Cumin
Colophony
Castoreum
Civet
Opoponax
Oud
Sandalwood
Benzoin
Common rue
Frankincense
Iris
Leather
Musk
Walnut
Floyd
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52
Veils the Light of Thoughts
The lottery lamp hangs low. Its buzzing rays bore into the pupils, into the iris, like roots growing glaringly from the light bulb, irritating the tired eyes with a stinging bitterness, covering the table with sharply shimmering nets, the greasy pearls on old bald heads sitting in diffuse darkness, tubes in the room, black light fragments. The wooden walls damp from watery resins, somewhat gray from cold smoke in the cracks. How many nights we have already sweated down here. Sixes and sevens. In cold hands. The thoughts burn, can hardly see the others, they blur in vapors of turpentine from the leathery rags of work clothes we have been wearing for years. We are silent, we don’t have much to say anymore. Not even cigarettes.
**
Josh Lobbs' Slumberhouse project emerged in the late 2000s in the Pacific Northwest of the USA with the goal of creating uniquely distinctive fragrances: "In a demonstration of the perfumer’s capacity for madness, these offerings emphasize a strictly visceral approach to scent design."
"Sixes & Sevens" (standing for a state of confusion in English) begins with root-like bright (iris), piercing sharp and slightly bitter-animalistic notes (castoreum, rue), which initially weave through an ultraviolet twilight of synthetic oud and benzoin resins, before the distinct cumin lays spicy-sweaty aromas over it. Beneath, the oud soon transforms into turpentine-like vapors of colophony resins, which seem to escape from a worn workshop rag (civet, leather) lying on a light-wooden workbench, slightly gray from old smoke and covered in glue remnants (sandalwood, incense).
The entire scene is by no means brutal, rather somewhat cool and distant. A veiled light in a dark room, smoking has long ceased there, instead one smells the old woods, the work clothes and bodies, filling the evening, moderate to skin-close.
(With thanks to BeScho)
**
Josh Lobbs' Slumberhouse project emerged in the late 2000s in the Pacific Northwest of the USA with the goal of creating uniquely distinctive fragrances: "In a demonstration of the perfumer’s capacity for madness, these offerings emphasize a strictly visceral approach to scent design."
"Sixes & Sevens" (standing for a state of confusion in English) begins with root-like bright (iris), piercing sharp and slightly bitter-animalistic notes (castoreum, rue), which initially weave through an ultraviolet twilight of synthetic oud and benzoin resins, before the distinct cumin lays spicy-sweaty aromas over it. Beneath, the oud soon transforms into turpentine-like vapors of colophony resins, which seem to escape from a worn workshop rag (civet, leather) lying on a light-wooden workbench, slightly gray from old smoke and covered in glue remnants (sandalwood, incense).
The entire scene is by no means brutal, rather somewhat cool and distant. A veiled light in a dark room, smoking has long ceased there, instead one smells the old woods, the work clothes and bodies, filling the evening, moderate to skin-close.
(With thanks to BeScho)
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