Sample of the Day - March 2013

Originally Posted by forfreddie

Replying to Dailey from the February thread regarding Bosque:

You describe it perfectly! I get a good dose of saffron in there too. The thing that is great about Bosque is the wierd, salty, slightly metallic turn it takes whilst remaining lactonic and "sappy". I wrote a massive review of Bosque here: http://smellythoughts.wordpress.com/...aef-the-essay/
Ok so I go a bit overboard - but I think this (relatively simple) fragrance, is outstanding But easy to dismiss as a just an easy to wear "cologne" - the fact it is that as well is perfect!

As for me? Keeping with teardrop's theme of simple, pretty and spring-like. I sampled Rosenlust and Rose L'Orange last night by April Aromatics.

Rosenlust is what you'd expect. A huge rose, touched with a hint of citrus and pepper - but all out, tea rose, a bit of jam, a bit of spice - rose rose rose rose rose. A dose of geranium keeping it very fresh. It successful smells like roses - and not like a rose perfume? Far too simplistic for me, but a fantastic almost meditative aromatherapy style fragrance none the less. I love the smell of it, but I prefer my roses with battery acid or cat pee you know...

Rose L'Orange has a fabulous creamy, herbal, intense, grapefruit/rose combo that warms up to bring out a subtle but heavily narcotic orange blossom. The narcotics vanish and the blossom because quite disguised by the rose, a citrus note weaves in and out and it feels like a very dapper, traditional, floral EDC but more powerful. A vanilla drydown is absolutely gorgeous - but yet again, extremely simple, straightforward but nice. Charming perfumery relying on good quality ingredients in minimal compositions. Totally not my style but enjoyable from time to time!

Originally Posted by Dailey

Sample of the day for me is Ambra Nera.

Originally Posted by forfreddie


Loved reading your little thoughts Dailey thanks for contributing!

Originally Posted by forfreddie

Replying to Dailey from the February thread regarding Bosque:

You describe it perfectly! I get a good dose of saffron in there too. The thing that is great about Bosque is the wierd, salty, slightly metallic turn it takes whilst remaining lactonic and "sappy". I wrote a massive review of Bosque here: http://smellythoughts.wordpress.com/...aef-the-essay/
Ok so I go a bit overboard - but I think this (relatively simple) fragrance, is outstanding But easy to dismiss as a just an easy to wear "cologne" - the fact it is that as well is perfect!

Originally Posted by forfreddie

Replying to Dailey from the February thread regarding Bosque:

You describe it perfectly! I get a good dose of saffron in there too. The thing that is great about Bosque is the wierd, salty, slightly metallic turn it takes whilst remaining lactonic and "sappy". I wrote a massive review of Bosque here: http://smellythoughts.wordpress.com/...aef-the-essay/
Ok so I go a bit overboard - but I think this (relatively simple) fragrance, is outstanding But easy to dismiss as a just an easy to wear "cologne" - the fact it is that as well is perfect!

Originally Posted by teardrop

Freddie, it sounds like you're one step closer to finding your ideal vanilla!?
Speaking of which, & l may have asked you this before, but have you tried Alien Essence Absolue? lt has a dominant note of cherry-almond heliotrope, & a gorgeous smoky vanilla drydown.

Sorry l haven't got around to any more sampling yet this month, but l will!

Originally Posted by forfreddie

Sample of the day was Serge Lutens' new La Fille De Berlin

It starts as a straightforward (but nice enough) rose, pretty clean, sappy, a touch of jam, a touch of spice (pink pepper mainly). It seems to have a cool, mint note in the opening but so so subtle and it subsides quickly as the rose warms up. As the cool quality disappears as does any moisture and it seems to dry out in a similar potpourri style rose to Une Rose. The metallic note of rose oxide (oily/petrol smell) is thankfully subtle enough to just be an interesting angle (unlike Damascena where it dominates in a hillarious unbalanced but fun-to-wear-whilst-giving-you-a-banging-headache kind of fragrance). Some violet starts green and ends powdery, and the drydown brings on a subtle honeyed note, and some dry woods and musk - simple, uncomplicated, and nice. Little more than nice.

Originally Posted by forfreddie

Sample of the day was Serge Lutens' new La Fille De Berlin

It starts as a straightforward (but nice enough) rose, pretty clean, sappy, a touch of jam, a touch of spice (pink pepper mainly). It seems to have a cool, mint note in the opening but so so subtle and it subsides quickly as the rose warms up. As the cool quality disappears as does any moisture and it seems to dry out in a similar potpourri style rose to Une Rose. The metallic note of rose oxide (oily/petrol smell) is thankfully subtle enough to just be an interesting angle (unlike Damascena where it dominates in a hillarious unbalanced but fun-to-wear-whilst-giving-you-a-banging-headache kind of fragrance). Some violet starts green and ends powdery, and the drydown brings on a subtle honeyed note, and some dry woods and musk - simple, uncomplicated, and nice. Little more than nice.

Originally Posted by mr. reasonable

OPUS IV (Amouage / J. Fiori)

Re-sample of today is one I sort of missed first time round - one minute there were I, II & III and then there was VI! I have since picked up several samples and really enjoy it. I liked Opus II a lot and there is something of a link here for me, although whereas II has an almost austere simplicity like a ‘nu-spiced fougere’, IV is clearly setting out to win some hearts.

The mix of warmth from the florals, a hint of violet leaf (?) is nicely suspended with the gentle spiced, mildly exotic accord. There is depth here, too – once that welcoming first impression steps back you are aware of quite a dense balsamic base that might at first suggest benzoin – the floral notes sweeten it up and add a bit of a powder to me – but after a time it becomes a little more ‘resolute’ and then backs off to act as quiet support. Deftly handled.

I get a subtle waft of clove in the mix – maybe just suggested by familiar buddies like coriander, cardamom et al. I sense a distant link to Idole and Costes, both of which have a spiced booziness, although that aspect of IV is not as anywhere near as overtly “Hopper and Brando up the Mekong” as Idole.

I really like the shifting tension between the sweeter elements and the darker base in Opus IV and the way it then settles into a really well balanced spiced powder just feels good.

In these days of impoverished synthetics where pop-scents run out things to say after an hour or so it’s sometimes easy to forget that something as well blended as this is becoming something of a rarity. Opus IV is in for the long haul with that really arresting come hither aura – it’s reminds me a bit of those violet sweets (we used to call them ‘smokers’ when I was a kid) lightly brushed with clove.

Nice one - I could happily own a bottle of this, although VI is next on my hit list . . . but then again, a couple of weeks ago when he was here Chris Chong said 'knowing me' I would like VII so, hell . . . let's wait for the cool black bottle version to show up and then decide

Originally Posted by mr. reasonable

TIMBUKTU (L'Artisan Parfumeur / B. Duchaufor)

A friend asked me to bang down my thoughts on this one, so great excuse to dig it out and ‘re-sample’ after a few years.

I’ll be honest and say that Luca Turin’s review of this intrigued me enough to just go ahead and buy it – this was a few years ago when I got the ‘niche bug’, although it could probably be called the ‘what’s arriving from Luckyscent this week that I forgot I ordered’ bug.

I was already a fan of Kyoto, having bought that the day it was released, so I wasn’t going in entirely blind – it was clear from The Guide that Duchaufor (along with Buxton) were pioneers of a sort and I wanted to find out more.

The thing from the Turin review that really intrigued me was his comment that Timbuktu had a similar ‘effect’ as the grand-daddy of men’s fragrances, Fougere Royale. I have puzzled over this and think I get it now.

My feelings about Timbuktu are the same today as that first week or so I wore it. It has a put-together crispness about it that while not ‘bracing’ like classic splash-ons of old, is incredibly satisfying. It has the same slightly moistened ‘snap’ to it that a glass of vermouth on a cool but sunny afternoon might offer.

Opinions may vary about the woodiness, the booziness, even the smokiness of this one. It’s dry, in the sense of ‘sec’ as applied to vermouth or some wines, but it’s by no means arid – I personally flash on a boozy, aged dark woods texture that has maybe recently been rubbed with a fine alcohol / oil solution.

I can’t help make a connection with Dzongkha, where it seems the DNA of this one has been used as solid wooden beams framing some cold stone or brick walls (courtesy of the iris) which really does evoke the interior of a Buddhist monastery I visited in Nepal (not Bhutan, but close enough) late one Autumn.

The other thing Turin spoke eloquently about was the radiance of Timbuktu – I like the hi-fi analogy. It has a presence that is really satisfying to me – it seems no matter how much you want to apply it maintains a level that allows conversation . . . the mark of a good audio system, BTW. In the recording studio we would call this transparency, as in a transparent mix. I think this is where the Fougere Royale comparison is apt – it’s compellingly, consistently satisfying but never shouts. I should qualify that by saying that altho it is IMO a 'singular' scent it is by no means a 'one-liner'. There seems to be a bit of a trend to arm some modern niches with nuclear strength bases of vanilla, lavender and other synthetics to appeal to the 'longevity rules' set but Timbuktu retains a shifting airiness throughout that never leads to boredom - it's not loud and it doesn't speak in a monotone.

Where it’s different from a fougere, of course, is that Timbuktu has a singular intensity about it as opposed to a three-tiered structure, (unless I’m missing a sleight of hand in the composition – which is quite possible). I think this is where it makes an interesting (and softly spoken) ‘presence’ that can easily entertain company – it has an incredible ‘openness’ to it. Dzongkha seems to me to be sort of Timbuktu + iris and I don’t doubt Mr. Duchaufor has toyed with other notes alongside, or inside, this idea – I’m really not up on his various works for other clients but my guess is that the idea has been developed elsewhere. I imagine there is at least some crossover in appeal for the whole Hinoki, Sequoia, Wonderwood clan and doubtless others, but Timbuktu has a purity that seems to allow it to stand apart from the other 'woods' out there.

I would recommend this to anyone who is comfortable with a timeless transparent moistened dry woods idea who wants a singular ‘signature’ that is crisp and unadorned – there are no trendy ‘details’ here that will mark you as a fashion victim, and that’s a good thing IMO. Please dress accordingly ☺

Originally Posted by mr. reasonable

DRIES VAN NOTEN PAR FREDERIC MALLE

Over the last few days I have worn this mega-dosed, with enough sprays to make some of the grown men here faint, and also with just a spritz to each wrist, to see how it performs.

This one will confuse a lot of people, but if you are familiar with the fashion line, maybe not.

It does not have a ‘wow’ opening – the brief tingle of bergamot is barely detectable as a note per se, and the moist, slightly lactose nutty accord is reminiscent of standing near the counter and catching that hint of steam coming off a coffee machine finishing off a hazelnut latté or something along those lines. It is not a ‘grab ‘em at the counter so they buy it quick’ approach – if anything, the opening is a little odd, although the underlying quality beckons, you can detect something worth sticking round for.

A few minutes in things settle down and this is where it really does conjure up the mood of a friendly old style café with its lived in aroma of pastries, hot beverages, even old books and wood, offering a familiar ‘safe haven’ from the world outside. It’s not a full on gourmand, actually it’s a really pleasant, understated vibe – more of an ‘ambient scent’ than a perfume, which suits me fine.

The much vaunted Mysore sandalwood (Santalum Album grown in Australia for IFF, as opposed to the native Australian variety) is not overt but I do get a sense of it in there somewhere - it melds nicely with the mildly gourmand accord and stays close for a good few hours.

Dries van Noten par Frederic Malle performs in a similar way to Vetiver Tonka for me, albeit a little more quietly – a perfect companion for quietly navigating life, especially when traveling, where stangers and events are whizzing by and I am in my own space ‘inside, looking out’. I would recommend trying it on a scarf or inside of a favourite relaxed jacket or similar item – something from Dries van Noten would do the trick nicely ☺