Minneapolis 5.3
Berceuse Parfum (2022)

Minneapolis 5.3 is the second release by fledgling indie niche house, Berceuse Parfum, who also runs wetshaving company Barrister & Mann. Berceuse has an approach similar to Zoologist but with a focus on music. Berceuse chooses a piece of music, then hires an outside perfumer to compose a fragrance based on the piece of music. Once the perfume is finished, both the piece of music and perfumer are vaulted. Berceuse brought on Spyros Drosopoulos to “compose” Minneapolis 5.3.

This fragrance is based on Christmas Card from a Hooker in Minneapolis by Tom Waits. I have not previously heard it but according to Berceuse, it is a “bittersweet tale of a woman beaten down by life, circumstance, and addiction, caught up in reminiscence and the fantasy of what might have been.” This whole creative vision of music-turned-smell is a bit of a stretch for me, though ultimately what matters is how Minneapolis 5.3 smells. So, what does this song smell like?

Naturally, a song about a downtrodden, drug-addled sex worker would open with listed notes of “sparkling, wistful aldehydes and fizzing cinnamon and clove.” Whenever I hear “aldehydes” I think Chanel. Rather, in the opening I am nearly overwhelmed by a fresh and floral “shampoo” note, which very much reminds me of the newer Dior J’Adore releases. If I were to describe this scent in terms of sound, I would describe the opening as white noise, or the constant beeeeeeeeeeeeeeeeeeeeep of a TV that’s lost its signal. Beneath this white noise I smell orange blossom joined with a chewy, rubbery fruit note which I suspect is ylang ylang. In the base I get none of the advertised vanilla, sandalwood or oakmoss but still smell the opening shampoo note, but to a lesser degree. That chewy, rubbery fruit note is still there but it now smells green and bamboo-like. Berceuse lists the note as patchouli, but I think this just might be sclarene, as the note evokes memories of Hermes H24. Overall, I would say this is a feminine-leaning scent, especially with that fresh and floral opening.

I’m not all that familiar with the work of Spyros Drosopoulos, whose only other work I know is Koala by Zoologist. And while these two compositions are certainly distinct, I can smell clear similarities of Spyros’ style, especially the clean opening and green woody notes in the base that are present in both Koala and Minneapolis 5.3.

So, does the fragrance smell like the song? I don’t know. The scent reminds me of dryer sheets, Pantene, a tropical getaway, and the rainforest. What I am taking away from Minneapolis 5.3 is that linking scent memories to song is wildly subjective. Unlike Berceuse’s first release (Allegretto 7.2 by Antonio Gardoni), Minneapolis 5.3 is a safe scent and easy to wear. But it’s not great in my opinion. If I were to link Minneapolis 5.3 to Tom Waits’ song, I’d describe them both as decent yet unmemorable. Maybe that’s an unkind thing to say, but what I’m smelling in Minneapolis 5.3 is the product of a prospective luxury house that is serving up a designer fragrance with sleek packaging, an esoteric backstory, and a $189/50ml price tag. That’s a bitter pill to swallow, especially for a house that states originality as one of its core values. Ultimately, among two releases in two years, I see two perfumes commissioned by two former Zoologist perfumers, both having tangible ties to their past works. That’s not very original.

I was initially excited for Berceuse’s releases. I really like Berceuse’s sister company Barrister & Mann, and really want to like Berceuse. Unfortunately, what I’ve seen so far in Allegretto 7.2 and Minneapolis 5.3 is something in the wheelhouse of Zoologist. In other words, luxury-priced fragrances that are either too challenging to wear on a regular basis or vastly overpriced designer frags. Minneapolis 5.3 falls in the latter category. And while it’s a nice enough fragrance, it’s a pass for me at its steep price-point.