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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 

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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Sundowner by Tauer Perfumes: A Review

14th December 2022

 

Sundowner is interesting because, despite the much advertized chocolate and orange notes, it gets the salivary glands working without being foody.  The first blast is a foghorn of amber, spices, booze, and veiny pipe tobacco, but there is an undertow of medicinal sourness that smells like wood chips left to ferment in a rusty barrel.  The Tauer signature is strong, namely the rubbery smoke reminiscent of freshly creosote-ed fences, the brash salty amber, the piercing cinnamon, all set against a watery floral note that might be rose.  There are, at least initially, some parallels to PHI Une Rose de Kandahar, minus the fruity apricot conserve, and to the muscular expansiveness of L’Air du Desert Marocain.   

 

But the more I wear it, the more I think Sundowner does something special.  In draping the front end with all this almost fermented, grungy funk, Tauer sets the stage for the tobacco note to emerge through a new curtain rather than the usual one of dried fruit, gingerbread, and vanilla.   And, as it turns out, sour is better than sweet when it comes to carving out the true scent of tobacco leaf because Sundowner features one of the best, most true to life renditions of tobacco that I have ever smelled.  It is briny, rich, tart, and sweet all at once.  How this was accomplished, I neither know nor care.  When you find the spirit of tobacco bottled, you just buy it and let it take you on a magic carpet ride every time.

 

 

Source of Sample: I first sampled this in Bertozzini in Rome when I was back for a month in March this year. I bought a full bottle in November from ParfuMarija in Dublin.  

 

Cover Image:   Photo by Ilya Chunin on Unsplash         

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Areej Le Doré History of Attar Collection (Fragrances): Reviews

4th October 2022

 

The first release in the History of Attar Collection was a set of traditionally-distilled attars specifically commissioned by Areej Le Dore to give its customers an idea of what Indian attars are (thoughts and reviews of the attar set here).  This release, on the other hand, is a collection of spray-based fragrances (not oils) made by Russian Adam himself, rather than commissioned from an attar distiller.  Since their composition do revolve around the use and theme of Indian attars, however, it might be useful for readers to read my previous article describing the attar set first.  

 

 

 

Beauty and the Beast

 

Photo by Maksym Sirman on Unsplash

 

I wrote about the new generation of Amouage attars (2021) a while back, but in trying to couch my disappointment in terms of market realities, I skipped over the sense of loss – emotional and patrilineal – of never seeing the likes of Badr al Badour, Al Shomukh, and Al Molook again.  These were mukhallats that successfully positioned feral ouds against the softening backdrops of rose, ambergris, and musk, stoking a love for oud among the heretofore uninitiated.  The first sniff of Beauty and the Beast makes me realize, with great joy, that cultural ‘scent’ patrimony is never lost entirely, but rather, constantly over-written by new entrants like this.   

 

Based on the age-old Middle Eastern custom of pairing the sometimes challengingly sour, regal animalism of Hindi oud (the Beast) with the soft, winey sweetness of rose (the Beauty), Beauty and the Beast doesn’t deviate too dramatically from the basic rose-oud template.  When the starring raw materials are this good, you don’t need to.  The Hindi oud and the rose oils used here are so complex in and of themselves that an experienced perfumer chooses wisely when they leave them alone to work their synergistic magic on each other. 

 

Interestingly, the ouds in Beauty and the Beast have been distilled using rose hydrosols, meaning that the water normally loaded into the still with the oud chips has been replaced with rosewater, the natural by-product of distilling roses.  I am not sure that this makes a difference to the resulting oud oil, but the environmentalist in me likes the thinking around circular economy it implies.  

 

The balancing act the materials perform is nothing short of magisterial.  When the Hindi oud at first challenges the senses with its pungent, feral qualities – think beasts of burden steaming together in a barn, old saddles piled on old wooden barrels in the corner, piss-soaked straw matted into the dirt floor – the rose (not Taifi, for sure, but more likely something like Rosa bourboniana, used to distill attar of roses, or Rosa damascena, used to distill ruh gulab, or a mix) is there merely to soften and sweeten things.  Later, however, when there is more room to breathe, the rose offers up a kaleidoscope of different ‘flavors’, cycling through wine and chocolate to raspberry liquor, Turkish delight, truffles, and finally, that traditional rose-sandalwood ‘attar’ scent.

 

But it is crucial to note that these nuances all unfold in sequence, matching step for step the series of nuances emerging from the Hindi oud.  So, when the oud reveals that regal, spicy leather underpinning so typical of high-quality Hindi ouds, the rose offers up its truffles and wine.  The two materials continue to evolve and in doing so, change the character of the rose-oud pairing we are smelling.  First, the character is pungent and sweet, then it is leathery and winey, then it is dry, woody-spicy and jellied-loukhoum-like.  This evolution, this symbiotic dance, lasts for a whole 24 hours, so you have ample time to luxuriate in its every transition.

 

There is nothing really new or innovative about the rose-oud pairing, but Beauty and the Beast is worth your time and money if you are looking for an exemplar of the heights it can scale when only truly excellent materials are used.  It is strong, rich, long-lasting, but most of all, interesting and beautiful from every angle, from top to toe.  In terms of what is still available in this style today, I would rank Beauty and the Beast alongside The Night (Frederic Malle), Mukhallat Dahn al Oudh Moattaq (Ajmal), Al Hareem (Sultan Pasha Attars), and Al Noukhba Elite Blend (Abdul Samad al Qurashi).  In other words, the fragrances that best capture the feral but regal nature of Hindi oud, balancing it perfectly against dark, sweet roses.  For what it’s worth, my husband, who is a hardcore oud enthusiast, kept muttering stuff, “Good Lord, that is good,” and “Oh, that smells insanely good” all day long every time I wore it.

  

 

 

Ambre de Coco

 

Photo:   Aromatics, spice, and dried plant material for a shamama distillation being loaded into the deg. Photo by Pranjal Kapoor. 

 

Coming across a genuine shamama attar in the wild is like thumbing through a library of slim poetry books and pulling out a tome with the girth of a Ulysses.  Shamama attars, which can take two months of continuous distilling and over 60 separate fragrant materials to make, are so bewilderingly complex that even reading about how they are made is exhausting.  I’ve written about the process here, but in case you haven’t come prepared with sandwiches, a flask of tea, and a map, then let me just tl;dr it for you: an even more aromatic MAAI, wearing a bear pelt.

 

But Ambre de Coco takes it one step further – there is a shamama attar at its heart, but it is wrapped up in a dark, almost bitter, but superbly plush cocoa powder note, stone fruit accords, and a deeply furry impression that suggests that deer musk grains might have been involved at some point.  Complexity-wise, this is like taking Ulysses and wrapping it in a layer of Finnegan’s Wake.

 

Where to begin?  Let’s start with the amber.  Forget the idea of those cozy-vanillic-resinous ambers like Ambre Sultan (Serge Lutens), Amber Absolute (Tom Ford) or Ambre Precieux (Maître Parfumeur et Gantier).  This is Indian amber, or what they call shamamatul amber, which is green, mossy, and astringent as hell, as if amber resin was not a resin after all but a stalk of rhubarb or a copper penny.  Indian ambers are lean and a bit stern – there is zero fat on their bones.  Inside this carnivorous structure, the rest of these 50-odd raw materials flow as a swirl of tastes and impressions rather than identifiable notes.  Aromatic grasses mingle with bitter, mossy aromas, wet-smelling herbs, roasted roots, dried berries, calligraphy ink, floral bath salts, and all sorts of dried lichens, leaves, and twigs.  It smells more like something a traditional Chinese medicine man would brew up to cure an infection than a perfume.

 

Now, imagine all this soaked in a rich cocoa powder that softens all the pointy, jangly bits that threaten to poke your eye out, and you get an impression of being plunged into the warm embrace of fur – both animal and human.  The cocoa is not at all edible – fold away any expectations you might have of something gourmandy and sweet.  Rather, its powdery texture cleverly replicates the stale chocolate bitterness-dustiness that is a natural feature of real deer musk tinctures.  Shamama attars and shamama-based perfumes can often be animalic, even when they lean exclusively on plant-based materials (Ajmal’s 1001 Nights being a case in point), relying on the natural funkiness of the aromatics or woods or moss to create something that, in some quarters, might be termed a Parfum de Fourrure (a fur perfume).  Here, Ambre de Coco leans a little on oud and ambergris to boost that effect, but in spirit and intent, it joins the ranks of other glorious Indian shamama-inspired perfumes, such as 1001 Nights (Al Lail) by Ajmal and Jardin de Shalimar by Agarscents Bazaar.

 

Photo:  Charila, a type of Indian lichen that is similar to oakmoss. Photo by Pranjal Kapoor

 

The drydown is suitably bitter-musky-tobacco-ish in the way of these Indian shamamatul ambers, but I am not sure whether this is because of the additional dose of oakmoss and ambergris, or because of the naturally aromatic aspects of charila, an inky-smelling moss material from India that is oakmoss-adjacent and also the first material to be distilled in the shamama recipe.  Either way, my comment about MAAI wearing a fur coat stands.  This is a two-day affair and can be smelled on the skin even after a hot shower.  Considering that genuine shamama attars can take two months to distill and starts at a minimum of $2,000 a kilo for one that’s been distilled into real sandalwood oil, $360 for a 48ml bottle of perfume that not only does justice to shamama but elevates it to the small pantheon of shamama greats that exist on the market today, Ambre de Coco is both beautiful and superb value for money.          

 

 

 

Malik Al Motia

 

Photo by Bibi Pace on Unsplash

 

First, a bit of etymology. Motia (or alternatively mogra) is Urdu for Sambac jasmine, which itself is popularly known as ‘Arabian jasmine’, distinguishing it from Jasminum grandiflorum, the more classical jasmine grown in France and India.  You can buy motia in two forms – as an attar al motia, which involves jasmine petals distilled directly over a base of pure sandalwood, or as a ruh al motia, which is the pure essence of the flower, no sandalwood base.   Malik means, loosely, owner or King in Arabic, which I guess suggests that Malik al Motia is supposed to be the Supreme Boss of all Jasmines.  

 

But if you think that means you’re getting something loud, you would be wrong.  Russian Adam mentioned an interesting fact about traditional attars that I hadn’t known, which is that attar wallahs distilling in the old Indian manner produce essences that are pitched at a perfectly modulated mid-tone point, meaning that the final aroma is never too loud or too quiet.  And I find Malik Al Motia to be a perfect example of what he means.

 

This is jasmine with all the lights switched off.  It starts out as dusky, velvety, and slightly indolic in tone, similar to the darkened jasmine found in Ruh al Motia (Nemat) as well as to the soft, magic market indoles of Cèdre Sambac (Hermes).   But the leathery indoles are smoothed out by a judicious touch of the grandiflorum variety of jasmine, whose luscious sweetness and full-bodied charm sands down any rough edges on that Sambac.  Hints of overripe, boozy fruit – like an overblown banana liquor – lend a steamy tone but remain firmly in the background.  Oddly, Malik al Motia smells far more like jasmine than the Motia attar from the attar set that has presumably been used somewhere in the mix. 

 

There are resins and woods in the base, even some oud.  But these just act as the dimmer switch on the jasmine, making sure that everything, even the parts of jasmine that are naturally sunny, are subsumed into the folds of that black velvet olfactory curtain.  The rich, honeyed ‘just-licked skin’ tones of Sambac come through at the end and linger plaintively for hours.  Similar to the now discontinued Gelsomino triple extract by Santa Maria Novella, the natural end to any Sambac is that rich, skanky sourness of your wrist trapped under a leather watch-band all day under intense heat.

 

Yet Malik al Motia remains intensely floral.  Wearing feels like waking up in a field of jasmine at dusk, the air still redolent with scent.  It is not especially feminine and clearly not a soliflore.  The material’s rich indoles lend a slightly dirty feel, as does the mealy woods in the base (reading more cedar-ish than sandalwoody to my nose), but it manages to be darkly, sensually ‘adult’ without ever tipping over into full frontal territory.  Soft, black-purple velvet, a hushed ambience, your heels sinking into deep carpet.  Makes wish I still had someone to seduce.   

 

 

 

Al Majmua

 

Photo by Frank Albrecht on Unsplash

 

Al Majmua is based on the famous majmua attar, a traditional Indian blend of four other already-distilled attars and ruhs, namely, ruh khus (vetiver root), ruh kewra (pandanus, or pandan leaf), mitti attar (a distillation of hand-made clay bowls), and kadam attar (distilled from the small, yellow bushy flowers of the Anthocephalus cadamba).   Together, these attars combine to mimic the lush, earthy fragrance of India during the rainy season.  In Al Majmua, it is the green, foresty tones of the ruh khus that dominate, at least at first.  Its rugged, earthy aroma smells like the roots of a tree dipped into a classic men’s fougère, something green and bitter enough to put hairs on your chest.  In fact, there is a chalky galbanum-like note here that links Al Majmua, at least superficially, with the front half of Incenza Mysore.

 

But what I love about majmua attars, and hence also about Al Majmua, is that the juicy-sharp bitterness of the opening tends to soften into an earthy, dusty bitterness – nature’s slide, perhaps, from vetiver root to mitti.  

 

This earthy, aromatic aroma is complex and ever-shifting, sometimes letting the slightly minty yellow floral of the kadam attar peek through, sometimes the piercing, fruity-vanillic, yet funky aroma of pandanus leaf (kewra attar), which Russian Adam has cleverly accentuated by adding a cat-pissy blackcurrant up front.  But what really predominates is the earthy wholesomeness of soil and dust, emphasized with patchouli, and given a spicy, armpitty warmth by a sturdy cedarwood in the base that believes itself to be a musk of some sort.  Though the notes don’t include musk or even a naturally musky material like costus, there is an aspect to Al Majmua that smells like the creamed, stale skin at the base of a woman’s neck.  A perfumer friend of mine, Omer Pekji, recommended to me long ago to wear a swipe of Majmua attar under my Muscs Khoublai Khan (Serge Lutens), and I wonder if the reason this particular layering combination works so well is because muskiness forms the bridge between the two perfumes.

 

What I admire the most about Al Majmua is the way that the perfumer chose to simply frame the majmua attar at the center (since it is a complex-smelling thing in and of itself) and then arrange other, complementary materials around it to draw out and emphasize certain aspects of the attar’s character.  For example, a silvery-powdery iris is placed in just the right place to highlight the dustiness of mitti, the cedarwood to underline the majmua’s slight bodily funk, the patchouli to draw even longer 5 o’ clock shadows under the jaw of the ruh khus, and so on.   

 

Fresh over animalic.  Earthy but not pungent.  Imagine Green Irish Tweed sprayed over a deer musk attar that faded down a long time ago.  Indians love majmua attars for their complex, aromatic character and so do I, but I like Al Majmua the best when it is almost done.  Because, just as the slow, gentle fade-to-grey starts to happen, there is a magnificent moment where the natural sandalwood smells like – similar to some parts of Musk Lave and Jicky – idealized male skin.   Meaning, skin after a hot shave, application of an old-fashioned but honest sandalwood tonic (Geo F. Trumpers, say), and then an hour of gentle exertion in the cold air.

 

 

 

Mysore Incenza

 

 

Adjust your expectations.  You see, I know what you’re thinking.  You see the words ‘Mysore’ and ‘incense’ and, like Pavlov’s dog, you immediately salivate, expecting something warm, ambered, and resinous, like Sahara Noir or Amber Absolute mixed with the best, creamiest version of Bois des Iles or Bois Noir (Chanel) that ever existed, but somehow better, you know, because it is all artisanal and therefore deeper, richer, more authentic than anything you can buy on the shelves of your local department store or even niche perfumery.

 

Mysore Incenza is not that.  In fact, so large was the gap between my expectations and reality that I had to wear it five times in a row to come to terms with what it is rather than what I thought it was going to be.   In pairing the extremely high-pitched, dusty, lime-peel notes of frankincense with the extremely soft, ‘neutral’ woody tones of the vintage Mysore sandalwood (from 2000) included in the attar set (read my review here), a transubstantiation of sorts is performed, and something else entirely emerges.

 

Specifically, this new creature is born in the surprising mold of Chanel No. 19 or Heure Exquise (Annick Goutal), with one small toe dipped into the Grey Flannel genepool on the way.  At least at first.  It glitters in this high, pure register, an explosion of Grappa, lime peel, and wood alcohol chased by baby powder, a striking frankincense, and what smells to me like the dusky, cut-bell-pepper dryness of galbanum and the slightly shrill smell of violet leaf.  This creates a dry, clean, woody aroma that smells purified and ascetic.  This kind of frankincense, perhaps changed by the presence of the sandalwood, smells unlit – slightly waxy, slightly powdered, and definitely not smoky, although it occurs to me that the perception of smokiness is as personal and nuanced as your political beliefs.

 

There is no warmth, no sweetness, and no comfort at all.  Don’t look towards the sandalwood to provide any relief, either.  Mysore Incenza is cleansing, angular, and ‘holy’ in the same way as other famously austere scents in incense canon are, such as Incense Extreme (Tauer), Encens Flamboyant (Annick Goutal), and Ambra (Lorenzo Villoresi).  These are all fragrances that steer away from softening the jutting sharpness of frankincense with amber or vanilla or flowers, choosing instead to focus on the dry, musky-soapy, ‘hard core’ character of resin that radiates hard, like tiny particles of mica or dust leaping off the bible when the priest thumps it to make a point in the angriest of angry sermons.   Mysore Incenza keeps you kneeling straight, anxiously waiting for the priest to say that you can sit back down again.

 

Although technically beautiful, it is most definitely not my kind of thing.  My personal tastes run towards hedonism and gluttony rather than asceticism.  I put the hair shirt away a long time ago.  People who loved Grandenia will also love Mysore Incenza, as there is something of the same vibe.    

 

 

 

Le Mitti

 

Photo: The clay bowls of Indian earth loaded into the still to make mitti attar.  Photo by Pranjal Kapoor, with full permission to use.

 

As Russian Adam warns, Le Mitti is less of a perfume and more of a bottled emotion, so expect a maelstrom with a short but dramatic trajectory from start to finish.  Like Mitti from Oudologie (review here), Le Mitti is a departure from the mineralic, petrichor effect of very traditional mitti attars, in that it is smoky to the point of smelling charred.  I like this way of approaching mitti, as it feels more modern and exciting.  What is lost in all this delicious smoke, however, is that essential feeling of something wet (rain) hitting something dry (the parched red soil of India), which in effect activates the geosmin in the earth and makes that pure ‘after the rain’ effect ring out.  Try Après L’Ondée, if that’s what you’re looking for, or a traditional mitti attar.  But remember that Le Mitti is a perfume, not an attar, and is therefore more of an imaginative interpretation than a dogged replication.

 

So, what does Le Mitti smell like?  Like a perfect storm of peanut dust, tar, soot – charred remnants of a wood fire, soot snaking up the wall in black streaks.  It is Comme des Garcons Black without the anise or the clove.  I love it.  But it is definitely a hybrid mitti rather than a pureline one.  It joins the earthy red dust of Indian clay bowls to the dry, sooty scent of an Irish cottage without ventilation.  As you might imagine, it is hilariously atmospheric.  Don’t wear it unless you’re prepared for people to ask if you’ve been near an open fire recently.

 

 

 

Gul Hina

 

Photo by Photos by Lanty on Unsplash

 

Gul Hina, or Gul Heena, or sometimes even Attar Mehndi, meaning ‘flower of henna’, is an attar derived from distilling henna leaves (Lawsonia Inermis) directly into sandalwood oil.   As you might guess from the name, the attar comes from the same plant as the popular red dye that is used to paint elaborate patterns onto the hands and face of brides in most Indian weddings, be it a Hindu, Muslim, or Sikh ceremony.  There is also a Ruh Mehndi, but since it is very expensive at $43,000 per kilogram (while the attar ranges between $500 and $5,000 per kilogram), it is rarely used commercially.  Well, to be honest, neither the attar or ruh of henna is well known outside of India and is therefore under-utilized in Western niche or artisanal perfumery.   Strangelove NYC’s fallintostars is an exception – it uses a heena attar distilled by M.L. Ramnarain.  (Review here).  

 

Gul Hina by Areej Le Doré is an entirely different experience to most Gul Hina attars I have tried.  The scent of mehndi attar is that of earth, hay, flower petals, ink, baked clay, and iodine.  (The ruh smells greener, with a  tobacco-ish facet).  It can smell rather austere.  But the Areej Le Doré approach to Gul Hina is to bathe the henna flower in the prettiest of magnolia blossoms, rose, and jasmine, so that what emerges is a sort of Venus on a Half Shell – a pearlescent, creamy, and indubitably feminine experience.  This is not the hot baked earth and hay that I am used to in mehndi.  And I’m not complaining.

 

It strikes me that this would be perfect for a bride, especially one that is also getting those intricate henna patterns painted onto her hands and face.  Henna on the arms and face; Gul Hina on the wrists and neck.  A synchronicity of henna for good health and a happy marriage.

 

First, Gul Hina smells vaguely candied, but indirectly so, like floral gummies rolled in dust and lint.  Then you notice the magnolia petals floating in a pool of cream.  Unlike in other takes on magnolia, there is no lemony freshness and no juicy, metallic greenery at its heart.  Here, the petals feel impregnated with the cream in which it floats, like biscuits or croissants dipped into condensed milk before baking a bread pudding.  These sweet, milky notes mingling with the clearly floral elements of magnolia remind me of some aspects of Remember Me (Jovoy).

 

The jasmine is next to break free of this creamy mass.  Clear as a bell, this is a naturalistic jasmine, like jasmine petals dropping and wilting off a vine in high summer.  Petals fully open, a ripe smell, with something fecund and though not quite clean, not exactly indolic either.  Still, it is enough to give the pretty magnolia some much-needed kick.  A little funk in your cream.  The rose, when it emerges, is extremely subtle.  Rose rarely plays such a back seat, but here it plays nicely in floral tandem with jasmine and magnolia that it approaches that ‘mixed floral bouquet’ effect that Creed puts in all its older feminines, like Vanisia and Fleurissimo.      

 

To be honest, I am not sure what to think about the far drydown.  With the white musk and the sandalwood, there is a nice element of perfumey, musky bitterness that creeps in.  On the one hand, this sort of drydown is always very pretty (think Coco Mademoiselle, without the patchouli), but on the other, it doesn’t sit well with the magnolia cream pudding aspect, which in consequence begins to smell a little less like a milky dessert and more like that fake croissant scent they pump around the supermarket to get shoppers moving towards the baked goods section.

 

But even if it is ultimately not quite my thing, I can’t imagine why Gul Hina wouldn’t be a huge success with brides to be, women who like pretty florals, and fans of milky floral gourmands in general.  Overall, I admire Gul Hina for being a symbolic scent pairing to the more pungent smell of henna ink painted onto a woman’s body on her wedding day.  It doesn’t smell like any mehndi attar I have ever smelled before, but my experience with mehndi is limited and I fully expect someone who is fully familiar with it to smell this and say, but of course, this is pure mehndi!

 

 

Source of samples:  My samples were sent free of charge by the brand.  This does not affect my review.

 

Cover Image: Photo by Fahrul Azmi on Unsplash 

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The Areej Le Doré History of Attar Collection Thoughts and Reviews

16th September 2022

 

Thoughts

 

Don’t buy the Areej Le Doré History of Attar collection of attars if you are looking for another Walimah or Russian Musk attar by Russian Adam – a regular perfume composition, in other words.  Instead, buy the History of Attars collection if you value having a reference library for traditional distilled attars, made by artisans using pretty much the same equipment (a deg and bhapka) and distillation techniques practiced in India since the time of the Indus Valley Civilization, 3300 BCE-1300 BCE. 

 

It takes enormous skill and knowledge to make an attar in the traditional way, and having practiced it for over five thousand years, Indians are the masters of this art.   Although the attar maker behind the History of Attar set of attars has not been revealed by Russian Adam, the traditional seat of the attar-making world has long been Kannauj, the capital city of the Indian state of Uttar Pradesh.   Kannauj-based attar-makers supplied the princes of the Turkish-Mongolian (but culturally Persiatic) Mughal Empire with attars for more than three centuries and have a long history of trading with the Middle East (the word ‘attar’ is Farsi in origin but due to the boundary-crossing nature of attar making, the word is pretty much the same, with minor changes, in Urdu, Hindi, and Arabic).   Surrounded by silt-rich fields and valleys that grow an extraordinary range of exotic flowers, aromatics grasses, roses, and herbs, Kannauj is justifiably called the Grasse of the attar world.  Read about the most famous single-material Indian attars here and complex Indian attars here.

 

However, the traditional attar distillation industry is under threat.  Though you can read more in detail about why here, the main reasons are (1) the depletion of genuine santalum album oil, the traditional carrier oil into which the fragrant material materials – rose, jasmine, etc. – are distilled, (2) the high costs and labor intensity attached to harvesting, sourcing, and distillation of the raw materials to the standards expected in traditional attar distillation, and (3) the changing perfume tastes and buying power of the market that buys attars.

 

It is no wonder, then, that many of the small, independent attar-making houses have gone out of business.  At its height, approximately sixty percent of the population of the 1.7 million-strong city of Kannuaj was employed in the attar industry.  Until the restrictions on sandalwood oil production came about in the nineties, there were over seven hundred distilleries operating in Kannauj, for example.  Now there are only a hundred and fifty.  The traditional attar making industry has shrunk by almost eighty percent over the past three decades.

 

Sandalwood is perhaps the biggest issue, as it is responsible for about 50% of the aroma of a traditional attar (sandalwood being both a great-quality carrier that only improves with time but also deeply fragrant in and of itself).  Read more about why sandalwood is such an amazing material here.  Materials such as rose and jasmine have always been expensive to produce, because they are labor-intensive, and a great quantity of their petals required to produce even a small amount of a ruh or attar.  A ten milliliter bottle of genuine rosa damascena oil (ruh gulab) costs approximately $250 in Kannauj, but the same amount of synthetic rose oil costs only $8

 

You might think that all this preamble is a lot of bla, bla, bla.  But since the History of Attar collection of traditionally distilled attars is such a different product for Areej Le Doré to offer, it is worth spending a little time on clarifying why and how these products differ.

 

Russian Adam does not distill traditional attars himself.  Although he does distill his own ouds and some sandalwood oils for its sister outfit, FeelOud, Adam outsources distillations of specific materials to local artisans.  These oils are then used in the Areej Le Doré perfume compositions, both spray-based and oil format.  When these oils are mixed together with an oil carrier, these make what Areej Le Doré calls ‘attars’ but are technically ‘mukhallats’.  

 

Most perfumes in oil format called ‘attars’ are actually mukhallats.  See for example the 2021 Amouage ‘attars’ discussed here, as well as Ensar Oud’s ‘attars’.  This is partially because the word ‘attar’ originally meant anything fragrant or good-smelling, and has therefore become synonymous with ‘perfume’ – and specifically oil-based ‘perfume’ – to most people.  There is, however, some critical differences between the construction and artistic intent of a distilled attar and that of a mukhallat.  Unlike traditional attars, which are distilled, mukhallats are mixed, using already distilled or compounded materials, with a focus on raw materials culturally significant in the Middle-Eastern perfumery, such as ambergris, oud oil, musk, resins, and amber accords.   Mukhallats are definitely more perfumey and ‘finished’ in form – closer to what most would consider a real perfume. Traditionally distilled attars are far simpler and focused on praising the spiritual bounty of nature – closer to an ‘essence’ or ‘enfleurage’ than to what most people think of as a perfume.  Mukhallats tend to be easier to make because it involves mixing materials that have been distilled elsewhere, and the labor is all in the composition (rather than in the distillation).

 

Because traditional attar distillation is an extremely complex operation involving many people, weeks, complex procedures, etc., Adam commissioned an attar maker (attar wallah) to make these attars.  Despite some disappointment about this expressed online, this is basic quality assurance.  If you want a Chanel tweed jacket, you don’t buy a pattern and try to make it yourself.  Leave it to the experts. 

 

Yes, the History of Attar set of distilled attars is expensive.  But traditional distilled attars – genuine ones – are expensive, due to the labor and materials involved.  For example, a traditionally-distilled hina or shamama attar with the full whack of natural raw materials starts at a minimum of $2,000 per kilo.   And it takes over one month of uninterrupted distilling time to make a real shamama attar. Even in India, where labor in cheap,  that adds up to over 700 man hours.  Some will argue that you can buy an Indian attar for $5 on eBay or IndiaMart, and indeed, you can.  However, it will not be a genuine distilled attar.  It will contain a synthetic solvent (like IPM or DPG) or a substandard natural replacer (like Moringa oil) instead of Indian sandalwood.  Most, if not all of the other raw materials will also be likely synthetic.  And it most certainly will not have been distilled in a deg and bhapka but knocked up in someone’s back office masquerading as a lab.

 

It is ok if you are not interested in traditional distilled attars or if you are interested but don’t want to spend this much.  This collection isn’t for everyone.  (Also, attars themselves aren’t for everyone).  Only buy these if you are the type of person who values having a reference library of top-notch examples of a genre or raw material, against which you can judge the quality of other perfumes or oils.  I would compare this collection to the oud sampler you can get on Ensar Oud’s site.  It is handy as a baseline.  If you are content to limit your investment to the spray perfumes that Areej Le Doré will soon release based on these very attars and are only mildly curious as to how the spray fragrances relate back to these attars, then skip ahead to the reviews below.  They should tell you everything you need to know.

 

If you do buy this set, however, and are new to attar perfumery, be prepared for the fact that traditional Indian distilled attars are not perfumey-smelling.  Think of traditional distilled attars more as essences than perfumes per se, simply suspended in sandalwood oil.  Traditional attars are simple in structure; they start with the scent of the fragrant raw material that has been distilled, and end with the famously buttery-peanutty aroma of real sandalwood.

 

If Indian attars ever do smell complex, it is for one of two reasons.  First, some fragrant materials, like vetiver root, are complex-smelling materials in and of themselves, and so lend the attar the illusion of a more fully worked out ‘perfume’.  Vetiver root, when distilled as a ruh khus, for example, can stretch from hazelnut and grass to rose, earth, and smoke.  Second, there is a category of traditional attars known as complex attars, which are not single distillations of one material but co-distillations (for example, rose, jasmine and vetiver root in one still) or mixed with other attars and choyas after distillation.  Attars such as majmua and shamama fall into this category. 

 

The History of Attar attars are not complex-smelling attars.  They are single distillation attars, meaning that only one fragrant material was loaded into the deg and then distilled over the base of sandalwood.  This was an intentional choice on the part of Russian Adam, I believe, as he wanted customers to experience the raw materials in their purest form possible.

 

Traditional distilled Indian attars present the raw material in a way that will surprise people used to their portrayal in commercial perfumery.  For example, jasmine – motia in attar speak – does not smell as clean, bright, or creamy as is commonly portrayed in commercial perfumery.  In motia attars, I notice that jasmine can smell dusky and a bit dank, with some gasoline or plasticky nuances that tend to get filtered out for the commercial perfume experience.  If you buy this collection of attars, therefore, expect some olfactory surprises!  Do not adjust your TV set; this is all perfectly real.

 

The History of Attar attars all end up in exactly the same place, which is a base of real santalum album sandalwood.  As a bonus, Russian Adam has added a quarter tola of sandalwood  oil distilled by FeelOud from vintage Mysore sandalwood from 2000.  This is to give people an idea of what good quality santalum album smells like. The length of time it takes for each attar to get to the Mysore sandalwood base differs, with the more ephemeral materials like rose (Gulab) reaching their destination in an hour and the more tenacious materials like tuberose (Champa, Tuba) taking slightly longer.  But the end destination never changes.  If you love the scent of real, honest-to-goodness Indian sandalwood, you are in for a rare treat.  If you don’t have a particular yen for it, then it will be like being served the same dessert six days in a row.  (Honestly, the people in the latter group don’t deserve good sandalwood at all).     

 

 

The Reviews

 

 

Champa

 

Photo:  Vinayaraj, CC BY-SA 3.0, via Wikimedia

 

Champa attar is the most famous floral attar ‘type’ from India, possibly popularized beyond the borders of India by its use in nag champa agarbatti (Indian incense sticks), shampoo, and soaps.  Distilled from the champaca flower, a bright yellow flower revered across the Indian subcontinent and much of tropical Asia as a symbol of sacred femininity, champaca tends to smell rich and creamy, similar in profile to magnolia, but with a denser, muskier body weight, and hints of bubblegum, green apple peel, mint, and apricot. Though champaca can be quite musky at times, it is traditionally associated with cleanliness.   In fact, the word ‘champa’ gave rise to the word ‘shampoo’ by way of the Sanskrit word for champaca, ‘champo’, which means ‘to massage’.  

 

This particular Champa attar smells (typically for champaca) headily botanical, with a sharp green tea element freshened with pops of mint, grass, wood, and something akin to furniture polish.   You can tell that it is a floral – something about the heady, steamy atmosphere – yet it doesn’t smell particularly fruity, bright, or feminine in the way you think an attar squeezed from a yellow flower is going to. 

 

I pick up on an intense ‘darkly stewed tea’ element, with a sweet, powdered incense quality in the background, although this impression could be the automatic linking my brain does between the scent of traditional agarbatti[1] and actual champaca.  Although this doesn’t make much sense, since most Nag Champa on the market these days haven’t been within 100 km of real champaca, the association lingers, rendering this attar distinctly Indian in character.

 

The most interesting part of Champa is when it starts to degrade on the skin.  By which I mean the yellow flower itself begins to wilt into a damp, almost fetid organic soup of crushed stamens and soggy stems.  It smells musky in a very natural, attractive kind of way – like a young woman, freshly washed head to toe in Timoteí, rolling around in wildflowers and chamomile buds, only to emerge hours later stained with plant juice and soaked in that fresh-sweet-salty sweat that only the very young seem to produce.  This ‘decaying at the edges’ aspect – the slight tip of the hat towards the barnyard floor – smells freakishly sensual, mostly because it is so clearly natural in origin.  Whoever thinks that flowers can’t smell anything other than sweet or clean should smell this.

 

After this, there is a brief detour into jasmine-like territory, with a sour, plasticky edge I associate with Sambac at the end of its natural life.  Sometimes champaca can smell a little like jasmine, though, only a bit coarser and not as ‘clear’.  If you’ve ever smelled the underside of your wrist after removing a rubber watch at the end of a hot day, you’ll know what this stage of Champa smells like (only mixed with something vaguely floral).    

 

Champa winds up, about two hours later, in pure sandalwood territory.  Because all of these attars end with the same sandalwood finish, it is worth describing this once and then moving on.  If you want to study this basenote in isolation, Areej Le Doré has provided a whole quarter tola of vintage sandalwood in the set, called ‘Sandal’.  I describe it below.

 

 

Sandal

 

Photo by Isaac Martin on Unsplash

 

This is the essential oil of pure santalum album (meaning ‘white sandalwood’), the species of sandalwood rightly prized for being the most fragrant sandalwood of all.  Sandal was distilled from a vintage, well-aged batch of real Mysore sandalwood (22 years old at the time of writing).   Due to current restrictions on Mysore sandalwood, this is a genuine rarity.  

 

How does it smell?  Well, to paraphrase Teri Hatcher in Seinfeld, it’s real and it’s spectacular.  But lean in, folks, because real Mysore sandalwood is actually very quiet.  A fun fact is that, when you first smell Mysore sandalwood – or indeed any santalum album at all, whether it is grown in Mysore or not – you have to make a physical effort to shake off any association with the loud, buttery, incensey scent familiar to you in commercial perfumery, because that’s an association largely formed thanks to widespread use of sandalwood replacers like Javanol or Ebanol.  Commercial perfumes pre-1980s might have contained a certain quantity of real santalum album, but after that, you have been raised on the alluring lie that is sandalwood synthetics.  Therefore, a person’s first sniff of real Mysore sandalwood oil can be disorienting.   

 

At first, Sandal smells like freshly-felled lumber, with that slightly vaporous, high-pitched tone that all wood esters emit.  This is a clean, soft, slightly peanutty aroma, with only the faintest whisper of rose and milk stirring in the undercarriage.  Later on, it develops, in small tonal waves, into a warm scent that is typical of all s. album oils in its savory, milky-but-also-arid warmth.  It smells rugged but also weirdly flat, like the surface of cream, with a musky, spicy element that reads sometimes like ambrette or carrot seed, and sometimes like cumin or black pepper.  It remains extremely quiet and tonal, however, a gorgeous beige-blush-buff thing you instinctively want to drip-feed into your amygdala.  There is none of the deep incense or amber tonalities that Mysore oils sometimes boast, but it is fairly rich and sturdy. 

 

 

Tuba

 

Photo: Jayesh Patil, CC BY 2.0, via Wikimedia Commons

 

Now this will be a surprise to anyone used to tuberose in the commercial perfume context.  In traditional Western perfumery, tuberose tends to be one of those white floral notes you either love or hate.  I, um, have my issues with it.  It is just so strong and sweet, with this overlay of bubblegum, melted butter, candy, and cream that tends to suffocate.  It is just not my style.  It smells aged and ladies-who-lunch-ish and hotel lobby-ish.  There is a handful of tuberose perfumes that I love, but these have to be either so odd that its psychotic quirks suddenly become playful rather than annoying (Daphne by Comme des Garcons) or so green and medicinal that it tips over into bitterness (the opening of Carnal Flower, Tubéreuse Criminelle).  

 

But Tuba doesn’t smell like any of these iterations, let alone anywhere near the big classical, shoulder-padded versions that haunt my nightmares.  The opening is earthy but delicate – small tart green leaves, clay, an earthy Rooibos tea, and mint, all suspended like mist droplets in a curtain of camphor.  It smells dun-colored rather than the hot pink synesthesically associated with tuberose.  In fact, it is less flower than a newly opened jar of that Borghese Advanced Fango Active Purifying Mud, full of Siberian ginseng root and chaga mushroom extract.  Earthy, quasi-medicinal smelling things like this give me far more pleasure than a bouquet of flowers.  

 

Yet, there is also a small but still clearly tuberose character in all of this, which I find extraordinary.  It is as if someone took the freshest, softest leaves at the center of Carnal Flower’s evergreen box hedge opening and washed them in this creamy greige mud until soft, limp, and almost denuded of color.   Leaning savory rather than sweet, the slow fade into the equally savory sandalwood gives the impression of a barely set bread pudding, its layers wobbly to the point of collapse, flavored with miso paste rather than vanilla.  Tuberose must be tenacious even in attar form because Tuba takes more than two hours to disappear entirely into the sandalwood base.  Color me charmed.    

 

 

 

Genda

 

Genda attar is made from marigold (tagetes minuta), which, for a flower, smells uniquely herbaceous, bitter, and spicy.  Its astringent tonality has something in common with saffron, and indeed, the two make for good bedfellows.  Genda attar is uncommon outside of India, but marigold itself is used quite cleverly in some other mukhallats and perfume oils, one example being Aroosah by Al Rehab.

 

This Genda attar is – again – a shock to the senses if you are expecting something recognizably floral.   It smells distinctive without you being able to say exactly what it is that distinguishes it.  But if you relax your nose (like your eyes when looking at one of those Magic Eye paintings), strange and not unalluring shapes begin to emerge from the fog.  First comes a slash of bitter herbs (unidentified, medicinal in purpose), followed by the tacky glucose coating on candy cigarettes, a wash of chamomile tea, a slight hay-like note, latex paint, and either mint or camphor, all wrapped up in an accord that can only be described as a first cousin once removed to nail polish remover.  It is slightly animalic, but mostly high-pitched and vaporous, with its individual nuances shifting around so quickly that it is hard to pin them down. 

 

The flightiness of this herbal-acetone ether makes me think of Borneo oud, which also smells minty, woody and slightly bitter, with a vaporous intensity that makes your head spin if you get too close.  In terms of floral-essence-to-sandalwood trajectory, Genda sits firmly in the middle of the pack, taking about an hour and a half to wind down.  Delightfully odd.

 

 

 

Motia

 

Photo:  Reprinted with kind permission of the photo author, Pranjal Kapoor

 

Out of the three species of jasmine most commonly distilled in attar making[2], motia (or mogra, as it is sometimes called) is the most popular, and is made from Jasminum sambac, the famous ‘Arabian’ jasmine.  Ruh motia itself is almost exclusively distilled in Kannauj these days (whereas solvent-extracted Sambac absolutes and concretes can be found elsewhere).

 

Now this is where things get really strange.  If you know your Sambac jasmine, then you walk into Motia having a pretty good idea of what this is going to smell like – minty, fresh, a bit coarse (in a good way), sexy, slightly sour-leathery in the lower register, etc.  Good ole Sambac jasmine, in other words, and yes, quite recognizably distinct from the classical, sweet grandiflorum type.

 

However, for much of its lifespan, Motia doesn’t smell much like jasmine of any species at all.  You do get a floating layer of green floral soap that may or may not be jasmine, but this nuance is far more wax than flower.  There is a strong aroma of propolis, as well as flashing hints of that grapey benzyl acetate high note that some jasmine materials push to the front, so the jasmine clearly is there, somewhere.  But, in passing through that dusky almond-green floor wax accord, the sound it emits seems to be muted.  It smells to me like what I imagine the pearly white fat remaining from a jasmine enfleurage might have smelled several hundred years ago, when enfleurage was discovered as an extraction technique.

 

I like Motia very much, perhaps because off-center approaches to floral essences as characterful (and recognizable) as jasmine are always more interesting to me than the standard soliflore treatment.   I get a real kick out of the fact that this smells more of cream of wheat and wax and propolis than of jasmine itself.  In fact, Motia reminds me that there is this strange alchemy that occurs when jasmine meets sandalwood that transmogrifies the flower and the wood into something that smells like a warm, silky bowl of porridge.  This wheaten, nubby cream accord strongly recalls other jasmine-sandalwood accords such as that found in the central axis of Dries Van Noten (Frederic Malle) or in Feromone Donna (Abdes Salaam Attar). 

 

Motia is a real education for the nose.  In the ‘strange but true’ category, I also have samples of the Areej Le Doré spray perfumes that are based on these attars, and the one based on this motia attar most definitely smells like Sambac jasmine. 

 

 

 

Gulab

 

Photo:  Reprinted with kind permission of the photo author, Pranjal Kapoor

 

When rose petals are distilled into pure sandalwood oil, the result is an oil known the world over as ‘attar of roses’, or sometimes even Attar Gulab, as here (Gul means rose in Hindi, although the word is sometimes also loosely interpreted as ‘flower’.)  Attar of roses production takes place over nine months of the year, mostly using Bourbon roses (Rosa bourboniana) rather than rosa damascena (which, technically, is used to produce Ruh Gulab, or rose otto, i.e., an essential oil distilled in much the same manner as an attar, only not into a base of sandalwood oil or another solvent. Ruhs are 100% pure essences, rather than 50% fragrant hydrosol, 50% sandalwood oil)

 

Anyway, technicalities aside, describing what rose smells is probably as redundant as describing what coffee or chocolate smells like.  These are smells hardwired into our core memories.  But if I told you that while rose itself has over 300 compounds, the main ‘flavor’ compounds you are smelling are citronellol, geraniol, and eugenol, does that at least help you decode a bit of the mystery of what makes a rose a rose?

 

For me personally, learning that roses can be broken down into the main building blocks of lemon-lime (citronellol), green-minty (geraniol), and clove-pepper-spicy (eugenol) was critical to me understanding what I was smelling when I sampled my first rose outside the cannon of commercial perfumery eight years ago, which was Al Ta’if Rose Nakhb Al Arous from ASAQ.   Now with more experience, I know that the chances of Ta’if Rose Nakhb Al Arous being a pure rose otto are slim to none, but still, this particular oil upended my set-in-stone idea of roses as being soft, sweet, and feminine.  In contrast, the ASAQ smelled like freshly peeled lemons and spicy black peppercorns.  Smelling it slapped me awake.

 

I mention this as preamble to describing this Gulab attar.  If you go into it expecting a big, rich, or sweet affair, you’ll be disappointed.  This is a very traditional rose attar scent, its noise undistorted by the oil format.  It smells high-toned and delicate, with undertones that split off into tart-lemony and peppery-minty directions (without getting sidetracked).  Not surprisingly, due to the citronellol and geraniol compounds, the rose itself is a volatile creature that flares brightly and then immediately begins to soften away into a barely there smudge of rosiness.  When it reaches melting point with that beautiful sandalwood base a scant hour later, it smells very close to what most people’s fantasy of what an attar might smell like, in other words a rosy sandalwood scent with a very simple yet moving beauty to it.  

 

 

 

Source of sample:  Areej Le Doré kindly provided me with the attar set for free.  It normally costs $375.  I paid a small customs fee.

 

Cover Image:  My own photo.  Please do not use or distribute without prior permission.

 

 

[1] Champaca was used in the old, traditional way of making nag champa agarbatti (Indian incense sticks) that prevailed in India before the formula was cheapened in order to satisfy foreign demand for cheap incense.  In addition to champaca, the original formula for agarbatti included some very expensive naturals such as Assamese agarwood, Mysore sandalwood, expensive floral essences such rose, kewra, saffron, henna flower, and spikenard, an aromatic Indian herb.  These aromatic materials were bound by honey and halmaddi, a fragrant gum from the Ailanthus triphysa tree.  Important yogi would traditionally use nag champa in rituals, and it is still the prime component of any major Hindu event.  Therefore, nag champa was originally a highly prized sort of incense.  Mass production and cost-cutting over the years has meant that the Indian pan masala incense you buy these days is usually very low quality and, indeed, possessed of that hippy vibe that tramples on any cachet the original nag champa once enjoyed.

 

[2] The other two species are Chameli and Juhi.  Chameli attar is made from Jasminum grandiflorum, the type of jasmine grown in India and in Grasse and used in classic French perfumery.   Juhi attar is made from Jasminum auriculatum.  The auriculatum variety (Juhi attar) is simply a three-petalled subset of the sambac jasmine, and so the differences between them are negligible.  The differences between sambac and grandiflorum, on the other hand, are more significant.

 

Animalic Carnation Cult of Raw Materials Independent Perfumery Iris Musk Review Sandalwood Violet

Iris Ghalia by Ensar Oud

17th August 2022

 

 

Iris Ghalia by Ensar Oud makes for an unconventional iris but a reassuringly traditional Ghaliyah*.  It takes the gin-and-ice ethereality of orris and dispassionately sets it up to either thrive or fail against an onslaught by grungiest, most uncouth cast of characters ever licked up from a zoo floor – castoreum from the anal glands of a beaver, warm-scalpy costus root, calcified urine scraped off a rock (hyraceum), and saliva-ish musk grains scooped out of the undercarriage of some poor unsuspecting Tibetan deer.  And that’s before we even talk about the marshwater skank of natural ambergris.

 

Yeah, it was never going to be a fair fight.  If you have any experience at all, then you go into Iris Ghalia knowing that it is only a matter of time before quivering silver bloom of the iris is subsumed by the powerful animalics.

 

But the perfumer has sought to stack the deck a little in favor of the iris by flanking it with a sharp, fresh accord that is one third citrus peel, one third plant juice, and one third piano rosin.  Therefore, you get that first dopamine hit of warm, plush iris (smelling divinely of antique wood furniture, old books, and closed-up mansions) and just as the sugary deer musk bubbles up to nip at its heels, your nose flashes on the shrill, metallic greenery of violet leaf and the funky cat pee fruitiness of blackcurrant leaf.  Together these notes form a citric-resinous barricade around the iris, allowing it to stand up and assert itself just a little longer.

 

Iris Ghalia also benefits by being a spray and not an attar or an oily distillate, because a note as ephemeral as iris needs its own space (think a whole castle rather than a room).  For a while, the notes teeter, achieving a precarious balance between something very classical and something very grunge-indie-artisanal.

 

Of course, in the end, it is inevitable that the warm animalic notes begin to tighten around the trembling neck of the iris like a dirty fur stole.  The musks, which start out smelling as sweet and as dusty as powdered sugar sifted over a hot wolf, grow ever staler by the minute, a time-lapse video of animal fur collapsing into decay over the course of a week.

 

All this might prove heavy going indeed were it not for the persistent effervescence of a bright Coca Cola note running like ambient noise in the background.  I suspect that some combination of the iris and the powdery musks is what’s conjuring this effect.  But at times it also smells like all those minor aspects of benzoin – brown sugar, crackling brown paper, camphor, mint gum, and yes, Coca Cola – that only ever come out when benzoin is left alone to do its own thing rather than called in to serve as a member of the fantasy amber trope or as a rough stand in for vanilla.  No benzoin listed, by the way.  Pure conjecture on my part.  

  

Anyway, no matter how it’s configured, the contrast works.  And it seems to be a series of contrasts, rather than just one thing.   Notes-wise, you have something quite funky and animalic (scalpy) – the musks, the ambergris, and so on – jutting right up against something quite ethereal or even effervescent – the iris, benzoin, the powdered sugar of the Tibetan deer musk.  But there is also a textural contrast between the greasy/leathery and the dusty/sparkling.   In terms of ‘taste’, the contrast between the intensely sugariness of the musks and the sourness of the funky, leathery castoreum in the tailbone is clearly no afterthought either.  (Flanked by the saliva-ish musks, I find the murkiness of the castoreum to be very similar to the bases of other Ensar Oud scents, most notably Chypre Sultan, but the innovation here is all in that Coca Cola effervescence).    

 

All in all, a novel idea.  The sharp, greyish, concrete-like violet leaf (think Kerbside Violet by Lush) shoring up the elegant woodiness of the iris, the powdered sugar musks, the swelling chorus of animal gland secrete, just licked skin, and that miles-deep, bubbly Coca Cola sweetness.  Could I pull it off on the regular?  Probably not – it feels too much like hard work at times, and it is incredibly heavy.  Yet I found Iris Ghalia a tremendously exciting scent to wear.

 

*Ghaliyah, meaning ‘most precious’ or ‘most fragrant’ depending on the source, is a common type of mukhallat in the Middle East.  These were once all-natural affairs containing real ambergris, musks, oud, and spices, offered primarily to royal princes and members of the ruling class.  

 

 

Source of sample: Ensar Oud very kindly sent me a sample free of charge for review purposes (I paid a small customs fee).  I freely acknowledge that I am in a privileged position, as a fragrance writer, to receive free samples of the most expensive or rarest fragrances in the world.  The hope is that I perform some sort of service for the reader by reviewing them.

 

Cover Image:  Photo by Dorothea Bartek on Unsplash