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Ambergris mukhallats

Ambergris Attars & CPOs Cult of Raw Materials Mukhallats Review The Attar Guide

The Attar Guide: Ambergris Reviews G-Y

4th March 2022

 

Ghaliyah Kacheri (Rising Phoenix Perfumery)

Type: mukhallat

 

 

An ambergris-forward version of the Ghaliyah series produced by Rising Phoenix Perfumery. Ghaliyah Kacheri adds a Hindi oud oil to the blueprint, but surprisingly, the Hindi keeps its big mouth shut until the far reaches of the drydown. What is most noticeable at first is the creamy, apple-peel freshness of champaca flower mixed with a silky, wheaten sandalwood-ambergris foundation. There is a golden tone to it, like flowers drenched in the saltwater glitter of ambergris.

 

The sour smoke of the Hindi oud breaks through after an hour, fusing with the salty, creamy florals to give the scent the patina of aged woods, leather, and campfire smoke. The contrast between the fermented funk of the Hindi and the rosy, shampoo brightness of the champaca is the key to its charm. Ghaliyah Kacheri is a clever and unusual floral ambergris with a great payoff. Sillage-wise, however, be aware this version is quite muted compared to the other Ghaliyah mukhallats in the series.

 

 

 

Molook (Amouage)

Type: mukhallat

 

 

Molook is a paean to the glories of two of the stinkiest raw materials in all of perfumery, namely, ambergris and the most animalic of Hindi oud oils – the kind revered in the Emirati market. The Hindi is up front in all its creamy, sheep-cheesy glory. But it is the ambergris that really shines in this mukhallat. Redolent with the fetid marine stink of the softer, darker types of ambergris, the note still bears some resemblance to its original whale dung sheathing. Its fecal warmth acts as a magnifying glass for the oud, heating it up until a three-dimensional picture of animal fur has been rendered.

 

I suspect that many Western noses might be initially put off by the hot, sour blue cheese aroma that swells up on the skin the minute you dab it on. But that is just Hindi oud for you. Its heavy breath of fermentation and tanned leather is what most people in the Arabian Peninsula identify as the real smell of oud.

 

Although I personally prefer the smell of what is marketed these days as Cambodi oud – fruitier, sweeter, and less animalic – there is no denying that something about Hindi oud keeps my nose returning to my wrist. Its odd sourness is deeply compelling, and more mysterious and interesting overall than Cambodi oud. The aroma of the Hindi oud settles eventually, becoming rounder and warmer (although not sweeter) as the ambergris takes over, softening the blunt twang of the oud with its salty, musky glow.

 

Insofar as any mukhallat can be said to lean towards one gender or another, Molook leans masculine. It is fascinating to wear, especially for those interested in getting a picture of what a high quality Hindi oud or natural ambergris smells like.

 

 

Photo by roberta errani on Unsplash

 

Pure Amber (Amouage)

Type: mukhallat

 

 

Like so many mukhallats with the word ‘amber’ in their title, this is not amber at all but rather, ambergris.  To anyone unfamiliar with ambergris – or indeed to anyone actually expecting amber – the opening could prove to be quite a shock. It is as earthy and stale as a clod of soil freshly dug up beside a marina where the carcasses of several marine mammals have begun to slowly rot. There is a distinct dung-like facet to the aroma but let me reassure you that the damp soil effect ensures the scent remains fresh-dirty rather than fecal-dirty.

 

Many ambergris oils or blends have a natural line of intersection with civet. But Amber makes it clear that this is a different animal altogether. Ambergris is a little stinky in that slightly rude, open-hearted way of farmland and the seaside, but not at all sharp, like civet can be. Pure Amber showcases the earthy, fungal undertones of ambergris, with a sideswipe of fresh horse dung for good measure. It warms up into the pleasant scent of freshly-mucked-out stable, complete with nuances of clean earth and warm straw. Equestrians and horse enthusiasts will understand that this is the scent of beauty itself.

 

Later, other nuances drift into the picture, principally an arid, aromatic sandalwood, and the vanillic smell of old books. It is at this stage that one realizes that Pure Amber is really a simple blend of two exquisite materials – white ambergris and sandalwood. The drydown is a careful balance between the nutty warmth of sandalwood and the mineralic radiance of ambergris. Those obsessed with the evocative scent of antique bookstores and long, windswept Atlantic beaches may want to lay their souls on the line for a sample.

 

 

 

Royal Amber Blend (Abdul Samad al Qurashi)

Type: mukhallat

 

 

Royal Amber Blend is a lower-priced reiteration of the Royal Amber AA Blend, below, and therefore a more streamlined version of the same basic scent profile. Like its progenitor, it features a medicinal, iodine-tinged amber note over a funky grade of ambergris. However, Royal Amber Blend lacks the sweet, taffy-like depth of the labdanum in the original. Instead, it is unsweet, greenish, and moldy in the vein of sepulchral ambers like Ambra Nera (Farmacia SS. Annunziata), occupying a sourish register that will be unfamiliar to those used to the vanillic ambers of mainstream perfumery. With its muscular, briny-herbaceous undertones, Royal Amber Blend actually smells far more Indian than Middle Eastern in style.

 

 

 

Photo by Maskmedicare Shop on Unsplash

 

Royal Amber AA Blend (Abdul Samad al Qurashi)

Type: mukhallat

 

 

A very complex and interesting mukhallat. As with most mukhallats, it doesn’t have the traditional top-down structure that we are used to with Western alcohol-based spray perfumes. Instead, when it is first dabbed onto the skin, the notes appear as a thick blanket of scent before spreading out in concentric waves to reveal the basic facets of the scent. Body heat intensifies and warms the notes so that they become ever more radiant. 

 

Royal Amber is primarily all about the ambergris. The ambergris note is unabashedly inky and medicinal at first, denoting the helping hand of saffron, a material with iodine-like properties. This combination pulls the scent down a hospital corridor towards the operating theatre in much the same way that White Oud (Montale) does.

 

While the iodine note never disappears entirely, it is soon joined by the more attractive facets of natural ambergris, namely newspaper and sweet marine air. After a protracted period of salty sea air, the central accord takes on a far thicker and tarrier nuance, indicating the use of soft, dung-like black ambergris or, at the very least, a dark grey-brown specimen. The tarry facet is further accentuated by an unlisted labdanum resin. In its combination of sweet, sticky resins and animalic, leathery notes, Royal Amber shares common ground with the earlier Slumberhouse releases, such as Vikt and Sova.

 

Hearty, a bit rough around the edges, and with a one-two punch of ambergris and labdanum, Royal is simple but incredibly satisfying. It strikes me as the perfect scent for someone who spends a lot of time outdoors on beaches or in forests, preferring the scent of sticky tree sap and sea salt on their skin to the smell of perfume.

 

 

 

Photo by Kier In Sight on Unsplash

 

Royal Amber Spirit AAA (Abdul Samad al Qurashi)

Type: mukhallat

 

 

It is educational to apply Royal Amber Spirit AAA side by side with ASAQ’s slightly lower-priced amber blend, Amber Jewels. There is a price difference of approximately $100, but the step up in quality and complexity is greater than the price differential suggests. While Amber Jewels is a straightforward portrait of ambergris, Royal Amber Spirit AAA dresses the ambergris up in exotic jewels and finery.

 

Amber Jewels is light in texture and body, with a slightly raw, marine quality that persists for most of the fragrance, before fading into the caramelized tones of labdanum amber in the base. It smells fresh – ozonic almost – as if filtered through a herb-laden breeze carried straight from the ocean.

 

Royal Amber Spirit, on the other hand, is immediately heavier and more sweetly ambery. Although the raw marine quality of ambergris is present and correct upon application, it quickly becomes fused with a luxuriant, balsamic amber that feels pashmina-thick. Compared to Amber Jewels, it is infinitely more textured and three-dimensional. It maintains a salty-n-sweet ambergris tenor almost all the way through, though it is pleasurably muffled by a waxy layer of amber in the final stretch. A judicious dose of dusty spice – saffron, cinnamon, and clove perhaps – swims around in the treacle-like murk of the amber, adding a pleasant heat. What emerges is a warm, dusty leather with rich, balsamic touches.

 

There is also, I believe, a touch of sweet myrrh – opoponax – in the mix, present in the form of a bubbling, golden resin that encompasses both the waxy, honeyed texture of almond butter and the verdant bite of lavender. The opoponax adds a herbaceous dimension that freshens the breath of the scent’s resinous backdrop. The scent finishes in a blaze of ambery-woody warmth that, though now lacking the salty radiance of ambergris, still feels multi-dimensional in scope.

 

I recommend Royal Amber Spirit AAA to serious ambergris fans with a discerning palate and the means with which to pay for it. Be warned that it is tremendously expensive at $469 per tola, give or take. Is it worth the price of admission? In my opinion, yes.

 

 

Royal Ambergris (Arabian Oud)

Type: mukhallat

 

 

Coming as close to the aroma of an ambergris tincture as one can get in oil format, Royal Ambergris is a superb ambergris attar. It shares similarities with both Sweet Blue Amber by Abdul Samad Al Qurashi and Amouage’s Amber attar but is drier than the former, and more natural in feel than the latter.

 

At first, it smells of clean marine silt and low tide, but then smooths out into the enticing aroma of warm hay, clean horse stables, fresh sea air, and the great outdoors. Later, a tiny bit of golden sweetness creeps in. In general, this is an ambergris that tilts more towards earth and tobacco than resin. Highly recommended both for layering and wearing alone.

 

 

 

Sandal Ambergris (Aloes of Ish)

Type: mukhallat

 

 

As advertised, ambergris and sandalwood. The ambergris opening is earthy to the point of smelling like freshly-cut mushrooms caked in black soil. The fungal dampness feels clean and saline rather than sweet.

 

After a transition that smells of wet and then dry newspapers, the emphasis shifts to the sandalwood in the base. At this price level ($20 or so per quarter tola), it is improbable that this is pure Indian sandalwood. But even if the natural oils are fluffed out a little by synthetic sandalwood, the overall effect smells so natural that it is difficult to find fault. The sandalwood accord is buttery, salty, papery, dry, and aromatic. It is also durable, lasting for the better part of an entire day.

 

It is interesting to compare something like Sandal Ambergris with the Santal Ambergris tincture by Abdes Salaam Attar (La Via del Profumo). Both address the same theme and focus on the same two materials, and though one is all natural and the other not, they are both very pleasing takes. As always, however, you get what you pay for. The quality in the La Via del Profumo version is clearly superior, while the Aloes of Ish oil involves a little bit of willful fantasizing on the part of the wearer.

 

 

Saqr II  (Al Shareef Oudh)

Type: mukhallat

                                                                  

 

Saqr II is a mukhallat composed in honor of nature in all its brutal beauty. It focuses on ambergris (long golden beaches), oud (forests), Ta’ifi rose (flowers in inhospitable terrain), and Himalayan musk (animal fur). Saqr II provides the wearer with a truly kaleidoscopic experience – the florals, exotic woods, and musk all rushing out at you in a giddy vortex of scent – but maintains a rigorous clarity rarely experienced in such complex blends. The wearer can smell every component of the blend, both individually and as part of the rich, multi-layered fabric of the perfume.

 

The play of light on dark is well executed. The tart green spice of the Ta’ifi rose lifts the perfume, while salty-sweet ambergris lends a sparkle. These brighter elements prevent the darker oud and musk from becoming too heavy. The bright rose burns away, leaving a trail of leathery, spicy oud wood that is addictive, drawing one’s nose repeatedly to the skin. The oud here is smooth and supple, with nary a trace of sourness or animal stink. The musk, perceptible more as a texture than a scent, blurs the edges of the oud and rose notes into furred roundness that gradually softens the scent’s austerity.

 

The slight out-of-focus feel to this blend makes it far more approachable for beginners than many others in the Al Shareef Oudh stable. There is even a little tobacco-ish sweetness thanks to the ambergris. However, typical for the house, none of the materials have been dumbed down for a Western audience. The blend smells classic in a certain rose-oud way, but it is not clichéd. Its balance of dark and bright elements, sweet and non-sweet, dirty-musky and clean, is what makes it such a masterful example of its genre.

 

Saqr II is complex, beautiful, and above all, easy to wear. I love the fuzzy golden timbre of the ambergris in this scent, which lends it a tannic apricot skin edge. It is my personal favorite of all the Al Shareef Oudh mukhallats and the one I would recommend to beginners as a great primer on the brand’s overall approach and aesthetic. Beyond that, it is one of the most beautiful perfumes I have had the pleasure of smelling in my life.

 

 

 

 

Sweet Blue Amber (Abdul Samad al Qurashi)

Type: mukhallat

 

 

Sweet Blue Amber is essentially a hunk of brownish-grey ambergris left to macerate in carrier oil until maximum halitosis has been achieved. The first time I tried it, I was repelled. The opening howl of civet struck me as foul, and the body of the scent thin and wafty. It smelled uncomfortably like someone with very poor dental hygiene breathing on me in a packed space. 

 

But now, with several years of ambergris experience under my belt, I can say that Sweet Blue Amber is just a very faithful rendition of grey or brown ambergris. This grade of ambergris is admittedly funky, but it eventually mellows out into a salty, skin-like scent that is very sensual in an organic way.

 

I like to layer Sweet Blue Amber under certain Western scents like Shalimar or Mitsouko to add a bodily funk missing from the modern versions. Jacques Guerlain once said that all his perfumes contained something of his mistress’ undercarriage in them, but even he would have scandalized at what Shalimar smells like with a layer of Sweet Amber Blue lurking beneath. Shalimar doctored in this way smells utterly carnal, the ferocious civety skank of the Sweet Blue Amber glowing hotly through the smoky vanilla of Shalimar, like tires on fire at a bacchanal.

 

A bottle of Sweet Blue Amber could be a brilliant DIY solution to fixing perfumes in your collection that have lost their animalic spark through reformulation, age, or the banning of nitro musks. Imagine the current versions of Bal a Versailles and No. 5 restored to their former animalic glory. The possibilities seem endless. Buy a tiny bottle of Sweet Amber Blue and have fun with it!

 

 

Photo by Andrea Cairone on Unsplash

 

Truffe Blanche (Sultan Pasha Attars)

Type: mukhallat

 

 

Truffe Blanche is so-named because it contains white Alba truffle extract, orris pallida, and white ambergris from the West of Ireland. However, it does not smell particularly ‘white’, at least not in the manner that most people would interpret it in the context of a scent, i.e., creamy, cloudy, milky, icy in texture, with lots of white musks, blond woods, and so on.

 

Instead, Truffe Blanche is quite an earthy, dusty scent, its character driven in the main by a smoky birch tar, which loses no time in mopping up all the juicy sweetness of the Meyer lemon and florals used up top. Thanks to the benzoin, birch, a charred (meaty) guaiac wood, and white ambergris, Truffle Blanche smells most enticingly of old books, desiccated wood, soot, black leather, and the remnants of ash in the grate. The camphoraceous facet of benzoin is in evidence here, too, but the scent never feels fresh or minty.

 

As the scent develops, a few of the sweeter, more animalic notes make a run for it. Escaping from underneath the rafters of that leathery dust are a bittersweet ‘roasted’ caramel note, a dry vanilla bean, and a pungent, honeyed civet. The contrast between dusty library papers and syrupy-dirty civet is tremendously effective. Truffe Blanche succeeds because it manages to both smell great on the skin and evoke a place or a mood. 

 

Oddly, Truffe Blanche smells very differently on the skin compared to on the toothpick I used to fish out a drop. On wood, it smells immediately like a dry, caramelized vanilla – almost purely white ambergris and benzoin, with a faint smudge of soiled panties. On the skin, the dusty, smoky effects of the birch tar are far more in evidence and linger longer. However, it is worth noting that it too winds up in the same dry, ambergris-civet vanilla and benzoin track.

 

Truffe Blanche is, for me, one of the all-time standouts of the Sultan Pasha Attar range. If you too love the scent of dry vanilla pods, white ambergris, books, and dusty libraries, then this is most definitely worth your time.

 

 

Photo by Sandy Millar on Unsplash

 

Sheikh al Faransi (Abdul Karim Al Faransi/Maison Anthony Marmin)

Type: mukhallat

 

 

Sheikh al Faransi is a bestial blend of ambergris, oud, and amber that is intensely evocative of the sea, mountains, earth, and rot. It opens on a note of sweet varnishy decay, like a mixture of mold on an apple and mildewy furniture left to fester in an abandoned mansion. Something about the blend seems on the verge of collapse, which introduces the thrill of uncertainty.

 

Slowly the halitosis stink of grey-brown ambergris begins to peek out through the woody rot, bringing with it its unique alchemy of sea air, silt, and horsehair. It is met with a light dusting of icing sugar, likely an amber and sandalwood sweetener placed there to offset the suggestive saltiness of the ambergris.

 

For the longest time, the perfume lingers in a midsection of sea salt and sweet powdered amber. But the drydown is pure ambergris in the fullness of its mammalian splendor. It is gorgeous, and 180° removed from its rotting, feral, damply-fruited start. For a mukhallat, it is decidedly non-linear and exciting to wear. Recommended to those who are looking for a wild ride.

 

 

 

silencethesea (Strangelove NYC)

Type: concentrated perfume oil

 

silencethesea immediately joins the ranks of ambergris perfumes to try before you die. Although there are other notes or materials, to my nose, this smells as close to a pure ambergris tincture as is possible in niche perfumery.

 

Ambergris can smell very differently from piece to piece, grade to grade, etc., but the ambergris in silencethesea smells like a deserted beach in winter. It has a dry, oceanic smell, like the smell of stones and rocks left to dry in the sun after the tide has gone out. Dry salt, minerals, and the stony loneliness of inanimate objects on a beach with no people around to witness it.

 

Silencethesea smells completely organic to me – elemental, and a bit wild. It has the type of aroma that one finds utterly normal in nature but does not expect to find in a personal perfume, and thus, it feels shocking. It is raw and slightly intimate.

 

There is no warmth to the aroma, apart from the vague funkiness inherent to ambergris that reminds us that this is a substance that originated in the intestine of an animal. Wearing it is like wearing no perfume at all, because it smells more like the cold air in one’s skin and hair after a long, solitary walk on a windswept beach than a perfume. This is not a perfume for community or cuddling or clubbing. It is for the pleasures of solitude.

 

 

Photo by Shibi Zidhick on Unsplash

 

White Cedar Rose (Mellifluence)

Type: mukhallat

 

 

This scent is dominated by a buttery, grass-fed coconut milk accord with an oddly meaty ‘lime peel’ quality to it. Coconut can smell both creamy and savory, an effect that is pushed to breaking point here. In fact, if beaten any further, one suspects that the lactonic accord at the heart of White Cedar Rose would start forming small lumps of butter.

 

The cedar helps stabilize things by bulking out the coconut milk and adding a saline muskiness. But the citrusy, rosy brightness that cuts through the salted butter and coconut is what ultimately turns this simple coconut tanning cream into a delightful rum-and-coconut cocktail treat not far removed from Creed’s Virgin Island Water.

 

Once the crazy lactones calm down a bit, I can perceive more clearly where the beefy saltiness is coming from – a golden, toffee-like, but also downright marshy ambergris and civet pairing in the base. The creaminess of the coconut and the bright lime notes slot into place over this sexy, skin-like ambergris for a result that is just wonderful. The clean smokiness of the cedar notes combines with the salty, sweaty skin notes and coconut milk to conjure an image of steamy lumberyards and beaches. If you love Virgin Island Water by Creed, Sex and the Sea by Francesca Bianchi, or even Cadjmere by Parfumerie Generale, then make it a priority to sample White Cedar Rose.

 

 

 

Yeti Attar 2012 (Rising Phoenix Perfumery)

Type: mukhallat

 

 

This is the single best double billing of ambergris and sandalwood currently in production. (Though, given the ominous 2012 tag in the title, I am not so sure about the ‘currently in production’ bit). Still, if you can get it, you are in for quite the experience. Yeti Attar coats the skin in a liquid hug of savory-sweet sandalwood with nuances of creamed coconut, peanut shell, and melted Irish butter. There is little better, when you are a sandalwood lover, than smelling the real deal and in such generous amounts.

 

Yeti Attar has a relatively simple structure – sandalwood, then ambergris, and then sandalwood again, like the best sandwich you ever ate but don’t remember ordering. When materials are as good as these – like the best conversationalists at a party – your job is simply to introduce them to each other and then leave them alone to do their thing. The ambergris used here is a subtle, golden one, with a spectrum of aromas ranging from earthy tobacco to damp newspaper and finally to dry, salty newspapers left out on a beach to curl up and yellow at the edges.

 

It is difficult to smell the ambergris in its totality when you smell it directly from the skin, and in fact, its nuances only reveal themselves in full when sniffed alongside something else on your other hand. This phenomenon is true of all attars featuring the finest grades of white ambergris – the scent profile is hauntingly subtle but its effect on the overall scent profound and noticeable. Once my nose smells another attar, and then returns to the Yeti Attar, I suddenly grasp all the facets of the ambergris used. Strange sensation!

 

The ambergris used here is soft, earthy, saliva-ish, intimate, and golden, like just-licked skin. It is not overbearing, dirty, or animalic in a horsey way. Yeti Attar 2012 is sensual and delicate to the point of being ethereal. A must-try for any sandalwood and ambergris lover.

 

 

 

About Me:  A two-time Jasmine Award winner for excellence in perfume journalism, I write a blog (this one!) and have authored many guides, articles, and interviews for Basenotes.  (My day-to-day work is in the scientific research for development world).  Thanks to the generosity of friends and acquaintances in the perfume business, I have been privileged enough to smell the raw materials that go into perfumes and learn about the role they play in both Western and Eastern perfumery.   Artisans have sent vials of the most precious materials on earth such as ambergris, deer musk, and oud.  But I have also spent thousands of my own money, buying oud oils directly from artisans and tons of dodgy (and possibly illegal) stuff on eBay.  In the reviews sections, I will always tell you where my sample came from and whether I paid for it or not.

 

Source of samples: I purchased samples from Amouage, Maison Anthony Marmin, Arabian Oud, and Mellifliuence. The samples from Rising Phoenix Perfumery, Abdul Samad al Qurashi, Strangelove NYC, Al Shareef Oudh and Sultan Pasha were sent to me free of charge either by the brand or a distributor. The sample from Aloes of Ish was sent to me by a Basenotes friend.

 

Note on monetization: My blog is not monetized.  But if you’d like to support my work or show appreciation for any of the content I put out, you can always buy me a coffee using the little buymeacoffee button.  Thank you! 

 

Cover Image: Custom-designed by Jim Morgan.

 

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Ambergris Attars & CPOs Cult of Raw Materials Review Single note exploration The Attar Guide

The Attar Guide: Ambergris Reviews A-E

2nd March 2022

 

 

Afrah (Amouage)

Type: mukhallat

 

 

The only nice thing I can say about Afrah is that its three-way clash between the fruity, musky ‘shampoo’ aroma of champaca flowers, the licorice-like basil, and the marine bilge unpleasantness of a soft, pooey (black) ambergris is, uh, original.

 

The opening is heady, with the champaca taking on the form of sticky peach syrup mashed into a sweaty clump of indolic flowers.  The basil gives the champaca a salty, minty licorice kick that lightens the load somewhat, but, in general, Afrah is heavy going.  There is something indigestible about its cyanide-ish brew of white flowers, honey, peach, and bitter almond. It is alluring and toxic in equal measure, reminding me of Hypnotic Poison (Dior) in feel, if not in aroma.

 

My main objection is that the civety stink of the ambergris refuses to play well with the other notes.  It manages to recreate with uncomfortable accuracy the sweaty, sugared pungency of the skin of someone with a medical condition like Type 2 diabetes.  I think should stop here lest I offend anyone who loves it.

 

 

Photo by Yulia Khlebnikova on Unsplash 

 

Ambergris Civet Caramel (Agarscents Bazaar)

Type: mukhallat

 

 

Ambergris Civet Caramel opens with a blast of intensely aromatic aromas, chief among them the ferrous twang of burnt caramel and the bitter, woody edge of freshly-ground Arabica beans.  In fact, the aroma is so true to life that it feels like you are standing directly behind the barista at some artisanal Ethiopian joint while they grind the beans to go into your pour-over.

 

The bitter char on the caramel saves the blend from excessive sweetness, and the coffee grounds give it a woody edge that is a pleasant surprise in a scent with the word caramel in its title.  Red-gold hints of maple syrup and autumn leaves thread through the coffee and caramel gloom, making me wonder if that a touch of immortelle has been roped in to add its handsome, late October sunshine appeal.

 

The ambergris makes its presence known very quickly for such a bolshy crew, elbowing past the maple caramel, singed coffee grounds, and autumn leaves to assert its marshy presence.  The ambergris used in this blend manifests as an unclean combination of licked skin and unwashed hair.  This salty funk blends well with the dry caramel for an effect that is far woodier and far less gourmand that one might imagine.

 

Gourmand fans – try this.  But be aware that you really need to love less conventionally pleasing accords, such as burned coffee grounds and salty marine funk, to fully appreciate it.  Fans of the half-edible, half-woody Parfumerie Generale scents such as Coze and Aomassaï will click with it.  Pink Sugar lovers need not bother.

 

 

 

Ambergris Grade I (Majid Muzaffar Iterji)

Type: mukhallat

 

 

Ambergris Grade I is an interesting take on ambergris.  It does not initially smell of ambergris, but rather of bright soapy lemon and indeterminate fruits.  Later, however, hints of an outdoorsy sweetness with a side order of salt and lightly-toasted tobacco leaf signal its presence.  Most tinctures of white ambergris share a certain lightness of aroma that smells very little of anything save for mineralic rocks baking in sunshine and fresh sea air.  And this is the case here.

 

The mineralic glow of this grade of ambergris is the same as that used in exclusive Western perfumes such as the now-discontinued (but brilliant) Angelique Encens by Creed, and the glittery Encens Mythique d’Orient (Guerlain).  Not only does ambergris act as a fixative in these perfumes, but it magnifies the effect of the other materials – incense, rose – rendering their texture airy and almost effervescent.  The cool thing about Ambergris Grade I is that it allows us to study this effect in isolation.

 

 

 

Ambergris Mukhallat Arabiya (Agarscents Bazaar)

Type: mukhallat

 

 

Ambergris Mukhallat Arabiya is less of an ambergris scent and more an archetypal attar smell, i.e.,  starchy saffron and high-pitched roses blended together.  This familiar rose-saffron pairing is enormously popular and thus finds traction in every single attar house.  The problem is that it runs the risk of being a little too familiar.  Either you have to put a twist on it for it to stand out or else you produce a version that out-exquisites all others in the crowded field.  Ambergris Mukhallat Arabiya, though competent, fails to do either.

 

The model makes sense from a compositional point of view.  The pungency of the leathery saffron is mitigated by the soft sweetness of the rose, and in return, the rose gains a backbone.  This rose-saffron attar idea has been lifted wholesale into Western perfumery.  Most Western oud-themed niche perfumes are constructed around a central axis of rose and saffron, with a dollop of synthetic oud added in for extra screech woodiness.  This template, repeated from brand to brand, has inculcated in Western customers such a strong association between the materials of oud, rose, and saffron that, like Pavlov’s dog, all we have to do is smell saffron and we fill in the oud blank on our own.

 

And this is what happens here.  When you first smell Ambergris Mukhallat Arabiya, the spicy rose-saffron duet makes the mind flash on oud.  There is no oud here, of course.  However, if you are a Westerner and want to have a rosy saffron mukhallat that recalls the traditional rose-oud-saffron triad without paying oud prices, then Ambergris Mukhallat Arabiya may do the job.  It is a somewhat traditional, sharp, and spicy blend, tilted towards the austere.

 

The delicate sweetness of ambergris is nowhere to be found in this scent.  It is missing, presumed dead under the pungent weight of the other materials.  Briefly there is the suggestion of something radiant, sparkling, and metallic lifting the spice and flowers, which could be the cited ambergris.  But in terms of actual aroma, the ambergris is undetectable.  It is simply a decent rose and saffron mukhallat.

 

 

 

Ambergris Taifi (Agarscents Bazaar)

Type: mukhallat

 

 

The thrillingly tart, peppery scent of the Ta’ifi rose fills the nose upon application.  The scent of a Ta’ifi rose always reminds me of a raw beef filet encrusted in green peppercorns and harsh lemon peel, and this bears true here.  However, this version of Ta’ifi rose is far softer than the purer versions I have smelled from both Abdul Samad Al Qurashi and Al Shareef Oudh.  Its lack of purity translates into a smell that is less pungent, which might be more appealing to noses unused to the nose-searing properties of the unadulterated stuff.

 

This mukhallat possibly contains a small quantity of Ta’ifi rose mixed with a greater quantity of rosa damascena oil from another region, such as Turkey or Bulgaria.  Or it might be that only Bulgarian rosa damascena was used, as rose oil harvested from Bulgaria features many of the same sour, herbaceous aspects of the Ta’ifi rose.  Either way, it doesn’t really matter (except to a purist) for this rose note is sublime – fresh, tart, with a pickled lemon edge that makes you want to smack your lips.

 

Ambergris Taifi becomes rosier and creamier as it develops, blooming into a rich and durable red rose accord that shimmers on top of the golden, salt-marsh ambergris beneath.  The ambergris does not assert its presence strongly aside from a salty radiance.  Instead, it acts as a heat lamp, magnifying the rose and causing it to vibrate in 3D splendor.  The blend finishes in a blaze of salted caramel and rose, casting a pink glow around the wearer.  For those who can stomach the price, this is a great rose-ambergris mukhallat.

 

 

Photo by Jeremy Bezanger on Unsplash

 

Ambergris White Blackberry (Agarscents Bazaar)

Type: mukhallat

 

 

Fruit is difficult to capture well in attar and mukhallat perfumery because there are no natural enfleurages or extracts of fruit, leaving the perfumer with the choice between Jolly Rancher synthetics or naturals with a somewhat fruity character, like osmanthus or ylang.  Berries in particular are hard to get right.

 

When a synthetic fruit note is used alongside a bunch of naturals, its synthetic character can often become painfully apparent, like plopping a fake Nike trainer down beside an authentic one.  Place a fruit synthetic alongside real ambergris, for example, and it has the potential to stick out and catch on you, like a clothes pin forgotten inside a sweater.

 

Thankfully, this is not the case in Ambergris White Blackberry.  The blackberry note, though certainly synthetic, manages to be dark, plump, and slightly syrupy, with none of the ‘overexposed photograph’ shrillness of most synthetic berry notes.  This is probably due to the softening effect provided by a tandem of sweet, creamy amber and the earthy, musty ambergris.  Neither the amber nor the ambergris clouds the structure, however.  The texture remains crystalline, allowing the luscious berry to shine through uninterrupted. 

 

There is also a momentary hit of spice – cinnamon or clove perhaps – but this recedes quickly, leaving the focus on the blackberry.  The blackberry note is fleshy, but thankfully, doesn’t attempt photorealism.  It is more the suggestion of pulp and stained fingers than the metallic brightness of most synthetic berry notes.

 

Two ambery accords are notable here.  First, a traditional amber accord with perhaps a hint of maltol, acting like a simple sugar syrup to buffer the first explosion of berry flavors upon application.  Then, the earthy, almost fungal tones of the ambergris, which here smell like a clod of clean, wet marine soil freshly dug up near a harbor.  The mixture of the sweet and earthy really makes this an amber-ambergris duet really worth wearing.

 

This is one of the few fruity mukhallats that I can recommend without reservation, even to those who normally find fruit notes in perfumery off-putting.  The sweet, earthy magic of the ambergris is suggestive of the ground from which the blackberry bushes sprang, giving us the full blackberry-picking fantasy of ripe fruit, leaves, and humus-rich forest floor.  A true Pan’s Labyrinth scent.

 

 

Photo by emy on Unsplash

 

Ambergris White Chocolate Opium (Agarscents Bazaar)

Type: mukhallat

 

 

Ambergris White Chocolate Opium opens with a rich, nutty accord that smells like the steam that rises off a pan of flaked almonds fried gently in brown sugar.  This accord is enrobed in a silky white chocolate casing that manages to be creamy without being sweet.  Think translucent nut nougat dipped in artisanal white chocolate, with perhaps a tiny sprinkling of sea salt and black pepper for contrast.  It is admirably restrained, teetering on the edge of full-on gourmand territory but ultimately pulling back to give you a taste of chocolate and nuts without any of the calories, bloating, or regret.

 

Slowly, the ambergris in the blend begins to make its presence known.  A sweet and salty smell, full of brisk air and sunshine.  There is something of old paper here but also freshly upturned soil.  There is the sleepy suggestion of mustiness, like the mildewy aroma that clings to clothes taken out of storage for the winter season.  This aroma is not unpleasant because it never comes across to the nose as unnatural.  It simply mirrors the familiar scents of home, namely, closed-up closets, earth, newspapers, salt, vanilla extract, and the crumbed tobacco leaves from cigarettes. 

 

Unfortunately, the rich white chocolate accord does not last past the first hour and is disappointingly faint from the second hour onwards.  Longevity is good, but with the scent whittling down to a mere shadow of itself within hours, it is like buying an expensive balloon at a fairground and having it deflate to the size of a condom within minutes.  Still, something about the smell of salty, creamy white chocolate in Ambergris White Chocolate Opium is so pleasing that one is tempted to forgive its wimpy performance metrics.  Maybe.

 

 

 

Ambergris White Gold (Agarscents Bazaar)

Type: mukhallat

 

 

Ambergris White Gold is a great option for those who like the idea of ambergris but can’t deal with its often very animalic properties that often resemble halitosis, low-tide effluents, and dirty horse stables.  This is the friendliest, most approachable ambergris mukhallat on the block.  Opening with a thick caramel note so intense it approaches bitterness, Ambergris White Gold soon evens out into a musty, vanillic accord that smells like a cross between Communion wafers and old paper.  Underneath these softly sugared ‘white’ elements, there is an undertow of stale saliva and warm horse flank.  These notes merely nod at the presence of real ambergris but are not dirty enough to scare the truly skank-averse.

 

The blend is based on white ambergris, which is the finest and most expensive grade of ambergris.  White ambergris does not smell foul – in fact, it barely has a smell at all other than the scent of fresh, mineral seaside air.  If you smell white ambergris for a long time, you will also notice the subtle aroma of sea salt, paper, vanilla, and tobacco leaves.  These more delicate properties of ambergris have been enhanced in Ambergris White Gold through the addition of a caramelized amber note up top and a dry, minty vanilla in the base.  The overall effect is of a sweet, papery vanilla with facets of white sugar, pastries, salt, and clean marine air.

 

I recommend Ambergris White Gold to people who like the cleaner, sweeter side of ambergris, as well as to those who love gourmand notes such as salted caramel, pastry, vanilla, and mint toffee.  The closest equivalent to this in the niche sector would be Dzing! by L’Artisan Parfumeur, which employs a similar gourmand approach to an animalic material (musk).  Think of Ambergris White Gold as a sheaf of old manuscript papers, grown dusty and sweet with time, and finally, lowered into steaming vats of hot condensed milk and sea salt.

 

 

 

Amber Jewels (Abdul Samad al Qurashi)

Type: mukhallat

 

 

Lovers of ambergris owe it to themselves to smell something like Amber Jewels at least once in their life, if only to establish a benchmark for quality.  The notes list says ambergris only, but forget that, as there is clearly a lot of labdanum doing the heavy lifting in the lower register.  The opening is pure marine air, thick, pungent, but also hyper-clean, as if all the elements have been doused in disinfectant.  It smells huge with a capital H – a hulking block of dusty rock, baking in the sun, the air fizzing with hot sea minerals, salt, and ozone.

 

Under the dusty minerals and caked-on sea salt, there is something balsamic shifting, keeping everything moist.  This comes across as something thick, tarry and black, with a rubbery sweetness in its undertow.  This charred rubber is a facet common to many ambergris-based fragrances.  It carries a tinge of smoke too, similar to the petroleum honk of some jasmine materials.  The sweet tar sitting under the marine notes acts as a layer of insulation for the more diffuse ambergris topnotes.

 

The ambergris is eventually joined by a rather masculine leather-amber accord, likely to be labdanum.  This base thickens and sweetens the ambergris somewhat, cloaking its salty sparkle in a dense blanket of leathery resin.  It is important to note, however, that the amber-ambergris accord never tumbles too far down the well of sweetness.  This is not the affably herbaceous amber of, for example, Ambre Precieux (Maître Parfumeur et Gantier) or Ambre Sultan (Serge Lutens).  In fact, it retains a slightly rough, textured woodiness that is very characterful.  It is precisely this salty, woody edge that will recommend itself to fans of amber scents that walk on the macho side of the fence.   Although not equivalent or even similar in smell, Ambra Meditteranea by Profumi del Forte has a similar brusqueness, so fans of that might want to give this a try. 

 

 

Photo by J Lopes on Unsplash

 

Amber Ood (Gulab Singh Johrimal)

Type: mukhallat

 

 

Despite the name, Amber Ood is neither amber nor oud but ambergris, and specifically the black, soft kind of ambergris so fresh it resembles the whale turd from whence it came.  Freshly dotted on the skin, Amber Ood smells like old peanut butter, ancient fishing tackle that has been shat on by seagulls, and the halitosis stench of someone who’s dislodged a kernel of corn from their back molars after not having flossed for two months.

 

I would love to be able to tell you that it gets better.

 

Both Indians and Arabs seem to love the fouler pieces of ambergris (black ambergris), finding the smell intensely erotic and skin-like.  But although the smell does eventually reveal some interesting hints of old newspaper, tobacco, and marine soil, Amber Ood retains this turd-cum-halitosis stench all the way through, ceding only to a bitter fir balsam and Ambroxan pairing at the tail end that smells like it has been cross-contaminated with a splash of Dior Sauvage.  The Ambroxan does nothing to mitigate the essential foulness of the smell.  Rather, it accentuates it, broadcasting the stench like an airborne virus.

 

 

 

Ambre du Soleil (Sultan Pasha Attars)

Type: mukhallat

 

 

Ambre du Soleil is a bright, lemony frankincense and bergamot blend over a rugged ambergris.  I suspect that the ambergris tincture was made from black ambergris, because there is a softly dung-like aspect to it at first that might seem fecal to some.  It might even have been boosted by a drop of civet.  But mostly this smells like pure ambergris tincture to me, made from a non-white grade of ambergris.

 

Later, the blend develops into a natural, warm marine aroma, with tinges of low tide and earthy, raw tobacco to remind us of its origin.  Ambre du Soleil is an excellent example of the depth that natural ambergris can add to a blend, serving as an amplifying glass for all the other elements in the mix.

 

 

 

Ehsas (Al Haramain)

Type: mukhallat

 

 

A musky, salty ambergris-based fragrance with more than a lingering air of cheap men’s sports cologne.  Ehas opens with a citrus and white musk combination that is about as comfortable as someone squirting lemon juice into your eye.

 

The ambergris note adds a dirty, musky salinity, and there are some nice green florals in the mix, but really, nothing in this mukhallat distinguishes it beyond the standard Iso E Super- or Ambroxan-powered sports dross so popular in modern masculine perfumery.  If you like this sort of nose-singing rubbish, just buy Sauvage and be done with it.  No need to get fancy schmancy with an attar.

 

 

 

Encens Mythique d’Orient (Universal Perfumes & Cosmetics)

Type: dupe, concentrated perfume oil

 

 

Encens Mythique d’Orient by Guerlain is a resinous ambergris fragrance with a bright rose and lots of aldehydes.  It is a rather complex fragrance, and not easy to dupe.  When worn on its own, the dupe captures the general feel of the scent quite well, but worn side by side with the original, some vital differences emerge.

 

The first difference is texture.  The steam-pressed hiss of aldehydes of the original is missing in the dupe, leading to a slightly flattened effect, as if all the air had been let out of the tires.  The original has incredible body and lift, with salty ambergris adding a rough, animalic sparkle.  The dupe lacks the radiance central to the character of the real Encens Mythique d’Orient and therefore most of the point.

 

The other main difference is in the quality of the rose.  Whereas the original uses a sharp Ta’if rose – dry, peppery, and neon pink – the dupe uses an ordinary Turkish rose synth and tries to beef it up by adding a jumble of mint, blackberry, and raspberry notes, a discordant mishmash that doesn’t feature at all in the original.  The dupe is also less finely soapy-musky than the original, veering off instead into berry jam territory.

 

Sometimes, the most important question to ask of dupes is whether someone would mistake it as the original when smelled in isolation, or in the wild.  I think that the dupe is recognizable – just about – as Encens Mythique d’Orient.  But it can only sustain the illusion for a short time.  In the end, the dupe morphs into a blackberry musk with a curiously waxy edge, reminiscent of Mûre et Musc by L’Artisan Parfumeur.  If you are fond of this particular L’Artisan Parfumeur scent, then you will probably like this dupe for what it is, rather than caring about what it is not.  Those specifically in search of Encens Mythique d’Orient, however – well, this ain’t it.  

 

 

 

About Me:  A two-time Jasmine Award winner for excellence in perfume journalism, I write a blog (this one!) and have authored many guides, articles, and interviews for Basenotes.  (My day-to-day work is in the scientific research for development world).  Thanks to the generosity of friends and acquaintances in the perfume business, I have been privileged enough to smell the raw materials that go into perfumes and learn about the role they play in both Western and Eastern perfumery.   Artisans have sent vials of the most precious materials on earth such as ambergris, deer musk, and oud.  But I have also spent thousands of my own money, buying oud oils directly from artisans and tons of dodgy (and possibly illegal) stuff on eBay.  In the reviews sections, I will always tell you where my sample came from and whether I paid for it or not.

 

Source of samples: I purchased samples from Majid Muzaffar Iterji, Al Haramain, Amouage, Agarscents Bazaar, and Universal Perfumes and Cosmetics. The samples from Abdul Samad al Qurashi and Sultan Pasha were sent to me free of charge either by the brand or a distributor. The sample from Gulab Singh Johrimal was sent to me by a Basenotes friend.

 

Note on monetization: My blog is not monetized.  But if you’d like to support my work or show appreciation for any of the content I put out, you can always buy me a coffee using the little buymeacoffee button.  Thank you! 

 

Cover Image: Custom-designed by Jim Morgan.

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