10/07/2025

Floyd
390 Reviews

Floyd
Helpful Review
5
Darker Wings of Desire
Spider webs of the last weed blossoms disappear in the shades of Oranienstraße. Clay swallows the last remnants of rain, smearing sweet streaks like mastic resin across the bright green lights of the shops. Where sticky branches now poke in the darkness, leather animals search for woodruffs, and tobacco-colored crumbling walls disappear beneath forest floors of brown needles, tumbling like hay bales of balsamic tonka, I can't find my Kreuzberg any longer, so dark are these Wings of Desire.
**
Aichi Liu from OM Parfum in Taiwan says she uses only high-quality raw materials for her EDPs and extracts, which she produces by hand in small batches.
Aichi's fondness for Berlin has already been made clear in fragrances such as “Babylon” and “Berlin Underground.” The theme is now implemented in a much more abstract way in “Kreuzberg,” as the fragrance does not seek to reflect the densely populated pub and scene district, which has recently been increasingly confronted with gentrification and tourism. At best, the sweet cannabis resins, which are noticeable at the beginning in a dominant veil of mastic resins, are reminiscent of this. For a few moments, the damp clay of Mitti Attar can be sensed, as if traveling back in time. Choya Loban and incense deepen the balsamic impression, soon covering the clay again. It takes a few moments for the camphor to rise coolly above it, only to disappear again soon into dense resinous conifers, into sticky brown needles on fruity-mossy forest floors, interspersed with woodruff, sweet hay, and tonka notes of coumarin. The result is a balsamic, coniferous resin scent with subtle fruity and spicy aromas, soothing and warm, yet so dark that it is almost impossible to see.
(With thanks to TeddyDuchamp)
**
Aichi Liu from OM Parfum in Taiwan says she uses only high-quality raw materials for her EDPs and extracts, which she produces by hand in small batches.
Aichi's fondness for Berlin has already been made clear in fragrances such as “Babylon” and “Berlin Underground.” The theme is now implemented in a much more abstract way in “Kreuzberg,” as the fragrance does not seek to reflect the densely populated pub and scene district, which has recently been increasingly confronted with gentrification and tourism. At best, the sweet cannabis resins, which are noticeable at the beginning in a dominant veil of mastic resins, are reminiscent of this. For a few moments, the damp clay of Mitti Attar can be sensed, as if traveling back in time. Choya Loban and incense deepen the balsamic impression, soon covering the clay again. It takes a few moments for the camphor to rise coolly above it, only to disappear again soon into dense resinous conifers, into sticky brown needles on fruity-mossy forest floors, interspersed with woodruff, sweet hay, and tonka notes of coumarin. The result is a balsamic, coniferous resin scent with subtle fruity and spicy aromas, soothing and warm, yet so dark that it is almost impossible to see.
(With thanks to TeddyDuchamp)
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