Clear. Serene. Tranquil.
This oud is in many ways the Vietnamese sister of our popular
oud from Sumbawa island, Ketenangan
Having gone 25 hours without a single meal, another 24 hours
with just 4 bananas, braved daytime temperatures of 104°F, lost
consciousness soon after the briquettes were ignited... what I
endured to craft Kiyosumi at a remote distillation facility in
Vietnam can only be called 'labor of love'.
The wild-harvested raw material was of course excellent to begin
). Then of course there's the fact that it was
gently distilled with relentless care, capturing the shimmery
top notes in their crystalline purity, and the thrumming deep
red heart in all its magnificence.
If you've never smelled wild Vietnamese agarwood before
(virtually extinct now), the simplest way to imagine its aroma
is: a cross between agarwood from Cambodia and Borneo. But with
the Cambodian fruitiness toned down, and definitely none of the
terpy notes that plague most Borneos.
In reality though, this simplistic analogy doesn't do it
justice. Vietnamese agarwood is (was) the most balanced and, for
many, the most 'perfect' of all agarwood varieties. And Kiyosumi
presents that refinement with precision and grace.
Yes, you will encounter extravagant whiffs shockingly
reminiscent of green kyara in this oud, but green kyara this is
Kiyosumi evokes the aroma of highly resinated fragrant wild
Vietnamese agarwood... tea-tobacco sweetness with a faint
powdery coumarin-like quality, as well as brighter minty and
frosty highlights. Also, due to how the distillation process was
designed, there is a bitterness integrated into the scent
profile from the latter-stage base note compounds that provide a
delightful (and super addictive!) contrast against the sweeter
and brighter highlights.
If your olfactory compendium never ventured past Hindis and
Kamboodis, it is time you discover the aroma that, for
centuries, captured the hearts of Far Eastern connoisseurs
across China, Japan and Taiwan - the aroma of the finest wild
I must say this is as close to a perfect oud that i have come across!
With most oils i have there is the drydown which i love. Waiting for it, seeing it forming itself..
I find that the super jummy spicy sweet woody drydown is what oud is all about for me.
Normaly this only start to reach its maturity at least 3-4 hours after application.
What stood out for me is that with Kiyosumi, is that it has that quality right from the beginning of the top notes, to end 10hours later.
An oud that has the drydown gorgeousness through out the whole ride even in the opening.
Normally when an oud reach the drydown it stays so close to the skin that i have to dig my nose right into it..
Instead i got that (agar)aura around me whole day right from the first second when it still has a good projection..
With some other Ouds, especially some Trat and non barn Hindi oils i love the flowery opening, but it seems to disappear within the hour..
With Kiysomi the opening is super delicious but it never went away. Its stayed like that only highlighting different aspects..
Even my wife said that Kiyosumi is actually enjoyable and good..
First time I hear she says that about a pure Oud.
Like a ray of sunshine captured in an oil.
Both kenmei and kiyosumi remain the only two oils that
capture the note of green oil kyara so well and so clearly.
Is insane. So precise, so minimal, so profound.
Kiyosumi in my opinion is truly one of the greats. Flawless.
Blissful marriage of Cambodi Crassna, Borneo Malaccensis,
and Chinese Sinensis without being any. Well excuted and
mind boggling heated-agarwood-on-low-temperature oil.
Dried fruit soaked in honey flavored-chai latte and
coumarin-laced fresh tobacco leaves garnished with the
slightest white flowers and a drop of almond oil to enhance
Amaretto oud liqueur...
Kiyosumi certainly strikes me as more purely heavenly,
rather like Ceylon No. 1.
Kiyosumi is spectacular. I’m so glad I grabbed that.
Man this is killer stuff... The Kiyosumi is incredible,
maybe my fave.
There was a moment once when I was meditating on Kiyosumi
and I perceived a kind of prismatic structure to the scent -
it was like the inherent quality of the scent had been
refracted in the various notes that were present. Shortly
thereafter I read something you wrote about how you had been
influenced in your art by impressionism, and it fit
perfectly with what I perceived. One could almost 'see' the
nature of the scent construction (and initial deconstruction
of the properties of the raw material).
What a treasure. A serious mood lifter.
Kiyosumi is an oil which seems to gain power for hours after
application. It is a mixture of the things that make
Vietnamese oud my ultimate oils. Deep, transcendent, and
I have been quite intrigued by kiyosumi because it is the
most profound deep cherry note i have experienced in a
Vietnam oil. There is no bitterness....a very balanced
sweetness but the cherry is by far the dominant note, I
would describe it as more grounding rather than uplifting. I
have some excellent Vietnam woods which ive been able to
collect and I love finding the right piece with the right
burn where i get this same unmistakable cherry note unique
to the origin. A very gentlemanly scent, something James
Bond might be inclined to wear.