attars were less perfumes than they were a teaching moment.  If you smelled anything complex in them, it was more because the raw materials themselves are naturally complex than any compositional skill (since traditional attars are distilled rather than composed).  These attars were intended to serve as a primer on the building blocks of ancient Eastern perfumery for the attar-based spray perfumes to follow.  But they were also a gentle reminder to attar enthusiasts that a rose gulab produced laboriously and painstakingly in a deg and bhapka is absolutely not the same thing as the ‘rose gulab’ you can get off IndiaMart for $8 a liter.

 

The spray-based perfumes produced as part of the History of Attar collection (reviews here) were not so much an extension of the Indian attars as they were riffs on a theme.  Here, Russian Adam put his perfumer hat back on and took the more complex Indian distilled attars like shamama and majmua – involving multiple co-distillations, add-ins of choyas and macerations – as the starting point for an artistic exploration that, while still remaining true to the essence of traditional Indian perfumery, were far more in line with the perfumeyness of Areej Le Doré’s core annual collections to date.

 

It is difficult to get a read on how successful a collection is based on online critical reception alone, but if the Basenotes thread is anything to go by, the History of Attar collection was not popular with the core group of enthusiasts who onboarded the Areej Le Doré train for its Siberian Musk and Russian Oud-type output.  Which is not that surprising, really.  If your buy-in to a brand is big, rich, Arabian-style compositions, then there is bound to be some whiplash if one year your supplier brings out a product based on Indian simplicity and purity instead.  On the face of things, we all want the artisan perfumers we support to be free to pursue their artistic passions and vision.  But where the money from one collection fuels the purchase, sourcing, and commissioning of rare raw materials and distillations for the next, the stakes are high indeed.  When a product veers this close to being bespoke, you have to listen to what your customers want, or they take themselves and their wallets off to find another altar of rare essences to worship at.

 

Personally, I think the History of Attar spray-based fragrance collection was one of the brand’s best and most accomplished.  This may be partially due to the fact that I already loved and had studied traditional Indian attars, so understood what it was that Russian Adam was trying to do.  But even from the perspective of a bog-standard fragrance reviewer, Ambre de Coco, Al Majmua, and Beauty and the Beast were not only an incredibly artistic re-imagining of age-old Indian attar perfumery themes but improvements on earlier perfumes in terms of clarity and intentionality.  For example, though I liked Antiquity, I found it impressive due more to the quality of the Cambodi oud oil that had been used rather than for its composition.  Ambre de Coco, which shares something of the same nutty-smutty-smeary texture of yaks in a barn, uses shamama co-distillations of over 50-60 plant-based materials, deer musks, and cocoa to arrive at a picture of warm fur.  It is more complete, a fuller fleshing out of a similar vision, yet conveyed in a less ‘muddy’ or cluttered frame.  I believe that, in time, history will judge this collection more clear-sightedly and it will settle favorably into the deep lines of our experience with Areej Le Doré.

 

So, where does the Exclusive Attar collection fall against this backdrop?  In terms of simplicity and intent, this may be viewed as an extension of the History of Attar attar collection but nudged strongly in the direction of a mukhallat-based style of perfumery by focusing on raw materials more commonly found in Middle Eastern or Arabian perfumery, such as Taifi rose, deer musk, and ambergris.  This is Russian Adam in distiller mode[1], inching back to the interests and preferences of his core fan base but still working in a style that is as minimalistic as the Indian attars.  Wait for the next core collection if you were not a fan of the History of Attar collection or if you prefer the brand’s core collections of spray-based perfumes.  The Exclusive Attar collection is for aesthetes for whom hours of contemplation of the simple beauty of vintage musks or aged ambergris muddled together in a thimbleful of vintage sandalwood is the point of the exercise.

 

To wit, the perfumes in this collection are all rather soft and linear, relying on the inherent complexity of the raw materials to do all the heavy lifting rather than the composition itself.  In other words, if any of these ever come across as perfumey or strong, it is due to some innate characteristic of the material used rather than any conscious arrangement.   This collection would also work for people who just love natural, aged Indian sandalwood because the twenty-year-old sandalwood these attars are mixed into is insanely rich (sometimes even taking over the blend entirely).  But even if you are a big fan of Middle Eastern mukhallats and already own a few examples of the genres explored here, the reasonable price point for high quality stuff like chocolatey vintage musks, sparkling white ambergris, and aged sandalwood oil makes the Exclusive Attar collection a pretty good investment.

 

 

 

Reviews

 

Photo by Roksolana Zasiadko on Unsplash

 

Musk de Taif

 

Beautiful and moving in its simplicity – a gentle blur of Taif roses folded into cushiony musks and creamy sandalwood. It reminds me a lot of Rose TRO by Amouage, which follows a similar model (roses + creamy woods), but with the zestier, more peppery Taif rose from Saudi Arabia rather than with the Turkish rose otto used in the Amouage.  To a newcomer or to anyone with zero perfume experience at all, this will simply smell like the exotic, Eastern ideal of a rosy attar we all hold vaguely in our heads without thinking too much about it.  The aroma here is a classically pleasing one.  The bright, lemony green and black pepper nuances of the Taif rose send sparks flying against the creamy background, which in turn softens the sharp, fiery edges of the rose.  The deer musks here are more of a textural agent than a major contributor to the scent profile – they feather the outer lines of the rose and woods into one fluffy, amorphous mass.    

 

 

 

Civet Bomb

 

Photo by Timo Volz on Unsplash

 

Not only are animalic aromas are not a monolith but how you process them will vary according to individual experience with animalic smells in general.  Smells come to all of us filtered through our childhood memories, mental associations, and biases.   For example, because I worked on a farm, most deer musk smells warm and round and alive to me, even though the animal from whence it came is long dead.  Castoreum always smells dry to the point of being parched, which is why I like it less.  For a long time, I found some force-aged Hindi oils to smell like bile and billy goat, an association I had to work hard to get past.

 

But civet?  The most difficult of all for me, but of course, because these perceptions are so individual, perhaps maybe not difficult at all for someone else.  To me, civet smells really sharp, leathery, and foul, perhaps a bit floral in dilution.  The word that usually comes to mind for me when smelling civet paste is ‘unholy’.

 

But while those properties are definitely present in Civet Bomb, two things save it for me.  First, the civet paste has been co-distilled with rose, meaning that the sharpness of its funk has been softened somewhat.  Second, the co-distillation has accentuated the geraniol content of the rose, so there is this minty-camphoraceous greenness floating over the civet paste note that lifts it and freshens its breath.  Sharpness is exchanged for a lively bitterness, and this is a good trade off.

 

Be forewarned that the animalic quality of civet paste is still very much in evidence, but its inherent foulness comes more from the ‘staleness’ of well-rotted leather or wood or old radiators rather than from the anal secretion of a civet cat.  As with all of these attars, Civet Bomb ends up wrapped in a thick blanket of that buttery old sandalwood Russian Adam is using here.  In the far drydown – if attars can be said to have a proper drydown at all – the lingering civet and sandalwood aroma reminds me of the handsome maleness of Jicky or Mouchoir de Monsieur in their far reaches, albeit much simpler and less mossy-herbal.  

 

 

 

Royal Musk

 

Photo by Joanna Kosinska on Unsplash

 

Like Hemmingway’s writing, Royal Musk boasts a structure that is straight-forward and devoid of frills, yet still manages to wring an imagined wealth of feeling and depth from the one or two elements it contains.   Made from stirring a tincture of a deer musk pod so old and dried out that all the urinous, sharper edges have long disappeared into that old, deep, buttery Indian Government sandalwood oil that the house is using, this is the rare musk-based attar that might be described as delicious.

 

The opening notes are raisiny, with dried fruit mingling with dark chocolate (or actually cocoa) for a slight panforte impression.  There are no animalic notes whatsoever, yet you can tell that it is deer musk, mostly because of the hint of plastic around the topnotes and its subtly furry, velvety texture, but also because if you are patient and quiet enough, you can also smell a hint of booziness from the tincture.  This is really very nice – dark and sensuous, with that cocoa-and-dried-fruit aspect that makes me think of the pleasures of deep winter, like drowsing under a blanket with a cat or watching the light flicker in the coals of a dying fire.   

 

 

 

Royal Amber

 

Photo by Kendall Scott on Unsplash

 

Here, the intensely buttery, savory vintage sandalwood oil initially overwhelms the composition, for once much stronger than the element with which it is paired, here, a piece of white ambergris from the West of Ireland ground to a fine powder.  Sandalwood is usually the quiet portion of an attar, carrying the other natural essences and adding only a depth and warmth that would otherwise be missing.  Here, however, as well as in the other attars, the age of the sandalwood oil used means that its santalols have deepened into this rich, buttery, concentrated essence of wood that asserts its own character and quite forcefully too.  It smells sweet and savory at once and feels as thickly resinous as an amber accord.  As a sandalwood fan, I am not complaining.  However, part of me does wonder if using a younger, less venerable quality of sandalwood would have allowed the other materials, such as this delicate ambergris, to shine through more clearly.

 

The tart, rubbery ping of the wood esters at the tippy top of the sandalwood oil interact with something briny in the ambergris to create an opening that smells momentarily iodic, like those dark iron syrups you take to correct anemia.  Then the rich, sweet sandalwood notes settle in and start spreading their warmth.  For the longest time, I can’t smell the ambergris.  Until you take your nose and attention off it, and then return, and yes, there it is.

 

Smelling white ambergris – the oldest, most aged specimen of ambergris that has been cured for decades in the ocean and under the sun – is a notoriously peekaboo experience.  There is a faint smattering of nuances so ephemeral and fleeting that they tend to exist like flashes of light at the outer edges of your field of smell-o-vision, making you doubt your own nose.  Here, it smells subtly of sweet, sun-dried minerals and salt on female skin and old newspapers and also a little of morning breath.  The darker you go with ambergris, the marshier the mammalian funk.  In Royal Amber, the only truly animalic part of the experience is the hint of halitosis that sometimes appears and sometimes does not, so mostly what you smell here is the sweet, bright, dusty minerals, mica, and salt-encrusted skin.

 

Ambergris is not amber resin, of course, but the resinousness of that buttery sandalwood does ultimately create an amber-like impression.  The powdery salinity of the ambergris gently strafes the ‘amberiness’ of the drydown, lifting and aerating what might otherwise have been very heavy.  A note about the powderiness here, as powder is a trigger word for some.  It is subtle but perceptible, like the gilded baby powder of Shalimar’s ambery drydown, but not as dense as Teint de Neige.  The slight brininess of the ambergris also offsets the powder somewhat, leavening as deftly as it does the buttered sandalwood.

 

Overall, though, this is a subtle, soft scent that is far simpler than my description suggests.  But I do find it gentle kaleidoscope of nuances entrancing.  It is a private sort of experience on its own; as a layering agent, I imagine that it would act like a bellows on a dying fire, breathing new life and dimension into whatever scent you wear on top.  The more perfume-like equivalent to Royal Amber might be Yeti Ambergris Attar 2012 by Rising Phoenix Perfumery.

 

 

 

Zam Zam

 

Photo by Vera De on Unsplash

 

Although this attar is said to be the most complex and perfumey of the entire collection, I personally don’t perceive it as such.  Zam Zam features a fiercely medicinal saffron distillation mixed into the vintage sandalwood used throughout the collection, and oddly, I find that the two materials bring out the worst in each other.  The high-toned wood esters fizzing at the top of the sandalwood accentuate the iodine-like properties of the saffron, so what I mostly smell is a slightly pitchy, medicinal accord that is too astringent to allow me to relax into the experience.  Once the vaporousness of the topnotes settle, the sandalwood heart notes bank everything down in a fine, brown layer of woody warmth, which in turn allows the saffron to play more of its traditional ‘exoticizing’ role for the sweet, buttery amber-woods.  I don’t smell anything particularly floral.  The saffron, a ferociously strong material, is able to keep a vein of something metallic coursing through the creaminess from top to toe, like a flash of electricity.  I find it Zam Zam striking, but angular and again, simpler than its billing suggests.

 

 

 

  

[1] To be precise, Russian Adam made two of the collection’s attars (Civet Comb and Zam Zam) by distilling the materials into the sandalwood oil carrier, while the other three attars (Musk de Taif, Royal Amber, and Royal Musk) were composed by macerating materials in oil and mixing these macerations into tinctures and sandalwood oil to complete the compositions.

 

 

Source of Sample:  Sent to me for free by the brand for review. 

 

Cover Image:  Photo by Raimond Klavins on Unsplash 

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