Ensar Oud's Kambodi Kadeem is a special old-school Cambodi that has become my first choice for Cambodian Oud oil. A testament to the art and nuances of distillation, Kambodi Kadeem was crafted to capture the truest vintage Cambodi aroma--the aroma that defines "Cambodi". For the sake of comparison, Ensar sent me a sample vial of a Cambodian Oud oil from 1976. I have found that Kambodi Kadeem is a true testament to this beautifully aged old-school Cambodian oil. In this review, I will compare the two oils, as I unravel the true Cambodi scent.

Kambodi Kadeem opens with a sweet woody note with dark ripe berries swirling in the midst. The initial aroma is somewhat mossy and possesses an "allure" and "lift" that reminds me of animal fixatives. It is a piercing, sharp, and very clear fragrance--the signs of a mature well-harvested tree and a finely aged oil. Each note is discernible and yet fully integrated into the whole of the aroma. Minutes later, a more pungent base note begins to show its colors. The top note teases tart. As a whole, the aroma is juicy and delectable, you want to keep breathing it in, receiving wave after aromatic wave. On the wrist, it has nice sillage, much more than I expected. It also has excellent tenacity and will not even enter the dry down phase for quite a while.

What really strikes me about Kambodi Kadeem is that the fruity notes are well-balanced. This is perhaps the first time I have smelled such a balance of fruit notes in a Cambodian oil. KK has those dark unctuous jam-like tones, but it is incredibly sophisticated about it. The vibe of this oil is at once luxurious and sophisticated, gentlemanly and vintage. Many Cambodian oils have a fruity aroma that is a bit untamed--it jumps out with a kind of excitement and overpowers the more subtle aromas present in the oil. But KK has a smooth and soft appeal. It is a finished product and boasts its aromatic integration with a regal flair. This is an Oud oil that is friendly to the Western palate, and also suitable for the most formal occasions. Rarely have I encountered both qualities in a single Oud oil. Indian oils are too pungent for social occasions and best utilized alone (at least in the US), and most Cambodian oils are too fruity for my taste. I feel funny wearing such a fruity fragrance in formal settings. In other words, Kambodi Kadeem has some real style--it is waiting to make you feel suave.

The dry down is equally as intriguing as the opening notes. This oil has a beautiful finish on the skin that I cannot quite describe. All of the woody, pungent, fruity notes blend together to create something new that has the most subtle hints of fine leather. An intoxciating and beautiful fragrance, Kambodi Kadeem is at once strong and delicate, earthy and flowery, old-school and completely new.

The 1976 Cambodi is one of the most beautiful Oud oils I have had the pleasure to smell. For me, it ranks with Oud Sultani. One thing I cannot emphasize enough about the '76 Cambodi is age. The age of this oil gives it a unique quality and power, a maturity and depth of aroma that I have only smelled in the original Oud Royale from '82. All of you private collectors out there: if you have any doubts about how well your Oud oil will age or if it will even significantly improve in the coming years, let me tell you that it most certainly will! Alongside giving me a peek into the history of Cambodian Oud, the '76 Cambodi also shows me the true potential of aging Oud oil--the true meaning of "vintage". It is this vintage quality in the oil that is so intoxicating. In terms of aroma, the scent is similar to Kambodi Kadeem in its balance, its subtleties, its utter sophistication. This oil reminds me of deer musk a bit and a little of Chinese Exclusive as well. Altogether, this oil is in a class of its own--I will be most curious to see how Kambodi Kadeem develops over the next 40 years! In terms of aroma, vibe, and quality the two oils are strikingly similar. A good nose will be able to smell KK's future. But, in the present moment, there is no way to fairly compare two oils with such a tremendous age difference!

I can very clearly smell the "mood" of old-school Cambodis in both of these oils. I find it remarkable that KK even resembles the '76 Cambodi as much as it does. The distillation of KK deserves some attention and appreciation on the part of connoisseurs. On the page for KK, Ensar has links for a 10-part series that shows the making of Kambodi Kadeem. I highly encourage everyone to watch these and witness the amount of work that goes into producing oils of this stature. Commendable and inspiring--my hat is off to Ensar Oud on this one.

When I received a sample vial in the mail labeled "Oud Mostafa", I thought it must have been a mistake. Why was Ensar sending me a sample of the legendary and long sold-out Oud Mostafa? He knows I have a full bottle--and I have already reviewed the oil and proclaimed it as one of my favorites for some time now. It was atypical of Ensar to make a mistake, to mislabel, or to just arbitrarily throw in a sample of an old oil. When I opened the vial to smell the oil, it was unmistakably similar to Oud Mostafa, which made me even more doubtful that the vial was mislabeled. I began to postulate that perhaps Ensar had extra Oud Mostafa and that he was just throwing it in for fun. There was nothing on the surface of the scent that distinguished it from the Oud Mostafa I have known and loved all these years.

Finally, I wrote Ensar an email expressing my bewilderment about this sample vial. He gave me a simple reply that it was actually a new Oud Mostafa. A new Oud Mostafa? I thought. You have to be kidding me.

Now, I opened the sample vial with an entirely new sense of vigor and wonder. I applied it to my skin and smelled its evolution over the next few hours. Right off the bat, it was clear to me that this oil had the signature Oud Mostafa scent: a pungent resinous aroma that wafts like incense smoke with the smell of mature ripe fruits floating atop, and a barely detectable but still tangible sweetness beneath. What I love most about the original Oud Mostafa is how sharp, penetrating, and diffuse the aroma is. In Mostafa No. 4, I found that exact sharpness, that same penetrating resinous pungency with ripe fruits that I had only known in the original.

I never would have guessed that this was not an Indian oil, until I saw Ensar's formal launch of the oil with a description of its Cambodian origin! As if I had not been puzzled enough, this was the icing on the cake! Here I was enjoying the inexplicable similarities between Mostafa No. 4 and the original, and all the while, it is a Cambodian oil!

I decided I had to spend some time with this oil. However, even after having worn it many times, my conclusions and sense of the oil are still the same as when I first opened the sample vial. This oil possesses the signature aroma of Oud Mostafa--a synergy of notes coupled with an intensity, sharpness, and tenacity that I have not found in any other oils. I am, of course, ecstatic to have found all of these qualities duplicated in Mostafa No. 4, and with its own unique twist.

I will make a bold statement here and express my feeling that Mostafa No. 4 actually outdoes the original Mostafa in some aspects. It has a sweetness and balance to its funk that make it more wearable, refined, and elegant. The original Oud Mostafa is a real blast of a smell--it is the primal agarwood aroma, the scent that satiates, embodies, and exemplifies the purest and most intoxicating agarwood aroma. But I do not wear it too often. Why? Certainly I find myself in the classic dilemma of revering the oil to the degree that I do not want to deplete my one and only bottle too quickly. More significantly, I find Oud Mostafa to be overpoweringly pungent, and it has such strong sillage that I cannot really wear it too often, because I know its pungency will reach the nostrils of everyone around me--and not only that, it will leave a trail wherever I go! It is an oil to be enjoyed in solitude more than anything else.

In Oud Mostafa No. 4, we have a very wearable scent that still possesses my favorite notes from the original. For one, it is quite remarkable to me that this oil smells like the original. It is distilled from entirely different raw materials that are even from a different region. I honestly cannot account for what I smell in this case, and simply take it to be an example of true artistry. Another unique aspect of Mostafa No. 4 is that after a while, I can really smell the wood that went into this oil. I start to perceive the aroma of a densely resinated Oud chip being brought to my nose--the delectable resinous sweet depthful aroma that no one can really describe in its fullness. In this oil, the smell of Oud wood is truly exquisite, and it expresses itself with such finesse. In some sense, Mostafa No. 4 has a delicacy and balance that is not in its original predecessor. The original simply has more of a masculine and yang intensity, while Mostafa No. 4 shows a yin equanimity.

I'm very impressed with this oil. I don't know how it ended up being so similar to the original Mostafa, but I'm quite happy about it, especially since it is only $350! I always regretted not buying a second bottle of the original, but now I can finally shed that regret. The original Mostafa was distilled from incense-grade wood from 80yr old wild trees. Mostafa No. 4 was distilled from cultivated incense-grade wood from Cambodia. How these two share the similarities they do will always be a mystery to me--but one that I happily embrace with each swipe of this oil. Having written this review, I still feel as though I've been modest in my expression of what this oil has to offer. It may be one of Ensar's best distillations to date for its integration, balance, equanimity, and rich scent profile. Besides the original Oud Mostafa and Oud Sulaiman, I have never smelled this synergy of notes in another oil.

I also want to say that as a rule I never read Ensar's descriptions of the oil before writing my own. This is because I do not want any descriptions influencing my mind and unconsciously filtering into my own writing. I saw that Ensar had released this oil, and I scrolled down far enough past the old description to see that it was Cambodian and then I closed my browser, mouth agape! I will now read the full story behind this oil and see if my nose has led me in the right direction or not...

These are important questions. In this post, I will do my best to give a clear sense of what deer musk is as an aromatic and how it functions.

Creed's Royal Oud perfume

First and foremost, I feel it is important to understand the difference between "musk" as a modern perfumery category and the genuine aromatic itself. In modern perfumery, "musk" is used as more of a categorical description than a reference to a single aromatic compound. While it is true that the chemical imitation of musk, known as "muscone" (or "white musk") is used frequently in modern perfumery, "musk" is used more commonly as a form of marketing, and often has nothing to do even with "muscone". More significantly, "musk" is a category of perfumes that does not offer even a slight approximation of the true aromatic, much as Creed's Royal Oud is to any pure Oud oil.

The problem is that due to modern perfumery's bastardization of the aromatic and everything associated with it, people have developed a very inaccurate sense of the true musk aroma. What we think of as "musky" could not be farther from the real aroma of deer musk. And this is where I see the main disconnect occurring.

Musk grains

So what is deer musk? Deer musk is the pheromonal offering of the musk deer, a now seriously endangered species. In order to attract females for mating, the musk deer drops aromatic black granules from its musk pod onto the ground. This is also a way of marking territory. This is what we know as "musk grains". When these black grains are collected and macerated in sandalwood or tinctured in alcohol, then we have deer musk in a useable form.

Before I get into the different forms in which the grains can be utilized, I want to emphasize that the function of deer musk as an aromatic is that of a fixative.

In perfumery, a fixative is an aromatic (often more than one) that functions to slow down the evaporation rate of the aromatic molecules within a perfume. Different aromatics will evaporate from the skin at different rates--and knowledge of each aromatic's evaporation rate is how a good perfumer is able to construct a perfume from base notes to heart notes to top notes. It is the top notes of a perfume that are the first to emerge. You notice the top notes immediately--but not for too long. Soon the top notes of a perfume evaporate, leaving you with the heart and base notes. Ultimately, it is the base notes that will see you through, and this is why many are so keen to evaluate a perfume once it has entered its "dry down" phase. Ultimately, an artistically crafted perfume will show more of an integration of the three, so you do not abruptly lose the top and the middle only to be left with the base notes. There should be a complexity that ties it all together and sees it through, that renders a unique fragrance. Rather than disappear, the notes should melt into one another, and allow themselves to be carried by the base notes. And this is where fixatives come into play.

In Perfume and Flavor Materials of Natural Origin, Steffen Arctander defines a fixative as, "a material which slows down the rate of evaporation of the more volatile materials in a perfume composition". Arctander also gives four categories of fixatives:

1. True fixatives: "Materials which retard the evaporation of the other components of the perfume by distinct physical effect. Their effect is that of an adsorption due to the high-molecular structure of the fixative. A typical example of a natural fixative in this group is benzoin".

2. Arbitrary fixatives: "These are odorous substances which lend a particular note to the perfume throughout all stages of evaporation. But they do not significantly influence the evaporation of other perfume materials in the composition. A typical example of a natural arbitrary fixative is oakmoss".

3. Exalting fixatives: "These materials act as 'odor carriers' and often act also as syngergists by improving, fortifying or transporting the vapors of the other perfume materials in the composition. The exalting fixatives may also lend a highly appreciated 'wearability' to a perfume, a combination of diffusive effect and retention of the full fragrance of the perfume, slowly exhaled from the human skin to which it has been applied. Although the effect of these fixatives may be considered a physical one, it is inconceivable that the effect is due to an increase in the boiling point of the total perfume composition. The effect of these fixatives is often obtained through the addition of mere traces with respect to quantity. Typical exalting fixatives are musk and civet". To this list, I would add ambergris, castoreum, and hyraceum.

The fourth category is not significant for the purposes of this discussions, so I am omitting it. A discussion and lesson on fixatives is important if one intends to understand musk and how it works. Some may be surprised to learn that musk is used in a perfume without truly lending its aroma to the composition, as an arbitrary fixative such as oakmoss would. This is due to the impression that modern perfumery has given of the "musk" aroma.

And this is why it is difficult to wear musk as a perfume in and of itself. One may attempt to wear ambergris as a perfume, but it is very difficult to do so, because its usefulness is primarily in a perfume. As an aromatic, its function is much more esoteric. As I stated in the beginning of this article, the most common response I receive from individuals who try a sandalwood musk maceration is that they cannot smell the musk. This is because what they are looking for is something that has been imprinted on them by modern perfumery, whether they realize it or not. People are looking for a strong, overpowering, intensely projecting aroma. But when they smell musk grains that have been infusing in sandalwood for years, they smell something very different and can barely identify the musk at all. They feel as if all they are smelling is sandalwood, which they find to be unusually deep. This is because, essentially, one is smelling infused sandalwood. Sandalwood infusions are a perfect example of musk's function and effect. The musk reveals itself only in interaction with another aromatic. This is when it springs to fragrant life. It exalts the sandalwood, giving it a depth and lift that was not previously perceivable. Likewise, sandalwood absorbs the aroma of the musk grains into itself, making the two a perfect marriage.

Musk is an elusive aroma. It has subtleties and complexities. One must develop a nose for it. My suggestion is that individuals who are interested in smelling deer musk should have a sample of plain sandalwood of the same type as used in their sandalwood musk maceration. Smell the musk infused sandalwood and then smell the plain sandalwood. Go back and forth until you can sensually identify the musk. You should be able to identify the changes that have occurred to the infused sandalwood, but moreso, you should be able to very clearly identify the musk.

In a sandalwood infusion, the musk aroma is evident as a kind of top note that sits on the recognizable sandalwood aroma. Rather than adding an intense odor of its own, it lends an incredible texture to the fragrance that is at once sharp and soothing. It creates an incredible "lift". With more careful exploration, one will find that the musk has completely transformed the sandalwood, rendering it a new aromatic altogether. Yes, the sandalwood is certainly recognizable, but it has come a long way from its original state. And this alchemical process exemplifies the use of musk (and other exalting fixatives) in a natural perfume. It is alchemy.

Ensar Oud's Borneo Zen was a very popular release, and for many, was an introduction to deer musk. But when I smell Borneo Zen, I am not smelling musk. I am smelling a perfume as a whole. I could just as easily say, "I don't smell the musk, but I love the perfume". What then should I make of Ensar's description of the perfume when he states that he used a significant quantity of a sandalwood musk infusion in crafting the perfume? Was it just a weak infusion, or did he just use too little? The answer to these questions is that Borneo Zen is perfect as it is. What I notice about Borneo Zen is that there is an incredible pull, a magical liveliness to the perfume. When I wear it, the aroma vibrates. The notes of rose and jasmine are mysteriously tied together in an aromatic dance, exalted beyond the average floral blend. The perfume itself has a wonderful texture that is addicting, that keeps me going back, calling me to itself. You can't quite describe it. It is similar to smelling Oud for the first time. And this effect is due entirely to the musk in Borneo Zen. It would be a worthy experiment to replicate Borneo Zen as exactly as possible but with sandalwood rather than sandalwood musk.

As a perfume, it does not last all day on your skin. In fact, one could apply multiple wearings of the perfume throughout the day. As for sillage, it certainly does not project like a modern perfume, nor would I want it to. And I do not believe that someone who smells it on you is going to identify that you are wearing "musk"--certainly not by their standards.

Borneo Zen is simply a good example. It illustrates what musk is about and how it truly functions as a fixative. To truly enjoy musk, one must erase all expectations and be open to knowing it for the first time. Let your nose inform you. Eventually, you will "know" the musk aroma, and will find satisfaction in its mysticism--even if it does not satisfy the common expectations for sillage. Musk is a potent aroma, but that does not mean it has insane projection. It is much softer than people think. Its potency is what qualifies it as a fixative--but "potency" does not equate "projection". Rather, it has an aroma that does not readily dissipate. One often hears stories of people who used to wear perfumes with real musk, and how the smell of musk still lingers in their rooms and so forth.

With all of that said, I am often asked what the best way is to wear musk or to use musk grains, and what ratios to use. And these are good questions. But I hope that it is clear why it is difficult to wear musk as a perfume in and of itself. If one desires to do so, then the expectations for its performance as an aromatic must be entirely re-examined.

In natural perfumery, musk is most often used in the form of an alcohol tincture, usually at 3% strength, although one may also use a 5-6% strength. For an alcohol tincture, one should find an organic perfumer's alcohol that is non-denatured. But I prefer to soak the grains in sandalwood.

I am often asked if making a stronger infusion will make the musk project more, but this is a pitfall to be avoided. It is associated with a misunderstanding of what musk truly is. As Arctander so eloquently noted, "mere traces with respect to quantity" gives significant effect. The rule of thumb amongst natural perfumers is that if you can smell it in your perfume, then you've used too much! So really, a 3% strength is sufficient. The idea of the animal fixatives is not to lend their own aroma into the perfume. It is to exalt and fix the odors in the composition. Some may find they want to intensify the effect of the musk in their composition, and so a 5% or 6% tincture could be used. There is nothing wrong in using a higher strength, but it should be known that a higher strength will not give the unnaturally potent projection of "muscone" or other synthetic aromatic compounds.

Sandalwood Musk infusion, 5yrs

Most of the inquiries I receive about musk stem from both a curiosity about it and a desire to wear it as a perfume. But this is inherently problematic, since musk is primarily a fixative rather than something that can be worn on its own. Its greatness is in its interaction with other aromatics. But, for those who wish to wear it as a perfume, I suggest wearing a sandalwood infusion. The alcohol tincture only has its purposes in a perfume. I do not suggest trying to wear it by itself as a perfume. A sandalwood infusion is my preferred method to wear musk on its own and also to use in a perfume. Some may feel that the sandalwood aroma interferes with their desire to only smell the musk. And in some sense, it is true that a tincture will allow for a clearer scent, since there is no other aromatic interacting with the musk. But I find the alcohol lends a texture that is undesirable, and to me it is too much of an interference. I prefer the musk when it has already come alive in the sandalwood by means of interaction and alchemy. However, if you just want to smell musk, then simply keep the grains and smell them whenever you want. Do not infuse them in anything. By themselves, the grains offer the most potent and direct aroma--the only limitation being that you cannot wear them!

Sandalwood Musk infusion, 1yr

To make a sandalwood maceration, one should use a ratio of 1g musk grains : 9ml sandalwood. For higher strength, this can be doubled to 3g musk grains : 9ml sandalwood. I presently have 4g of musk grains steeping in 30ml of Mysore sandalwood. One can use any sandalwood they like, but I would recommend vintage Mysore as the best possible choice, with santalum album from Sri Lanka as a second choice, and Hawaiian Sandalwood as a third choice. There are some Indonesian sandalwoods that have a depth that is uncharacteristic of most Indonesian sandalwood, which would make them a candidate. But, in general, Australian and Indonesian sandalwoods are too light for my liking in the case of a musk maceration. That is my personal preference and recommendation. The grains can steep for up to 5 years, upon which the aroma from the grains has most typically been fully absorbed by the sandalwood. But one will start to notice changes around 6mos-1 year. At 2-3 years, one has a very good maceration for use in perfumery. 5 years is best. One should note that the sandalwood will begin to turn a deep orange as time goes on, as per the pictures.

Musk is one of the greatest aromas, and my favorite--second only to Oud oil. But as I've attempted to explain, it is very different from Oud oil and modern "musk" perfumes. Oud oil is a unique aromatic in that it can be worn as a perfume in and of itself. Musk is a powerful and tantalizing aroma that has a powerful effect, pulsating with life-energy. In my opinion, its enjoyment is in perfumes more than by itself. But a high quality maceration is an excellent way to know and experience musk in its fullness.

I hope this article has been informative for those curious about deer musk and those who already have some in their hands and are looking for ways to explore and wear it. Similar to Oud oil, there is a significant amount of education required to fully appreciate musk. I also want to say that I believe that people who are unsatisfied with deer musk will find the diffusive power and animalic musky potency they are after in civet. In many ways, civet is more akin to people's impression of musk than deer musk is. Civet is also a fixative, but it offers more diffusiveness and a pure pungent aroma that people will readily identify as "musk".

Deer musk--fixative or perfume? This is something for everyone to consider.

This will be the first post in a series of posts that examine the effect that modern perfumery has had on our sense of smell. From cosmetics to household products, fragrance has a defining role. Everything has some "fragrance" added to it. While the smell of a floor cleaner may not have any impact on how effectively it cleans, it does define the product in some fashion. And more than that, it defines a particular scent for us. When we use a lemon-scented soap or lavender-scented laundry detergent or ylang ylang scented shampoo, we come to know the smell of lemon or lavender or ylang ylang via that product. Unconsciously, throughout our lives, we are conditioned by fragrances that completely surround and pervade us--and we have no idea how significantly it has altered our ability to perceive nature's wondrous aromatics.

This is what I call the "laboratory effect". The fragrances that are in our hair products and soaps and almost everything we use are completely synthetic (read: laboratory creations). But for those who have no special interest in natural essential oils, there is no discovery of the true aroma of lemon, or lavender, or ylang ylang. There is just this chemical fabrication that we become used to, that we even begin to enjoy. Why else would someone buy air freshener for their cars or homes? Why else would we use fragrant hair products without the slightest concern for the aromatics used to fragrance them? However, I must assert that the only reason anyone finds these synthetic aromas to be remotely pleasurable is because of limited exposure and unconscious conditioning.

The laboratory effect. We walk through malls and are bombarded with the overpowering smell of edgy perfumes that feel like fizz in our nostrils long before we even reach the transparent counters where they are sold. We casually open magazines in waiting rooms and smell the perfume samples without a second thought. My question is, does anyone notice that almost all of these perfumes smell the same? Has anyone spent significant time in a shopping plaza and smelled the different perfumes being offered? The colognes, the eau de perfumes, the ladies scents, the men's scents, the "musk" perfumes, the "rose" perfumes? I find hardly any aromatic variation in any of them. They all smell the same to me. Flat, one-dimensional, bubbly, alcoholic, and filled with an unnatural sharpness that makes me pull my face away in pure reflex. These perfumes are like drones. What you smell is what you get, now, and hours later, and then hours later.

The first real sign of the laboratory effect is when someone who is unconsciously and innocently accustomed to synthetic aromas smells a natural aromatic and finds it to be weak, lacking projection, and lacking tenacity. People expect natural aromatics to last as long as synthetic aromatics, and they expect natural aromatics to have that same overpowering strength of scent that someone could smell from quite a distance. While this is certainly the reality surrounding modern perfumery, it is not true of natural aromatics--and that is important to understand.

Some of the more common questions I am asked is surrounding deer musk. I recently sold someone a sandalwood musk infusion and they told me they could not smell the musk and asked me how it could be made stronger. I am often asked how sandalwood musk infusions can be created, with what ratios, at what strength. Almost always, the question comes about how to make it stronger so that it will project more. But the question is based on an inaccurate paradigm with unfair expectations. People are used to the smell of "musk" in the form of muscone, as it is used in modern perfumery, and as it is used in Middle Eastern perfumes. Based on this, individuals seek the true aromatic--deer musk. When they find it, they have hopes that it will fulfill what their noses are conditioned to smelling--and it always fails. The truth about deer musk is that it is a subtle aromatic, and one has to develop a nose for it in order to really know it in the context of a sandalwood infusion. You must de-condition your nose. This is why my recommendation is to have plain sandalwood in a sample vial alongside a sandalwood musk infusion. Compare the two diligently until your nose recognizes the musk without a question. While it is not overpowering or edgy like muscone, deer musk is unmistakable and plain as day, and a profoundly deep, sensual, and lively aroma. Moreover, it is a fixative rather than a perfume--and this is something I will explore in Part II.

I also recently sold someone a bottle of Turkish Rose Otto and Bulgarian Rose Otto--both top quality. The reply I received was that the oils smelled like "bug spray" had "green notes" and did not last all day on the skin like another rose fragrance that this person had. I had to point out that rose oils often have green notes and that rose is a middle-to-tope note in perfumery--it evaporates quickly compared to sandalwood or oak moss. It is not an oil that is going to last all day on anyone's skin. It was clear to me that this person was accustomed to a synthetic rose fragrance and was looking for the natural aromatic to match this. She was repulsed by the smell of the natural aromatic because she had never really smelled a natural steam-distilled rose before.

We are now so conditioned by modern aroma chemicals that the natural beauty, depth, subtlety, and complexity of natural aromatics is completely foreign and unsatisfactory to us. Natural aromatics are a world unto themselves and are worthy of serious exploration. More than that, one must develop a new sense of smell--one based on nature rather than laboratories. One must remember that the power of an aromatic is not in its ability to project, but in its actual scent.

Lovers of the legendary Borneo 3000 and Borneo Kinam have reason to rejoice with the release of Borneo 50K -- a classy Borneo oil that combines elements of both oils with its own unique twists.

Borneo 50K opens with elegant displays of honey and vanilla top notes that ride above a rich and resinous woodiness. Upon first swiping the oil, I was reminded of the rich, creamy, and balsamic-woody fragrance of some of the best vintage Mysore Sandalwood. It is an aroma that sparkles and glistens on your skin, hovering its aroma above your wrists, tingling with life and indescribable aromatic textures.

The honeyed-vanilla-sweetness begins to fuse with the woodier tones, creating a beautiful earthy aroma that also reveals more of Borneo 50K's resinous core. At this stage, the oil reminds me a lot of Mitti Attar with its sweet earthy notes.

This oil is definitely unique among Borneos I've smelled. It is somewhere in between the aroma of Borneo Kinam and Borneo 3000. The vanilla is much more balanced and integrated than in Borneo 3000, and the sweetness is not as sharp. Its sparkling woodiness is reminiscent of Borneo Kinam, but it is not quite as woody as Kinam. Somewhere in between, with some vintage Mysore and Mitti Attar mixed in, there is an aromatic approximation of Borneo 50K. As for the mintiness Ensar describes in the official description of the oil, I have to say that it is perceptible as a kind of surrounding aroma, radiating at the edges of the fragrance's core. It is a pristine herbaceousness that makes you feel "clean", as if you are standing in the depths of a rainforest after a fresh rain.

But that is not saying much for the experience of wearing it. As a fragrance, it is incredibly smooth -- perhaps the smoothest Borneo I have worn so far. I swiped it in the morning. It is now evening and Borneo 50K remains nicely perceptible on my wrist. I can't say whether or not it outlasts previous Borneo releases since I have not conducted a simultaneous comparison yet, but I am certainly pleased with its longevity.

Expectedly, Borneo 50K is not very diffuse. However, unlike other Borneo oils, Borneo 50K is noticeably less "airy", exuding a surprisingly grounding feel. I find that I really enjoy this aspect of 50K because it is something not found in other Borneo oils in my collection.

Borneo 50K has a lot to offer as a fragrance -- and, like all fantastic Oud oils, is as much of  an aesthetic experience as it is an aromatic one.A complex fragrance with real aromatic depth and subtle nuance, 50K offers a scent that will not be totally "familiar" to Borneo lovers. For collectors, I would say there is no reason to hesitate in buying this oil. For someone looking for a great Borneo oil because they love Borneo oils and can't stand the Indian funk, then Borneo 50K is a worthy addition to your collection. I personally wasn't sure how different or unique the fragrance would really be in light of previous (now legendary) Borneo releases. But now I can say that 50K does offer virtues entirely of its own that are sure to be appreciated by those who come experience its aroma.

All of this said, I have only begun to explore the oil. I hope what I have written here will be useful for those curious about the oil, but I expect to discover much more in future wearings.

Super Assam. When it comes to Indian Oud, I never know what to expect. There is such a diversity of fragrance when it comes to Oud from this region. Super Assam is a brown-reddish colored oil with decent viscosity. In its opening, the oil wastes no time in expressing that classic Indian funk--but not for too long. The funkiness is not very potent. It is more of a sharp top note that soon merges into the body of the oil. This oil does not have a "fecal" or even a very strong "barnyard" aroma. Instead, imagine woods and hay with notes of dry tobacco, chocolate undertones, and a hint of fruit. But it is the woodiness of Super Assam that stands out to me. I think the oil is likely distilled from the Assam chips that Oudimentary offers, because the oil smells identical to those chips. At its core, it is a woody aroma paired with the smell of sweet hay, accented with cinnamon. With Super Assam, I really enjoy the dry down of the oil the most. It is not as diffuse as other Indian oils I have worn, but it does have excellent tenacity. Super Assam would blend beautifully in a  perfume because it lacks an overpowering aroma while presenting clean notes of wood and hay. For $187.50/3ml, it is the cheapest Indian Oud I have smelled that is still good quality. I would consider using it in my perfumes and also wearing it when I'm in the mood for an Indian oil that is not too loud and fecal.

Thai Super opens with a sweet woodiness that immediately draws me in. Characteristic mineraly Thai notes. Slightly fruity, but mostly sweet. The woodiness is very nice and captures something of the smell of burning Oud chips. This is one of Oudimentary's higher quality distillations, to my nose. Moderately diffuse with an average tenacity, but it makes for a nice wear.

Thai Old

Thai Old stands in contrast to Thai Super, immediately exhibiting peppery notes amidst tobacco leaf. It is much more lively than Thai Super. Thai Old's cigar-like aroma carries itself quite well, making for a more diffuse aroma with a moderate tenacity. Notes of fruit mingle in the body lending some complexity to the aroma. This oil is also an organic distillation. It is hard to choose between Thai Old and Thai Super. Thai Super certainly has a more mature aroma and its woody notes are beautiful. But Thai Old has a little more kick. It depends what you are in the mood for. They are both good Thai oils, although I no longer see Thai Super available on the Oudimentary website. At $74.25 for 3ml, Thai Old gets the award for the most affordable Oud oil of good quality.

Cambodi Pa-em

I have finally had the chance to try Oudimentary's line of Oud oils--and I must say that I am quite pleased with the quality of their oils. In this review, I want to focus on their three Cambodian offerings: Cambodi Tuk-Kmum, Cambodi Special, and Cambodi Pa-em.

Cambodi Tuk-Kmum is a very sticky orange colored oil. It possesses a light and syrupy-sweet aroma that is strong in the mid-range. Characteristic notes of fruit mingle in the background without becoming too prominent or sharp. While it is not very diffuse, it does have a nice tenacity, maintaining its aroma quite well throughout the day. The oil has a wonderful sweetness, a clear sparkling aroma of honey mixed with maple syrup, all rounded together in a smooth and almost balsamic aroma. Cambodi Tuk-Kmum smells great, wears nicely, and feels good on a nice summer day. It reminds me a lot of Agar Aura's Sylvan Nectar, for those who have tried that oil. On their website, Oudimentary notes that "Tuk-Kmum" is Khmer for "honey". A most appropriate name for this oil! $200/3ml.

Cambodi Special has much more of a characteristic Thai profile. Zesty mineral notes beneath a light airiness with a subtle fruity aroma meandering in the background. Those who are familiar with the recent organic Thai releases will find much to enjoy in Cambodi Special. Bolder and woodier than Tuk-Kmum, lovers of Thai Oud will definitely enjoy this oil for only $99/3ml.

Cambodi Pa-em is my favorite of Oudimentary's Cambodian offerings. It is, in my opinion, their highest quality Cambodian oil. Pa-em is another sticky and amber colored oil. It greets me with the smell of fresh fruits. After a few minutes, the fruity notes become riper and darker, resembling the grapey and almost wine-like aroma that I find in Cambodi Caramel. The dry-down is a beautiful woodiness that is punctuated with the classic Cambodian top note that almost smells Marokean. Pa-em is sweet but also spicy, with notes of dry tobacco, nutmeg, and chocolate. There is even a vetiver-esque grassiness lurking in this oil. Most of all, Pa-em is aromatically complex, deep, and lively. It has a complexity I rarely encounter in oils of this price range, which makes it really stand out to me. For $200/3ml, I highly recommend this oil.

I have really enjoyed wearing these oils and getting to know their wonderful aromas. Much gratitude to the Oudimentary team for the samples. I have to congratulate them on producing pure and quality Oud oils at a seriously affordable price. These days everyone is searching for "affordable Oud", a phrase and endeavor that is essentially an anomaly. While I usually discourage this search, I have to say that I believe that Oudimentary is producing "affordable Oud". These oils are cheaper than the usual oils on the market, but unlike other affordable Oud oils, there is not a significant drop in quality accompanying the drop in price.

The Oudimentary team is comprised of old-fashioned Oud lovers. If you haven't checked out their oils yet, do yourself a favor and get some samples.

Coming soon are reviews of Oudimentary's Thai Super, Thai Old, and Super Assam.

Bois de Borneo. Finally an organic Borneo Oud! I have been waiting for this for a while now. I always want to use some Borneo Oud in my perfumes--but when my Borneo collection consists of vintage oils that originally cost around $500, I begin to have second thoughts. At $350, Bois de Borneo offers a more affordable price-tag than its legendary predecessors and may solve my perfumery dilemmas. But more importantly, how does it smell?

Bois de Borneo is a classic Borneo oil. Sweet, smooth, and sensual, Bois de Borneo quickly meets my expectations for a quality Borneo Oud oil. Light but tenacious, this oil wears nicely on my skin with its aroma still perceptible hours later.

Bois de Borneo opens with the most pronounced and sensual vanilla note I have smelled in a Borneo oil so far. For a while, all I can smell and think is vanilla. But rather than being a nice accent or top note, the vanilla odor surrounds and pervades the body of the fragrance, enriching it from inside out, top to bottom. The fragrance of vanilla is so clear and persistent that it is even comparable to smelling a bottle of vanilla oleoresin or absolute.

Paired with this now-balmy vanilla aroma is the amazing sweetness that lends Borneo Oud its popularity. Bois de Borneo passes the sweetness test with flying colors, becoming one of the sweetest Borneo oils I have smelled. I find its aroma to be surprisingly addicting with great allure.

In the dry down, this oil reveals a more woody character, as a note of cedarwood begins to emerge. The woodiness seems to sparkle in this oil. I particularly like the way the woody tones come to life in the dry down phase, without dropping any of the sweetness from earlier. Instead, the fragrance fuses together as it unfolds. The honeyed-sweetness sits on top of a fresh earthiness that is not too pronounced. It is the subtle fragrance of the outdoors just after a rain. Imagine blending a few drops of Mitti Attar in a Borneo oil and you can approximate the aroma. Moist, somewhat grassy, and earthy-sweet. The earthy element of Bois de Borneo is definitely a unique and welcome twist.

A pleasure from start to finish, Bois de Borneo is perfect for a hot summer day and has a noticeable uplifting effect. With their smooth airiness and sweet aroma, I've always found Borneo oils to be an almost immediate mood enhancer. And Bois de Borneo is one of the first oils I'll reach for on a summer morning. I can even see myself swiping this oil more than once on any given day.

While some may wonder how this oil compares to more legendary releases such as Borneo Kinam and Borneo 3000, I must say that Bois de Borneo deserves to be smelled in its own right. What I can say is that Bois de Borneo has a very well-developed aroma that holds its own quite well.

Bois de Borneo is the first organic Borneo Oud I have seen, but I certainly hope there is more to come. I hardly find much merit in making organic/wild distinctions anymore, because these organic Oud oils are every bit as enjoyable as the wild vintage oils in my collection. In fact, there is an aspect of the organic oils that I enjoy even more, because they are cheaper, and a step toward sustainability and right cultivation. When I smell a vintage oil, I know I am smelling the past and the last of its kind. But organic oils impart a feeling of hope for the future of agarwood. With the devastation of wild agarwood trees in Borneo, I am relieved to see an organic distillation of such quality. May there be many more oils like this one!

A new and yet-to-be-released parfum from Ensar Oud, Kyara Koko is beautifully rich, warm, and sensuous. The name is a clear allusion to the famous Baieido Incense, "Kyara Kokoh"--20 sticks of which currently sell for $829.50. Does the perfume live up to the incense by the same name? You will have to see for yourself! I have actually not burned Baiedo's Kyara Kokoh before, but in light of this perfume, I will have to check it out and see how it compares.

Koko opens with a velvety texture of animalic notes that turn sweet before you can find the funk. As the parfum begins to expand, its complexity unravels. With such intricacy and nuance, I suspect that many different oils were used in Koko's composition, yet not a single one stands out individually. Having made a few perfumes myself, I  can appreciate the artistry in crafting a perfume that confidently boasts a single fragrance--the alchemy of a new scent, rather than an amalgamation of various scents. If I had to compare Kyara Koko to another oil, I would say that it reminds me of Amulya Attar. Amulya Attar is the most complex perfume I have smelled, composed of over 60 ingredients, mostly focused on precious Indian florals. But as with Kyara Koko, its core aroma is completely unique, unified, and intoxicating.

I have little to say about the ingredients used in Kyara Koko, because they are largely undetectable to me as individual components. Rather, Koko radiates a whole fragrance,  a sweet-spicy Oudiness with civet-like undertones. The end result is a deliciously incensey fragrance. Incense lovers really have much to look forward to in this perfume. In terms of color, think purple. Deep purple. For an Oud-based perfume, I find that Koko beautifully expresses its Oudiness while also blending in well, making for a deliciously smooth and well-rounded fragrance.

What also stands out to me in Kyara Koko is its tenacity. It may be the most tenacious perfume I have smelled from Ensar Oud so far. Radiating on my wrist, Koko surrounds me in its fragrant aura. And I can smell its remnants on my wrist the next morning. I really love a perfume that can maintain itself like this. I have found myself addicted to this perfume as of late, discovering something else with each new wearing.

Kyara Koko is a full-bodied perfume of mystery and confidence, suitable for man or woman, and great to wear out in the evening. Its sensual and aristocratic vibe is sure to catch the attention of anyone who crosses its path.

When I first swiped Agar Aura's Pulau Maluku, I thought I was smelling an oil from Maroke, only to have my senses puzzled a few seconds later as I began to perceive a full-blown Borneo profile.

This strangely beautiful juxtaposition of scent profiles is what sets Pulau Maluku apart from other Oud oils, with its geographical roots being a perfect mirror for its fragrance. It was only after applying the oil a few times that I realized that Maluku, an island in Indonesia, is located exactly between Borneo and Papua. Mystery solved!

Map of Indonesia

This is the first oil from Maluku that I have come across so far. I am not aware of any other quality distillations from Maluku wood at this time, making Pulau Maluku a very unique and special offering. I love the dark, jungly, and pristine aspects of Papuan oils, and I also love the bright and sweet aspects of Borneo oils. In my opinion, Oud oils from these two regions stand in contrast to one another, and I have never really associated them with one another in any way, until I smelled Pulau Maluku.

The oil opens with Papuan notes--jungly, dense, herbaceous. For a moment, I have no reason to think I am smelling anything else, despite the fragrance being noticeably lighter than the Papuan oils I am so used to. When my nose returns to my wrist again, I realize there is something else going on here, as the fragrance begins to rapidly morph. The Papuan elements quickly become luscious undertones for a fragrance that is now beginning to express the most recognizable Borneo notes.

Soon I have forgotten the jungles and am entranced in a rapture of one of the most pristine and balmy vanilla notes. The vanilla is very pronounced, more pronounced than in other Borneo oils in my collection. Maluku starts to smell like a Borneo stripped of its base--sensual, smooth, suave, and beautifully light-hearted. Pulau Maluku beautifully captures the ethereal aspect of Borneo oils with stunning accuracy and clarity.

Vanilla bean

With the oil singing on my wrist, I am again lost in a vine of vanilla beans. So much vanilla. It is not that it smells like vanilla, it is nearly identical to putting your nose in a bottle of vanilla extract--but without the concentration, and much more velvety.

As the fragrance approaches its dry down phase, the Papuan elements make a re-appearance, and this time to stay. Undertones of mineral, resin, and fresh jungle support the sweet and airy base of Pulau Maluku, making it one of the more impressive Oud oils I have had the opportunity to experience. More remarkable is that the fragrance of burning Oud chips--the mark of high quality Papuan oils--begins to come into focus, drawing the finishing stroke of a wonderful composition.

Pulau Maluku is a classic stainless steel distillation. Regarding the raw materials used, Taha said to me in a personal communication, "Feedstock for Pulau Maluku was collected from trees that are quite possibly the oldest of ALL ouds that you and I have ever come across."

I must congratulate him in distilling the first Maluku Oud oil of this quality that I have found, and in offering such a high quality distillation. Additionally, the oil has great longevity and sillage on my skin, a surprisingly nice kick for a "light" oil.

Unfortunately (and expectedly) Pulau Maluku is sold out. But this is an oil worth tracking down in private collections, if you get the chance. On a related note, for anyone curious about Maluku wood, check out Olfactory Rescue Service's post here.

Encens Imperial is the most unusual Indian Oud I have smelled so far. The fragrance catches me off guard when it opens with a very potent top note. As the opening aroma meets my nose, I am greeted with an incredibly strong and crystalline aroma that smells almost medicinal and that is initially off-putting. By describing it as "medicinal", I am intending to convey something of its potency, depth, and healing potential, as well as its "concentrated" aroma. After all, Oud has been used as medicine in the ancient healing traditions of the East--and when I smell a note like this, I remember why. It is one of the strongest notes I have encountered in an Oud oil so far.

This mysterious crystalline note is shrouded by a more traditional Indian aroma of sweet hay and woods, and a gentle barnyard tease. But as I smell my wrist over and over again, it is that top note that I am constantly reaching for. And it is quite playful--sometimes elusive, and at other times floating at the top, or sinking underneath the base notes, only to be found in the last seconds of the inhalation. As the fragrance unfolds, I realize that this mysterious "top note" actually pervades the aroma, top to bottom.

Within minutes, I am addicted to the singing clarity of Encens Imperial. It is an Indian Oud that possesses the clarity, beauty, and sensuality of the finest Borneo Ouds without sacrificing its Indian roots. Usually with Indian Oud, the woods, the hay, the resin, all of it mixes together into a "thick" fragrance. Yet Encens Imperial maintains a smooth, water-like clarity, without compromising any tenacity or potency.

In the official description for Encens Imperial, Ensar writes:

There might be no Kyara in Assam. But only in Assam do you find Muana, a heart note of serenity not even Kyara can capture, and just as rare. You might have smelled it when burning crazy-grade Assam wood chips, but pick it up in an oud oil… this is a first.

So what is Muana? It is hard for me to say exactly what Ensar means by using this term. In my own feeling, Muana is the defining aroma of Encens Imperial. It is that mysterious crystalline note at the heart of Encens Imperial that will puzzle your olfactory sensibilities. In its opening, it is the clearest top note I have ever smelled in an Indian Oud. As it wears, it dances and blends into the woodier undertones, and I'm smelling highly-resinated Oud chips on my wrist. This is my best guess as to what Muana refers to.

In the drydown, Encens Imperial emerges as more of a unified composition. Everything has integrated, revealing a deep and resinous profile, with accents of spice and a defined woodiness. The end result? The intoxicating aroma of incense-grade Indian Oud chips on your wrist.

Oud as incense has been the theme and goal of Ensar's most recent releases. He has been emphasizing the true goal of Oud distillation as Oud oil that smells like incense. By incense, I feel he means a purity of scent. And Encens Imperial certainly fits into that category with its clear piercing aroma.

Ensar's Indian Oud oils are undeniably his most diverse offerings--each one is a world of its own. So far, I have yet to smell any two that are similar. I think back to Legends such as Oud Mostafa and Oud Nuh. Encens Imperial is not the bottle I personally would reach for when I want to wear an Indian Oud. It is not as smooth and balanced as some of Ensar's other Indian oils. Rather, Encens Imperial is an Oud I would save more for medicinal or meditative use. Assam lovers will find something very atypical in Encens Imperial, as it smells nothing like my other Assam oils. I almost forgot it was from Assam.

Clear, beautiful, and potent enough to be healing--Encens Imperial is an oil for the adventurous to explore.

But Muana doesn't end with Encens Imperial, as I recently received a sample of an unreleased oil called "Muana LTD"...

AgarAura's Royal Assam is an unusual Assam Oud. It does not possess the density and tenacity of your usual Indian Oud, nor the creamy profile of Meghalayan Oud. Rather, Royal Assam exhibits clear, almost airy notes,  and a pleasant, pronounced woodiness. On top of the woody heart note are fruity notes that are subtler than say your typical Cambodian or Thai oil, while certainly adding sweetness to the profile. As the clarity and woody-fruity tones melt together, a unique Oud fragrance begins to emerge.

Mixed with the fruity top notes, the woodiness attains a sweetness reminiscent of cedarwood. But underneath the cedarwood lies a slight barnyard twinge--the only aspect of the oil that confesses its Assamese origins.

If someone told me this was a distillation of Crassna wood--I would believe them. In fact, I have smelled Crassna oils that have more of a barnyard element than Royal Assam. If someone told me that this was a co-distillation of Crassna and Malaccensis wood, then I would also believe them--because there is a lightness to Royal Assam that is uncharacteristic of both Indian and Cambodian/Thai oils.

However, in Royal Assam, Indian Oud lovers have found yet another interesting distillation from Aquilaria Agallocha to add to their collection. This oil is perfect for those days when you really want to wear an Indian Oud, but do not want everyone to pick up on those fecal and barnyard notes that you secretly love. This is a very balanced oil that one can find simple and easy enjoyment in wearing. It is not as overpowering as your typical Assam Oud, not as light as Borneo Oud, and not as sweet and fruity as a Cambodian/Thai oil. Royal Assam strikes a beautiful median, making it one of the more wearable Indian Ouds I have smelled.

But lovers of Assam Oud should also be aware that Royal Assam will not satisfy their deepest cravings for a funky Indian Oud. If you want a fragrance that epitomizes the classic Assam fragrance, then I would recommend Assam Organic. If you are not yet a fan of Assam Oud, then Royal Assam will give you a light introduction by which to gauge your tastes. But if you are a connoisseur and love to collect all the different types of precious Oud distillations, then Royal Assam is worth adding to your collection.

As Taha describes, there was no soaking involved in the distillation. The lack of fermentation prior to distillation explains the lack of fecal and barnyard notes. He also describes the use of pure drinking water rather than ground water. And this tweak is actually what I notice the most in terms of the oil's scent profile. It is why Royal Assam smells so clean and even watery.

Royal Assam is a modern-day Indian Oud, whose wild and rough edges have been tamed and smoothed, producing one of the more wearable Indian Ouds I have come across so far. As with all Oud oils, age will only improve Royal Assam, and I look forward to seeing how this oil develops.

Currently available for $375, 2.5g.

Oud Sultani opens with the profound smell of resinous bubbling Oud chips. It is the unmistakable agarwood aroma--deep, resinous, woody, sweet, and everything in between I cannot describe. Catch a whiff and everything is suspended in fragrant exaltation. And I caught just such a whiff when I went to apply Oud Sultani. The fragrance immediately blossoms into an aromatic flurry reminiscent of the finest perfumes, with notes of ambergris and myrrh, and a pronounced floral sweetness that is so high you might think it is a Borneo oil.

As I walked outside, I could hardly tell if I was smelling Sultani or the floral breeze of Kauai. I checked my wrist repeatedly before realizing Sultani's astonishingly floral element. My eyes close as I catch the aroma of Sultani again, sweet and melodious. I am left with feelings of gratitude for copper pot distillation.

Yes, it's true--Oud Sultani does smell almost exactly the same as Oud Royale No. 1. And this alone is a remarkable fact. Both oils exude a classic royal agarwood fragrance--smooth, rich, luxurious, soft, deep, resinous, and balanced. When smelling these oils, I mindlessly know it does not get more Oudy than this!

So is Oud Sultani better than Oud Royale No. 1? Is Oud Sultani the greatest Oud oil Ensar has distilled?

These are difficult questions for me to answer. I have a small amount of Oud Royale No. 1, and I have been comparing the two Ouds. They are, for the most part, identical in terms of scent profile. Both oils come from jungles not too far from one another, and both oils were distilled from sinking-grade wood. One notable difference is that Oud Royale No. 1 has a remarkable depth and serenity. Royale has a darker woodier character, compared to Sultani's lighter, livelier, sweeter, and more floral vibrancy. Ultimately, they are two sides of the same coin--yin and yang, the sun and the moon, like male and female twins. I can see myself reaching for Royale on some days, and on other days, Sultani would be my first pick. It is hard to place the oils against each other. However, I feel that Royale has the advantage of age--being over 30yrs old now. Sultani is only 12yrs old in comparison, which still makes it one of the oldest oils in my collection. I'm sure it will be a marvel to see where Oud Sultani is 10yrs from now!

Bubbling Oud chip

As for being the best Oud oil ever offered by Ensar Oud, Sultani surely ranks at the top of the list, in terms of sheer quality and purity of agarwood scent. It is Oud as incense, the smooth, delicious, and resinous fragrance of sinking grade chips--but on your wrist instead of your burner! When ordinary people come across chips of this quality, they save it for their burners. But when the artisan puts it in the stills, what we receive in the form of an oil is miraculous. In my opinion, Sultani is Oud oil of the highest possible calibre. It represents and epitomizes the heart of the Oud fragrance like no other oil I have smelled thus far. And I find Its purity is irresistible.

I also greatly enjoy the tenacious and resinous funkiness of Indian Oud, the fruity-sweetness of Cambodian oils, the light-woody-sweetness of Borneo oils. To me, those oils are diverse and have lots of character. And, to be honest, Oud Royale and Oud Sultani are in a different class altogether. In my opinion, they are not as accessible or "entertaining" as other Oud oils. There is no fruit here, no typical barnyard scent, nothing that you would superficially associate with Oud oils. Sultani and Royale are a pure agarwood scent, perfumes in and of themselves, offering only the truest agarwood scent possible. With these oils, you smell the heart of Oud directly, without anything in between. These are truly rare and worthy oils for the agarwood connoisseur to savor and appreciate.

Oils such as Sultani and Royale are suited for royalty, no doubt. They are completely uncommon distillations from wood that you can (typically) only dream of smelling in the form of an oil. They epitomize the luxuriousness, elegance, and sophistication that has kept Oud oil in the palaces for generations.

What is always amazing to me is how Oud oil--one essential oil--is just as rich, complex, and multi-faceted as the finest perfume. Perfumes generally consist of many different oils, artfully layered upon one another, from base to middle to top. And yet, one drop of Oud oil gives you that and much more. Oud Sultani exemplifies the reality of Oud as perfume. When I smell Oud Sultani, I feel as if I am smelling a finely crafted perfume that is at once sensitive and bold, luxurious and soft, exalted and rich, complex and unified.

Sinking-grade Oud wood

While Sultani begins with its lighter and more floral notes, in its dry down it reveals a warmer, more balsamic and woody character, without losing any of its floral tonality. The oil is perfect. All of the notes and tones bind together seamlessly into a single note, and nothing even remotely clouds the purest agarwood aroma. If you smell Oud Sultani, you will know why Ensar thinks more seriously about oil than his burner when he sees incense grade chips. Truly, nothing can compare. I believe it is the peak of agarwood distillation. Artisans and connoisseurs alike know that this is as good as it gets--and its better than I imagined.

Blogger Kyarazen has carefully sliced 1g of Kyara wood into 14 slivers, so that others who cannot afford the $500/g price tag that Kyara commands, could have a taste of what Kyara really smells like. In his own words, "This is top grade green-oil kyara obtained from a renown incense company in Sakai, Osaka. Extremely well loved by many due to the clear, penetrating green oil kyara scent emanating at room temperature. Truly an experience of a lifetime." And I must agree!

For one, I have to give Kyarazen's presentation an A+. The wood came very nicely packaged in a box with plenty of bubble wrap--not to mention it arrived here from Singapore within a few days! And inside the box, in a sample vial, is a sliver of Kyara.

I first took a sniff with the wood inside the vial, and then held the wood in the palm of my hand. It exudes a most wonderful fragrance that meets and surpasses all of my expectations. I don't know that I have ever held a piece of agarwood to my nose and smelled such a potent fragrance before. And yet the rich green and deeply resinous fragrance was all too familiar to me, in the most positive sense. I felt as if I was smelling all my favorite Oud oils all at once, as if they were are all reduced to a single all-encompassing note: Kyara. Yes, I recognized this fragrance, because it is quite present in many of the oils I have reviewed on this site, with varying degrees of clarity, potency, and greenness. But in the palm of my hand was a pure green Kyara fragrance, from a tiny sliver of wood. Very impressive!

Those who experience the enchanting aroma of Kyara will know why it epitomizes the agarwood fragrance. Truly, it is the pinnacle of the agarwood aroma, it is what everyone is chasing after in Oud oil and Oud wood. An indescribable harmony of sweetness and addictive resinous depth--it is as if the fragrance is spiraling upwards from the wood like smoke.

More remarkably, these slivers of wood confirm for me that the Kyara notes I have been smelling in Oud oils are completely real and accurate. Have no doubts: it is possible to distill Oud oil from the highest grade wood. But hardly anyone is crazy enough to do it. In my archive of Oud oil reviews, you will find some examples of Oud oils that possess the royal and unearthly aroma of Kyara, distilled by individuals who were crazy enough to take the wood that incense companies sell for burning straight into the stills. For me, the Kyara wood has been an olfactory confirmation that will always serve as a reference point for future pursuits. It reminds me of why agarwood is the most precious and highly-prized aromatic in this world.

Although Kyarazen has sold out of this wood, stay attentive. Not only does he have a resourceful website on all things Kyara, but he is a pleasure to do business with, and is clearly devoted the rich and sacred pleasures of the highest and most essential agarwood aroma.

When I first smelled Borneo Zen, I had no idea what I was smelling. There was so much about it that I could not put my finger on. At the time, I did not have the slightest clue that deer musk was its main ingredient. Instead, I mistook the civet base in Thai Tabac to be "musk", until Ensar told me it is actually in Borneo Zen that he used musk, hence its higher price than the other parfums. 

Leave your synthetic "white" musk behind. It is nothing close to the sacred aroma of genuine deer musk. Most are accustomed to the somewhat harsh, persistent, and overpowering aroma of synthetic musk, such that it has permanently shaped their olfactory sense of what "musk" really is.

The true musk fragrance is far more delicate, elegant, sweet, floral, and beautiful than what the perfume industry would have you believe. It is at once evocative and calming, spiritual and carnal--a true paradox of a fragrance, it exhibits yin and yang in a balance I have not found in any other fragrance.

Borneo Zen is a true musk fragrance, the perfume of days past. Who makes perfumes like this anymore? This is a rare find, and I honestly would buy tolas of this oil if I could! This perfume ranks among one of the greatest fragrances I have ever smelled, even greater than some Oud oils.

Borneo Zen is a fragrance that should be worn at the beginning of the day, before you begin your day's work. It has an irresistible liveliness, an incredible energy that you will feel running in your veins. Musk is a potent carrier of life-force, there is no doubt about it. It will invigorate you, ground you, revitalize you, and make you feel strong, inside and out. A swipe of Borneo Zen will give you the confidence, stamina, and joyful mood you need to get the day started on the right note. On the other hand, if you want to relax, Borneo Zen will lull you into the depths of sacred contemplation. Its power is of a subtle nature, its life-force will work for you however you desire to use it, whether it be for vital activity, or for meditation. The fragrance of musk is incredibly adaptable. It will rise and fall from yin to yang as needed.

The perfume is surprisingly sweet. The rose eventually harmonizes with the musk and creates a most exotic and uplifting sweet-rosy-musk aroma that you will not be able to get enough of. I have worn this perfume many times, and every time I wear it, I can hardly keep my nose away from my wrists. And I still haven't gotten enough of that beautiful musky rosy aroma. But to really appreciate its sweetness, you have to realize the role of jasmine. And the fact that the ratios of all the oils are perfect, from base to middle to top. What a composition!

Many might wonder what the role of Oud is in this perfume. That is a good question. This perfume is by no means "Oudy". Pink Papua is Oudy. Borneo Zen is musky. All I can think of and smell when I am wearing this oil is musk, musk, musk, and rose, with a token of gratitude to jasmine. Nonetheless, to connoisseurs who are familiar with the profile of Borneo Oud oil, you will be able to detect the lightness, sweetness, airiness, and overall ethereal quality that Oud brings to this perfume. It "shades" the perfume with its lightness and sweetness. It is not intended to be pronounced, to be obvious, to be sharp.

After all, perfume is alchemy. Ultimately, all the individual notes have undergone an incredible transformation. And musk is one of the greatest servants of this process. I do not know what has happened to the Oud in this perfume, except that it has melted into the fragrance, and given it that subtle touch of wonder and exaltation.

After a while, you will start to notice an amazing citrus note in this perfume. I asked Ensar if he had used any citrus oils, because it was so pronounced to me. In fact, I was sure he had used a small amount of some citrus. He confidently replied to me that there is, in fact, no citrus in Borneo Zen at all. It is all the doing of musk! Later, in his formal write-up of the oil on his website, he named this utterly unique citrus note "jasmarine". And that's it! That is exactly what it is. The citrus note is a wonderful and elegant surprise. It adds a shade of complexity and fullness to this perfume when it is most unexpected, giving it a unique flavor that makes it feel even more like a perfume.

This oil is irresistible. I feel as if I could wear it day after day without tiring of it. To my surprise, the aroma is so rich and other-wordly that I do not experience any olfactory fatigue. It is new with each breath, and even each breath does not seem to fully know the aroma. It reaches for more every time, but the fragrance remains ever-elusive. As owners of this perfume will find, musk also has quite a playful quality. It has a life of its own. And it will breathe its life into you, too.

Borneo Zen is already a classic in natural perfumery--in my book, at least. It is very well-composed. And its true essence is the sandalwood musk--whose role in perfumery cannot be underestimated. Do yourself a favor and buy a bottle of this perfume (or more if you can). It will keep you very good company throughout the day. It is a personal fragrance to me, not one I would necessarily wear for social reasons (though it is appropriate for all kinds of situations). What I am referring to is the fact that the perfume does not project much. It stays close to the skin. By "close to the skin", I don't mean you have to go to your wrist in order to smell it. The wearer will be nicely and effortlessly wrapped in its aroma. But others may not notice it unless you are rather close to them. If you want to be noticed, then be liberal in your swipes of this oil, and you will succeed. If you want to enjoy it yourself, one swipe is enough to keep you happy. But I doubt you'll be able to resist swiping again later in the day. On my wrist, a single swipe lasts around 5-6 hours, just enough to make it until evening. Then you can decide if you want wind down with another swipe.

A truly rare and sacred fragrance, I highly recommended Borneo Zen to everyone.

Maroke 2004 is everything you would want in a Papuan oil. This oil is delicious and displays the beautiful equanimity and depth of the most classic Indonesian oils. At first sniff, I reflect back to Oud Emerald. Jungly, but not quite as swampy and damp as Oud Emerald. Its deeper, much deeper. Woody, earthy, with some florals. It smells like the rainforest and contains a similar diversity of notes. But the notes are very close together, as if the oil is just its heart, not much movement, a stillness of rich Oud fragrance that radiates a fullness of thrilling fragrance.

There is such a purity in Papuan oils. I feel like nothing gets closer to the pure Oud profile than these oils. Why? Because when distilled from very high quality wood, they bring you the closest to the scent of the wood, to the smell of burning wood, to that mysteriously narcotic aroma that no one can describe. Indian Oud is classic, but even it has its tweaks. The soaking of the wood really adds quite a dimension to the oil's profile, and the fecal notes are the real power of Indian oils. They have an impressive depth, robustness, and tenacity. The power of Indian oils really epitomizes and defines Oud. And yet, I find myself drifting deeper into Papuan oils. There is something irresistible in the clean, pure, and even-tempered scent of oils such as Oud Royale and Maroke 2004.

Within 10 or so years, I predict that Maroke 2004 will be a close comparison to Oud Royale No. 1 as it is now. Although, by then, Oud Royale No. 1 will have aged more, and from smelling the two, clearly Oud Royale comes from the highest possible grade of wood.  Still, Maroke 2004 will come in a close second. It already smells quite similar. It is perhaps not quite as deep and tantalizing as Oud Royale No. 1, but it is not far off either!

In that regard, there is not really too much that can be said about this oil. Those who are familiar with oils such as Oud Royale No. 2 and Oud Emerald will light up when they smell this oil. It is everything you liked in those oils--but better. Those who have not tried Oud Royale No. 1 will get a beautiful taste of the potential of Oud oil when they smell Maroke 2004. It will leave you dreaming about Oud Royale No. 1, for sure. But really, Maroke 2004 is top of the line. Oud Royale No. 1 just went an extra step.

There are a few noteworthy aspects of this offering. For one, it was distilled by the same man who distilled Kyara Koutan, Borneo 3000, Borneo 4000, Kyara de Kalbar, Royal Kinam, and etc. That list alone is quite impressive, because they are all legendary oils (except for Kyara de Kalbar), and have come to be loved and treasured by collectors worldwide as some of the best Oud oils ever distilled. Furthermore, Maroke 2004 is already a little over 8 years old. To find an oil like this for $550 is really a generous offering. It could easily be sold for much more than that.

My recommendation: If you've never ventured into the territory of Papuan oils, then with Maroke 2004 you have found a beginning and possibly even an end. If you already love Papuan oils and own a few Legendary ones, then you have found that unexpected gem for your collection. Lovers of Oud Royale No. 1 and Oud Sultani, Maroke 2004 is waiting for you.

Chinese Exclusive makes me feel foolish. Foolish for not having bought this oil when it was selling in the $300 range a year or two ago! Now an LTD oil, Chinese Exclusive has finally commanded my attention. Having been lost in the worlds of Indian, Cambodian, and Indonesian oils, I never even thought about China. Having finally tried more than my fair share of Indian, Cambodian, Indonesian, and even Bhutanese Oud oils, it was high time to see what China had to offer. 

At first sniff, Chinese Exclusive smells exactly like I want it to smell. It smells like a fully developed profile right at the start. Oud oils tend to develop quite a bit once they are worn. I notice the development is most dramatic with Indian oils. When I smell an Indian oil and then once I'm actually wearing it, the emerging profile becomes very different from my initial impression. Some oils I put on, I sort of "hope" for a bit of development, curious to see what it has to offer, how it will unfold, what its fragrance really holds. With Chinese Exclusive, I am totally satisfied at the first sniff. In fact, for the first time, I am bit afraid of an oil's potential development.

The first smell of this oil was a wonderful whirl of soft vanilla with tobacco's earthiness, and a sharp edge of musk slicing through. The muskiness of the oil captures me immediately. I love that spiciness--and yet its not the spiciness of an Indian oil, nor the spiciness of conventional musk. It is more akin to genuine deer musk--a soft spiciness that has a floral tinge to it. The oil's effect is grounding and earthy, much like an Indian oil would be, but not nearly as robust. Chinese Exclusive has higher notes and maintains a delicacy, like a breeze blowing from below to above the clouds.

This oil smells like a perfect blend of Oud and deer musk, in which the alchemy of the two oils creates a scent completely unique to itself. When genuine deer musk is used as a fixative in perfumery, it completely transforms the scent, it reveals and "creates" notes that you could not have predicted or imagined (see Borneo Zen). In this sense, Chinese Exclusive exemplifies the essence and grandeur of true perfumery. But it was crafted entirely by nature, in the jungles of China, within a single tree, where all the elements uniquely combined to create this wonderful oil.

A hint of pungency will leave Indian Oud lovers satisfied, but the real barnyard element only emerges toward the dry down. Even then, it is not "fecal", but it has similarities to the base and heart notes of Indian Oud. The mid range and top notes smell very similar to Ensar's organic Cambodian releases, leaving no doubt that the oil was distilled from Aquilaria Crassna. The oil is very complex, hard to dissect. Its anatomy is constantly shifting and is truly multi-dimensional. I cannot describe it from the bottom up. It has sides, angles, and curves. In the end, it has a fantastic sweetness to it that is just right--somewhere between Cambodia and Borneo. Its vanillin sweetness is all too reminiscent of the best Borneo oils, but it is not clear and pronounced enough, and thus allows itself to be nicely blended with earthy, musky, and floral tones in the body of the oil. Although lacking in fruit, there is certainly some orange peel in here.

All in all, I have to say that Chinese Exclusive is one of Ensar's hallmark releases. It is primordial and sensual, deep and exotic--and as Ensar wrote of it, "pheremonal". It stands among his more unique offerings to date, truly one of a kind. Highly recommended to connoisseurs who will most certainly appreciate this nuanced oil.

Oud Royale is Ensar's most unique and prized offering, considered by many to be the greatest Oud oil ever distilled, with the last bottles selling for $10,999 each. Distilled in 1982 for Sultan Qaboos of Oman, Oud Royale is now 30 years old, making it the oldest Oud oil I presently know of, and have ever had the opportunity to wear. The distillation of this oil was commissioned by the Sultan, choosing the highest quality raw materials from Indonesia, then sent to India for traditional soaking and hydro-distillation in steel pots.

With all of this swirling in my mind, I take a swipe. As I swipe the oil, I notice an aura of woodiness emanating from the bottle that reminds me of some of the finest oils I have tried. It is an irresistible sweet resinous-woodiness that is tame and elegant, and it immediately expresses the calibre of the oil. The first oil that came to mind is Borneo Kinam. I had to pull out a bottle and confirm the note I was smelling, and it was definitely there. Upon swiping Oud Royale, the first thing I notice is that it smells exactly like burning high quality Oud chips. I have not yet encountered an Oud oil that captures this unique aroma with the depth and absolute clarity that Royale does. To me, this gives evidence to the quality of the raw materials used in the distillation of this oil. Only a distillation of highly-resinated wood could produce the clarity and depth I smell in this oil. Even then, I have smelled many oils from incense-grade wood, and Royale proves to me that it is in a class of its own. Furthermore, most of the oils I have smelled (including Borneo Kinam) that exude this delicious woody Kyara note are steam-distillations. Steam-distillation preserves the smell of the chips more, whereas with hydro-distillation there is more room for tweaks. Hydro-distillation also tends to impart a smoky flavor to the oil. Surprisingly, the smell of the wood is so strong and present in Oud Royale, even though it was not steam-distilled. It is the purity of this smell that gives Royale its unique signature.

The aroma is warm, balanced, and incredibly smooth. As a sign of its age, Oud Royale exhibits a very mature and refined character with a contemplative aura. It does not have the invigorating effect of Indian oils. Rather, Royale is an Oud to sit back and relax with, to drop out and listen to. It truly defies regional profiling. Notably, Royale is not all over the place like many Oud oils are. It has completely settled into its core aroma, and expresses that perfectly. Rather than a barrage of varying notes that change throughout the wear, Oud Royale is whole, a single note weaving a mystical tune. There is a richness of fragrance with each inhalation that cannot be savored enough. Oud Royale is a minimalist composition, using little to say more than you would have expected. This oil is like a multi-faceted jewel, made of a single substance, but revealing its many faces as time passes, quietly shaping its textured and colorful expression.

Later on, the green Kyara note emerges with more clarity. Wet, jungly, and green, the Kyara note is crystal clear, ringing with a sweetness and depth I have not smelled in other oils. The effect of the oil is very relaxing and calming. Royale is gentle, refined, sophisticated, elegant--making its name all too fitting. Oud Royale is perfect--and this is perhaps its most endearing quality. Connoisseurs will savor every drop of this oil, because it exudes the absolute purity of the Oud fragrance with undeniable perfection and class. Oud Royale is easily among the best Oud oils I have smelled, and an instant favorite.

But those who have missed out on this oil still have an opportunity to have a taste of its depth and quality in Oud Sultani. Distilled in 2001 from sinking-grade granules, Oud Sultani was sourced from a jungle not too far from where Oud Royale hails. Like Oud Royale, Sultani was hydro-distilled in the traditional Indian manner, but in copper pots instead of steel pots. Could Sultani be Oud Royale's long-awaited counterpart?

Let's rewind to not so long ago, before Ensar went organic and began his  distillation efforts with cultivated agarwood. Let's rewind to when there were a lot more wild Oud oils being offered on his website, and when there was no "Organic Oud" section at all. Even before all of these recent developments, Ensar had already proven that organic Oud can equal or even surpass wild Oud, when properly (artisanally) distilled. And how did he do that? Assam Organic.

With Indian oils being my favorite, I do not know how I missed this one for so long, but Assam Organic is truly an oil worth raving about for many reasons. From my memory, this oil has been available on Ensar's website for quite some time. In fact, now that I have smelled it, I'm surprised it has survived there for so long, without selling out. In fact, aside from Oud Yusuf, Crassna Cha, and Oud Yunus, all the oils I have reviewed on this blog have completely sold out.

I currently have a collection of wild Indian oils that I consider to be the heart of my Oud collection. I feel that within those oils is the true essence of Oud, its power as a fragrance, and the reason why it has been sought after for hundreds of years. And now there is Assam Organic, a cultivated Indian oil that is every bit as deep, complex, and sophisticated as the wild oils. It begs a worthy comparison.

Assam Organic opens with a delicious flurry of notes, all opening together so fast that all the individual notes fuse together to a majesty of a single primordial note that is at once whole and multi-faceted. At 3 years old, it is the youngest of Indian oils I have tried, and yet the closely-bound and well-developed notes show the sign of a properly aged Indian oil. I can only begin to imagine where this oil will be a few years from now.

This oil is rich. It is deep and puzzles the senses with its playful harmony of notes. Assam Organic has a slightly fruity tinge to it that is very similar to Oud Mostafa, although not nearly as pronounced or developed. In general, the notes in Assam Organic are more of a fluid song than an orchestrated composition. Its melodiousness reveals a feminine side that is rarely found in Indian oils. I believe this is what Ensar is referring to when he writes that Assam Organic has a "translucency and etherealness that is only comparable to Borneo Kinam".

It is very translucent and smooth, light on the skin, as if one were wearing a Borneo oil. Usually, Indian oils have a much "heavier" and thick feel. However, this is not to imply that Assam Organic is a "light" oil, in terms of fragrance and sillage. It is just as powerful, loud, long-lasting, and robust as one would expect an Indian Oud to be. But it has a certain finesse. Do not be mistaken, Assam Organic is your characteristic Indian Oud. Animalic, but not quite fecal. There is more of a bitter-woodiness mixed with slight undertones of grapefruit all swirling in the deeply resinous heart of the oil. Overtones of suede permeate the fragrance, just when you think it could not get any better.

It is a true testament to right cultivation and artisanal distillation that Assam Organic comes from a mature 20-yr old tree that was cultivated and yet remains comparable to Indian oils from wild 80-yr old trees. This is astonishing to me. And above all, I am quite pleased to find an Indian oil of such quality for only $279.95.  Highly recommended for established Indian Oud lovers, Assam Organic also makes an excellent introduction to Indian Oud for those who have not yet ventured into its luxurious territory.

Cultivation: North Assam Crafted: June 2009 Yield: 10 tolas

The Oud oil you have been waiting for has finally arrived. Have you ever considered treating yourself to a swipe of the finest Oud oil while sipping exquisite China Green tea? Maybe you already have a few Oud oils that you feel pairs nicely with your tea. Maybe you have thought about swiping some Oud with your tea, but never found a way to realize your vision. With Crassna Cha, you no longer have to wonder anymore. The Oud for tea connoisseurs is finally here.

The name of this oil is a give-away. Crassna Cha. I was, of course, curious to see if the scent lived up to its name. Could an Oud oil really smell like green tea? What would that really smell like? I couldn't imagine it. I knew green notes in Oud, but nothing that resembled tea green so far. Undoubtedly, Crassna Cha is the first oil in which I have smelled a true tea green note, and surprisingly in a Cambodi.

When I first applied a swipe, I began to quickly perceive what Ensar was talking about when he described Crassna Cha as possessing the "cleanest, greenest scent" he's smelled in any Oud. Somehow, it does smell just like a fresh steeping of high quality green tea. It is that bitter green aroma with a kind of buttery finish. As a testament to the power of aroma, as I smelled the aroma of Crassna Cha, my teeth actually began to lightly clench, as they do when I have a strong cup of green tea. My body was temporarily put under the illusion of having taken caffeine!

I was now ready to combine Crassna Cha with my favorite green tea. It was a beautiful harmony--the green tea and swipe of Crassna Cha became perfect complements, as the aroma of Oud began to exalt the experience. Having Oud oil with your tea adds a totally new dimension to the experience, and I can't recommend it enough. Best in the morning with some fruits--the breakfast of Royalty.

That is the other aspect of Crassna Cha's scent profile--fruits. It takes some time for the fruitiness to become completely clear, but eventually Crassna Cha begins to resemble the characteristic fruitiness of Cambodian oils. After a while, I smell peaches, apricots, and honeydew all on top of the tea green base. And from the onset, Crassna Cha has that background mineral note that is present in all the Thai oils I have smelled so far.

What I really like about Crassna Cha is that it develops quite nicely. It is always a pleasure to stay with an oil that shows you something different throughout the day, and not all oils have that quality. For that reason, I have to say that while Crassna Cha might be slow-developing, it defies the conventions of being a linear oil. On top of that, it is a very young oil. I am anxious to see where Crassna Cha goes within a few years. Additionally, Crassna Cha reveals an interesting woodiness in the dry down. Almost musty, it is like the aroma of old wood shavings, or an aged book.

I recommend Crassna Cha to all tea drinkers, and to anyone who has not yet encountered a tea green Oud. Additionally, Crassna Cha is an interesting story of organic cultivation, and demonstrates what artisanal distillation can do to the wood of a mature Aquilaria tree.