PallasCC

Here we have another example of an oud oil that does not conform to the "conventional" idea of what oud should smell like in general. Here one could think that it is rather an Attar (simplified, a mixture of oils including Oud oils and sandalwood).

The oud comes from Yunnan, a province in China located at the southern tip of China (close to Vietnam, Laos and Myanmar). As already written in the commentary on "Hailam Kilam", the oud of this origin has quite unique characteristics in terms of fragrance development (for example, unlike the oud from Laos or India).

Blue Yunnan has quite a refined development that can not sharp edges. This is more about an oil that is nicely rounded and silky to the touch, as if it were a thin veil (not performance meant). Although the oil has the word 'blue' in its name, it seems more purple to me. Upon application, one senses a resinous dark sweetness that one could associate with dark honey (a facet that 'Hailam Kilam' also has). So strong is the impression that you can almost taste this sweetness when smelling it.

Still, it's not all about the honey, as the scent oscillates between the sweetness and a fruity note that reminds you of a fresh orange peel (something that can also be detected in Borneo ouds, especially, from Malinau). After this interplay of sweet and fruity-fresh comes the darker phase, where dried fruit (you could even say a jam of blueberries and cherries), toasted tobacco leaves and black vanilla bean become apparent. These are enveloped by a gentle incense (not in the sense of church incense) and complemented by a floral bouquet that is far in the background.

Only in the later stages does Blue Yunnan go in the woody direction, with the wood being rather light and dry. It remains kaleidoscopic, however, with the fruity elements always making an appearance. Until the fragrance leaves the skin, it always moves between light and shade, showing off all the blue tones with violet nuances and subtle golden reflections.

It is a complex oil that takes time to show all its facets. Only the main phases are described here. It should appeal, especially, those who can not tolerate leather or animalism.

Here Ensar has once again brought out something very fine. Not for nothing has the Hailam Kilam oil found their place in the Oriscent range, because it differs very clearly from the normal range, although there are some parallels to the "Blue Yunnan" (about it in the other comment).

How does the Chinese Oud smell? As Caligari has already correctly noted, it has very little to do with our idea of what oud should be. After all, is it even possible to say that oud should smell like anything in particular? Having studied many wild ouds, I have to say that when you talk about oud, you are talking about a very wide range. The region, age from the wood, steeping, distillation technique etc will have an impact on the end result. Thus, Hailam Kilam is very different from oils like Aroha Kyaku (organic), Oud Yusuf (organic) and other popular candidates that have made Ensar Oud so well known in the community.

Hailam Kilam started off quite medicinal, as if you were in an ancient Chinese medicine shop. Dry herbs hang on the walls. The old wooden counter has a myriad of jars of various concoctions. In the corner, one is brewing a Lapsang Souchong tea. It smells so realistic, it's as if you can actually see the texture of the tea clearly in front of your eyes. A light smoke (not black, but dark green) fills the room. But that was just the beginning.

After some time (about 1 hour), the scent becomes fuller, rounder and sweeter. It now reminded me of dark honey and fused resins. Not cloying, but sweet. Pleasant. As the sweetness peaked, you could actually smell caramel with a heavy dose of cream. As if the Werther's Original candies had been placed on a hot pan and melted there. This process was very slow, as if you had experienced it in slow motion. The phase lasted about 30 minutes before another transformation occurred. This time, it was not the aforementioned Lapsang Souchong tea, but a redbush with vanilla. Light to medium brown woods could be detected in the background. The light smoke was also present, but this time it had red-brown tones.

In the later stages (after hours), one was transported to a forest where one was greeted by a warm forest floor. There was everything: moss, greenery, trees and tree bark with a very subtle minty haze intertwined with the forest smells. And that was just the first encounter with this unique oil.

P.S.: Of course, unfortunately, there's no way to describe the entire 12 hours here, but hopefully this summary helps portray the main facets of what the oil is like.

As the comment from Maggy4U says, it is a fragrance for meditation, but here I would like to talk a bit more about the fragrance composition and the experience. The history of the fragrance I have not read through, so that my own opinion is not influenced by it.

The ingredients Peter has chosen are all very high quality and many of these I know/own in their original form. However, what has been created here is a very different story, with you only recognising the individual facets of the ouds used (if you know them). This fragrance is about representing the full spectrum of oud (at least from my perspective). The other ingredients like rose, fir balsam, etc. are meant as additives to expand and deepen the many aspects of the ouds.

For me, it's mostly about the representation of the Papuan rainforest. In fact, it feels like time travel. You are removed from civilization and transported into the heart of the green, wet jungle. This place is not yet known to mankind. You smell the green leaves and the moist earth. You feel the texture of the tree bark, which releases its woody aromas when you touch it. The warm wind carries with it a thin, resinous-sweet incense that surrounds the scent like a veil. The flowers are somewhere in the distance. From time to time you can notice their faint whisper, but only if you listen closely. There's not much development here. The main image appears after just a few minutes and remains almost unchanged until it is just a gentle reminder of the place on your skin.

Shambho is not loud. It is not a 'sillage beast'. It is a fragrance for special moments. Due to the fact that it is made from natural ingredients, its longevity is not above average either. But it is nevertheless a pleasure in every sense!

Many thanks to Caligari for the test opportunity! I have made a right purchase decision after all! ;-)

First of all I would like to thank LadyLuxifer and Caligari for the procurement of the samples. The fragrances of this brand should at least be tested. And now to the fragrance:

In fact, one could imagine that one is on one of the small streets of Sevilla. It is already late; the moon is shining; the air smells of spices with prominent nutmeg. This aroma mixes with the scent of the dark green leaves of the orange trees that adorn the streets.

Now a narrow alleyway comes and follows the "path" of the fragrance... the head notes are replaced by the tart heart. The tiny windows are decorated with flowerpots. Sometimes you can find geraniums and sometimes herbs used for food preparation. The contrasts create a tension.

And finally you reach the place you are looking for. An old wooden door decorated with metal bars. The door is open. One enters the room filled with humid air. And there... there it is... the Gitane. Her red dress covers the floor. Her skin, sweaty after dancing, glistens in the candlelight. Her dancing shoes are made of black leather, softened by the wild movements. It is the last phase which is decisive here. Sensual, yet strong. A fragrance that defies all conventions.

What can you expect from that scent at such a high price?! Since the expectations are openly not fulfilled, especially with certain brands, only the fragrance is described/evaluated here. And I want to be as objective as possible.

In principle the Nebulous is not for everyone. He certainly won't be a big "Crown-Pleaser" because of his prelude. When sprayed on, it goes straight into the heart notes, i.e. oud (probably Hindi, of high quality) and violet. The violet completes the oud and makes it wearable for those who are not used to the natural oud scent. The rose stays (luckily for me) far in the background and doesn't disturb the composition at all. Is it animalistic? Maybe only in the beginning. It also depends on what kind of standards you use. By and large (and compared to other Boadicea the Victorious fragrances) it is quite tame. The combination of oud, saffron and musk gives it a leathery-woody character, but it remains somewhat blurred. You won't find any edges here.

After about 2-3 hours the base notes come into play. At this point the main conversion takes place. Here the fragrance becomes very velvety, slightly resinous and sweet (but not sweetish). This will probably be the representation of amber. It is light brown and glowing; with traces of rose, which is always hidden in the background. Nevertheless, almost nothing remains of what you smelled in the beginning.

It is a discreet fragrance (because there are less attractive fragrances from the brand), but certainly not the best in this category. If you want to go in this direction, you should try the cheaper "Dead of Night" from Strangelove NYC. "The Night" by Frederic Malle would also be a good candidate.

In conclusion, he is not impressive. The only surprising thing here was violet, which you normally would not find in such fragrances. In terms of performance, the fragrance was not heavyweight. Although you can see all the notes very clearly here, the sum remains quite "nebulous", so I think the name fits quite well.