Asasello

I want to comment on this scent, although I find it very difficult. This is difficult because, after testing it, I read a description of this fragrance on the net, which is almost exactly how I perceive it. I could therefore post the link here and give a short statement. Another possibility would be plagiarism. Copy and paste... A third variant would probably be to quote the description with reference to the source. I have decided on a fourth variant and try to make a reliable judgement in my own words, although I have to repeat that my nose is still not trained enough to make a reliable judgement. But sometimes the attraction lies precisely in the imperfection. "So let's get to work":

It is a very smooth, extremely pleasant fragrance that envelops and caresses its wearer - yes, it is really unisex. This also immediately addresses the point that (apart from the price) may mean that it will not find too many supporters. It doesn't really have edges and corners, it's a round, rounded fragrance, and on top of that it doesn't have too much radiance. The silage is restrained, a quiet scent, but this need not be a disadvantage. I admit that I am more of a fan of scents that are clearly perceptible and do not need to be sprayed on all the time. With the price of 190 € for 100 ml one should be able to expect some projection. But this is not the case here. Yet I vaguely claim that this is good for the scent. More silage would probably be too much. It certainly destroyed the fine tuning of the scents. And this is exactly what I like so much about this perfume: the coordination of the individual fragrances. Everything seems to be present and interwoven in the right measure. An exceptionally well balanced fragrance. So it doesn't bother that the scent (or better: the scent mixture) doesn't take a bigger development. Nevertheless, it does not seem too linear, because its scents change and thus prevent you from getting tired of this fragrance. He seems pleasing to me at all times. Slightly sweet and yet never too sweet, as the sweetness is captured by a subtle effervescence, probably due to the ginger, perhaps also the red pepper. Even the existing scratchiness is again and again captured by a pleasant balsamic creaminess. Not many perfumes have this property of changing scents, in my opinion. I appreciate them very much, because this prevents a fragrance from being too oppressive, which can be the case especially with sweetish scents.

Another nice thing about this perfume is that it lasts longer than you would think with the very distinguished silage. This is what happened to me frequently during the course of the test day, so that the scent, hardly believed lost, always returned with a slight breeze and expressed its presence. To a certain extent, the fragrance even lends an aura that remains discreetly in the room if you stay in it long enough, and which occasionally comes to mind.

As far as the individual fragrances listed in the pyramid are concerned, I believe that they are all perceptible from the beginning and remain so until the end. Even tobacco, which - as the previous statements show - is not perceived by everyone, is in my opinion very subtly pervading this fragrance composition from the very beginning. Only the oud is well hidden or so tame that it only seems subliminal. A fragrance, therefore, whose test even oud avoiders do not have to avoid.

What else is there to say?! Well, I had initially intended to describe this fragrance as well done, but "unspectacular", because I thought this - snapped up from a statement - was absolutely true. A fragrance that looks familiar, without a unique selling point, but quite well made and probably of high quality. But I shy away from it, because increasingly the conviction is maturing in me that there are few fragrances that are so well coordinated. This makes it quite spectacular despite its reservedness (but possibly also because of it). Some people might call it a "cuddly scent", an "embracing" scent, which might be true, but not because it has much more to offer than that.

This fragrance appears to me as an expression of a serene self-assurance, a gentle inner strength or a strong gentleness. (Does such a thing even exist?!) However, I am aware that this is possibly only a snapshot. I cannot exclude the possibility that I will feel differently with a certain time lag, because I have often felt this way before. So I'm not sure yet if the perfume will move in with me. Anyway, it seems more suitable for the cooler seasons, the end of which is foreseeable after all. I think I will test it again in late summer to see if it is a candidate for purchase for the coming autumn/winter, even if it is already on my wish list.

For all those who would like to read a much better description of the fragrance and learn more background information about this and other Welton fragrances, the following link is recommended:

https://www.alzd.de/2019/03/17/welton-london-secret-amber-iconic-amber-oud/

or in general:

https://www.alzd.de/tag/welton-london/

This will only be a short commentary and only because I wanted to get rid of a thought, oh, what, I had to get rid of it!

It was a poem that came back to me the first time I smelled it. A poem whose exact wording I did not remember at first, but a little bit I still had its meaning in my mind and its melody in my ear. Noir de Noir evoked the memory of this. I can't say why, but somehow it seems to me to have something to do with this scent. I still knew who wrote the poem and where the little booklet was in my bookcase. So I thank Tom Ford for this association

I don't want to say much more about the fragrance itself, even if I am violating all the guidelines for writing perfume comments. So much has already been said to him, and in all imaginable facets. Any further description seems superfluous to me. Just a little self-reflection:

I think this composition is great and it seems that the Rose and I could become friends after all. What began with Santal Royal, which was still quite reserved, continued with the drydown of Trussardi Uomo (in the vintage version - a wonderful fragrance), now finds its preliminary climax. Even though there are still many rose scents that I scorn, this one is just great. I can't see anything dark about this rose, though. But it is truly a very noble rose, wonderfully embedded in patchouli and vanilla, perfectly coordinated ...

There! So that you can judge for yourselves whether my association of poems could have anything at all to do with this perfume, I'm reproducing it here at the end. In this spirit I wish you all a happy and carefree year 2020.


I DEFLETTERED YOU LIKE A ROSE,
to behold your soul,
and I didn't see her.

But all around
- Horizons of countries and seas -
everything, to infinity
has been taken by a
penetrating fragrance.

(Juan Ramón Jiménez)

An exciting fragrance that makes me helpless. This is probably real niche. A fragrance that reveals the mastery of its creator, who is nevertheless very individual. But maybe I'll start with a little background.

Ma Nishtana is one of three fragrances of the perfume artist's new series Gods & Monsters, that's what I want to call him, because he is truly an artist, the perfume artist Prin Lomros under the label Parfum Prissana, which - as far as I'm informed correctly - should be named after his sister. In addition to Ma Nishtana, this series includes NESNÁS QAREEN and MANDARAVA, which have already been presented here by Can777 in a very impressive, poetic and knowledgeable manner. His hypnotic description of Nesnás Qareen prompted me to search for these fragrances, especially since Prissana perfume is probably only available on the Internet. It was really just a matter of maybe getting a sample or two. But while searching for the fragrances I got lost in the internet and finally at an advanced hour, it must have been between 3 and 4 o'clock in the morning - well, I'm probably a little crazy - ordered various fragrances, including samples and a bottle of MA NISHTANA.

Ma Nishtana, according to the website of Parfum Prissana, is the first two words of a phrase that reads: "What distinguishes this night from all the other nights?

With the poetic power and creativity of a Can777, one could certainly connect these words to this fragrance. I alone lack all these abilities, which is why I want to leave it to a sober consideration and leave art to those who master it, for art, in my opinion, still comes from skill, even if many a "work of art" of modern times makes me doubt this conviction.

But before I start into art theoretical considerations, perhaps a last one on the background of the words "Ma nishtana". Wikipedia teaches me that this is probably a Jewish tradition. On the eve of the Jewish Passover, during the festive dinner, one of the famous songs from the Haggadah was sung. The youngest member at the table asked "the four questions" that begin with the words "Ma nishtana..." ("What distinguishes..."). The text is part of the Maggid, the story of the Exodus, the exodus of the people of Israel from Egypt. The questions are intended to encourage children to think about the difference between slavery and freedom. A - as I find - still hot topic in times, when even here in Germany there are more and more people, who obviously yearn for slavery or are simply not aware of the fact that supposed "protest" in an election can also be a way into slavery.

But wait! As always I digress, even more into the political... I ask for indulgence and permission to start again:

It is therefore a matter of celebrating the transition from slavery to freedom and of understanding that questioning, questioning, is already an essential part of freedom, for slaves should not ask questions. One of the purposes of the Passover was to be freed from its inner constraints. This is probably also a spiritual search.

So what does all this have to do with the scent? I know, I honestly don't, but it's a beautiful story that makes you think. If a perfume - or better: its name - can do that, then its name is already well chosen.

But now finally to the scent. But again I reach my limits. But once started, this attempt at description should be completed.

In the beginning I smell smoke, clouds of smoke, I feel transferred to a charcoal burner's hut. My wife says it smells like smoked bacon, and I have to admit that I cannot entirely deny that impression. In the background, however, one can already sense the further development of this fragrance. Saffron, I think, and an anticipation of all those ingredients that are also listed here on Parfumo. But at first the smoking aspect is so dominant that until then it is only a vague, yes, hope, I will call it.

In fact, after 2 hours, possibly 3 hours, the smoke disappears and turns into something floral and spicy that I cannot describe. It is, as Jakobolino described it, a basket full of fragrances that are harmoniously interwoven. I haven't found such a scent before. The smoke however, the smoke never disappears completely, it always stays there. But that's also authentic, because anyone who has ever been to a smokehouse knows that he doesn't get this smell out of his nose so quickly and certainly not out of his clothes.

I must acknowledge this fragrance as a work of perfume art. It seems to me to be a masterful composition. But can you wear such a scent?! Certainly, with a soft spot for niche and a healthy amount of self-confidence. I don't miss the former, the latter... hmm. That decision was taken from me. My wife shows me the dark red map. She doesn't like "bacon on a board" and since she already tolerates some scents from me that she doesn't like, this bottle is allowed to move on, even if its contents are something special in my opinion, to say it: not everyday, for a perfume anyway.

i want to say a few words about this already much described fragrance - yes, probably it is already "written out", because it says everything essential - even if it is only to become clear to myself why this fragrance takes me. But wait! "Take" may not be the appropriate term, because it promises too much, perhaps I should leave it at the word "please", because that seems to me to come closer to my relationship with Santal Royal.

What is this?! I had already written off rose scents, because the rose often becomes too dominant for me and after a while usually also too annoying; also some noble rose-ud combinations could not really convince me, but I like oud (much to my wife's chagrin). But after the comment of a perfumistos I admired very much, I wanted to give this fragrance a chance and I must say that I can win Santal Royal something, with increasing time more and more.

In fact, this is a perfume that I like to give the time it takes to unfold in all its beauty. It is like a young wine, which one should not drink at all yet, one did not want to be considered in wine connoisseur circles as a "child murderer". If you leave it open long enough, however, it will undergo a development in a few hours, sometimes even in days, which it would otherwise only undergo in the closed bottle in the course of one to two years, occasionally even three or even more years. But I digress...

Santal Royal does not need days to unfold, but its true quality is revealed after hours (or should it be called first?), when tamed oud and sandalwood are clearly perceptible. Clear means here, however, in a very pleasant way. I didn't notice anything of sandalwood for a long time. An inkling of Oud, on the other hand, was already there after a short time, until it became a certainty with increasing time. Therefore, the fragrance changes without losing its heart, the rose, of course. But that's exactly what amazes me, who doesn't like Rose that much. In my opinion, the rose is present from beginning to end, very clearly, but at the same time restrained enough not to be intrusive. It gives the fragrance composition a structure, in the case of wine one would probably speak of the tannin framework. Although I am far from being converted as far as the rose is concerned, this fragrance has a lot more to offer, because the rose is accompanied by some other satellites, of which I can clearly identify the two already mentioned, but also others, without being able to identify them exactly. Towards the end I mean to recognize echoes of other scents I know. Oud Royal by Creed comes to mind, while Santal Royal seems more complex. TF's Oud Wood also knocks on the door. It should be this warm tamed oud that reminds of these two cousins of Santal Royal.

What do I want to say with all these words?! I'm afraid I can't quite... To get to the point: Santal Royal, as disappointed as some of you may be when you measure it against older Guerlain sizes, I want to take up a lance for him from the point of view of modern times. For me, it is not a scent that loudly expresses its presence, nor is it a scent that immediately takes me for itself, but that with increasing time turns out to be a composition in its very own sense and shows that its creator masters his craft

Perhaps another summarizing sentence: I am fascinated to a certain extent, without being enthusiastic at the same time, but feel confirmed in the fact that my new hobby, my discovered passion for scents, is a quite excellent affair. In this sense, this commentary is merely a plea for the art of scent and the granting of time.

I've been thinking for a while about writing a comment on L'Aventure Knight because maybe I don't really trust my own sense of smell and so far the comments and statements don't seem to echo the note I perceive. On the other hand, Parfumo might not have the sense that its users merely confirm each other's perceptions. Even though this has its justification, such a side lives perhaps more from the controversy?!

Well, therefore to the fragrance:

First of all, I don't think he is bad, he certainly has similarities to GIT or CW. But I myself would not see it as an alternative to GIT, rather as a fragrance in its own right. Not because I didn't tolerate any gods besides GIT, but because I don't think the similarity is that great

I read these lines and find myself trapped in the very cycle I was trying to escape from: comparison with GIT or other fragrances. But once it has started, it should stay that way. Since the scent of L'Aventure Knight is regularly compared with GIT and CW anyway, I can't help but include a comparative consideration in the description of my impression. For once the assertion that there is a twin fragrance in the world, almost inevitably all evaluations revolve around this thought and naturally also influence one's own attitude. It seems to me to be a being of the human psyche that once in our mind there is a mental connection between two things, all further considerations about it always revolve around this connection, like the moons around a planet, these around a star etc...

It is not difficult to free oneself from this "cycle", but on the other hand it is also not easy. Sometimes I succeed, but not always. But sometimes such an attempt at liberation also leads to perceptions or insights, which one is confronted with with some alienation and which raise doubts about one's own feelings. It's the same here.

Already the start of the "Knight" reminds me of the smell that emanates at night from the neighbouring meadows and that sneaks secretly through the opened windows like a thief into our home... It is the horses of our neighbour, rather their evaporation that spreads here. In short: stable smell, from quite a distance, but yes, over and over again, this slightly animalic note, only very close, but nevertheless clearly perceptible. What's that? What's that? Sweating horses? Is that all I smell? Maybe I have a strange sense of smell (see my comment on the M7 oud absolu) but the start from the knight reminds me of the smell of sweating horses. But also this may be a "Freudian odour miss", because as a chess player I naturally have to think of the corresponding chess piece at Knight, the knight... Yes, the horse is not too far away from the knight either...

Once burnt into the olfactory memory, I cannot remove this perception even after repeated testing. It remains what I consider to be a slightly animalistic note, not only at the start, but over a longer period of time. But it's not pushy or unpleasant. Floral and ozone fragrance components deprive the horse of its wildness.

With increasing time the fragrance becomes fresher...yes, indeed, fresher, with increasing time...
That's possible because the animal breath fades away more and more and a memory of CW has her performance announced long before. And, of course, CW always has a letter of recommendation from GIT in its pocket. And yet...the "Knight" only reminds me of GIT far, far away, in my opinion. If one tries to take the scent as it is, i.e. without comparative consideration, it is an independent scent and - as already written - not a bad one.

But I have to disappoint all those who expect a closer description of the fragrance. I don't see myself in a position to do that. My nose is far too little trained in filtering out individual scent components. I can only try to convey my impressions. Here it has something of a summer meadow with grazing, sweating horses, herbs and a little ozone. No unsightly and - as already said - an independent scent with good durability (jdf. very close), but in my opinion reserved silage. But I wouldn't take him for the office, I'd rather take GIT or something. Here I would be worried that others might smell the horse, too, even if the comments so far make this fear seem exaggerated.

So, that's it. A lot of writing about practically nothing...