Rich and rosy on a powdered wood base, somehow this has incredible depth and shading, though I am hard pressed to mention what my nose perceives beyond the attar rose and the luxurious wood. There are vanillic, almond-like undertones, but they are really part of the rose’s spectrum. No matter, this is a winning combination – dense, grown up and surprisingly easy to wear. Over its course, the roses become drier, merging beautifully with the scented wood – a velvet pouch containing crumbling petals from a Mogul queen’s garden placed in an antique carved casket.
Smells almost the same as Attar, but weaker. Not sweet, but a little sharp roses, not warm either. Sillage, lasting power and projection are very weak if compared to other releases.
On Level 3 of the Tate Modern, London, there’s a mesmerising collection of Mark Rothko paintings called ‘The Seagram Murals’. Like segments of primordial DNA, these large canvases dominate and impose themselves on those who enter this inner sanctum with their ‘simple’ blocks of 2 colours entitled: ‘red on maroon’, and ‘black on maroon’. As part of a series they have a striking similarity to each other: literally variations on a theme with each painting expressing a density beyond the wall. Indeed, I recollect with fondness the time when my friends’ young son innocently and ironically remarked that ‘they all look the same, daddy’, as we adults admired this collection with degrees of intellectual critique!
In this way Montale’s olfactory explorations with Aoud bear a striking artistic resemblance, as many of their dense creations are binary iterations comprising combinations of aoud and rose: the exquisite ‘Aoud Queen Roses’, for me, offering a centre-piece for Montale’s self-styled genre.
As with the majority of Montale’s creations the impact of ‘Aoud Queen Roses’ is massive and unforgettable: huge brush-strokes of sumptuous rose adorning a canvas of bewitching, seductive aoud. Devoid of thorns, this is a warm, full-bodied rose and, extraordinarily, able to summon new physiological life somehow when making contact with one’s skin. The Aoud employed is similarly tantalisingly beautiful, resonating like an organic see-saw of contrasting qualities that flirt with dusty, earthy, animalic nuances, verging at times towards bitterness, to suggestions of impending sweetness as if masquerading as purest sandalwood.
The crowning achievement, however, is the way in which the rose never withers on the vine, so to speak, and instead continues to flourish as if the aoud nourishes the flower above in symbiotic perfection.
This creation sits closely to the wonderful ‘Midnight Oud’ by Juliette Has A Gun and less close to the Rolls Royce that is FM’s ‘Portrait of a Lady’. However, its closest neighbours are indubitably from Montale’s Collection itself: the latter a monumental achievement of opulence, grandeur and the highest artistic merit. Stunning!
Rich and elegant without being mundane- and probably more suitable for a woman (yay). The roses are deep and dark and have so much depth which the aoud only showcases here. i believe leather is a listed note in AQR but it's not obtrusive and only adds to the decadence of the composition- just gorgeous!
Agree with all the positive notes and then more - this is a very nice subtle oud with rose character