Oud Nuh Ensar Oud / Oriscent
1
The Young, Dark Prince
Ensar Oud, Oud Nuh. A marvelous Hindi Oud Oil in my books. Quite possibly my second favorite Indian oil ever, coming behind another Meghalayan oil that does share some facets with Nuh but is decades older and more ancient-smelling.
This oil doesn't change much on the skin but harbors a vast olfactory spectrum. While it doesn't seem to shift much throughout the wear, it is composed of many layers. It conceals a dense olfactory microcosm that feels mysterious, alluring, ancient, and dark at the same time. There is very little of that traditional "barnyard" touch, a mere greeting in the opening that fades away quickly and only reminds one of its heritage. Once the initial oomph goes away, you are presented with the main course, the bulk of the oil that goes like that strongly for many hours before fading away into this smooth Agallochan dry down with Bornean charm (much like Oud Isa).
As far as I perceive it, the vast part of the oil is divided into three chords that mingle in beautiful harmony. There is a fruity chord, red and purple, reminiscent of plum liquor and red berries. Secondly, I get a dusty, worn leather garment facet, making me think of old rugs. And lastly, an ancient wood smell that burns gently, emanating a dark incense smoke with a soft presence. These three chords intertwine to paint a dark and ancient picture of India for me. I feel this oil is quite evil and ancient-smelling compared to the likes of Oud Isa, which strikes me as bright and cheerful. Yet it never goes as dark and ancient as the other Meghalayan oil I hold in even greater esteem. Once it settles down in the base, rays of sunshine brighten it slightly, bringing forth some of that Bornean dusty-vanillic and gentle quality that abounds in Oud Isa. If I had to describe this oil in colors, it'd have to be red, black, brown, purple, and yellow. I believe that this picture accurately captures how I feel about Oud Nuh. No doubt, it ranks among the most compelling Indian oils I tried.
IG:@memory.of.scents
This oil doesn't change much on the skin but harbors a vast olfactory spectrum. While it doesn't seem to shift much throughout the wear, it is composed of many layers. It conceals a dense olfactory microcosm that feels mysterious, alluring, ancient, and dark at the same time. There is very little of that traditional "barnyard" touch, a mere greeting in the opening that fades away quickly and only reminds one of its heritage. Once the initial oomph goes away, you are presented with the main course, the bulk of the oil that goes like that strongly for many hours before fading away into this smooth Agallochan dry down with Bornean charm (much like Oud Isa).
As far as I perceive it, the vast part of the oil is divided into three chords that mingle in beautiful harmony. There is a fruity chord, red and purple, reminiscent of plum liquor and red berries. Secondly, I get a dusty, worn leather garment facet, making me think of old rugs. And lastly, an ancient wood smell that burns gently, emanating a dark incense smoke with a soft presence. These three chords intertwine to paint a dark and ancient picture of India for me. I feel this oil is quite evil and ancient-smelling compared to the likes of Oud Isa, which strikes me as bright and cheerful. Yet it never goes as dark and ancient as the other Meghalayan oil I hold in even greater esteem. Once it settles down in the base, rays of sunshine brighten it slightly, bringing forth some of that Bornean dusty-vanillic and gentle quality that abounds in Oud Isa. If I had to describe this oil in colors, it'd have to be red, black, brown, purple, and yellow. I believe that this picture accurately captures how I feel about Oud Nuh. No doubt, it ranks among the most compelling Indian oils I tried.
IG:@memory.of.scents