Shenkin57
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Shenkin57
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"Love In The Afternoon"
After only a few weeks of registering on this great platform, I am now trying my hand at my first comment. I would not have thought that this would go so quickly, since there are already great comments to many fragrances and I also do not have the need to repeat something or just give a too long statement. So I was very curious which fragrance would deserve/need an additional comment. This one reached me about a week ago (with thanks to Frankincense and his girlfriend, who couldn't stand this scent) and actually intrigued me so much that I couldn't help but sit down and start writing!
While I've been tweaking the text for a few days, the previous speaker has already written a great comment and I ask for your indulgence if one or the other piece of information is repeated. If I were to leave out everything that has already been said, the text would no longer be round and there is no harm in reading some things twice.
'LiTA' was written for the debut album 'DUO' by the eponymous duo and musician couple Luke Pritchard, lead singer of "The Kooks" and Ellie Rose, singer-songwriter, in collaboration with Antonio Gardoni.
The album itself consists of eleven songs, of which the ninth 'Love In The Afternoon' is the namesake for the acronym 'LiTA' (though I'm not entirely sure why the 'i' is small), which is also the name of the duo's label.
The album itself is about love, connection, fate, lust and sensuality, whose music is inspired, among other things, by the French pop of the 60s, 70s, whose role models for the two were mainly artists like Serge Gainsbourg and is to be classified as rather pleasantly gentle, dreamy and atmospheric.
The fragrance, on the other hand, opens with a complex, bold, coarse, seemingly somewhat chaotic combination of darkest patchouli, damp tobacco, charred incense. Slightly leathery, rubbery. Remotely, one could also feel reminded of exhaust fumes, asphalt. Floral elements join in from the start and a subtle sweetness can already be heard far in the background. As soon as the beginning calms down, the scent becomes softer and the subtle, slightly caramel sweetness in the form of vanilla, tonka bean and benzoin comes through more and more and soothes the nose. Still, there is no let up from the burnt, charred and so, despite the calming fireworks from the beginning, you are left with a shifting mix of smoke, woods, resins and floral elements.
The bottle, with a beautiful cap of wood, is round in contrast to the other bottles of Bogue and is certainly intended to remind of a record. The inscription is in the same 70s style as the duo's record. Who may count themselves among the lucky owners of a limited edition of the vinyl copies, will additionally enjoy the fragrance, which is sprayed on the cover.
If you now listen to the music, the sounds, hear the lyrics and smell the fragrance at the same time, the connection between sound and fragrance is not really clear at first. As already described at the beginning, the music is rather soft, the sounds delicate, light. Although not effeminate, but in places lovely, dreamy.
The fragrance, on the other hand, is clearly dark and smoky, challenging to an untrained nose and seemingly completely at odds with the music.
The question arises: how can the whole thing be combined?
If the fragrance were exactly like the music itself, the different sensory impressions would be a monotonous thing and therein I see the special thing about this creation. Only in this way is there the possibility to address different levels of perception and senses: the music, the delicate, sweet sounds let us dream; the intimate lyrics remind us of love and sensuality, let us remember and revel. And the fragrance; the scent leaves us in the present. While also capable of clouding the senses, it still lets us be in the here and now through its unmistakable exciting, adventurous aura. Brings us back again and again and lets us drift away again. Each level only comes into its own because it is not disturbed in its similarity by any of them, and so the symbiosis of all this, the visual, auditory and olfactory becomes an overall artistic experience of an overriding idea.
Perhaps the concept behind it will also become clearer to us once again if we watch the video for the launch of the record:
The couple sits in an "intimate, chaotic restaurant where everything goes wrong. From a woman catching her cheating husband in the act, to fights, to someone choking, to the police hot on the heels of a bank robber. While it's all happening, Luke and Ellie are completely engrossed in each other's company, unaware of the chaos going on behind them. In a juxtaposition to the carnage being caused, the entire experience is accompanied by sweet and delicate sounds from the album."
Without perhaps knowing about the video, Gardoni's scent is just that: chaotic, challenging, but at the center, at the core is the loving, the conciliatory, no matter what's going on around you.
In keeping with the title, and to perhaps close with the words of a dear friend:
"At the end, it's all about love!"
While I've been tweaking the text for a few days, the previous speaker has already written a great comment and I ask for your indulgence if one or the other piece of information is repeated. If I were to leave out everything that has already been said, the text would no longer be round and there is no harm in reading some things twice.
'LiTA' was written for the debut album 'DUO' by the eponymous duo and musician couple Luke Pritchard, lead singer of "The Kooks" and Ellie Rose, singer-songwriter, in collaboration with Antonio Gardoni.
The album itself consists of eleven songs, of which the ninth 'Love In The Afternoon' is the namesake for the acronym 'LiTA' (though I'm not entirely sure why the 'i' is small), which is also the name of the duo's label.
The album itself is about love, connection, fate, lust and sensuality, whose music is inspired, among other things, by the French pop of the 60s, 70s, whose role models for the two were mainly artists like Serge Gainsbourg and is to be classified as rather pleasantly gentle, dreamy and atmospheric.
The fragrance, on the other hand, opens with a complex, bold, coarse, seemingly somewhat chaotic combination of darkest patchouli, damp tobacco, charred incense. Slightly leathery, rubbery. Remotely, one could also feel reminded of exhaust fumes, asphalt. Floral elements join in from the start and a subtle sweetness can already be heard far in the background. As soon as the beginning calms down, the scent becomes softer and the subtle, slightly caramel sweetness in the form of vanilla, tonka bean and benzoin comes through more and more and soothes the nose. Still, there is no let up from the burnt, charred and so, despite the calming fireworks from the beginning, you are left with a shifting mix of smoke, woods, resins and floral elements.
The bottle, with a beautiful cap of wood, is round in contrast to the other bottles of Bogue and is certainly intended to remind of a record. The inscription is in the same 70s style as the duo's record. Who may count themselves among the lucky owners of a limited edition of the vinyl copies, will additionally enjoy the fragrance, which is sprayed on the cover.
If you now listen to the music, the sounds, hear the lyrics and smell the fragrance at the same time, the connection between sound and fragrance is not really clear at first. As already described at the beginning, the music is rather soft, the sounds delicate, light. Although not effeminate, but in places lovely, dreamy.
The fragrance, on the other hand, is clearly dark and smoky, challenging to an untrained nose and seemingly completely at odds with the music.
The question arises: how can the whole thing be combined?
If the fragrance were exactly like the music itself, the different sensory impressions would be a monotonous thing and therein I see the special thing about this creation. Only in this way is there the possibility to address different levels of perception and senses: the music, the delicate, sweet sounds let us dream; the intimate lyrics remind us of love and sensuality, let us remember and revel. And the fragrance; the scent leaves us in the present. While also capable of clouding the senses, it still lets us be in the here and now through its unmistakable exciting, adventurous aura. Brings us back again and again and lets us drift away again. Each level only comes into its own because it is not disturbed in its similarity by any of them, and so the symbiosis of all this, the visual, auditory and olfactory becomes an overall artistic experience of an overriding idea.
Perhaps the concept behind it will also become clearer to us once again if we watch the video for the launch of the record:
The couple sits in an "intimate, chaotic restaurant where everything goes wrong. From a woman catching her cheating husband in the act, to fights, to someone choking, to the police hot on the heels of a bank robber. While it's all happening, Luke and Ellie are completely engrossed in each other's company, unaware of the chaos going on behind them. In a juxtaposition to the carnage being caused, the entire experience is accompanied by sweet and delicate sounds from the album."
Without perhaps knowing about the video, Gardoni's scent is just that: chaotic, challenging, but at the center, at the core is the loving, the conciliatory, no matter what's going on around you.
In keeping with the title, and to perhaps close with the words of a dear friend:
"At the end, it's all about love!"
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