Drseid

Helium opens with a sweet alcoholic splash of benzoin before quickly transitioning to its early heart. During the early heart the relatively sweet benzoin remains, adding significant warm spicy cinnamon and smooth pipe tobacco to the mix with hints of a balmy chapstick-like accord joining leathery styrax and clary sage in support. During the late dry-down the composition turns much less sweet and relatively dry, as slightly earthy patchouli from the base joins remnants of the tobacco and benzoin as the composition slowly fades. Projection is average and longevity very good at 10-11 hours on skin.

Unlike its sister scent, Sulphur, where the tie-in to the element of the same name is more readily apparent, Helium is a bit of a misnomer as the composition actually has much more of warm spiced tobacco and patchouli focus with no trace of the element to be found. The tobacco which ranges from sweet in the key mid-section to more of a dry leaf during the finish smells quite pleasant marred by the vague balmy chapstick-like accord residing underneath it that makes the composition a bit difficult to enjoy at times. The best part of the composition is the late dry-down as the tobacco turns dry and the patchouli takes over as star through the end. The bottom line is the 110 Euro per 100ml bottle Helium is a odd name for the composition and is far from perfect, but it does smell good, earning a 3 to 3.5 star out of 5 rating and a tepid recommendation. Those looking for this kind of composition should also sample Savile by Keiko Mecheri that occupies a similar space but was one I personally preferred.

Sulphur opens opens with a fresh slightly tart grapefruit and mild peppery angelica tandem before transitioning to its early heart. During the early heart the grapefruit and angelica remain briefly before giving way to a growing leathery castoreum and latex rubber-like costus starring tandem with cinnamon spice acting as key support. During the late dry-down a very natural smelling cedar takes over the focal role, mixing with remnants of the cinnamon, castoreum and costus that all remain, now in support. Projection is very good and longevity excellent to outstanding at over 12 hours on skin.

Sulphur is one of those scents that first impressions can prove quite deceptive. When first sprayed on paper for an early read all that stood out was "burnt tire rubber" and that was not a good sign. Indeed, even early when sprayed on skin as one sniffs their wrist up close to evaluate the composition it still comes off in similar fashion. It would be easy to see many dismissing the composition if that is the way the fragrance is solely evaluated. Where Sulphur begins to win the wearer over is in its sillage. When smelled from the scent trail perspective the nuances of the composition are revealed. What comes off as tire rubber up close, shows as smoky latex-like costus in the sillage flanked by dry hardcore leathery castoreum. That is surely a step in the right direction, but what really won *this* reviewer over was the cinnamon that completely makes the composition even though it never is the focus. The cinnamon balances the "bite" of the rubbery facets with additional support from some well-concealed ingredient in the heart adding just the slightest amount of sweetness to the mix. The dry-down is also quite pleasant smelling; as cedar is utilized quite well, melding perfectly with the sulfur-like asphalt remnants from the early heart. The bottom line is Sulphur is not the kind of composition that is super-easily likable, but if one gives this 3.5 star out of 5 "very good" rated composition a chance it may very well win you over. Recommended.

Eva Kant opens with a splash of herb-laced grapefruit before quickly transitioning to an effervescent rose and geranium tandem supported by underlying dry anise and coffee with subtle hints of sharp lemon citrus and animalic castoreum peeping through. The herbal rose and geranium infused anise and coffee accord continues through the early heart, starting off strong before gradually giving way to a powdery ylang ylang, magnolia and lavender floral trio with bitter wood-like myrrh support taking over through the latter heart. During the late dry-down moderately powdery vanilla and benzoin take over as co-stars balanced by smooth sandalwood, as the diminished earlier spicy floral remnants fade. Projection is very good and longevity outstanding at well over 15 hours on skin.

The open to Eva Kant is probably the most recognizable aspect of the composition, tying it loosely to many O'driu compositions of the past and present. The culinary herbal aspects are there, as is the tremendous castoreum laden dulled rose and geranium accord that is found in some of Pregoni's best work. Where Eva Kant really goes in a different direction is when the ylang ylang and magnolia come into the picture with the dusty powdery facets of the composition really kicking in. The late dry-down in particular is quite pleasant with the powder softening, smoothed by relatively dry sandalwood in the base. The whole composition comes together rather nicely, though some may be put off if they are highly powder-averse. The bottom line is the 150 Euro per 50ml bottle Eva Kant resides around the middle of the O'driu pack. That said, "middle of the pack" from a great nose like Angelo Orazio Pregoni still means very good, with the composition earning a solid 3.5 stars out of 5.

Rose d'Arabie opens with a rubbery Oud and slightly jammy rose duo supported by underlying saffron spice. As the composition moves to its early heart the rose grows in strength as the Oud slowly recedes, gradually replaced by relatively sanitized patchouli and a vague synthetic burnt woody accord. During the late dry-down the rose finally dissipates to a whisper as the burnt woods smooth out, tamed by soft powdery violet and vanilla through the finish. Projection is excellent and longevity outstanding at well over 12 hours on skin.

Rose d'Arabie is yet another rose, Oud and patchouli composition. It seems like these are popping up everywhere nowadays and perfumers are looking for new ways to distinguish their compositions from the pack. Unfortunately in this case, the key distinguishing factor lies in the crucial mid-section, with the "tool" used to accomplish the objective being norlimbanol. It must be extremely difficult to control how the norlimbanol derived synthetic smelling burnt woody accord interacts with other ingredients used in compositions because in nearly every instance where the stuff is detected it overpowers everything else in its path. In all fairness to Rose d'Arabie, the faux burnt woods do not come on quite as strongly as they do in many other guilty culprits, but once they arrive it "game over" as far as I'm concerned. If one can get past the mid phase, the late dry-down is quite pleasant as violet meshes with slightly sweet vanilla to create a gentle powdery, slightly sweet finish with the remnants of the rose now adding subtle support. The bottom line is the $285 per 100ml bottle Rose d'Arabie is not just your average rose, Oud and patchouli composition, but the synthetic woods in the heart ruin what would otherwise be a winning concoction, barely earning it a "good" rating of 3 stars out of 5. With the hefty competition in the rose, Oud and patchouli space like Ex Idolo's Thirty-Three it is hard to recommend this relatively expensive offering by Armani.

Gold Rose Oudh opens with a dominant slightly raspberry jammy rose light as air supported by sharp green bergamot citrus. As the composition enters its early heart the airy rose remains the star, now supported by a relatively refined Oud and patchouli tandem with hints of underlying green fir and some of the slightly sweet honey rising from the base. During the late dry-down the rose and Oud slowly recede though never completely disappear as the slightly sweet honey takes over as star with subtle dry amber support remaining through the finish. Projection is excellent to outstanding and longevity excellent at about 12 hours on skin.

The rose, Oud and patchouli trio is such a classic combination that it is hard not to yawn when yet another rendition is released (no matter how competent). It is all too easy to dismiss Gold Rose Oudh as just that... but there really is more to this composition than its surface classic structure indicates. The first thing notably different than the norm is its sharp green underlying nature immediately noticeable at the open through the deft use of bergamot citrus in an unexpectedly different way, furthered by an infusion of coniferous fir later in the early heart. Just when one may feel the composition has revealed all its secrets the late dry-down comes seemingly out of nowhere, turning it into a dry honey and amber driven affair through the finish. The bottom line is the $145 per 100 ml bottle Gold Rose Oudh does little to plow new ground for the crowded classic rose, patch, Oud genre, but its brilliant execution and subtle nuances throughout distinguish it, earning the composition an "excellent" 4 stars out of 5 and a strong recommendation.