doomsday_disco

Black Honey, Black Cherry, and Kyphi Smoke.

Velvet dark chocolate and tart raspberry liqueur steeped in a splash of warm spiced rum.

Red peony, sweet red wine, plum blossom, cherry blossom, honeyed apricot, salted yuzu, saffron threads, cedarwood, dark patchouli, and black amber.

Teakwood, tolu balsam, beeswax, lilac cream, polished amber, and spiced honey.

I decided to grab a decant of this because it shares some notes with Destructive Vagina of the Fox Spirit (vanilla orchid, black amber, coffee bean, labdanum, champaca, and oudh), of which there's probably less than a milliliter left in my bottle. I think that scent being discovered in my early BPAL days really helped cement it as one of my most beloved Shungas, but what I really appreciate about it is that a lot of the notes in it are not really in my wheelhouse at all, but they somehow all come together to create this really pretty scent that I imagine is like... the best indie coffee shop/bookstore. So I deathmatched the two. Record of Women’s Treasures of the Way of Elegance Day and Night does indeed share some similarities with Destructive Vagina, but oddly enough, Destructive Vagina is less destructive. While that scent has a bit of an airy quality to it thanks to the vanilla orchid, Record of Women's Treasures doesn't contain any notes that lift the scent. This is mostly resins, incense, patchouli, and spices on me, with the black pepper being one of the most prominent spices (it made me sneeze at one point). The patchouli, champaca, and spices are very noticeable, especially during the first few hours of wear, and the coffee bean and resins lurk in the background during this time. Once those notes calm down, it settles into a soft resin scent that does smell like a cousin to Destructive Vagina of the Fox Spirit -- I'm guessing because of the labdanum (which is not cola-like in either blend). But Destructive Vagina ends up being the stronger scent by the end of the day. I still prefer Destructive Vagina between the two, but I do enjoy this, and I plan on giving it a full-day slather to see if I need more of it. It's definitely a possibility, since it does share some similarities with that scent (and I doubt I'd be able to find more of that one).

Peru balsam, champa absolute, sugared patchouli, toasted cardamom, black pepper, labdanum, and coffee bean.

Polish A mischievous mark: black raspberries, red currant, and rose hip cordial in honeyed cream.

Honey, Raspberry Jam, and Buttercream.

This starts off with a powerhouse of a lily note that lasts for a few hours and hardly lets anything else through, but then it morphs into a dragon's blood-centric scent that lasts for many hours and hardly let's anything else through , and the dragon's blood in this is the incense-y one and not the spicy floral one (huzzah)!. It ends up settling into mostly dragon's blood on a bed of Snake Oil's musk by the end of the night AND it's so strong that that is also what I smelled on my skin upon waking the next morning. So yeah, it's not very Snake Oil-y right now, but perhaps that will change as it has more time to settle and age. It does have plenty of throw and lasting power, though! I am going to hang onto my decant and test this before the Lupers go down to see if the Snake Oil in it is more prominent.

Calla lilies stained blood red by Snake Oil and daemonorops draco, flecked with poison-touched lily of the valley.

Plum-soaked black patchouli, indigo musk, poppy absolute, guava pulp, black tea, and tobacco.

An invitation: black amber and pink peony sealed in a creamy white paper envelope.

Jammy blueberries folded into creamy chocolate and dusted with cardamom, cinnamon, black tea, and warm milk.

Honey Champaca.

Death had come into the land from the time Osiris had been closed in the chest through the cunning of Sêth; war was in the land; men always had arms in their hands. No longer did music sound, no longer did men and women talk sweetly and out of the depths of their feelings. Less and less did grain, and fruit-trees, and the vine flourish. The green places everywhere were giving way to the desert. Sêth was triumphant; Thout and Nephthys cowered before him. And all the beauty and all the abundance that had come from Rê would be destroyed if the pieces that had been the body of Osiris were not brought together once more. So Isis sought for them, and Nephthys, her sister, helped her in her seeking. Isis, in a boat that was made of reeds, floated over the marshes, seeking for the pieces. One, and then another, and then another was found. At last she had all the pieces of his torn body. She laid them together on a floating island, and reformed them. And as the body of Osiris was formed once more, the wars that men were waging died down; peace came; grain, and the vine, and the fruit-trees grew once more. And a voice came to Isis and told her that Osiris lived again, but that he lived in the Underworld where he was now the Judge of the Dead, and that through the justice that he meted out, men and women had life immortal. And a child of Osiris was born to Isis: Horus he was named. Nephthys and the wise Thout guarded him on the floating island where he was born. Horus grew up, and he strove against the evil power of Sêth. In battle he overcame him, and in bonds he brought the evil Sêth, the destroyer of his father, before Isis, his mother. Isis would not have Sêth slain: still he lives, but now he is of the lesser Gods, and his power for evil is not so great as it was in the time before Horus grew to be the avenger of his father. – Padraic Colum In the account preserved by Plutarch in On Isis and Osiris, Osiris is betrayed by the cunning of Set and sealed within a chest, a king slain and committed to silence and darkness, his body later torn and scattered across the land he once made fertile. Death enters Egypt with that closing of the lid of his sarcophagus. Destruction engulfs the kingdom, and the fertile soil of grain and vine yield to the encroaching desert. Isis refuses the reign of fragmentation and shadows. In a boat of reeds, she searches the marshes, patient and relentless, gathering one fragment and then another, though the gods’ penis has been consumed by a river fish. She laid the pieces together and reformed Osiris through spell and sacred utterance, enacting the mystery that Plutarch describes as the restoration of the good and ordered principle against chaos and devastation. She fashioned a phallus for Osiris through her craft and magic, and conceived their son, Horus. As Osiris was reconstituted, peace returned, the fields bloomed green once more, and through their union, a third god is created. Alchemically, the body is dissolved into multiplicity, scattered into chaos, and through the labor of love is gathered and consecrated into renewed form. From this restored polarity emerges a third: Horus, the child born of their union, guarded by wise Thoth and steadfast Nephthys, raised to confront and overcome Set. In Horus, the Lovers create continuity and correction, a living reconciliation that tempers destruction without erasing it, for even Set remains, diminished and bound within a larger order. Esoterically, this is sacred marriage enduring beyond death, the Lovers as integration and reconciliation of life and afterlife and the power of the passion and devotion of the lovers to create new life from death. Isis does not deny mortality but transforms it. Through her love and labor, Osiris lives again, enthroned in the Underworld as Judge of the Dead, dispensing justice and granting immortality through balance. The union of Isis and Osiris is altered yet unbroken, shifted from earthly kingship to eternal dominion. This is the Lovers as cosmological force, the force of the reassembly of creation itself. Isis and Osiris embody the Lovers as divine covenant transcending death, unconditional devotion that restores wholeness, and the sacred act through which two become not only one, but three. Their bond does not end at the tomb; it passes through it, transforms it, and returns bearing life immortal, a testament that love, when joined in true polarity, does not perish but remakes the world. Blue lotus incense and kyphi resin dancing in a dusk-shadowed temple, black loam of the Nile and green papyrus crushed beneath bare feet, myrrh and cassia steeped in date honey, a glimmer of lapis and gold leaf pressed into linen, and a surge of floodwater returning to parched earth.

Jasmine tea, lemon slices, black frankincense, hinoki cypress, and golden sandalwood.

Sugared lemon cream, lemon peel, raw sugar cane, cucumber, and black tea.

“Good morning, Eeyore,” said Pooh. “Good morning, Pooh Bear,” said Eeyore gloomily. “If it is a good morning,” he said. “Which I doubt,” said he. “Why, what’s the matter?” “Nothing, Pooh Bear, nothing. We can’t all, and some of us don’t. That’s all there is to it.” “Can’t all what?” said Pooh, rubbing his nose. “Gaiety. Song-and-dance. Here we go round the mulberry bush.” “Oh!” said Pooh. He thought for a long time, and then asked, “What mulberry bush is that?” “Bon-hommy,” went on Eeyore gloomily. “French word meaning bonhommy,” he explained. “I’m not complaining, but There It Is.” Every solid friend group has at least one goth kid representing. Soft grey musk, pink thistle, lavender ash, tea leaves, pale iris, grey lilac, and rain-soaked moss. Each purchase of Gloomily, Gloomily comes with a 1/32 oz imp of The Donkey’s Tail. The Donkey’s Tail is not available for sale on its own, and make sure you keep it safe as you never know where it might end up.

Apricot, cream musk, bourbon vanilla, and golden bergamot.

Asian pear, pear sugar, lemon zest, and white musk.

Cardamom cream, sweet bourbon, tolu balsam, toasted bamboo, raw cacao, and hinoki.

A talisman of pleasure carved from the stone of the heart. Blushing rose cognac, sugared pink grapefruit, iced strawberries, and creamy sandalwood warmed by skin musk, vanilla bourbon, and glowing pink amber.

French lavender, Thai coconut, cherimoya, and ube.

Cardamom and Black Amber.

Tagalog Nasa’yo ang puso ko! Strawberry-swirled halo-halo with a dollop of black cherry cream and mango puree.