dead of night 
Strangelove NYC (2014)

Average Rating:  6 User Reviews

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dead of night by Strangelove NYC

Fragrance Overview Where to Buy Reviews Community Ownership

About dead of night by Strangelove NYC

People & Companies

Strangelove NYC
Fragrance House
Helena Christensen
Creative Director
Original House

dead of night is a shared scent launched in 2014 by Strangelove NYC

Fragrance notes.

  1. Top Notes

  2. Heart Notes

  3. Base Notes

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Reviews of dead of night by Strangelove NYC

There are 6 reviews of dead of night by Strangelove NYC.

DeadOfNight gives me no animal perception , dirty, short bass, dusty, perceptible neither in opening nor later such as the multiplied so many people here. No Oud present here . Even less the signature of a natural Oud. This perfume carries me almost directly to the heart notes, a floral and amber combo lying on a creamy bed and it stops there. It’s round, it’s luxurious, it’s dense but not Oud as advertised!
I’m wearing The Night, that some are getting closer to DeadOfNight. Regarding the raw material of the Oud oil used, there is no comparison between the two. My bottle of The Night is really nasty in opening and must get used to this claw that leaves every use of olfactory scars during the whole wearing of the perfume, just like DeadOfNight is a small kitten well educated next to it, who tries to meow like his elder without succeeding . This is for the Oud party that I called almost absent . Let’s give him a generous concession: 60 seconds of nose piquant during a spray and then it’s over.
No I expected something else from StrangeLove and its first perfume. The rest of the composition is well mixed although linear, so no real olfactory surprises in the evolution. Terribly disappointed.

Those with no experience of real oud oils might need a minute here to gird their loins, because this right here is the real stuff. None of the cheesy, soupy barnyard funk of real oud has been toned down or mitigated, so the initial onslaught is truly animalic.

But give it time to settle and the scent soon reveals a butter-soft rendition of leather that will have you crooning. What I appreciate in this fragrance is that it manages to be both dark and fresh at the same time, the watery greenness of violet leaf lifting the oud out of its brown gloom, aerating it a little, polishing it up for polite company.

There's a smidge of rose and amber to soften the impact of the oud, but in general, this is not a sweet or floral fragrance. It employs an almost single-minded focus on exploring and bringing out the complexities of the oud, particularly its green, suede, and soft leather facets. Like all of the Strangelove NYC fragrances, it is linear, focusing on a simple exposition of top notch raw materials. I said once in a review of Tabac Aurea by Sonoma Scent Studio that the total effect was “as if the perfumer held a dried tobacco leaf up against the sunlight, slowly turned it around in her hands, and captured each of its changing colors and smells in one small bottle”, and that's how I feel the materials have been treated here, for Strangelove NYC.

Here we go again...another addition to the multitude of rose and oud fragrances...thick and rich , going for that luxury profile...the oud gives me a whiff of barnyard here and there...As it dries down it actually feels drier to me than the opulent beginning phases...finishes as a fairly decent woody amber...might have considered this if there weren't so many other good options in this category...

One day you had a long drive to take. You drank a big ol' coffee to wake yourself up. Somewhere down the highway, as expected, the urge to pee came on, and you pulled over at the nearest rest stop. There was a long line at the men's room though, so you went out into the woods and relieved yourself on a dry-rotted tree stump.

It's early August, and the stump sits there (well, where's it going to go?) for a rainless week before a male raccoon wanders by, fresh from a shopping trip to the rest area dumpster, fur matted with sticky-sweet dried soda, dragging a used baby diaper with him for some reason. It is high noon. It is hot. He is in the thick of heat, and sprays.

Dead of Night: un parfum de Christophe Laudamiel.

First choice was to make DeadofNight a perfume oil, very concentrated, and for this fragrance it is completely appropriate as a drop at a pulse point is all you want. DeadofNight is a personal olfactory journey and only those who are allowed close will share it with you. M. Laudamiel takes this new source of oud and combines the chill of violet leaf, a mere hint of floral notes and a woody musky amber at the base. Throughout the new oud preens like a precocious child.

DeadofNight opens with the oud displaying its wares. As this is a new source of oud this has a less prickly quality as more aged versions of oud have. The oud oil used here was distilled multiple times to end up with a very concentrated fraction and that gives it power without the rough edges. M. Laudamiel uses the green character of violet leaf to pull at the rawer woody facets of oud. Early on in its development this has a plushness to it that I have rarely experienced in an oud-centric fragrance. As many of you know rose is oud's natural partner and usually it is used as an equal in composition containing both of these. In DeadofNight M. Laudamiel hints at that as very modest applications of rose and jasmine whisper across the face of the oud. Some of my favorite oud oils have a latent floral character and this oud also has it and by using jasmine and rose as genteel complementary notes that floralcy is allowed to bloom. This phase of DeadofNight has an almost heartbreaking fragility that lasts for hours on my skin. It feels so tenuous that at any moment it will disappear but it lingers enticing me to pull my wrist to my nose again and again. Many hours after first applying DeadofNight the creamy woodiness of sandalwood signals a languid pace of development into the base as amber and white musk mix to form a sedately beautiful coda to a full day's olfactory pleasure.

DeadofNight has 24-hour longevity and is a skin scent with no appreciable sillage.

The combination of new source of oud and master perfumer with Ms. Chrtistensen's innate sense of style have all combined to create a singular beauty. DeadofNight exhibits beauty from head-to-toe much like Ms. Christensen continues to do. DeadofNight is oud as only M. Laudamiel can do it which means it is among the very best oud scents you can find anywhere.

Disclosure: This review was based on a bottle of DeadofNight I purchased.

While there are some fine ingredients at work in this fragrance, the composition is somewhat redundant. Upfront, it's a rose-driven oud over slightly animalic / slightly dry musks with some ambery woods and spices thrown in. The oud's fecal–somewhat cheesy upfront à la Syoofi, and it becomes more barnyard as it settles. The rose smells like a doctored otto, but the bitterness of the stem is backgrounded with the main emphasis placed on the sweeter headspace of the petals–an effect created through the inclusion of other floral notes. The musks serve to sustain what quickly becomes a purr of a skin scent; low projection but with fascinating sillage. Upfront, it's bombastic to the point of being mawkish, and it sort of latches onto that whole Roja Dove / Clive Christian / Xerjoff aesthetic of “luxury" that border on tackiness.

After thirty minutes of so, when things tame down a little, I think this is the point where it shines the most. It becomes a slightly musky, slightly raspy wooden amber–quite warm and poised, and nowhere near as over the top as the opening. It rings of some of Laudamiel's older compositions (there's a hint of Amber Absolute in here, for example), and there's a scratchy dryness that's unexpected from such rich ingredients. It's probably at this point where Dead of Night gets as close as it's going to get to its ad copy as it's quite intimate and heat reactive. By this point, the oud and the rose have already stepped offstage, and what you're left with is suspiciously close to an ambroxan / maltol cocktail.

The scent is a thick, dense affair that throws everything at you at once and then runs away and hides. Its high points are that it wears dynamically, has enough depth and form to keep you intrigued, and the materials are undeniably top-shelf. Given that it's Laudamiel, it's well polished; no rough edges and no visible cracks. Yet we've just seen this kind of thing far too many times now. I'd assume that it's aimed at people who aren't as well versed in the oud-wave, and are perhaps unaware of other comparable scents that can be had for a fraction of the price with comparable materials. Either that, or its for the client who'll drop $500 on a bottle simply to have a solid, nice quality, but ultimately MOR amber-oud in their collection. It's fine and “nice,” but completely unoriginal and obscenely overpriced. If you've been around the oud block a few times and have tried some of the real deal stuff, then you'll probably find this to be skippable.

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