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03/14/2020
Magineer
8 Reviews
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Magineer
8
Haystacks instead of drug dens
As the name suggests, Mark Buxton's "Enter the Void" was inspired by the film of the same name by French director enfant terrible Gaspar Noé. This is somewhat counterproductive in a way, because Noé has always been good at showing urban actualities, but generally has little to do with rural idyll according to popular interpretation. His film, on which the perfume is based, is a psychedelic journey into the abysses of human nature, and the only accent in the fragrance that recalls this rather spectacular declaration of intent is the legendary skunk chord - which is only perceived in this way because it is quite prominently enthroned in the description of the top note.
"Enter the Void" starts as a light green haystack, with a slightly lazy note in the background suggesting transience, which then does not manifest itself further in the fragrance. Instead, the sweetish depravity combines with the fresh, fruity kick of sour berries (Johnannisberry, at least according to the Beshcreibung) and brings some life to the fragrance. That's quite nice and reminds (probably not by chance) of the approach of the Zoologist fragrances, without capturing the already unpleasant animal rut of the base note of "Macaque" or the voluptuous jungle in "Elephant" in detail. "Enter the Void remains more cautious in this direction. More willing to compromise. More inconspicuous. Its green is far from unpleasant, but it does not attract attention at all. The skunk has long since disappeared, the currant drives the kick back, followed by light, bright wood. More like undergrowth. The same remains disappointingly close, and the question arises as to whom Mark Buxton wanted to reach with it - the green fans are out after an hour and those for whom it can't be animalistic enough will continue to rely on Victor Wong's animal innovations. "Enter the Void" is consensus. And who wants it?
That still leaves the name. It was a bad call. Gaspar, with whom I had to deal several times professionally, is privately a quite modest and calm person. If I had to give him a perfume as a present, it would be a leather scent, and probably I would resort to Christian Dior's Privee jewel "Leather Oud". This would allude more to the sultry, threatening sexuality of "Irreversible", while for "Enter the Void" (the film) I would find more appropriate CdG's "Concrete" aks - that fresh concrete that is in my nose when Gaspar's unleashed camera winds its way through the urban decay of decaying residential silos. Never, really never, would I have believed that a haystack could be found in all that swirling paranoia. Mark Buxton apparently did
Finally, "Enter the Void" is a green fragrance for me. I like green scents. But the competition (and variety) in this field is now so great that you really don't need the timidity of a draw scent. "Enter the Void" doesn't hurt. "Enter the Void" doesn't stink(animal)t either. "Enter the Void stays close, but you still like to hold your nose. "Enter the Void is nice. I'm sure we can get you bottled. A whole bottle? No, there's better.
"Enter the Void" starts as a light green haystack, with a slightly lazy note in the background suggesting transience, which then does not manifest itself further in the fragrance. Instead, the sweetish depravity combines with the fresh, fruity kick of sour berries (Johnannisberry, at least according to the Beshcreibung) and brings some life to the fragrance. That's quite nice and reminds (probably not by chance) of the approach of the Zoologist fragrances, without capturing the already unpleasant animal rut of the base note of "Macaque" or the voluptuous jungle in "Elephant" in detail. "Enter the Void remains more cautious in this direction. More willing to compromise. More inconspicuous. Its green is far from unpleasant, but it does not attract attention at all. The skunk has long since disappeared, the currant drives the kick back, followed by light, bright wood. More like undergrowth. The same remains disappointingly close, and the question arises as to whom Mark Buxton wanted to reach with it - the green fans are out after an hour and those for whom it can't be animalistic enough will continue to rely on Victor Wong's animal innovations. "Enter the Void" is consensus. And who wants it?
That still leaves the name. It was a bad call. Gaspar, with whom I had to deal several times professionally, is privately a quite modest and calm person. If I had to give him a perfume as a present, it would be a leather scent, and probably I would resort to Christian Dior's Privee jewel "Leather Oud". This would allude more to the sultry, threatening sexuality of "Irreversible", while for "Enter the Void" (the film) I would find more appropriate CdG's "Concrete" aks - that fresh concrete that is in my nose when Gaspar's unleashed camera winds its way through the urban decay of decaying residential silos. Never, really never, would I have believed that a haystack could be found in all that swirling paranoia. Mark Buxton apparently did
Finally, "Enter the Void" is a green fragrance for me. I like green scents. But the competition (and variety) in this field is now so great that you really don't need the timidity of a draw scent. "Enter the Void" doesn't hurt. "Enter the Void" doesn't stink(animal)t either. "Enter the Void stays close, but you still like to hold your nose. "Enter the Void is nice. I'm sure we can get you bottled. A whole bottle? No, there's better.
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