Translated Show originalShow translation
Welcome to the Dystopia
Uncommented fragrances No. 160
How do you deal with these times olfactorically? While in the case of the corona pandemic a light at the end of the tunnel is shining, others are warning of further possible pandemics and of the ultimate dystopia: a large-scale outbreak of multi-resistant germs. Our lifestyle of out-of-control consumption, especially of food, seems to have come to an end.
If every time gets the scents it deserves, which one might suspect, ELDO in the recent past could be prototypical of the postmodern olfactory commentary on the present: Charogne, Jasmine et Cigarette, La Fin du Monde (literally), Sécretion Magnifique (for many the worst fragrance to date), Vierges et Toreros - and now Exit the King.
You can think what you like about these approaches, many of them are unwearable, unacceptable, but they have always been innovative and ahead of their time, perhaps still are, even if the useless emerged, sometimes even repulsive - or in the meantime just as often mediocre, straightforwardly uninspired.
None of this can be blamed on Exit the King, at best that he is a little too innovative, too artificial, too post-postmodern. One could have bet that in the medium term ELDO would also participate in the search for the neo-chypre, the reorientation of a fragrance direction that seemed to be dying because natural oak moss was no longer to be used - and thus substitutes became necessary, which more or less succeeded, or which made the search for other known ingredients as an alternative to oak moss necessary (such as patchouli, high doses of musk).
Exit the King is now this neo-chypre in the newer tradition of Masques Kintsugi, Heeleys Chypre 21 or Ex Nihilos French Affair. While most of these newcomers couldn't convince me, I already found French Affair very successful and after a long time of being a stranger I was able to get along very well with the fragrance. So also with Exit the King, where I recommend patience and multiple tests.
First of all, it is noticeable that bergamot (or comparable / hesperidian) is missing in the top note, but thus a typical component of chypre fragrances, including the newer ones, forms a blank space. But here - at last - aldehydes are found again to fill this empty space. Lovers* of classic fragrances can rejoice. Long missed, this standard substance of most older women's fragrances (up to the 80s) was rarely used, so that in this intensive dosage it seems almost avant-garde.
Then follow - in a classic way - in the context of well-known chypre texture jasmine and rose. This heart note forms the backbone of many chypres. Postmodern perfumery hasn't come up with any new ideas in this area yet.
In the base there is patchouli and a moss substitute, which, quite ELDO-typical, looks very artificial, synthetic, artificial, which does not bother me in any way, almost fits the overall picture of a postmodern fragrance.
Characteristic for Exit the King, in my opinion, is above all the use of aldehydes instead of hesperidia and the basic synthetic vibrations that round off the fragrance in a good sense.
Welcome to the dystopia!