Peche Obscene from Lvnea, in collaboration with musician Chelsea Wolfe is glorious-- but what I mean is glorious in the way that something monstrous and magnificent stalks the dead zone of night, by stealth and in the dark. This is peach, irradiated and ashen and grown over with moss and broken bird’s nests and salted against curses, curls of ferric iron to both ward away and contain within. A peach more lore and legend than it ever had life, a peach whose shadow looms uneasily far beyond its ruined flesh. Juices corrupt with the grave dirt of vetiver and patchouli and oozing with osmanthus’ strange leathery/jammy incense, Peche Obscene is an undead lich of a peach, and it is absolutely, terrifyingly, bewitching in the way that all delicious forbidden things are.

Mississippi Medicine by DS & Durga opens with an astringent, peppery cypress, and gives way to a pine-crackling, smoky fire, sweet birch, muddy grass, and scorched leaves… and dries down to a sweetly herbaceous, woody, incense; strange smoke-scented hair upon waking, and the vague dream of descending into the dark, dancing and divining with ancestors, and having been part of rituals older than you can imagine.

By Serpentine from Exaltatum London opens in a way that feels like a chimeric chypre, full of tentative promise but also a bit weird; it’s a delightfully sour/loamy/ambery chameleon of a fragrance, and I smell something different with every passing moment. The subtle sparkle and sass of pink pepper, a sophisticated bitter citrusy zhuzh of bergamot, the sharp, prickly verdancy of fir, a feathery tickle of violet’s delicate powderiness, and a velvety dreamy balsamic heart of woods and tobacco. It is a little too earthy to call luminous, but it gleams and glows despite its dustier aspects. By Serpentine is an incredibly light and elusive scent, I can’t quite smell it directly on my wrist where I have sprayed it, and yet I smell its halo hovering around me. It’s a thing of beauty, but it is not much for longevity; after half an hour or so, it’s as if waking from an exquisitely poignant dream that I have instantly forgotten the details of.

I’ve got some problems with this legendary Thracian bard, but I will set them aside for a scent such as Curionoir's Orpheus Incarnate that is trying to capture a hyper-specific moment in his mythology. An olfactory interpretation of an underwater experience; a feeling of weightlessness and calm, visions of turquoise and mauve, and the irresistible lure of the siren’s song. I can’t fathom how they’ve done this–there is really nothing in this fragrance that reads to me as aquatic or oceanic or even anything watery, and yet, if you’ve ever floated on the tide, in the currents, even in the cool waters of your swimming pool, eyes closed to the glare of the sun or the glow of the moon, the echoing murmurs and gurgles of the world drowned out by the waves enclosing the soft pink shell of your ears–this is a perfume that conjures the slowing breaths and hushed heartbeats of that tranquility. I do pick up on the spiced clove of carnation, the cool, earthy oris, the decadence of the tonka and heliotrope, and the almost cloyingly sweet herbaceousness of licorice, and it’s all beautiful and brilliant chorus together…but I have no idea how that translates into the hypnotic sensory lullaby of a solitary midnight swim.

I had so much fun discussing Sexy Viking with the Viking who lives with me. My husband, Ývan, is Icelandic and lived in Iceland until he was a teenager. His immediate family, his mom, dad, and brothers all now live in the US, as a matter of fact, some of them live a few neighborhoods away, but the rest of his relatives are scattered all over Iceland. He goes back every few years to visit, and I’ve been once, but I certainly don’t have enough familiarity with the country to have a well-formed opinion of a fragrance inspired by aspects of it. Well, I mean, I have an opinion on the fragrance, I can have an opinion on anything, but I guess I mean I can’t really comment overmuch on the sense of place that it’s meant to evoke. Ývan tells me that he gets an overall sense of fresh, crisp, evergreen coniferous pineyness. It recalls for him the summers he spent in the youth work program hauling wood from the forest …which I assumed was some sort of unpaid lumberjack gig, but he laughed and said, what kid is gonna do that kind of work for free? Anyway, his specific memory involves the moments when he would take a rest and just lie down in a bed of fragrant pine needles and close his eyes while the sun filtered through the canopy of trees. He also said that it brings to mind icy evergreens in the wintertime, during traditional graveside visits on Christmas. He and his mother would visit the cemetery with wreaths and candles for relatives that had passed on, and there was a forested path along which they would slush through freshly fallen snow to reach the graves. Overall he likened it to smelling like an ancient woodland Yule wreath, full of wintry bounty. I would add that what I smell, overwhelmingly, is tart, bracing, cold-weather berries. Something bright red and jeweled and so bitter that even the snowbirds won’t eat it. But also a bit like sour, candied grapefruit peels. As the scent wears, this becomes more like a fruity, malty, softly honeyed amber–but either way, it’s a beautiful note. And overall, I think we both agree, it’s an incredible fragrance, and as it happens–it’s stunningly perfect for the winter solstice today (the day this review was written.)

When you live in a pineapple under the sea, but you’ve converted it to a Harley Davidson showroom.

We’re encountering a rose who is not just a protagonist in a horror film, but perhaps the film–a cursed film–itself. And not some schlocky nonsense that’s all jump scares and genre cliches, we’re talking the last violently spine-tingling, pants-shittingly terrifying film you saw and that you’ve begun to have ghastly nightmares about which are starting to eerily echo and reverberate through your waking hours. Court of Ravens by 4160 Tuesdays is, in short, and on paper, an incensey rose chypre--but rumors are the incense component is the boiling blood of a mad cultist mixed with strange and stinging otherworldly herbs, the rose grew sickly and sinister on the unmarked grave of a hanged murderer, and the chypre, well, it’s the usual materials of oakmoss and balsamic elements, but pounded on an ancient black altar to an oozing paste along with a secret number of drops from a cracked, cloudy bottle, and I don’t know what’s in that esoteric essence, but it smells shockingly of acrid fright-sweat, bitter adrenaline, and is underscored by a host of sharp, burning pheromones. So, you have probably reached the conclusion that I must love this, and you’re right, and I’m glad you guys can read between the lines.

Destrier from House of Matriarch is perhaps the first leather scent I have ever not just tolerated but actually liked. I’m not sure if I’m even a leather fan, but I appreciate that this one just goes so hard. It is not putting on airs, and it’s not in disguise; there is no mistaking it. AND it’s a rather 360° immersive scent experience as well as absolutely immediate, with no lead-in or preamble. Imagine you are an overachieving LARPer, and you took three years of leatherworking classes so that you could make the perfect leather coin pouch to hang from your belt for this intensely anticipated festival you’ve been dying to attend. Even though it’s a tiny piece of a larger, more intricate costume, you want every detail absolutely perfect, from the tanning to the stitching to the embossing. You’ve spent so much time on this accessory that you’re smelling those tanning agents, those fats and oils and chemicals and musks, even in your dreams now. And in waking life, too, even after the event, you are one with that leather coin purse, and you carry it with you everywhere you go. At this point in time, it is stuffed with cedar chips, sweet grasses, and soft moss…because you spent all your coins on those expensive classes and leatherworking tools.

Is Penhaligon’s Babylon meant to evoke Babylon, the den of iniquity and pinnacle of sin? Or perhaps that groovy Satanic prostitute, arrayed in purple and scarlet, decked with pearls and precious stones, with her golden cup spilling with abominations and filthiness? I’m not sure this softly-spiced, velvet-wooded fragrance is as outrageous or dramatic as all of that. Imagine that golden cup, surely sensationalized to pique public indignation, was instead some sort of humble, unassuming vessel, a bowl of roughly carved but fragrant sandalwood, filled with a milky liquid, redolent of honeyed saffron, the aromatic, earthy warmth of nutmeg and coriander’s peppery-aniseed camphor, and delicately resinous, subtly smoky vanilla. If you’re a fan of Dior’s Hypnotic Poison, but don’t love that obnoxious root beer note, I think you’d find Babylon a more tasteful and understated option. I do enjoy this scent immensely, but I’d still like to smell a more vivid and exuberant perfumed interpretation of this apocalyptic beauty.

Rusak's site describes this scent as a “minimalist weirdo. A creature of deception. Perfume nerdery” and while I don’t actually know anything about this perfumer, I will say that this nondescription captured my imagination and which evolved into a little crush. The sort of obsession that you develop on someone you glimpsed on the subway reading a dog-eared copy of a book by your favorite author, in this case, let’s say creepy Japanese manga artist Junji Ito, and then you had a series of unsettling dreams about them, so you wrote an ode to this stranger in the local alternative paper’s missed connections section. And like Japan’s most successful and lauded horror author, Rusak has injected an extraordinarily potent amount of weirdness into this scent. Beginning with a mundane peek into the spice cabinet, you are subjected to a surreal descent into madness featuring fenugreek’s uncanny curried maple syrup-ness, a dry, itchy tingle of salty musk, an enigmatic spike of aniseed, and an oily conflagration of black pepper. I can’t make heads or tails of this scent, and as a matter of fact, I like to imagine it as a many-headed, rattle-tailed beast, much like its very name. It’s truly one of the most eccentric and singular fragrances I have ever sniffed and I stand in admiration of its sublime strangeness.