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?

Jungle: Maroke
Crafted: 1982
Yield: 100 tolas
Status: Legend

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 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.

Kemenyan

The bottom line with Kemenyan is this: It smells just like burning Oud chips! I’m serious. When I first encountered that unforgettable smell in this oil, I had to question myself and keep smelling. But it was undeniable. This oil has that much sought-after sweet indescribable woodiness that have addicts buying high quality Oud wood and electric burners. It is not even that it has a sweet woodiness–it bears an uncanny similarity that verges on being a perfect duplication of the scent of burning Oud chips.

For that reason, it’s easy to conclude that Kemenyan is a steam-distillation, and I have no doubt that its low temperature steam distillation is what gives it such a pure and clear quality. This Borneo has a surprising depth for a steam-distillation. It is not nearly as horizontal as most steam distillations tend to be. There is a real depth and variety of notes that are clear, not lost in a kind of “mustiness”. Its sharpness and clarity is almost Kinam-like. With age, I predict that the Kinam note in Kemenyan will fully come to life.

I can’t get enough of the scent. Put high quality chips on your burner. Let it warm up a bit. Put your nose over your burner and breathe it in. If you put that fragrance into a 3g bottle of oil, then you have Kemenyan.

Don’t miss out on this unique Borneo. Of all the oils I’ve smelled, this Oud oil most closely resembles the smell of burning Oud chips. It reminds me of the Minorien Fu-In Aloeswood sticks that I love to burn. It has that same light-sweetness. A while back, I noticed what a great pair those Minorien sticks were to a Borneo oil. Here we have a realization of that pair. Incense lovers, you can’t miss out on Kemenyan!

The opening of Oud Emerald is unlike any oil I’ve smelled before. I have no familiarity with the scent profile of Indonesian oils, and so this was a real treat for me to experience. Oud Emerald has an almost mineral opening, a rich earthiness pervades the scent. Yet a sweetness is lurking behind its earthy-tones. Altogether, the earthy-sweetness of Oud Emerald drys down to a damp leathery note that reminds me of other jungly Ouds, such as Oud Royale and Oud Bengal.

Oud Emerald is a fresh jungle Oud, wet and green with hints of mint and tulsi. It is the fragrance of a dense jungle after the rains, the wet rains still on the leaves, the scent of the soaked soil with humidity in the air.

A now Legendary oil, Oud Emerald is only available from private collectors. However, it is definitely worth adding to your collection for its uniqueness. I would speculate that Oud Emerald is likely the highest quality Indonesian oil one will find. To my nose, it will be hard to surpass the pristine elegance and maturity of this oil. If you have the opportunity to acquire a bottle, don’t pass it up.

Oud Yusha

Yusha smells nearly identical to Agar Aura’s Oud Kampuchea. But Yusha’s fruits are darker, and its amber notes are more pronounced. Altogether, Yusha is a livelier and brighter oil–a younger sister of Oud Kampuchea.

What is really worth noting here is that Oud Yusha was distilled from organically cultivated agarwood, and that Kampuchea was distilled from wild agarwood that was approximated to have an infection of 7-9 years. The mere facts of these oils would have one envisioning two totally different scents. And yet, we have nearly identical oils.

This is not to say that organic oils are identical to wild oils. That is a unique play between these two oils in particular, somehow. But it is deeply suggestive of the potential of organic Oud.

Oud Yusha lets me forget about “organic” and “wild”, and just revel in the beauty of artisanally distilled Oud oil of the highest quality. A fruity gem–I recommend Oud Yusha to all lovers of fruity Cambodian oils, as Yusha epitomizes the fruity-Cambodian profile. Start your day with Oud Yusha, you won’t regret it!

Cultivation: Trat
Crafted: July 2010
Yield: 22 tolas
Price: $250 (currently on sale for $229.95)

I have never smelled lilacs or lilies, but there are clear and watery floral notes in Yusuf that are impossible to miss. In its higher register, there is a note of Violet Leaf piercing through the body of the oil, but so subtly that it even seems to barely lurk there. The florals are white, purple, and light blue.

However, Oud Yusuf is unmistakably Cambodian in its harmony of sweet juicy fruits. Apricot pervades the oil and remains constant amidst its evolution. Peaches lurk and mingle behind it. Ensar’s mention of honeydew is also very accurate.

Yusuf is “light” in the sense that it has a very feminine quality. It is soft, it nearly caresses its wearer, and draws one into a sensual domain that even epitomizes the finest Borneo oils. But this oil is potent and is definitely not invisible on the skin.

I can now resonate with why Ensar was applying Yusuf four to five times a day. It is among the most addictive Oud oils I have ever smelled. Absolutely delicious, succulent, beautiful. Yusuf gives me visions of a lotus pond under a cool night, surrounded by the air of plumerias, and mist of a freshly-fallen light rain.

Easily one of the finest Oud oils I have smelled, I can see why Ensar projects its maturation equaling and perhaps even exceeding that of Borneo 3000. Oud Yusuf is an oil to remember, an oil to truly enjoy and savor. The “powdered woody finish” was most unexpected, but Yusuf does ultimately yield a sweet powdery woodiness that does not leave behind any of the fruits or flowers. Absolutely gorgeous. No one should miss out on Oud Yusuf, especially for its price, it is a gift to the agarwood world and a sign of ethical harvestation.

Cultivation: Trat
Crafted: 2011
Yield: 115 tolas
Price: $250 (on sale for $229.95)

Oud Idrees

Oud Idrees is the only Oud oil to come from Bhutan that I am aware of. As Ensar describes, Bhutan’s government has strict policies that protect its jungles, making it nearly impossible to distill Oud oil from their trees. Here we have the first great wonder of Idrees: How did Ensar and his distiller manage to acquire trees from Bhutan? 

However, this is not the only wonder. The jungle in Bhutan from which Idrees originates is home to pristine Aquilaria Agallocha trees, at least 100 years old. Due to the government’s policies, the agarwood trees in these jungles have been untouched, and have been allowed to mature indefinitely, not subject to the gross consumerism that now pervades the Oud world and threatens the future of the oil. In Oud Idrees, we have Oud oil from trees that are at least 100 years old. The wonder is that it is actually true, and not a superficially stated marketing ploy. The number “100″ has become a standard form of reference in the Oud world to give the superficial impression that the oil is necessarily superior. To my knowledge, Idrees is the only oil I have come across that can be confirmed as having been distilled from the wood of trees that were at least 100 years old.

But there are 100 year old trees still standing that may or may not have any infection, and thus may not have any aromatic resin at all. In that sense, the age of the tree is completely irrelevant. How do we know that Oud Idrees is the most mature Oud oil we may have ever seen? One word. Ghubal. What is ghubal? “Ghubal” is the term used to refer to the ultimate maturation of the resin in the heartwood of the tree. This maturity is evidenced in the semi-hardening of the resin. This is what “sinking-grade” wood actually refers to.  As Ensar writes of Idrees, “Rather than Oud oil, Idrees is pure ghubal, bottled.” That itself is another wonder. But one more perplexing fact remains: Ghubal is nearly impossible to extract. And so we have our final wonder: how was Idrees distilled?

These wonders remain a mystery, and these wonders do not necessitate knowledge. The fragrance is truly wonderful, a wondrous aroma, aromatically transmitting with it the mysteries that fill it.

So what does Oud Idrees smell like? Idrees boldly expresses its Indian profile, leaving no room for speculation or doubt that it is an Indian oil. Idrees opens with notes of deep delectable resinous bliss. My attention moves upwards and I feel moved beyond the world, held in the arms of this intoxicating fragrance. The more I smell, the more I feel drawn into contemplation, as if the smelling of the oil itself were a meditation. Its effect is immediate and unforgettable. My mind sings its praises. Truly, that first smell is everything. What a moment!

Idrees is a very mature and full-bodied oil that develops in pronounced phases. After revealing its resinous succulence, Idrees begins to show its bright heart. Sunlight. Yes, this is what it is to smell sunlight, to feel its brilliant rays pervading all the senses. Idrees has a very bright and expansive energy, it is the one Oud oil I could characterize as having  the strongest quality of radiance. Oud Idrees is pure light. Its fragrance fills the body and mind with visions of gold and all-encompassing light. Idrees has a mood that is completely unique and absolutely contagious. It is the mood of happiness, of delight, joy, wonder. And yet it is not naive. Idrees is the fragrant vision of the Romantic poets–a beautiful meadow under a clear sky of brilliant sun, grassy hills active with the silent mindless purity of animals and the song of birds symphonic all-around. But the idealism of the Romantics is met with a wisdom and groundedness that gives Idrees its balanced expression. The inherent unity of the outer world and the intuition of its resonance with our deepest heart is brought to fragrant life in Oud Idrees.

Indeed, Idrees comes from a tree, a life-form that has been deeply rooted in the Earth for a century, nourished by sunlight. Oud Idrees is a profound expression of the inner dimension of the natural world, and its fragrance opens an intuition in us all of the Divine Sustenance in which this world is non-separately arising.

While revealing the experiential truth behind Ensar’s statement that Idrees was “sunshine in a bottle”, this oil also perfectly matches Ensar’s description of it as “the embodiment of sheer sunlight and fragrant pollen“. Yes, the notes of pollen are quite astounding. I have never encountered the smell of pollen in an Oud oil, or any oil for that matter. And it is not the smell of honey. It is far more earthy than the essential smell of honey. It is the sweetness of the natural world in play, the sweetness that precedes the nectarous essence of honey. A beautiful fragrance. This sunlight-pollen note is the heart of Oud Idrees.

The resinous current flows up and around and all through this lighted heart. After some time, the resinous aspect of the fragrance becomes noticeably similar to amber. Suddenly, we have a beautiful mix, a converging of notes in a perfection of spontaneous harmony. Resin, sunlight, pollen, amber–all at once and moving, pulsating with an irresistible life. As the amber becomes apparent, the balsamic bottom of the oil also comes to surface. If I were to summarize the notes in Idrees: Resinous-amber, sunlit pollen, balsamic spiciness, and a powderiness in the dry-down.

To my nose, the orchestration of notes in Idrees sing a tuneful melody that is irresistible. Since receiving my bottle, I have worn it twice a day for two days. Never have I applied an Oud oil so frequently as Idrees.

While Idrees is unabashedly Indian, it has a totally unique scent profile, if one is to examine it as a totality. It opens with notes of deep resin that keep rising from the oil, and this is a shared characteristic with legendary Indian oils such as Oud Mostafa, Oud Nuh, and Oud Khidr. Idrees does not display any barnyard notes, as do the aforementioned oils. Nor does Idrees exhibit any fruity notes, as in the case of Mostafa.

Idrees matches Mostafa in its aromatic profundity, maturity, power, and resinous delight. Idrees matches Nuh in its balance, its perfection, its sense of harmony and gentle unfolding, and its royal elegance.
Idrees matches Khidr in its depth, its raw and primordial character, and deep distinct resinous notes.

Oud Idrees is the most unique Oud oil I have come across so far. Truly, it defies categorization and mere description. Idrees stands strong among the greatest Oud oils ever distilled, and is one of my favorites. I highly recommend all Oud lovers acquire and get to know this oil, it is a true gem to add to a collection, especially for lovers of Indian Oud. Idrees is an Oud to cherish for ages to come.

Above the clouds, There Is Always The Sun–Forever Free Of Earthly weather.
–His Divine Presence, Avatar Adi Da Samraj

Jungle: Bhutan
Crafted: May 2009
Yield: 15 tolas
Price: $550
Status: LTD

Oud Khidr

Khidr is a strong and powerful fragrance. It’s aroma hovers above my wrists. The inhalations are not deep enough to reach the bottom of this scent. There is more that I cannot express. Creamy in the mid-range, but only subtly. The body of this oil is the core of the fragrance. I return to my wrists to go back for more–and there is always more. Khidr ultimately dries to down a pristine nutty-spiciness that is a fresh breath of jungle air with hints of cardamom.

Oud Khidr takes me back home, to the sacred and fragrant heart of India. A breath of Khidr is a fragrant taste of sacred history. Khidr is the Oud spoken of since ancient times, the primordial and timeless fragrance used in many different religious and Spiritual traditions for its absolutely powerful, rich, deep, and penetrating aroma. Khidr is the Oud that has perplexed mystics for ages with its uniquely complex and living aroma.

A must have for all lovers of Indian Oud oil, I deeply recommend Oud Khidr to everyone who is interested in tasting the essence and epitome of pure Indian Oud oil of the highest calibre. Wild-harvested from trees at least seventy to eighty years old in the jungle of North Cachar.

Junge: North Cachar
Crafted: January 2009
Yield: 20 tolas
Price: $550
Status: LTD

Bhavana

Bhavana reminds me of Oud Nuh with its balance (where Oud Nuh is considerably more potent). Still, both oils are characterized by a certain equanimity and balanced dynamic. Bhavana reminds me most of Oud Shuyukh #2 (now officially named “Oud Yunus”), with its creamy-smooth textures, and soft-sweetness. Bhavana dries down to a charmingly Indian woodiness that is common to all high quality Indian Oud oils. It is a specific kind of woodiness in the dry down that is absolutely delectable and beautifully deep. And when you smell it, you know that only an Indian Oud oil could give it to you. In its higher range, Bhavana remains slightly reminiscent of a Cambodi. But no worries here, Bhavana’s Indian character is quite distinguished and unmistakable.

I personally love the fruity Indian Ouds. The alchemy of fruits and deep barnyard is absolutely incredible and always unexpected to me. Nonetheless, when it comes to Indian Oud oil, there is nothing I love more than an absolutely raw, overpowering, pungent Indian Oud. I still do not have anything in my collection that I can characterize as being completely classically Indian. And that is why I have my eye on Oud Khidr, and I suggest all you fanatics for Indian Oud oil should too. That said, there is no doubt that Bhavana is a high quality Oud oil, from quality raw materials, and the distillation is obviously sophisticated as evidenced in the oil’s scent profile. But even beyond being a high quality oil, Bhavana would make a wonderful addition to anyone’s Oud collection. But beware, if you are looking for something that is black and deep and robust, then this is not your oil! Think of how the blackest Indian Oud oil would smell if rendered in female form. Put it in a bottle, and you have Bhavana–the other side of Indian Oud.

Oud Kampuchea has fascinated me for some time now. Kampuchea is a wild-harvested Cambodian Oud oil, from the Roneuam Doun Sam forest in Western Cambodia. The resin formation in the heartwood was estimated at being 7-9 years old, which is remarkably mature. As everyone has learned, more significant than the age of the tree is the age of the infection, which indicates how long the precious aromatic resin has been forming for. The longer the resin forms, the more potent, complex, rich, and deep its aroma becomes. Therefore, the estimated age of the resin formed in the heartwood that was later distilled into Oud Kampuchea is astonishing to me.

We have two miracles here. A wild Cambodian Oud oil distilled from the heartwood of a tree with a significantly mature infection. Upon learning these facts, I had to go through a process of skepticism, before I finally opened up to the possibility that Kampuchea is the remarkable oil that the facts alone indicate it should be. Nonetheless, I have to admit that the price tag of $205 left me wondering how that could really be so. I feel that part of my skepticism also came from the very expensive and intriguing experiments that Ensar was involved in at the time, most notably the Khao Yai Experiment. However, it is important to remember that the Khao Yai Experiment was conducted using incense-grade Oud wood, from which it is very difficult to distill Oud oil, for the reason that the resin formation hardens and is difficult to coax into a significant yield of oil via distillation. Low yield = pricey bottle of Oud. Incense grade distillation = ecstasy in a bottle. Since the price of the wild Oud wood used in the Khao Yai Experiment was so high, I could not understand how Agar Aura procured wild Cambodian wood and was able to offer an oil at such a low price.

I finally got past my skepticism, especially after I got to know the intricacies of incense-grade distillations, and their rarity. Nonetheless, the Kampuchea wood could not have been anything less than amazing, given its 7-9 years of infection. So how did the oil turn out?

Oud Kampuchea opens very fruity. Essence of plum and nectarines circulate in the midrange of this oil. Kampuchea sings the classic Cambodian sweetness right from the beginning. This oil is luscious with sweetness. It is a fruity blast at first, but it also has a sweetness that does not hold a comparison to anything tangible. It is just incredible delicious sweetness. You know it when you smell it! But the fruity-sweetness of the oil would not have been enough to leave me satisfied, given the nature of the raw materials. I wondered where this oil was going to go, if it would develop more, or if it would end-up only displaying typical average Cambodian characteristics of a mid-range linearity.

But Kampuchea has been nothing but full of pleasant surprises to me. As the oil develops, its fruity-sweet notes are shaded by a deeply resinous undercurrent that is so beautifully intoxicating. It took me some time to put words to exactly what I was smelling underneath the sweet notes of fruit, but then it finally struck me. It is the deep resinous notes that I have come to recognize in some of the most mature oils that I have, and by “mature” I mean oils that show evidence of being distilled from wood with a significantly developed infection. The evidence of Kampuchea’s estimated 7-9 years of infection is absolutely present in the oil. It is deeply resinous and exhibits its maturity unabashedly.

I initially felt that Kampuchea’s fruitiness was almost exactly the same as the fruity notes in Cambodi Caramel. I was so sure of this that I even pulled out my bottle of Cambodi Caramel to compare. There is some resemblance in the notes of plum and in the way that Kampuchea’s fruity notes are deep and somewhat dark, much like Caramel’s dark and bold tones. However, as the oil wore on, I was suddenly struck by a more apt comparison. Oud Mostafa.

Remove all Indian notes from Oud Mostafa, savoring only its sweet fruity notes and resinous core. Put it in a bottle, and you have Oud Kampuchea. I was very surprised to note this, and questioned myself thoroughly before facing the realities before my senses. The fruity notes of Oud Kampuchea are very similar to the fruity notes in the high range of Oud Mostafa. Kampuchea also has the same resinous undercurrent that is at the core of Oud Mostafa, and is one of my favorite notes in the oil. Oud Mostafa was distilled from incense-grade wood, and although I do not know its estimated age of infection, it certainly exhibits a very mature character and scent profile, and its deeply resinous core is a sign to me of an infection that was rather mature.

Oud Kampuchea is an absolutely beautiful oil. I am stunned in the wake of its magical splendor and diversity of character. Very deep, and one of the most complex Cambodis I have come across so far. There is plenty going on with Kampuchea to play with my senses and leave me intoxicated in its aroma. Kampuchea is surprisingly bold too. It is not a quiet or totally linear Cambodi. It asserts itself, unafraid of showing its true colors with real confidence. Kampuchea’s maturity also lends to a feeling of seriousness that I often do not find in Cambodian oils. It is deep. It is still. It draws one into contemplation of its radiant resinous core, sweetly penetrated by notes of fruit. It is a true Oud oil that invokes a sense of the sacred.

Taha had commented on how similar Kampuchea is to Oud Yusha. I encourage my readers to buy both oils, not only because they are incredible oils, but because they each represent something significant. Oud Yusha represents a sustainable approach to Oud distillation–the world of organic Oud. And what does Oud Kampuchea represent?

To me, Oud Kampuchea proves that it is not necessary to harvest wild Oud wood in order to produce the highest quality Oud oils. Kampuchea does not exhibit anything that is not achievable via organic cultivation efforts and proper distillation methods. If a tree is allowed to mature sufficiently, and if the resin formation is significantly mature, and the distillation process is approached with care and artistic integrity–then it is totally possible to distill oils of this quality, or even better, depending on the nature of the raw materials and what they have to offer. However, it is also interesting to note that the wild Oud wood used for Oud Kampuchea could have produced a mediocre or even low quality oil, had the materials not been distilled properly. Wild Oud is not a guarantee of quality. Cultivated Oud is not necessarily lower in quality. Both have the potential to be superior quality oils. Kampuchea does not exhibit anything that I would not expect from a high quality organic cultivated Oud oil. Kampuchea simply shows the signs of a mature Oud oil from high quality raw materials that were distilled properly. And it is a real gem. The fact that Kampuchea compares to an oil like Oud Mostafa is also significant to me. By “compare”, I do not mean that it mimics the scent profile of Mostafa, or that they are similar oils. They are very different, make no mistake. But Kampuchea shares something with Mostafa. It shares depth, sophistication, maturity, and power.

Do not let the low price-tag initiate your skepticism! This is an incredible oil that I highly recommend. An incredible value if you really examine the offering: wild Cambodian Oud oil (wild Cambodian wood is statistically extinct), from a tree in which the resin formation in the heartwood is estimated to be 7-9 years old. $205. The proof is in the pudding!

ENSAR: There are several types of ‘green’ when it comes to Oud. There is the green of gyrinops trees, which grow in West Papua. This is a leafy, damp jungle air green that is fresh and full of energy. Depending on how it is distilled, it might evoke anything from violet leaf absolute to Vicks Vaporub.

Then there is tea green. A more astringent note, laden with incense smoke, this is found in aquilaria crassna. The higher the grade of wood used to distill the Oud, the crisper and more crystal clear this green note will resonate.

Until you reach the ultimate Kyara green. This is pure transcendence. Aquilaria sinensis is the Oud wood that yields this note, if distilled with care. Yet if the grade of crassna is high enough, you will get the same Kyara note in a super fine crassna oil.

Personally, I find the sinensis oils to be a bit smoky in the top and heart notes. A premium crassna oil will yield a green that is as immaculate as Japanese sencha tea that simply dissolves in water.

Green Kyara, wood chip (1g)

Borneo Kinam

I unscrew the cap, enjoying the elegant vision of the gold rim slowly twist. The fragrance moves out in a rush of excitement. I remove the applicator stick, bathed in the gold of Borneo Kinam. Swipe. I take in the sight and feeling of the oil on my wrist, before gently rubbing my wrists together. Vanilla ascends from the body of the oil, soft and beautiful. I can almost taste the smoothness of freshly-ground Madagascan vanilla beans. The oil’s fragrance is deeply sensual, moving in the seductive curves of a woman’s body. A camphorous note mingles in the mid-range before rising to vanillin heights. The camphorous note is reminiscent of the fresh, wet, and green heavenly note of Oud Royale. As it unfolds, it reveals its Kyara-like profile–that beautiful airiness, that unusual indescribable aromatic essence that I know in every Kyara and Kinam oil.

The Kyara note is one of the greatest and most unique olfactory experiences. Unique to the rarest and most resinated agarwood, it is impossible to come by. And yet, here are the likes of Kyara in a Borneo oil. Absolutely magical. It is the feeling of a dream I never imagined suddenly coming true. A romantic vision, realized.

The anatomy of the oil quickly becomes a cohesion of form–with the camphorous notes broadcasting from the middle, accented with the high vanilla notes, all surrounded by a cedary-woodiness. The result: A pristine sweetness. Borneo Kinam is a painting in progress that achieves artistic vision and profundity before your eyes. Just as complex as it is sweet, the sweetness of Borneo Kinam is nothing like the sweetness of a Cambodi, or the rare sweetness of an Indian Oud. It is that passionate sweetness that everyone is desirous of and drawn to when they acquire a bottle of Borneo Oud. It is a sweetness that would be erotic, except that it folds into an equanimity of sensual sophistication and depth.

Borneo Kinam is not a “light” fragrance. One of its most impressing characteristics is its unusual depth and seriousness. Possessing a bold femininity, and a depth that is nearly dramatic in play with its sweetness, Borneo Kinam is far from your everyday Borneo Oud.  As the oil drys down, its floral notes come alive–slightly rosy with the fading fragrance of plumerias. The floral notes are subtle, as if caught in fragrant gusts of wind–just enough vanish your mind in exaltation.

Borneo Kinam is the most beautiful and uplifting Oud oil I have ever smelled. If there is an Oud oil that epitomizes the effect of enhancing one’s mood, then Borneo Kinam is it. However, I must say that the sensual ecstasy and sense of joyousness that Borneo Kinam gives feel to be its deepest gifts.

Jungle: Borneo
Crafted: 2007
Yield: 50 tolas

Oud Mostafa.

An Oud oil named after the Revered Prophet of Islam is no light matter. Given the significance of fragrance in the Islamic tradition (and furthermore the unique significance of Oud in Islam), the name of this oil spoke volumes to me before I ever smelled it. I felt a strong attraction to Oud Mostafa, and knew early on that it was an oil I would have to acquire.

After all of the anticipation, I finally ordered a bottle, and held the bubble-wrapped box in my hands. Immediately, my senses are filled with the sweet aroma of berries, but remarkably deep–not a light sweetness at all. This is before my hands have even unwrapped the box! I knew that these delectable top notes were only a taste of what circulated beneath it, in what I was beginning to feel would be a very full-bodied Oud. Needless to say, I was astonished at the potency of the fragrance, given that I had not even opened the box yet. Indeed, this powerfully penetrating quality of Oud Mostafa is something I have come to know and enjoy as one of its most endearing characteristics.

Alas, the top is unscrewed just enough, revealing the rim. I receive the first smell as if receiving a blessed gift. I find the sweet berry notes again, now mingling on top of a strong barnyard body. I had never imagined a harmony of barnyard and sweet notes like this before. However, Mostafa exudes a sweetness that is entirely its own. It is not a sweetness comparable to the sweetness one encounters in a Cambodi, or to the ascending sweetness of a Borneo, or even to the sweetness one encounters in other Indian Ouds. It is a sweetness that is inextricable from the barnyard heart of this oil, inseparable from the body of the Oud. Their simultaneous existence is at once beautiful, intoxicating, and addictive.

Oud Mostafa evokes the strongest response in me of any other Oud oil I have smelled. Mostafa stirs emotions of passion and ecstasy, reverence and gratitude. It speaks the language of supremacy and sublimity. It breathes its life into the body like a mystical offering.

As I swipe my wrist, the oil’s fragrance begins to emanate from my wrist. I can almost see it rising from my wrist like the smoke from a mabkhara, creating a field of fragrance that surrounds the whole body. My eyes close in response. I am stilled, motionless, captured in the rapture of this holy fragrance. I raise my wrists to my nose, holding my hands together, as if in a mysterious gesture of prayer. The fragrance reaches the heart with such power.

As I come out of this beholding, I begin to move and notice how Mostafa radiates its fragrance with a serious potency. I am more accustomed to experiencing the “burst” of an oil’s fragrance and character upon a fresh swipe, which always is soon to settle into a more consistent display of the oil’s scent profile. However, with Mostafa I was surprised to find that the initial “burst” lasted for a very long time. It is the only oil in my collection that steadily radiates such a strong fragrance for such a period of time. There is no diminishment in the potency of the fragrance after swiping it. In fact, it only feels to magnify, to expand itself, and express itself more with time. Oud Mostafa has a profound quality of radiation, of emanation, of ecstatic expression. It yearns to embrace and hold, to speak aloud the glories of the Supreme, to draw everyone into its ecstatic dance.

I drink in the fragrance. Each breath feels too shallow to fully receive the fragrance. There always feels to be more before the breath is finished. As I breathe in the fragrance, it feels as if it goes down my throat, entering the body in mysterious shape and form. An incredibly intimate experience. Mostafa has an all-pervasive and penetrating quality that I have not experienced before. The feeling of profundity pervades my heart. I spontaneously utter the Name of God. How can an aroma have such an affect? I nearly fall into self-consciousness, feeling the sense of madness the fragrance creates, wondering if I have gone mad, or if this is really possible. And yet, with every new breath, conviction is restored to the extraordinary and undeniable power of this fragrance.

Ensar writes on his website that “True Indian Agarwood oil is the epitome of the pure Oud fragrance”. I would take this a step further in saying that not only is Indian Oud the epitome of the pure Oud fragrance, but Oud Mostafa epitomizes Oud altogether.

Part of what leads me to this declaration is that Oud Mostafa possesses and exhibits the qualities that are commonly spoken of as the defining characteristics of Oud oil. Mostafa is easily the most long-lasting Oud oil in my collection, and I would be surprised to encounter an Oud oil that lasts longer and maintains such a consistent intensity and liveliness.  Mostafa is unable to remain silent. Infused with deep purpose, Mostafa is the fragrant sound and vibration of a Holy Scripture being recited. The feeling of Revelation makes this oil epic in proportion.

Oud Mostafa sits on the dresser by my Hawaiian window, a screen with open louvers. The wind is constantly blowing in and circulating the room with its freshness. Even when sitting in its bottle, I have found it impossible not to encounter Oud Mostafa. It has become impossible to enter my room without sensing its sublime aroma. On my wrist, this oil lasts over 24 hours if I do not apply soap where the oil has been applied.

Another noteworthy aspect of this Oud oil is that it leaves a trail. The trail of intoxicating fragrance is well known in Islamic literature. As Ensar shares in his description of Oud Mostafa, “Ibn Mas’ud (Allah be well pleased with him) used to apply the very finest perfumes money could buy, and after the Prophet’s passing (Allah bless him and grant us his perfumed visage) it was easy for people to say Ibn Mas’ud has been somewhere due to the unearthly scent that lingered well after he’d left the place.“

To give an example of this oil’s trail: I had recently walked into my office to retrieve something I needed when I suddenly caught the fragrance of Oud Mostafa. I immediately dismissed it because I had not been wearing the oil, and thought that perhaps my mind was playing tricks on me. I kept smelling. I was certain that I was smelling Mostafa. I walked out of the room perplexed, and moved to the kitchen. There I encountered the intensity of the oil’s fragrance and saw its source standing there in the form of my girlfriend, who had just applied some of the oil from the bottle’s rim. I felt relief in knowing that my olfactory endeavors had not left me crazy, and that indeed I had smelled Mostafa. I was amazed at the trail the fragrance left. It was clearly perceptible in the other room, where she had only stood a moment.

When this oil finally dries down after a few hours, one encounters a red-earthiness that has a subtle hint of spice and cacao in its body. Cloves and cardamom. If you smell it even later, there is even a leatheriness that is evident. Quite a display and diversity of notes!

But beyond its aesthetic value, Oud Mostafa is a sacred experience, a deep and profound fragrance that is not about this world. I feel that it has incredible healing effect on those who are in need of it, because it penetrates the heart, and uplifts the soul. Restoring sacred harmony to the whole body, Oud Mostafa is a reverberation of Divine proportions.

Jungle: Burma
Crafted: January 2010
Yield: 13 tolas
Status: 3 bottles left, near-Legend

Interesting facts: Oud Mostafa is a single-origin distillation from incense-grade agarwood from wild trees at least 70-80 years old.  Absolutely impossible to come by anymore.

ENSAR: I speculate Thaqeel is from trees that are no older than 20 years and 100% cultivated at that, the infection being present for 3-5 years. Although this is only my personal conviction, we can argue this both objectively (rationally consider the facts) and subjectively (analyze the scent profile). 

Rationally speaking, it is unlikely for Thaqeel to be from wild trees as these are practically extinct, and the second and third batches were just launched a year or two ago. Even the first batch was launched after the accepted extinction of wild Cambodian agarwood. For them to then supply who-knows-how-many ASAQ shops with wild Thaqeel oil is suspect. 

Subjectively speaking, the scent profile of Thaqeel is identical to Cambodian crassna trees cultivated in Thailand. The scent is so uniform it could only be plantation oil, which can be produced at large while maintaining the scent profile. Wild oils display wildly differing scent characteristics from batch to batch, just as the trees differ in the jungle in species, subspecies, age, infection, degree of resin formation, and so forth.

The only time I smelled wild Cambodian oud was when my distiller went into his shrine and pulled out a few vials he kept there as tokens of religious piety. I offered him whatever he wanted for them, yet he declined to sell them to me saying, ‘Not everything is money’.

These oils varied drastically in fragrance profile to the cultivated oils we see coming out of both Cambodia and Thailand. I am not saying they are superior, they were just so different to anything I’d ever smelled before it’s impossible to describe. The pitch, the body, the notes; all was extremely different to cultivated Cambodian oud.

Do I believe we can distill the likes of these oils from plantation raw materials? Absolutely. If it weren’t for the sheer age of these 15-20 year-old oils I would say both batches of Thai Encens are superior, simply due to the ultra strict selection process, then the meticulous distillation; just the way they were handled makes a huge difference.

Lastly, I know exactly how the thickness of Thaqeel came about. It is a ‘house secret’ of one of the great Thai distillers who will not appreciate me sharing his technique, which is why I am not at liberty to discuss it here.

Of course, these are only speculations, which is why I have prefaced my observations with “I speculate” and “it is my own personal conviction”.

However, it is obvious to me as a producer what type of wood it was obtained from and how it was treated for it to attain the thickness and scent profile it displays. Speculation, yes; but experience points to certain dots which if you connect them, you get an oud that smells, weighs and sticks like Thaqeel. Beautiful oil, no doubt, and one that I wear regularly (my own version), just one I would never see as coming from wild 80 year old trees, given my firsthand experience producing extremely similar, if not identical oils.

I also stand corrected about the ‘extra oxidation’ speculation on Thaqeel. I witnessed this in another franchise’s oil that was very similar to Thaqeel, and it threw me off. While it remains possible that Thaqeel was subjected to the same amount of oxidation (as oxidation is the rule in the Gulf) we cannot prove that it has, since the technique I have now witnessed with my Thai distiller can induce the same stickiness as leaving the oil uncovered for a decade and change.

As I breathe, my tobacco reveries shift to images of henna  patterns on a woman’s skin, red and beautifully adorned, the intricacy of her hands bathe her arms. Bangles on her arms, anklets on her hennaed feet. The tobacco aroma leans into the bold femininity of henna, an aromatic contrast whose harmony is absolutely intoxicating.

Musk enters the picture, with its sharp and cornered aroma, framing the picture in progress. It is just sharp enough and just quiet enough to not disturb the painting, and only adds a taste of its delectable complement.

Saffron accents the surface, and penetrates the fragrance. Its unique aroma alone captures the essence of the East. With Saffron’s colorful accord, the aroma moves deep into another world.

Oud Bengal is found at the bottom, the canvas upon which this painting was colored. It’s leathery-tobacco notes give this Mukhallat a softness that creates a wonderful dynamic with the sharp and spicy aromas.

Al-Arabiya beautifully captures and aromatically renders the East. A stunningly dynamic Mukhallat, Al-Arabiya contains a deep level of aromatic contrast that is brought into a wonderful harmony of notes. This oil truly sings. And beyond singing, it paints a vivid picture in mind and feeling of the Eastern world. Al-Arabiya is easily the finest Mukhallat that Agar Aura has ever released.

Needless to say, all of the hype surrounding Thaqeel soon piqued my curiosity. And I was fortunate enough to acquire a sample from a friend of mine a few months ago. Thaqeel was the first Cambodian Oud I smelled (to be followed by the now legendary Cambodi Caramel), and I enjoyed its fruity-sweet notes, something I had not smelled in Oud yet. The fragrance of Thaqeel also felt mysteriously Middle Eastern to me, although I cannot explain why.

I enjoyed Thaqeel, but noticed that it stayed too close to my skin for my liking. At first, I was perplexed as to what I was beginning to perceive as a weakness in the oil’s fragrance, and would put on more and more. For a while, I assumed that the sample-size applicator stick was perhaps not able to provide me with a sufficient amount to enjoy the aroma after initial application.

I also noticed that while Thaqeel was a pleasant enough fragrance, it lacked the dimensionality of the Ouds I loved most. That is not to say that Thaqeel is not a nuanced and interesting fragrance, which it certainly is. But it lacks a certain indescribable and subtle dimensionality. Thaqeel did not feel alive on my skin.

In order to gain some clarity about Thaqeel, I asked Ensar of Ensar Oud if he had ever smelled this oil, and what his opinion of it was. I was mostly curious to see if he felt that it was actually one of the rare oils from ASAQ that is actually pure, especially given its price tag. I was somewhat hopeful that it might be a pure Oud oil, a serious distillation from a significantly aged tree. Ensar’s reply echoed my own intuitions about Thaqeel’s one-dimensionality and lack of consciousness. His reply is posted below verbatim, for the sake of positive education, intelligent consideration, and rightly stimulating discussion.

ENSAR: The only time I smelled Oud Thaqeel was when a Russian customer flew in to Amman from Dubai to meet me in person. He’d just picked up a bottle at the ASAQ shop in Dubai, and he was a happy camper! The gooey, pasty, sticky mess of an oil inside that bottle just looked wrong. It is an artificially oxidized oil, by being exposed to air without a cap on the container. The oil only gets thicker and more one-dimensional as it oxidizes, until it becomes sticky like honey.

What people rave about is not the oil as much as the marketing. This is supposed to be the most expensive Oud in the world, and so necessarily that generates a lot of buzz. I think my Chinese Exclusive, which is 100% wild Hainan oil, distilled in 2004, and has
been carefully preserved from oxidation in air-tight German Pyrex, stored in the dark, is a far more interesting oil than Thaqeel.

Thaqeel means “heavy” in Arabic. And it is just that, a thick oil that impresses people when they encounter the stickiness of it. Nothing worth writing home about.

Not to mention that ASAQ does not produce their own oils, but they buy wholesale from other Gulf conglomerates like al Haramain, Ajmal, etc. This is common knowledge among the Oud producing folks.

The wearing of Oud is a ritual I look forward to everyday. In the mornings after meditation, I begin to feel into which Oud I want to wear for the day. It is often very obvious, as I already feel drawn to wearing something in particular that fits my mood. On other days, the consideration can be more lengthy, when my mood is more ambiguous. Nonetheless, there is always the conclusive swipe on my wrist, a beautiful beginning of the day with a fresh breath and the wordless knowledge of artisanal Oud oil.

Upon waking, the first act I do is meditation on my Beloved Guru, Adi Da Samraj. For me, beginning the day with meditation and puja is how I am able to enter into the stream of ordinary life without losing my heart-connection to the Divine. In the same way, the wearing of Oud oil has become a sacramental act of worship, a remembrance of the sacred in the midst of daily life, a sensory integration with What Is Beyond this mortal world. To wear a fragrance such as Oud is the same as wearing sacred jewelry. My Guru calls His disciples to wear a rudraksha mala as a way of remaining in and functioning within the sacred domain, a tangible form of Divine remembrance.

I remember Ensar telling me that in Islam, the wearing of fragrances is considered an act of worship. I was very struck by those words, and although I could intuit something of what he was saying, I did not altogether feel the fullness of its meaning in the way that I do now. With every swipe, I feel the reality of these words sinking in so much deeper. To fill one’s life with profundity–even at the grossest of levels–is a mysterious and wonderful gift.

My Guru also wore Oud oil, and so every swipe of artisanal Oud oil is also a form of remembering Him, and the love and devotion I feel for Him in my heart. Really, wearing Oud is a pre-verbal symphony of so many things. Who knew that so much could be held and expressed in that simple swipe of the Oud-laden glass stick across my wrist.

Still cradled in Cambodi Caramel’s sweetness, I simply could not resist wearing another Cambodi today. I have a sample vial of Agar Aura’s now-sold-out Sylvan Nectar that I had been wanting to get to know better. First I had to tip the vial upside down so that I could get some on the applicator stick. This Oud gets the award for stickiest and most syrupy Oud. It has the consistency of honey. When I apply it to wrist, its stickiness is remarkable, like sap, or maple syrup. I attempt to lightly rub my wrists together, only to find that they nearly stick together! Somehow, I find the syrupiness to be pleasurable.

Sylvan Nectar opens very sweet, but its sweetness is more horizontal than Caramel’s. This Oud is truly nectarous. I feel that I am smelling the nectarous core of a blossoming flower, ripe for pollination. My vision turns to flowers in a wild garden being pollinated by a round honey bee. In the next moment, this Cambodi takes me to the hive. I smell the alchemy of nectar as it transmutates into the deep floral sweetness of fresh and wild honey.

This Oud has three very pronounced phases. The first is its sweet syrupy opening. An hour later, I began to notice a smokiness surrounding Sylvan’s floral core. A delightful surprise. It is a light smokiness, not dense or heavy. A little bit later, and my wrist truly smells of maple syrup. Sylvan perks up again with new notes of sweet suede, subtle enough to make an appearance before melting back into its syrupy heart.

A very light Oud that is full of surprises, Sylvan Nectar is amusing and incredibly sweet. This Oud stands nicely in contrast to Cambodi Caramel. Where Caramel is dark and bold, Sylvan is light and quiet. Sylvan is an early morning Oud, giving me visions of dawn, the sunrise, and the beginnings of life. Caramel is more brooding, a full moon, a journey into the deeper mysteries of life as they climax in a fullness of energy that rises high above the body and mind.

Cambodi Caramel

Cambodi Caramel is bright and deep. It is bold and confident, unashamed of being fearless and sensitive at the same time. Incredibly smooth and so soothing, Caramel is the most nurturing Oud I have come across. The fragrance is so deep and conscious that I cannot accurately say it is linear. It is strikingly alive.

There is no disappointment as Caramel dries down. I am surprised to find the same clarity, depth, and intensity of sweetness as I did in the opening. Wow! I return to my wrist to find that same incredible sweet fruitiness still so present and clear, and now there is a fine woodiness that has become evident. What a surprise! With exceptional sillage, Caramel maintains itself  perfectly, and that alone makes it one of my favorites. Even some of the finest Oud oils do not have this kind of clarity in the dry down. Caramel is aromatically articulate, an inspired musical phrase rich with color and clarity of tone.

Cambodi Caramel is the Oud of luxury–evoking an opulence that makes it a truly aristocratic Oud.

Cultivation: Koh Kong
Crafted: March 2010
Yield: 25 tolas
Status: Legend

Oud Bengal

Since writing this first review above, I have worn Oud Bengal many more times. Each time has been a unique experience. Perhaps the most enticing aspect of Oud is its ever-changing and ever-deepening scent profile. Oud is alive. Oud has a consciousness, and its interplay with the one wearing it is a uniquely intimate experience. Oud Bengal stays close to the skin, but is a joy to wear. The tobacco-suede note is at the heart of this Oud, and it hints at a note that you think will be that fecal Indian note, but instead there is a more indescribable jungliness mixing with the tobacco-suede notes. It is that Bengali note, unique to this Oud. It is subtle and yet provocative. I cannot quite describe it or put my finger on it, but every time I catch it, I know it…the Bengali note.

Bengal has become an Oud that I enjoy wearing on a more regular basis in the ordinary context. It is an Oud fit for all occasions. Today I swiped Oud Bengal earlier in the morning, and it lasted quite a while. In the evening, I could still catch it, but as I was going out to dinner, I decided to give it a kick by adding some Oud Royale to the mix. Royale also has some tobacco-suede notes, but it also has an incredible sweetness and depth. I was curious to see how these Ouds would interact. To my surprise, they were a wonderful mix. All night, I was returning to my wrist, basking in the unique aromatic collage emanating from my skin.  When I first smelled my wrist, about half an hour after mixing, I immediately thought…rose. I exclaimed aloud to my girlfriend, “It smells like rose!” She said that she thought I had been wearing rose all this time! I was captivated in a new creation.

I now feel encouraged to attempt mixing Oud Nuh with Amulya Attar. I will first try it on my wrist and see how it blends. Amulya is quite a powerful scent, and I feel that a full-bodied Indian Oud would “cut” its floral dynamic. Nuh will embody it, giving it a womb within which to grow. Nuh already has a floral quality to it, and yet it has that wonderful low barnyard note and body. What balance! I will try this soon and report my impressions…

Oud Nuh opens with a symphony of notes – a harmony of barnyard, fruits, and sweet wood. The fruity and sweet-woody notes quickly crescendo above the barnyard note, but in the next movement Nuh’s Indian heart mysteriously shows its forte and beauty in a dance with the fruity and sweet-woody notes.

The fruity note of Oud Nuh is tantalizing. My first thought is “Cambodi Caramel!” Oud Nuh boasts a fruity note that is strikingly similar to the colorful berries of Cambodi Caramel. And this is an Indian Oud?! Don’t worry, the barnyard is still there, but it is more “tame” than most Indian Ouds. Surprisingly, this “tameness” coupled with the Cambodian fruitiness is Oud Nuh’s unique allure. Later, one notices a subtle hint of suede amidst the clean woodiness. In its dry down, the aroma of cedar unites with the deeper barnyard note, and not one breath goes by without also noticing that intoxicating sweetness that tops and rounds every note like the grace note of a musical score.

Oud Nuh is truly regal, displaying a colorful range of notes and an enticing complexity with sophistication you have not known before. A desirable young prince, Nuh is beautiful and dignified, noble and strong, but possessing a sweet and soft heart.

While maintaining its simplicity amidst the fullness of its symphonic aroma, Nuh exudes luxury and succulence. Linear and provocative, Oud Nuh hums its own song of songs – a vibrant contemplation pulsating with a life and mystery unique to itself. Oud of the Moghuls, Nuh is the Oud of royalty.

This Oud is a silent and joyous dance of human and spiritual maturity – a radiant equanimity, touching the heart and gently opening a smile.

Price: $550/3ml
Jungle: Assam
Crafted: May 2009
Yield: 20 tolas
Status: Vintage LTD

Oud Shuyukh

Oud Shuyukh not only hits the “spot” that only an Indian Oud can, it challenges and allures one into an exotic wildness of whole bodily intoxication. While the opening barnyard note may have you thinking that this will be your typical Indian Oud, think again. Oud Shuyukh is anything but your average (or even above average) Indian Oud. Shuyukh is nothing short of exceptional, unique, and aromatically complex. With its all-encompassing palette, Oud Shuyukh captures the heart of India, and expresses the deep passions and spiritual desires of the human soul.

Price: $550/3ml
Jungle: Assam
Crafted: 2006
Yield: 10 tolas
Status: Legend

Oud Royale

Medicinal in the most pleasant way, the heart of Oud Royale is healing. It is a dive into the glories of nature and connectedness to life. With a scintillating sweetness and heavenly heart, Oud Royale has a broad range–and within minutes, has become one of my favorites.  I revisit my wrist and in an eye-closing breath, all the words are gone. Oud Royale soars above the head in an ascent that is as heavenly as Kyara Koutan–and yet it returns to a sweetness at the heart that is entirely its own. Royale is a timeless hymn, joyfully revealing its mysteries over time.

Royale lightens the heaviness of an Indian Oud, and deepens the sweetness of a Borneo. With a little bit of Kyara radiating from its heart, Oud Royale is easily one of the most mystical, engaging, and pleasant Ouds to wear.

Price: $550/3ml
Jungle: Phillipines
Crafted: 2008
Yield: 30 tolas
Status: Available

Kyara Koutan. Speechless. No words can describe the moment of first smelling Kyara Koutan. Mystical and heavenly. Radiant. Green. Woodsy. My first thought upon unscrewing the cap is that this oil is almost too incredible to wear. A penetrating fragrance, deeply touching all the senses at once in a rapture of spiritual intoxication. Koutan is a fragrant journey into a mystical rainforest, colorful and sublime, teeming with magical life. The fresh-green-woodsy note of Koutan pulsates with an elegant sweetness–but the core of this oil is a wordless harmony, a complexity and aliveness that eludes the verbal mind.

Kyara Koutan is sublime and mysterious. It’s fragrance rests deep in the heart–and with each inhalation, Koutan draws the senses beyond themselves into the heights of ascended intoxication.

Kyara Koutan is a fragrance to behold, a truly sacred oil that epitomizes the unique mystical quality of Oud oil–blissfully stirring the mood of deep and joyous reverence for the Divine.

The most intoxicating, brilliantly complex, and stunningly unique Oud oil I have ever come across–Kyara Koutan resists definition, a shape-shifter whose origin cannot be found. Only comparable to Oud Mostafa in its spiritual depth–Kyara Koutan could even be described as its female counterpart.

Kyara Koutan is the most heavenly and intoxicating Oud I have ever smelled–an Oud with a unique spiritual depth that irresistibly moves the heart.

Price: $790/3ml
Jungle: Burma
Crafted: 2007
Yield: 100 tolas
Status: Legend