Perfume Reviews by Dr B1414

Psychédélique by Jovoy

Psychédélique by Jovoy. Wow, now when I think about it, this is one of the first perfumes I purchased back in the day. And it still holds the spot as one of my favorite Patchouli compositions. I love Patchouli as a note, yet I get bored quickly with it and never felt the need to own multiple takes on this genre. Moreover, there are many facets of this shrub that can be showcased, and I tend to go for those perfumes that focus on the musty, earthy, dank, and earthy facets. Psychédélique falls in that category and is the only patchouli-based perfume, next to Borneo 1834, in my collection. While Borneo complements the patchouli with cocoa and cistus, the former focuses on the warmth and sweetness of the amber resin accord(here cistus and vanilla) and the musks. Much like with Borneo, this perfume delivers a big dose of that dank, earthy, and dusty patchouli, only that it feels even larger here. And it irons its creases with a sweet, glowing amber accord and musks. An ambery-patchouli that is larger than life and lasts forever with intoxicating sillage. It passes the test for me in the sense that when I think of ambers and dank patchouli compositions they have to make me think of old dusty books and chambers. And this one does. In the opening, there is a hint of booziness and an almost chocolaty feel, liquor-like nearly, before it recedes to the patchouli heart and later in the amber base. In the colder months, it is an utter delight and I feel it is one of those compositions that shine in the sillage more so than smelling them up-close. It is my favorite perfume from this house. A solid house all around with many great offerings and unique and beautiful sturdy bottles (seriously now the bottles are gorgeous).

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Borneo 1834 by Serge Lutens

Borneo 1834 from Serge Lutens, composed by none other than Christopher Sheldrake. One of the most iconic perfumes in the "Patchouli" genre, to which many turn their nose, searching for inspiration. And then again, there are probably a dozen such perfumes in this line, which only speaks volumes to how influential the house of Lutens was, is, and continues to be for the world of perfumery.

What strikes me as so brilliant about Borneo 1834 is how Christopher combines the ugly and the beautiful to create the "wearable," culminating with a patchouli composition far from a crowd-pleaser, and yet that won't come across as your average artisanal blend/mash-up. The patchouli accord here verges on the dank, moldy, and earthy side of the spectrum. Then there is some camphor, light touches of booziness, as well as some tobacco. The latter may be just a facet of labdanum, plentiful in the base. So far, it sounds rough and far from palatable. But then there is a heap of velvety, decadent cocoa powder that falls like a dusty layer over the composition, not only completing the facets of the patchouli but improving everything about it. It softens the textures and infuses a mouthwatering quality to the blend. Later, it blends with the cistus to change consistency from dusty to molten dark chocolate. But this is not a gourmand nor a savory perfume. That's what I find so clever about it. Just enough to infuse some charm and smoothen the creases while the rest of the structure will continue to remind the wearer of moldy basements, antique furniture, and dusty old books, with a dash of cocoa to make things more lively, palatable, mysterious, and fun.

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Dries Van Noten par Frederic Malle by Editions de Parfums Frederic Malle

For me, Dries van Noten is a perfume of great potential that, unfortunately, was never fulfilled. It is not an accurate attempt to create a Sandalwood perfume. Anyone familiar with the ingredient would agree, but it does a better job than many. I see it as a "mature gourmand". Most gourmand perfumes are jovial and boring but this one almost nailed that balance. ALMOST. I find the idea of blending sandalwood, vanilla, spices, and Sulfurol to create a gourmand, brilliant, but Jovanovic decided to use his heavy hand and hard strokes to complete the task. If only Ellena had done this perfume. He already created a brilliant, poised gourmand in Ambre Narguile. But Jovanovic overdid it with the vanilla, the patchouli, and the tonka bean. And made a mess of it. The vanilla is too strong, overpowering the woody facets. To make it worse, the Tonka is just as prominent and gives off this "commercial" flair that could have been avoided. Too sharp and sweet. And the patchouli, My God! They used the same patchouli as in "Monsieur" (another Jovanovic heavy-handed perfume) and here, it doesn't work well. That's because that particular patchouli material has a noticeable "industrial", medicinal facet that works so well in a composition like "Monsieur" yet was not needed here. For all these reasons DVN is a composition that I could not bring myself to praise, although it has the potential to be great. The idea is there, the concept is brilliant, but the execution, however, leaves room for improvement. I wish they bring it back under the right clothes but now that the "Creative Guidance/Brain" abandoned ship, it is unlikely for the perfume to be mended. Maybe Malle will create a better version of this in the future, with his good friend Dries, and choose a better nose to do it. I think Ellena should have done this one.

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Kiste by Slumberhouse

KISTE from Slumberhouse is easily my favorite offering from the house, and while most people would think of Autumn or Winter when smelling it, for me, it has always been a staple to wear during Summer. I believe Josh had thought of it the same when he created it.

I see KISTE as an agrestic with a twist. I smell no tobacco in it. Maybe a tad bit in the newer version. KISTE is all about the overripe peaches and berries, drenched in honey, left to spoil in the field and served with some tea on the side. It doesn't make sense as a whole is blocky and monotonous, but to me, it is perfect. In the high Summer heat, I find it intoxicating. As soon as the body heats up, it works its magic, or at least on my skin. It pulls out the wildflowers and an almost freshly cut grass smell that makes me think of the fields. Fruits and honey are well balanced by the tea, floral, and hay-like accords. The newest version smells almost identical but feels better put together and more cohesive, with more "tobacco," while the honey note is imbued with a perceivably pissy quality. The original iteration feels more "carefree". Another way I like to picture this perfume is having a fruit basket picnic in the fields in the heat of Summer and bringing some cold, steeped green tea to quench your thirst. If you think it would never work out in the heat, please give it a shot. You might be pleasantly surprised. Oh, and another thing. Spray it as far away from your nose as possible. It's one of those perfumes that work their magic when sniffed in the air/sillage rather than close up on the skin.

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Théros by YS Uzac

Theros, from the house of Ys-Uzac. A house that will keep you entertained. Avant-garde, unusual, unique compositions tailored to be worn and feel highly sophisticated. This perfume meets all those criteria and more.

Theros has to be one of the most peculiar perfumes I ever experienced. There is nothing remotely similar to it. You read the accords listed by the house and think to yourself: "Sounds like something that'd be fun to try." However, you try it and realize that although it makes no sense on paper, the result is brilliant. Shortly, this is an Ambergris-centered perfume that uses a woody base for support, yet the former feels to be the center player. In detail, the perfume presents a plethora of textures and aromas that play in contradiction without feeling "out of tune." The opening brings a "toasted," "sun-baked" feel that heats the sand and chocolate accord. This solar-warmed quality never fades away. It lingers throughout, staying true to the perfumer's inspiration. It is difficult to describe this sensation. But it does come across as sun-heated sand or pebbles/rocks. To make it easier, I'd say it has a slightly savory quality (perhaps for being paired with the chocolate accord) that makes me picture freshly cooked rice. But it's a stretch to put it that way, although it might be easier for many to imagine. The chocolate accord is present, yet the perfume never feels gourmand, savory, or childish. Rather sophisticated, with a touch of dessert that fits in perfectly. Of course, the Oceanic feel and the salty, mineral nuances are present, going in tandem with the earthy accords and opposition with the chocolate one. I believe the "lipstick" accord is what I perceive as a waxy texture, which most certainly is lent by the ambergris. The Oud is an important player but never feels the major component. It is rather dry, warm, and earthy. The ambergris takes control slowly over the whole rendering that waxy, slightly salty/mineral, oceanic, earthy, and sexual touch. Undoubtedly, there is a sexy muskiness here that growls louder as the perfume consumes and might help create the listed "sweaty skin accord." All the mentioned facets are presented in a manner that is difficult to break apart. The perfume is exceptionally well blended with incredibly smooth transitions. The perfumer takes inspiration from the vision of being on an island with your loved one. A "Passionate Summer". That vision is captured accurately. And yet, I feel there is a lot of mystery and darkness to the construction. And while I believe it works great in the Summer heat, I'd opt for the most sophisticated events with a suit and tie.

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Cuir Fleurissant by Angelos Créations Olfactives

Cuir Fleurissant from Angelos Olfactives. My favorite from the house next to Angeliki. Both share that "retro" quality and floracy, yet one is a Chypre while the other is a Leather perfume. It walks in the lines of other great floral-leather perfumes that make great use of violet, such as Cuir Cannage and Great Britain, but I enjoy this one better. It sits so well with my skin chemistry, but I did hear a few people having not such a great experience, so definitely sample it beforehand.

On me, it behaves like a "Cuir de Russie" leather with a good amount of florals, a juicy bergamot that lingers forever, and some moss and resins in the base. As the name suggests, the leather accord and the floral bouquet are what you'll experience for the most part, and they are both finely executed. The opening greets you with a juicy bergamot that is stretched deep into the heart and balances the candied quality of the florals and the smokiness of the birch tar. The leather accord paints a deep brown color in my mind and feels incredibly textured. There is a smoky quality from the birch, after all, it is a Cuir de Russie, but on my skin, it doesn't overrule the other aspects, hence, it doesn't bother me one bit. It's perfectly dosed for my tastes. The florals are a major component here going hand-in-hand with the leather. It feels like a floral bouquet in which violet stands out the most. There is a candied quality to it that pairs well with the tart flavor of the bergamot. As time goes by, the leather loses its grip but the florals hang on tight. Resins and moss adjoin them in the later stages to shift the composition toward more of a Chypre-like experience.

Overall, it is a delightful floral-leather perfume, and although it doesn't bring anything new to this genre, I believe it is among the finest.

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Purple Kinam Legends Oud by Ensar Oud

Oriscent Purple Kinam. This is a special oud oil, no doubt, one that deserves its fame and status - marvelous technical achievement from the distiller who crafted this.

This is Oud Sultani, Kannan Koh, and Berkilau transmuted by the Oriscent treatment. Saying I love those oils is an understatement, as they rank in my top 5 oud oils. Add a few others like Ahmad, Emperor of Kedah V1, Grand Emperor of Kedah, Purple Malay, and Oud Mahmoud. I simply love that deep, sweet, resinous, and floral Malaysian DNA that is so difficult to come by. What if you take that DNA and craft it Oriscent style? You get the likes of Purple Kinam and then Kelantan. In this case, with Purple Kinam, you crank up the piercing qualities of the oil and the woody facets. The resinous quality is not the main focus anymore, while the vivid floracy and the purple color become more abstract. The way White Kinam takes the Malinau DNA and presents it through the Oriscent lens. Everything becomes elevated, less contoured, more abstract, piercing, and woody.

The opening of this oil is piercing, unlike many Oriscents, which feel rather vaporous. It shoots through your brain and has a powerful narcotic quality. It feels sharp and metallic. You can almost taste the oil at this stage. To that piercing-metallic quality, there is this psychedelic purple-pink color that comes across as hazy florals and fruits, alongside a peculiar zestiness. I like to think of extraterrestrial flowers, grapes, and plums, having a party in a spaceship while high on LSD. This is the opening of Purple Kinam for me. "Narcotic" is the best word to describe it.

After the initial blast, it calms down significantly. It settles and shapes into something more recognizable as an Oriscent oud oil. The woody quality takes center stage. This is where I feel it deters from the likes of Sultani. Whereas the latter becomes more vividly floral and noticeably sweet and resinous, Purple Kinam becomes increasingly woody. A deep, ancient-smelling wood aroma that I find with other high-caliber Oriscents like Royal Kinam 1, White Kinam, and Kyara de Kalbar. Here, that woody facet has a Bornean flair, sharing some of that Indonesian DNA. The floracy and the purple hue remain, but in the background and less overt. It fades away in this cloud of smoke. An abstract purple floral quality that feels diffusive rather than tangible. That sweet, resinous facet is faded here. There is very little sweetness to this oil, as well as very little of that oleoresinous DNA. The focus here is on the woody nuances. It continues in this fashion for many hours with incredible tenacity. Ancient-smelling wood that emanates a fine purple smoke which only gets less noticeable as time goes by. The oil focuses on simulating the experience of heating the wood and breathing the smoke instead of giving you the slabs of oleoresin goodness the way other oils mentioned do.

As far as the aesthetic goes, I will confess that my preference lies with the likes of Sultani, Kannan, Berkilau, and Co. That Malay DNA makes me lose my mind and gets my neurons firing like no other substance on Earth, that is legal, at least. Purple Kinam takes a departure from that aesthetic. However, I fully appreciate this oil and marvel at it for what it is. I think it is a superior oil, from a craftsmanship perspective, of which the distiller must be very proud. I find greater pleasure in watching the works of Caravaggio and Rembrandt, but I see a more complete artist in Picasso.

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Thai Tabac by Ensar Oud

Here's another personal favorite Tobacco-centered perfume composition, the OG iteration of Thai Tabac from Ensar Oud. I miss some of the early releases from this house. Thai Tabac is one of my favorites. I noticed it changed in the subsequent iterations, where the emphasis shifted to the green facets. The first version was all brown in feel.

This attar is one of powerful contrasts, something that I love in perfumes. The contrast between the aromatic, green, and earthy facets and the gourmand, sweet ones. Between these, the main player, the tobacco in its full glory. The focus here is on the dry aspects and aroma of the leaves. And that is what you get with this composition, a three-staged play. The opening is strong on juniper and very aromatic. A major player in this attar cleverly complemented by accords of fresh hay and earthy, green vetiver. Not long after this bracing opening, the brown, dry tobacco facets reveal and go along this peculiar yet well-chosen brew of savory elements like vanilla, cream, and faint coffee-like tonalities. And so, you get these juxtaposed savory and aromatic facets that work so well. There is a good amount of natural oud that warms up in the base, maybe an Indonesian variety akin to New Guinea, to complement the aromatic and earthy quality of the attar. But the tobacco is at the center of the composition and never lets go. The other mentioned notes and accords only punctuate certain facets and round out the composition. A brilliant and unique take on a genre that feels supersaturated and one of my favorites.

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Baque by Slumberhouse

After trying the latest iteration, I can finally put BAQUE from Sulmberhouse in my top favorite tobacco-based compositions.

I have long abandoned the Slumberhouse train for many reasons. Mostly because I felt the house had lost its magic and the charisma that got me hooked many years ago. I only kept one perfume, KISTE, my favorite from the house. BAQUE, to me, always felt like a diamond in the rough. A tobacco perfume of great potential which was never fulfilled. The opening part and the heart were brilliant, only to fall apart in the base with a generic vanilla and ambergris combination, a major departure from the theme and the initial boozy-moist tobacco affair. It felt like Josh decided to create an amazing and unique tobacco-based perfume but got lazy in the process and left it unfinished. But now, justice has been done. A fellow enthusiast contacted me, asking if I was interested in acquiring a bottle of this new version of BAQUE. I have to admit, I was intrigued when I heard that a new version came up. Could it be? Final redemption?
I decided to try for myself.

After receiving it, I first applied it to the blotter. It reminded me of the older version immediately. So far so good, as I always loved the first half of this perfume. The same brilliant opening blast where dried fruits, whiskey, and moist tobacco leaves dance together to your sense's delight. Unique and captivating. I think the use of davana in this perfume is really smart as it coaxes all of that dried fruit, booziness, and edges of the tobacco accord, cementing them together. Such an amazing ingredient when properly used. In the mid, it still went as I remembered it, with the drunken fruits slowly backing down to allow more of the moist tobacco to come forth. Finally, it had reached the point where the previous version turned for the worst. But now, surprisingly, it continued in the direction it should have from the beginning. Yes, the vanilla and the ambergris are still there, yet I feel the ambergris is toned down, and what dominates now in the dry down for me is an amped-up woody quality as well as a prolonged leafiness and the tobacco accord that has been stretched to last forever until the perfume consumes completely on the skin. No more cracks in the flow of the composition, and finally, it feels like a finished product. The leafiness and the woodiness now overtake the vanilla-ambergris combo that follows just as a supporting player. I decided to wear it on the skin, hoping for the same experience as on the paper strip, yet still bracing for that uneventful dry-down I knew well and had me scrub it off mid-way. Only that this time, it never came. Pure delight from start to finish. I wore it over and over again with the same result. I am happy that BAQUE got redeemed at last, and I will be keeping this bottle even though I was skeptical at first. I can finally say that BAQUE is one of my favorite tobacco-based perfumes and most certainly one of the most unique. Moist tobacco leaves from start to finish, adorned with dried fruits drunken on whisky, and supported by vanilla, woods, and patchouli in the base. There is nothing quite like it out there.

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Morah by Pryn Parfum

MORAH from Pryn Parfum. This one was one of the first perfumes I tried from Prin Lomros way back in the day. It was an instant love, and not much changed in that regard. I must admit that I prefer it to its successors, Mandodari and Mandodari-Mandodari. The latter doesn't sit well with me, as it feels too sharp and not as diffusively Opiated as the lesser concentrated versions. In contrast, Mandodari lacks the coffee note and the smokescreen accord I love so much in MORAH.

The best word to describe this perfume is "Intoxicating". It plays in the Floral-Oriental genre, yet it boasts a vinous opium accord that defines this composition alongside prominent notes of coffee, sweet resins, creamy exotic white flowers, heaps of cumin and civet, and just that perfect dash of oakmoss in the base. Once it settles down, it reminds me of Diaghilev with that sweaty, chewy, leathery civet combination in the base. That is if Diaghilev would take a trip to far East Asia, drunken on Opium and coffee while sitting in a garden of exotic flowers reading Sanskrit at dusk. But that one is MORAH. His more beautiful and sultry sister.

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Absolue Pour Le Soir by Maison Francis Kurkdjian

Absolue Pour Le Soir. Experiencing this perfume would be quite a shock for people who endorse this house nowadays. I'll refrain from giving my opinion on their scents and aesthetics. I will say, however, that seeing how Francis wasted his potential by releasing cotton candy synthetic bombs at the expense of works such as this one is rather disappointing.

This perfume has a powerful pheromonal allure that will take one by surprise. I remember back in those days, reading about it and how people said it smelled like stale urine. I laughed it off and pursued it with a blind purchase. After all, I loved, and still love, Orientals. The first thing I did once the bottle arrived, I remove the cap and take a whiff. "Oh my God, it does smell exactly like stale urine!". The rumors were true. As shocking as it came off, somehow, it had a weird appeal that I couldn't place. I sprayed it on. I wore it. And the more I did, the more I fell for it. A deep, carnal scent. The interplay of polarizing notes such as Cumin, Frankincense, and Beeswax, alongside other Oriental notes and accords, created this deep sensuality that seemed out of an ancient Roman or Egyptian banquet. To me, this perfume is all about the frankincense, the honey and the beeswax, and of course, the main course, the one and only, the cumin note. Few other notes play along, such as the rose and the benzoin in the dry-down. I believe it is the combination of the major players mentioned that creates the "stale urine" accord. And oh boy, it is so vivid. At times, the perfume has an almost "churchy" feel in the most Unholy way. But when you stroll at night in Paris, especially on the smaller and less-frequented alleys, you'll realize why Francis chose the name for it. It smells just like Paris at night. And some people will understand where I'm coming from. Years since I got this perfume, the stale urine accord has not left my mind, it just became more tame, or perhaps I learned to enjoy it. In my books, this perfume is a work of art, a carnal use of frankincense, cumin, and honey to exude an Oriental extravaganza like few compositions manage to capture.

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Chêne by Serge Lutens

Chêne is the first perfume that comes to mind when I think about Autumn. To me, this is Autumn in a bottle. It is one of my favorites from the house of Lutens. I remember how perplexed I was trying it for the first time, in the shop. It was an eye-opening moment for me. I never thought that perfumery could be like this, more than an accessory to complement your outfit or to get attention. This is a perfect perfume for a Lumberjack. One with fine tastes. Because, although it smells unusual, and true to nature, it is handled with a gentle touch and much refinement. There is a strong Oak Wood accord that Birch Wood and some nutty qualities complement very well. Additionally, you get a honeyed sweetness as well as some faint rum. While spices, immortelle, and soft leather round up the composition. What makes me think of Autumn is the usage of warm, sweet notes such as honey, rum, and nuts, blended with the scent of oak logs and smoke. Like a cabin in the woods, sitting next to a warm fireplace and sipping your favorite hot beverage. Likewise, the composition has a strong outdoorsy character and will satisfy people who enjoy foresty scents. And even though it sounds like a rougher around-edge perfume, it is surprisingly elegant and sophisticated. It behaves gently and never feels cloying or overpowering. When I tried Chêne for the first time I was in total awe because I love the smell of Oak and I could have never imagined it captured so well in a perfume, but also because it smelled so unique. Since then, a few indie and artisanal houses attempted this theme but none managed to pull the balance Christopher had struck here. Much like all the other perfumes in the line, or at least the very best, it is a unique piece of olfaction that will always rank among the best Lutens-Sheldrake creations ever, for me.

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Irisoir by Sultan Pasha

Irisoir from Sultan Pasha. Easily ranks among my favorite Orris-based compositions.

An Iris perfume with a vintage touch and a Victorian flair, incredibly rich and sumptuous. It smells so thick and creamy that I feel like it's choking me if inhaled deeply. Being an attar and a base-heavy composition, it feels rather monolithic, almost not progressing much, yet it does. However, slowly and over a long period. The top phase is consumed quickly, and the heart and base spend a long time on the skin. There is a hint of spiciness and some zesty fruits in the opening and after, it's full-on Orris. It is slightly punctuated by other florals such as candied violets and spicy carnations. The Orris, however, is the star of the show. Powdery, creamy, almost cocoa-like at times. The overall buttery texture might render a chocolaty sensation, occasionally. And what better way to complement this beautiful material than by marrying it to sandalwood and ambergris? Both show themselves more as the perfume consumes on the skin, but the Orris always feels in control. The refreshing zesty fruitiness from the opening is stretched long into the heart of the composition, and almost into the dry-down, and that is why I say that it feels like it has no progression, but I think it is rather a slow and seamless process that makes everything feel so compact and dare I say, monolithic. A beauty of an attar. Alluring, dark with an edge, full of glamour, and decadently rich in both texture and flavor.

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Siberian Musk Part III by Areej le Doré

Areej le Dore Siberian Musk Part III.

I have not tried the original iteration of this perfume, but the latest version has become my favorite take on the Verdant Musk genre, surpassing perfumes like Mriga, Mongolian Mriga, and the likes of Russian Musk.

The name "Siberian" hints at a verdant theme, and while that holds true for the opening part of this perfume, I get a more Oriental picture overall. Yes, the green facets are prominent at first. There is a grassy quality, a galbanum sharp bitterness, and even some faint pine, but after that initial blast, the musk-amber pairing starts to shine and take center stage in the composition. The musk here feels more aggressive than with both RM 1 and RM2, yet not as unwearable as with Mongolian Mriga. It has that edge and growl but is always kept in check. There is a prominent leathery facet to the fragrance that might be a result of both the musk and the amber fossil used in the base. The latter also lends a beautiful dusty, dry, and smoky quality on top of the glowing warmth. Because of the amber fossil and the prominent musk, on my skin wearing this perfume, makes me think more of the dunes than the plains of the Siberian taiga. And I'm quite fond of that, as I am not the biggest fan of all things verdant. Yet, this fragrance offers plenty of that, and so the balance it's nice, as you do get the Oriental experience with just the perfect amount of forest breeze. It didn't have a major impact at first but has significantly grown in my heart ever since. And out of all the Musk-themed perfumes from the house that I tried, it is my favorite.

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L'Oudh by Tauer

L'Oudh from Tauer Perfumes.

Hands down my favorite from the house and one of my favorite uses of oud in a more or less commercial offering on the market. The house is a hit or miss for me, but this little fellow hits the spot. To my nose, the perfume is not an oud-centric composition but rather uses the material to pull off an overall accord that feels larger than the sum of its parts. This perfume is dark, bitter, dry, and earthy. There's nothing pretty about it. Zero sweetness. The best way I can describe it is the smell of an old carpet found in a castle ruin right in the middle of a thick, old forest. Seriously now, it does smell like an old carpet. It has this betel leaf-like bitterness, a vivid earthiness from both the oud and the mushroom, and a slightly chewy quality from the resins. The castoreum is brilliantly used to suggest a leather accord, while the cypriol rounds off the composition and completes the "Oud Accord". I dislike cypriol in perfumes when it's poorly blended as I struggle with the ingredient, but here, it doesn't bother me one bit. The fragrance is monolithic and linear. What you get on the first spray is what you're left with for the rest of the day. Usually, I'm not a fan of that as I get bored rather quickly, however, when the smell and the vision the scent portrays are so well placed, as in this case, I love that it doesn't change. I would place this perfume in my "special" category under the "Medieval Perfumes" moniker. Scents that smell old, dark, and ancient. And that's exactly what you'll get with this one.

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Rauque by Roberto Greco

Here is Roberto Greco's third olfactory project, Rauque, composed by none other than Christopher Sheldrake. Sheldrake is quite possibly my favorite nose ever, therefore, I was beyond excited when hearing the news. Moreover, working with Roberto for the third Objet Parfumant, a series which till now, has been a fantastic journey. In my opinion, Rauque is the most triumphant of all three.

Rauque is a difficult-to-grasp perfume. It smells, unlike anything I ever tried. The evolution, the choice of materials, the strong contrasts, the very personal and complex idea/experience that ignited it, and even the bottle's design are dead giveaways of this. It feels like Dr. Frenkenstin's monster who learned how to behave like a highly sophisticated, intellectual human being. It's an oddity, yet refined. An example of how to create an artisanal/artistic complex piece of olfactory art while making sure that at the end of the day, it smells and wears like it's intended to, a perfume. When I first looked at the note pyramid I thought to myself, "This can't work, the notes are too contradictory". And yet it does. Here is where Sheldrake's genius steps in.

The perfume to me feels like an Agrestic Leather-Orientlal. The first half, the top and the heart precisely, remind me of smells I encountered as a child in the countryside. The base or the late dry-down, smells of resins and smoke, for the most part, hence, the Oriental part of the perfume. The opening is tangy, soapy, fatty, verdant, and somehow fizzy-ozonic. It's bright and dominated by the tart and sharp smell of the blackcurrant bud, as well as the green-ozonic violet leaf. There is a strong soap-like accord, but not what you'd expect. It smells like the handmade soaps my grandparents used to make from pig fat and sodium salts. No additives or perfume added. Fizzy and fatty. I assume the combination of narcissus, violet leaf, and olive create this phantom accord that feels very tangible to me. A handmade soap, tangy blackcurrant, grassy, and clean air accords.

The mid is all about the florals and the leather accord. I see Cassie flower listed, yet unfortunately for me, it's not the dominant floral here. It does play its part though. It lends its hay-like facet and subtle honey-like sweetness. The Osmanthus shares a bit of its fruity facet to help perpetuate the fruitiness from the opening, but more importantly, it helps build up the leather accord. The dominant floral here, however, is the Narcissus. A floral that was proudly used in the previous Objet Parfumant, Porter Sa Peau. It doesn't smell like the absolute, more like the flower in nature. The leather accord veers strongly into the equestrian territory. It feels alive, oily, creamy, almost drawing warm breath. Another important note to mention here is the pine tar, already exuding its characteristic smoky-woody quality. The mushroom is very subtle, again, unfortunately for me, but it helps to instill life into the leather by conjuring an organic quality.

The base pushes forward with the leather and the smoky pine tar to which the labdanum derivate Ambrarome is added, displaying leathery, smoky, ambergris-like facets, as well as myrrh for the extra nutty, chewy resinous touch. It settles down as a smoky resinous leather oozing warmth and pleasantly smoky wafts for hours on end.

All in all, one of the best releases of last year, triumphant in so many ways and on so many levels. A tremendous achievement when an artistic mind meets another and the talent of a Master Perfumer is put to great use. I hope that there will be more to see from Sheldrake under an independent creative direction, hopefully in more projects like this one, and I am excited for Roberto's future L'Objet Parfumant.

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Osmanthe Oud Huanghou by Auphorie

Osmanthe Oud Huanghou unfolds a marriage made in Heaven between Chinese Osmanthus and Chinese Agarwood. The pairing of these marvelous aromatics might seem logical, beckoning almost, yet I don't know others to have used it.
The entire composition is centered around the two, while other aromatics are cleverly used to support the composition by complementing or adding subtle nuances to the blend. The opening suggests a beautiful use of citruses alongside milky and slightly bitter oolong tea, making way for the Osmanthus and Oud pairing. Honey supports the osmanthus' natural sweet and honey-like quality. The Oud is clean and displays a smooth leather-like quality, with no hay/barn facets to speak of. It contrasts the osmanthus flower perfectly. The later stages unveil a thick, buttery Orris alongside some faint Ambergris. The auxiliary notes are used with a light touch and, therefore, feel more like suggestions rather than easily identifiable elements in the composition. The transitions are seamless, and the flow is perfect. Yin pressed against the Yang in absolute harmony.

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Musc Tonkin (Extrait de Parfum) by Parfum d'Empire

Musc Tonkin from Parfum D'Empire.

I remember reading about this fragrance back in the day before experiencing real deer musk and searching for a perfume that was considered a good approximation by the community. Now, many years later, I don't see Musc Tonkin as a perfume that is supposed to be a rendition of that, but rather a floral-chypre perfume with a resinous touch, infused with a BIG animalic cocktail that does indeed instill the whole "Natural Deer Musk" feel to the composition. The accord does capture the scent of natural musk, at least to some extent, and certain facets of it. What you smell first, is the floral-chypre component and the resins, then the musk. I find it not as overtly musky as say, Musk Kublai Khan or even Musc Ravageur (to keep it in the synthetic/commercial territory), but it is just as dirty as the first, if not more. The blending is superb, hence, breaking it apart is difficult. There is a big floral component saturated in indoles and an earthy, mossy component warmed by resins. All this structure is infused with a generous cocktail of various synthetic musks, indoles, hyraceum, and ambergris, making the florals feel alive, almost drawing breath, fleshy, and sweating. There is a prominent saltiness and halitosis quality to the composition. That's how hard the base hits. It feels like sitting inside a forest glade full of flowers and animals. The perfume has a powerful vintage flair, and I can see average sniffers calling it an "old woman/man perfume". An odd to vintage floral chypres that were not ashamed of using the same heavy musks in their base to make them interesting and bigger than life.

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Oudh Lacquer by Soivohle (Liz Zorn)

Oudh Lacquer from Soivohle. An amazingly complex cocoa-oud pairing that came way before that was considered trendy(Russian Oud, wink wink). I'm surprised no one talks about this brew, but I suppose it doesn't look good in flex pictures(as someone recently told me that they are only interested in acquiring perfumes that would look good in pictures, insert facepalm)

The blend itself is beyond masterful and clever. As the name suggests, the cocoa and the oud blend to create more of a chocolate liquor accord or cocoa/chocolate served with wine. Now, I do love Russian Oud, which showcases one of my favorite uses of cocoa in perfumery. This one takes a different approach, however, in blending the two materials. The Oud used here has more of an earthy, musty, antique smell as opposed to the Hindi profile that permeates Russian Oud. Oud here is dark, gloomy, and mysterious. And what better way to complement that profile than to add mushrooms, which naturally pair well with both cocoa and this type of oud? Take it a step further and suspend the entire formula in an aged tincture of oud and spices and you'll get an amazingly deep aroma. Intoxicating. She uses some floral notes as well to balance the composition, and the linden blossom accord shines more than the others to give a nice and unique touch of fresh sweetness. It feels almost honeyed and citrusy at the same time. Although it starts dusty, musty, and dank, it slowly morphs into this most inviting dessert of dark chocolate, wine, and spices, served on an old wooden table with some freshly cut linden blossoms sitting on the side. It is dark and earthy but smooth, inviting, and mysterious simultaneously. It feels like going into an old, dank cellar to choose your favorite chocolate liquor that has been aging away for decades, waiting to caress your palate. A charming composition for cocoa and oud lovers like myself.

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Lapsang Lover by Providence Perfume Co.

The best way to describe this scent is that of an old fireplace. Being next to the fireplace, sipping your tea, reading an old, dusty book. On my skin, this perfume unfolds as a most gorgeous Amber Fossil accord with a prominent Lapsang tea woody-smoky aroma. I get almost zero sweetness from it, although it lists honey. You have the smoky quality from the tea note, with a characteristic woody undertone adjoined to the smokiness of the amber fossil, labdanum, and other resins used. I love Amber Resin accords in perfumery, and this one is among the best I have come across. On top of that, all-natural, using actual fossilized amber resin. Hence, you get the typical facets of leather, dustiness, dryness, and toffee-like texture. There is also a slight bitter-medicinal feel to the perfume that works well with the other accords. When I smell an amber resin-themed perfume, I want it to make me think of something old and dusty. Very few managed to pull off that imagery, this one being one of them and the most realistic at that. In a market where all the Amber perfumes are overdosed on vanillin, ambrarome, and ambroxan, with the sweetness reaching sky-high limits, compositions like this are a breath of fresh air, or should I say, old air.

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Douleur! by Bogue Profumo

Douleur from Bogue Profumo. A collaborative work between Antonio Gardoni and tattoo artist Freddie Albrighton.

A quirky and avant-garde perfume that doesn't smell challenging or experimental to me, as some have claimed. When I focus on it (gently because it is nuclear) I can detect some of the peculiar accords like the raw meat, plastic toys, and the salty seaweed accord. But if I spray it and go about my day, it smells surprisingly pleasant. It reminds me of the scent of Plum Preserves, the way they are traditionally made here in Eastern Europe. Exactly like that. If I close my eyes and enjoy its aroma in the air. Furthermore, to reinforce that scent association, my mom made the same comment when she smelled it, even adding that it smelled nice. Hence, the perception of perfume is most certainly subjective. Close-up, on the skin, however, I can pick up the quirky parts of it. Space Rangers and Barbie dolls, metallic roses, mint-flavored bubble gum, and sweet fruitiness. Raw meat at times served in blood. Overall though, not a challenging scent for me, it's rather pleasant. Now, the Achilles' heel with this perfume is the ridiculous performance. Simply put, I can't bring myself to wear it. Occasionally, I take off the cap, smell it, and tell myself "Not today!". It gives me a headache unless I spray it underneath my clothes, and if I do, I can incinerate them. Hence, as much as I love the smell, there is not much point to it unless I can enjoy it. Original, yet unwearable for me. But if you like them bigger than life, you might not have this problem.

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Walimah II by Areej le Doré

Walimah from Areej Le Dore. This is my favorite floral composition from the house, alongside Civet de Nuit. They both showcase powerful contrasts, where the florals are deeply grounded by the base. The other ones felt a bit bland for me or too "feminine". Also, both of them are highly complex perfumes, with intricate builds. I'm certain Civet de Nuit will become one of the most sought-after Areej perfumes once it sells out. In my opinion, people take it for granted.

And like the first iteration of Walimah wasn't great already, Adam managed to pull off what, in my opinion, is an even better version, with Walimah II. They are almost identical, but the second one is slightly better. It feels like 110% of the first one. What changes the game is the addition of Indian Oud, which gives it more depth, a nice oomph and spicy kick to the opening, and deepens its colors further. Yes, I believe Walimah is a perfume of many colors. An Oriental-Floral composition that is hard to match. Feminine and inviting, sweet materials like florals, cocoa, and cinnamon meet masculine, rougher ones like vetiver, tobacco, oud, and musk. The most prominent floral note is the champaca, heady and wet, almost fleshy. The magnolia is a minor player, lending a hint of crisp fruitiness. There are warm spices that open the perfume and cocoa. The latter makes for a unique and delightful addition. It also pairs very well later on with the musk and the tobacco. The oud is a minor player in part I and more noticeable in part II, making for a fuller and rounder scent experience. The signature powdery musk of the house adds the final touch, alongside the resins in the base and the vetiver. Yes, the vetiver is a major player in this perfume. More so than the oud. Just like the cocoa, it is a unique and more than welcome addition that works incredibly well. It gives off this earthy-verdant quality that grounds the florals and contrasts them. I say it's unique because usually, Oud, Musk, or Ambergirs are used for that purpose, and this is where Adam's way of thinking outside the box comes into play.

A terrific Oriental-Floral composition, among the best I have tried. I prefer Part II over Part I, and I believe it will get even better with time. Hence, I am not planning on keeping both, as one is more than enough. Anyhow, you can't go wrong with either.

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Porter Sa Peau by Roberto Greco

The second L'Objet Parfumant created by Rodrigo Flores-Roux in collaboration with Roberto Greco, Porter Sa Peau, is a clever and well-put-together perfume composition, much like the other two, Œillères and Rauque. What I appreciate about all is that you can tell by smelling and wearing them how a lot of thinking and preparation went into creating them. Years of back and forth, brainstorming, and much work. If only more perfumes would follow this creative process...

Porter Sa Peau, as the name implies, is a fragrance that tries to convey the idea of wearing one's skin. A perfume that would merge with your persona and become more than a figurative extension of oneself. And it does smell like that. From the moment you wake up and take a shower, go out and mind about your day, meet your loved one, spend some time together, and end up sharing the evening as well. It evolves cleverly through all of these stages. A burst of aldehydes in the opening suggests the cleanliness. It comes across as soapy in this stage. The heart is infused with floral accords such as narcissus, a flower which oftentimes has a leathery, musky odor, and hawthorn, for a slightly powdery, musky, and dry feel. They pair together well further accentuating the idea of the skin smell, which, as the day goes by, starts to lose the soapy odor and produce its natural one. As you meet your lover and share some fun time so does the base of this perfume get quite naughty, with plenty of ambergris and musks. Hence, the circle is now complete, and the day is over, ready to start fresh tomorrow, hopefully just as eventful.

A clever composition with a cohesive and clear progression. It is my least favorite in the perfume trio, as I'm not too fond of aldehydes or pretty floral compositions, and by the time it gets sweaty enough for me, I'm left wanting to spray something else. However, I appreciate its creativity, and I'm sure many would find it irresistible. I guess I'm more of a country-side boy, so I'll spray my Rauques and Œillères.

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Au Delà Narcisse by Bruno Fazzolari

A marvelous floral chypre from Bruno Fazzolari centered around one of my favorite materials, narcissus.

What I love most about Au Delà Narcisse is how its floral repertoire extends beyond the narcissus. There is a good amount of jasmine alongside orange blossom, giving off the impression of a floral bouquet. Or it could be walking into a floral garden during springtime. I see bergamot listed as a top note, however the perfume explodes in its floral glory, and I can't pick up any citrus burst. The florals are balanced by a hefty dose of oakmoss, bitter and inky, chocolaty patchouli, caramel-like labdanum, and vanillic benzoin. The "Chypre" accord that makes up the base is tuned so well. It walks a fine balance that I have not come across often. Bitter and earthy yet with a slight dustiness and the perfect amount of warmth and sweetness from the resins. The jasmine and the orange blossom are major players and never let the narcissus lead independently. A true floral chypre composition that takes from the past and adds a significant touch of modernity.

A compelling perfume that shines during Spring and Summer or, according to Bruno, in pajamas at home. It would fit any occasion. It has the refinement and the vintage flair to suit formal events and the nostalgic feel to caress your soul in the comfort of your home.

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