Now also Histoires de Parfums: without Aoud/Oud/agarwood, or whatever you want to call it, it seems that today - almost - nothing works anymore.
‘Ambrarem’, ‘Rosam’ and ‘Pétroleum’ are the variations from the house - dedicated to the animal world, the plants, and the latter to the minerals. Well, a concept may indeed be necessary in our concept-hungry world, but sometimes it comes across as rather convoluted - as it does here.
‘Édition Rare’ is the name of the trio, which presumably aims to conceal the fact that the typical HdP bottle is now halved, with exactly half inside. Only the price was not halved; that remained. ‘Rare’ wants to convey to us that the ‘Édition’ is particularly precious, and thus also particularly expensive. The note that this is supposed to be an ‘Absolu Eau de Parfum’ fits in with this, whatever that is. Longevity and projection are certainly no better than those of previous HdP creations, rather worse.
It also seems that Gérald Ghislain, the creative mind behind the company, has teamed up with a new perfumer, as the new scents have entirely untypical proportions for Histoires de Parfums, being lighter, more delicate, and having less depth and volume, as if a large orchestra, which had previously been used, had lost many strings, some horns, and also thinned out the trombones and trumpets. What now resonates is a rather ethereal melody that still has substance but is strangely bodiless.
And as always when a fragrance trio hits the market, one of the three is a good scent, while the others fall significantly short. Here, in my opinion, ‘Pétroleum’ is by far the most interesting scent, although ‘Ambrarem’ is likely to be the one that could win the most followers (amber always attracts...) and ‘Rosam’ the most admirers (rose is much admired but rarely worn). However, there are plenty of better amber scents - just think of the house's own ‘Ambre 114’! - and the rose/aoud combination has already been presented more brilliantly and convincingly with Montale’s ‘Black Aoud’.
But with ‘Pétroleum’, it’s different: this scent direction is rather rare, and when it does appear, it is usually highly idiosyncratic and bold creations that are one of a kind. The only somewhat similar scents that come to mind are Kilian’s ‘Pure Oud’ or another scent from Montale: ‘Aoud Cuir d’Arabie’. However, Kilian’s scent is heavier, oilier, without airy aldehydes, but also without animalistic additions, while Montale’s scent is much darker and leatherier, yet so infused with animalic nuances that one - I mean, me - can feel quite queasy.
‘Pétroleum’, on the other hand, is lighter, at times almost ethereal, apart from the opening accord of the fragrance, which acts like an olfactory timpani strike on the senses. A timpani strike, however, that will divide the test subjects into two completely opposing camps, because one thing is certain about ‘Pétroleum’: it will polarize. Those who have always had a penchant for ‘quirky’ scents like ‘Rien’ by État Libre d’Orange, ‘Volo AZ 686’ by Profumum, or ‘Tar’ by Comme des Garçons will love this scent, but for many - I fear it will be the overwhelming majority - it will be a horror, linked to the recurring question of how one could possibly wear something like this.
Well then, I confess to being an engaged member of the first category and admit: I find ‘Pétroleum’ fantastic. Especially this confusing, anything but pleasing opening, which reminds me of the kerosene-laden air on the way to the gangway, of the gasoline fumes while refueling, and of the musty, oily air at the mechanic's. Add a bit of freshness and a hint of ozone, as if someone briefly opened the window only to close it again right away, but at that very moment, a whole herd of civet cats trotted by and left their juicy scent marks... The fresh air was gone, and the mixture culminates in a gasoline-laden, oily-animalic crescendo that, however - the perfumer had a moment of insight - quickly fades away.
What follows is a more conciliatory caress of the senses: resinous-ambery tones warm the scent, a rose subtly contributes its floral note, the ozonic note gains presence, while the initial diesel fury gradually gives way to a more elegant note that now truly deserves the name ‘Pétroleum’ and could have served as a refined drink for a chic 30s roadster. In that roadster sits a gentleman wearing a classic leather scent, alongside a lady enveloped in a not less classic civet scent with patchouli undertones - they speed through the landscape, and civet, leather, and petroleum swirl lightly around.
And where is the oud?
Well, it’s there. Always present yet never intrusive. It consistently stands in the background and is nevertheless the supporting element. Its medicinal-smoky-woody component in this concoction is significant, but strangely not obvious. The composer has managed to incorporate the potentially overpowering oud in such a way that it unfolds its power without flattening everything with sheer force. I like that, but I fear it may be too little for dedicated oud lovers.
Towards the end, the scent does not develop significantly further but gradually fades into ever softer shades until it - ending as a skin scent - completely loses its already not overly pronounced ability to project.
‘Rosam’ and ‘Ambrarem’ have quite a bit more to offer, but they are also the far more conventional scents, which deserve a more assertive appearance - as they are not particularly confusing.
That ‘Pétroleum’, on the other hand, exercises restraint, is, in my opinion, and although I like the scent, quite justified - it confuses enough (the opening!) and would indeed be an imposition as an overly loud contemporary.
So, well done, Monsieur Ghislain!
Top Notes 
Oud
Aldehydes
Bergamot
Orange
Heart Notes 
Rose
Amber
Base Notes 
Leather
White musk
Civet absolute
Patchouli
ElAttarine
Floyd
Can777
R3mt9
Bosworth
Licorice
Gandix
Chizza
Yatagan
Seejungfrau
