Gokula Incense / Flora Fluxo, Floral Bouquet, Gold Sandal, Jasmine & Lotus, Jasmine & Nag Champa, Lotus & Kewra

Agarwood & Musk, Agar Sandal, Aloeswood & Jasmine, Amber & Frankincense, Celestial Fruits, Chocolate & Vanilla

This is the second of four in a series of Gokula Incense reviews, please see the first installment for an introduction to the company.

My general impression of flora/fluxo incenses is they usually come with an orange dipped stick (either full or just the end). And Gokula’s variant (one of them really) is actually called Flora Fluxo. I have reviewed or burned so many of these types of incenses in the last couple months that they probably feel more redundant to me than they actually are, but if you’re not familiar with the style then usually the standard version (kind of like how blue box Nag Champa is – or maybe used to be – the standard for those incenses) is the red package Sai Flora and it’s a reasonable baseline although it is heavily perfumed and often stronger than those I have reviewed lately. Gokula’s version is somewhat muted and not quite as bright and brassy as Sai Flora. Most floras and fluxos have earthier levels in them but they’re usually much more buried than they are here, which tends to give me an August, almost Dionysian vibe like prunes or grapes. I am not sure the balance maybe quite works for me on this stick, but I would not take that as gospel because most are just minor tweaks from one to the other and if you like the style, you’re likely going to search for the one that works for you. This is certainly a reasonable quality take.

Floral Bouquet actually does what it says it’s going to do and presents a floral mix that’s very pink and sweet. It’s a bit of a masala although still fairly firm but it’s worth noting because it doesn’t feel like it’s battling charcoal but is more of a blend with a bit of woodiness. I’ve gone on record many times the pitfalls of presenting general florals, but this one has no bitterness or off notes and it’s probably friendly enough to be kind even to incense muggles. It actually reminds me a little of some of the old Dhuni incenses, perhaps in a more manageable form than that, but approaching that kind of pleasantness (I keep being reminded by the sadly lamented Dhuni Frangipani for some reason). It feels like it has something like pink Valentine’s candy at heart, but the structure of it seems to balance it out in a good way.

Gold Sandal seems to be a cousin to the Agar Sandal we reviewed last time, but like a lot of midline Indian sandalwood incenses, they really don’t smell a lot like sandalwood. There is some inherent woodiness to the incense but there are bitter/sour off notes as well as some really strangely placed fruity notes like peach or apricot in the middle. One wonders if this was an attempt to build a sandalwood out of a different set of ingredients. The Agar Sandal actually felt a bit closer to me in getting to that note or at least it ended up being more genuinely woody than this one. Certainly, the overall bouquet of the Agar Sandal is much more coherent, so I’d suggested starting there before heading to this one.

Even though I am going in alphabetical order, the next three incenses share quite a few of the same ingredients and operate very closely in style. The Jasmine and Lotus (and according to the description juhi, kewra and parijata) is an interesting blend for sure in that you’d expect that to be tilted way over into jasmine when the noticeable lead aroma seems to be something similar to the blue lotus that’s part of the Madhavadas catalog. It’s a very pretty, powdery sort of scent where if you can imagine it, the jasmine kind of faintly provides a background color to give a bit of complexity to the lotus scent. And honestly I think that is where jasmine is at its best. So after introducing some incenses Gokula imports that may be wobbly, this is one that I think has a rather distinct sort of mix I haven’t turned up in other catalogs and that is indeed what one often looks for in an incense.

And better yet, the Jasmine & Nag Champa may be one of Gokula’s best. While I’m not sure either aroma is dead on, they are both close and the juhi and lotus they meld with work well together. Whatever one has in mind for a mix like this, it’s going to be a bit different than you expect. While the champa perfume isn’t the classic style you get on something like the AB or TOI Gold Nagchampa, it does have a much more powdery bottom to it that evinces maybe a bit of halmaddi in the masala. The top note is very pretty and while you can kind of sense jasmine in there somewhere it’s not unlike the previous incense where it seems to mostly come out in some aspects of the bouquet as part of a merger. And overall, it leans over into pink florals a bit.

Finally the Lotus & Kewra is a very interesting experiment. This stick is a lightly dusted charcoal, but even moving back from a more masala like approach this still seems to have the same sort of warm and gentle powdery qualities of the last two incenses, which I like very much. The charcoal does spike a little through it as is always the case with floral charcoals but the perfume mix is quite nice nonetheless with what seems like either a balsamic or vanilla like quality in the middle. And yes there is even a distinct kewra note through the middle! Screwpine is definitely an aroma I’d like to see more often as it’s such a distinct and different scent to anything else. While the lotus isn’t quite as distinct as it is in the incense above where it’s paired with jasmine, and this may be because of the kewra, the resulting merge is certainly worth it. The incense description also describes the blend “in a sandalwood base with swirling notes of champa and marigold.” The powdery quality is certainly champa-esque and the marigold can be faintly ascertained but to my nose I don’t get any sandalwood and nor would I think you’d need to. Whatever the case this is definitely a Gokula winner.

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Temple of Incense / Fruits of the Forest, Guava Guava, Indian Express, Indian Rose

Temple of Incense Part 8
Temple of Incense Part 10
The entire Temple of Incense review series can be found at the Incense Reviews Index

This next grouping of Temple of Incense happens to be some of the sweeter entries in their entire catalog. If you like sweeter incense or even have a sweet tooth, these are some sticks to consider.

Starting with Fruits of the Forest, an extruded tan agarbatti without a powder finish, we have an incense that proclaims on the box to have “scent of wild strawberries and blackberries”. I expected this to be a dipped charcoal type of incense for those notes but instead this is a charcoal heavy masala using what I’m guessing are absolutes. The scent is quite nice, and while it can cross into the “Hi-C” type of ‘mixture of fruits’ where you really can’t discern the fruits, there are moments where I feel I can pick out a wild strawberry or blackberry, more specifically the flower of the blackberry than the berry itself, I think.

Either way, this is a very sweet stick and for me, it is pleasant and has enough interplay that I can enjoy it but others in my household don’t like it and say it’s rather cloying with the single sweet note. I happen to like sweet incense after a meal almost like a dessert of sorts, and this, Guava Guava, Pineapple, Pratyahara Sutra, Forbidden Fruit, and Dragon’s Blood are all on high rotation for this position.

Guava Guava looks so very different than Fruits of the Forest, it is a handmade charcoal heavy masala finished with a tan dusting. It is thicker and heavier than Fruits but when you light it, you get treated to a sweet dessert sort of scent. If you have ever spent time in the tropics around guava season, the guava trees start to drop their fruit and as you approach, it will smell sort of like this. The only thing missing from this smell to make it ‘authentic’ is the acrid tinge of fermentation happening to the fallen fruit.

While I mentioned about using these sticks as a ‘dessert’ of sorts after a meal, this one in particular is tricky because it does have a smell close enough to the food that I get hungry if I haven’t eaten and I’m smelling this. One of the things I’m starting to get curious about is that here in Hawaii, there is a combo called POG juice, and the POG stands for Pinapple, Orange, Guava. I’m starting to wonder if this will pair nicely with the pineapple and orange sticks ToI offers. I’ll check in about that in a later review.

Indian Express has a box that says ‘A scent playing with the sweet and layered fun of paan’. I had to look up what paan is and it’s a slightly addictive betel leaf preparation that is often chewed and spit out. The stick is an extruded charcoal blank that has been soaked in scent compounds. This type of dipped incense tends to get the lower ratings here but I think this is another one of those exceptions. While I haven’t experienced paan, I do know I’ve experienced the geranium, rose, rosemary and kewda before and those florals come across nicely in different layers, some of them powdery and sweet and others acrid and bitter. The nice thing is that for a dipped incense, there is so much interplay that this doesn’t get cloying with a single note. I know I’d love to revisit this scent when/if I ever experience paan.

Finishing out this round is Indian Rose, a hot pink agarbatti that looks to be machine extruded onto natural bamboo with no finishing powder. It burns like a charcoal because of how the ash forms. This is a sweeter version of rose than some of the other entries, and there isn’t as much movement between the different scents of rose, but what sits front and center is something like a rose buttercream frosting, it has a sweet, creamy note that carries the rose scent like a petal resting on a pillow. According to the box, this is a blend of different rose oils. What I’m guessing is that there is a masterful recipe blending these because many times this kind of ‘rose oil’ on incense ends up smelling like Vaseline Intensive Care.

Again, when I experienced this as a sample, I wasn’t as interested in it. I have a feeling that the freshness of this particular stick is important because I get the feeling that the first run I had was far older as I could barely suss the rose and what I did smell smelled like ‘stewed’ roses. I get none of that scent here, the rose is fresher, and comes with a sweet scent that sometimes smells like powdered sugar and sometimes like butter cream frosting. Good for people who like sweet and rose scents.

Temple of Incense / Bombay Blues, Coconut Dream, Dancing Sufi, Jaipur Joshi

Temple of Incense Part 2
Temple of Incense Part 4
The entire Temple of Incense review series can be found at the Incense Reviews Index

This next quartet from the Temple of Incense line shows some interesting variations. As you explore the line, you find a really wide range of different scents that leads one to expect that there’s nearly something for everyone in the group. This group contains basically two (somewhat similar) charcoals and two very sweet and almost confectionary-like incenses. It has been truly fun to go through this range, there’s a surprise at every bend.

Bombay Blues is a really well-named incense. The given ingredients of patchouli, mint, geranium and khus push this aroma much more into cooler regions than a lot of incenses. The base feels like maybe a notch north of a charcoal in the direction of a masala. The khus and patchouli both provide a bit of a clay-like base note but they’re also co-responsible along with the mint for the incense’s overall smooth and chilly top notes. There are surprisingly few green notes like you’d expect from these sorts of ingredients. Even though it is not mentioned in the ingredients there seems to be a bit vanilla note in this as well, which may be the only warm thing about it. The geranium seems to be much farther in the background as a subnote. It’s a very interesting scent overall, it certainly sets a mood and atmosphere quite different than any I usually expect from an incense. Overall it’s probably not as much to my taste but please don’t take that to mean the artistry isn’t still at its usual high level here and if the ingredients list is attractive to you then you’ll certainly want to see if it’s to your taste.

I was working through some Ramakrishnanda incenses recently and noticed that the company had changed their Govardhana incense away from the original loban and coconut aroma to wood rose and vanilla. As someone who felt that the stick was one of the most successful coconut scented incenses I had tried, I was disappointed to see it go, so perhaps it’s fortuitous to try a new coconut incense with Coconut Dream. As I mentioned in my original Govardhana review, I have smelled some utterly disastrous coconut incenses in the past and find it’s a pretty bad idea to formulate one purely on a dipped oil as its likely to smell more like suntan lotion than real coconut. Unsurprisingly Temple of Incense does create a very nice “coconut champa” incense here (although this is scent is still largely charcoal-based) which has enough of a woody base note to make sure such a sweet scent doesn’t get too cloying, and rather than suntan lotion, this smells more like a coconut cream pie with hints of toasted coconut and a lot of vanilla. It even has the kind of grassy subnotes real coconut has, which I think might have the side effect of making your stomach growl. Don’t get me wrong, anything this delectable is probably something you want to use judiciously, but I can see coconut lovers wanting to eat this one up. It’s very nicely done.

Dancing Sufi is an extremely close cousin of Happy Hari’s Niyama Sutra which I have effused elsewhere about. In fact if you have done a deep dive into the Temple of Incense catalog and noticed that they too have a Gold Nag Champa with flakes in it, it’s hard to not feel that both lines share the same recipes or creators. This appears to be an incense with a top note so delicate that it may begin to age really fast as I notice it a bit more in the fresh Niyama Sutra than I do here, but they’re both extraordinary incenses in my book. The notes here are vanilla, kewra, amber and rose absolute. I remember kewra (aka screwpine) from old Shroff incenses and you can smell its particular and unique subnote here. The vanilla and amber are also really obvious, but it’s curious to imagine what gives the top note a sort of like nutella hazelnut or caramel sort of aroma because that’s really what makes this particular stick pop gloriously. Well, that and the beautiful rose note, which is a wonderful secondary bit of complexity. Definitely put this one on your shopping list if you haven’t tried it, it is a particularly fine incense. However US customers might find it more price conscious to go for the Niyama Sutra. You really don’t need both.

Jaipur Joshi is not terribly far from Bombay Blues. It’s perhaps a little more obviously charcoal-based but they both share a mint background that give both incenses a bit of similarity. The other notes in this incense are amber, woods and musk and this mix is certainly less earthy and cooling than the Bombay Blues. The amber here is unlike how it is in most of the other Temple of Incense line and more reminiscent of the charcoal “royal amber” types due to its more perfume-based transmission. The musk is particularly strong here and the woods are very similar to the way they feel in the Wood Spice incense. So in some ways if you’re familiar with some of the rest of the line, it’s difficult not see this as a bit of a hybrid, a combination of elements from other incenses in a new mix. But where the coolness of the ingredients tend to mask the charcoal base in the Bombay Blues, the base is a bit more obvious here. Temple of Incense do respectable charcoals for sure, but I find it to be a bit of a limited format and while this never gets too harsh it feels like it pushes in that direction a bit.

Shroff Channabasappa / Wet Masalas / Ruby, Shanti, Shran, Super Star

Shroff Channabasappa Part 1
Shroff Channabasappa Part 2
Shroff Channabasappa Part 3
Shroff Channabasappa Part 4
Shroff Channabasappa Part 5
Shroff Channabasappa Part 6
Shroff Channabasappa Part 7
Shroff Channabasappa Part 8
Shroff Channabasappa Part 9
Shroff Channabasappa Part 10
Shroff Channabasappa Part 11
Shroff Channabasappa Part 12
Shroff Channabasappa Part 13

For a bit more introduction to this series of wet masalas, please be sure to read Part 13 above.

Red or pink colored durbar or nag champa sticks (for instance Mystic Temple’s Kali Champa or Incense from India’s Red Poppies) are all fairly common in scent, they tend to be floral on top, usually in a rose-like direction. Even back in the days when halmaddi was more available very few of these stood out in any way and nowadays they’re almost interchangeable. So it’s fortunate that Shroff’s Ruby approaches the same formula and finally makes it go somewhere. For one thing the perfume that tends to be bland in other similar sticks is done much better here as you’d expect, with an interesting mix of rose and strawberry notes. The incense really fits its name, akin to a berry scented candle, but much richer. This one was something of a late comer for me, but now I’d consider it one of the best in this excellent range.

Shanti has the same perfume strength as Little Woods, but moves in spicier and herbal directions. The ingredients list this as a sandalwood and vetivert combination, but like Drona which shares these two ingredients, Shanti is much more distinct, and probably distinct enough in a way that you’ll either like this or not. The sandalwood is very noticeable on this one, at times it even seems concentrated, giving the whole scent a deep richness. This too has a caramel subnote and even a bit of sweet muskiness, but it seems to be something not on the ingredients list that sets this apart, as again, I’m not detecting any massive amounts of vetivert in this, but I do detect and herbal quality it might be providing through the combination.

Shran is an incense for screwpine/kewada lovers, as in many ways this might be described as a kewada champa. Unfortunately I’m not sure it works all that well as an incense, but then again I might not really count myself so much in the screwpine tent. The ingredients seem to be as high quality as any other incense in the range, including some rose and sandal notes in the mix, the former more or less overlapping some with the screwpine. It’s a mellow scent overall but I don’t find the base and perfumes to work all that well together, in fact it seems that any of the sweeter, richer notes in the base are actually fighting with the screwpine notes, which seems like it works better with more dryness.

Super Star seems to be modelled on Satya’s Super Hit, or at least the first time I burned a stick it reminded me of what Super Hit used to smell like when it was brilliant instead of dull. This is a beautiful combination of sandalwood, rose and what Shroff calls in several of these incenses “oriental” notes. The result is a very sweet champa with an accessible rose-infused aroma in front. In fact this scent has the breadth and richness of old school champas and is quite reminiscent of the kinds of scents Shrinivas did in its heyday. It’s quite easy to recommend this as it’s friendly on every level.

More Shroff reviews to come, this is one company that’s almost impossible to stay ahead of.

Shroff Channabasappa / Jaji, Kasturi, Kewada, Lilac, Lily 1938, Monica, Night Rose

Shroff Channabasappa Part 1
Shroff Channabasappa Part 2
Shroff Channabasappa Part 3
Shroff Channabasappa Part 4
Shroff Channabasappa Part 5
Shroff Channabasappa Part 6
Shroff Channabasappa Part 7
Shroff Channabasappa Part 8
Shroff Channabasappa Part 9
Shroff Channabasappa Part 10

This batch of Shroff Channabasappa‘s Masala Base incenses, which happens to be in a completely different style to the others in the same grouping, is particularly problematic from a review standpoint. All are different florals in a style that isn’t quite pure charcoal given they all have various flecks of other materials in them, but are definitely pretty close given the scents seem to be almost entirely oil based. Second, a couple of these florals are given in their regional name which makes them particularly difficult to research, so I have to admit crossing my fingers a little and hoping I got the general aromas correct.

This type of incense is among the most intense out there and despite that many of these are gentle florals, they all burn pretty loud like most charcoals, although the slightly hybrid like nature means they’re a little more restrained than most. They’re very difficult to discuss because the name is pretty indicative of the scent you’re going to get, it’s almost as if you could just indicate the original flower and say this is a charcoal and perfume based version of that scent. But with that said there really is some nice definition on these and while there are definitely times I have trouble with charcoals (sometimes even with the company’s high enders), I’ve found these to be quite good when the mood hits.

Jaji is an incense of a specific class of jasmine flowers, in this case possibly Jasminium Grandiflorium, and while this is sometimes called Jaji, the scent will still be familiar to most as a jasmine incense. Like all jasmine incenses, they’re often overkill in a charcoal format, so one should probably use this stick in larger rooms where the scent can dissipate to the sweltery, exotic floral aroma one may be familiar with. When the scent is light, the scent is lilting and very pretty. It’s difficult with my nose to say if this departs radically from any other general jasmine incenses, as it’s always been my experience that jasmine incenses can be wildly different (even check out the other jasmine incenses in the Shroff line for an example of this), but it’s quite possible this will still end up being new enough for those who love this type of scent.

Kasturi is a word used in some area of India to refer to musk and in particular it tends to be part of the species names of several aromatic plants in the turmeric family, often used in incense as an herbal musk. Certainly this is the sort of aroma you get with Shroff’s Kasturi stick, a sweet and dry musk scent that seems to capture the scent quite nicely. In fact I’d suggest this wouldn’t be a bad incense to consider an almost ground zero herbal musk oil scent. As a musk this is basically the least floral incense of these seven, but don’t take that to mean there aren’t floral-like elements in the bouquet as this actually fits quite nicely with the others.

Kewada is yet another English transliteration of a name for screwpine which you’ll see as Kewda, Kewra and Pandanus elsewhere. This is a scent widely used in Indian incenses, such as in many of the Mother’s Nagchampas I recently reviewed. The reason why is it has an unusual rose-like scent to it, along with its foresty lower notes, so I can imagine it’s an effective and relatively inexpensive way to create rose-like subscents in incense. Here I would suspect you’re mostly getting the real deal, so there’s also notes of mint, fruitiness (like raisins perhaps), and molasses in the mix. The results sort of put this on the fence in terms of its floral nature, and given the girth of the entire bouquet it’s quite loud on the charcoal stick.

Kewada is quite difficult to describe in a way, but when you get to an incense like Lilac it’s very hard to do anything but call the Lilac a Lilac as that’s what you’re getting on this stick. I’d put the scent among the softest and most feminine of floral aromas, a gentle and distinct perfume that evokes pink and white for me, very pretty and not terribly intricate, but on the other hand it’s not a floral one will mistake for a rose or jasmine incense. I’ve found that this incense has matured quite a bit since I first bought it and I’m surprised that the charcoal hasn’t quite overwhelmed the oils here, but make no mistake the base plays a part here.

The Lily 1938 scent is also quite distinctive from other florals and it comes off as a wilder, more fecund sort of perfume. Perhaps due to the order in which I sampled these, I saw some similarities to both the Kewada and the Lilac as well it having a musky middle. Perhaps its almost sickly-sweet characteristics make it a bit tough to bear in a charcoal format, or at least I don’t always find a stick to my taste, but at the same time I’m still fairly convinced they’re getting the scent close to correct. But this is another I’d probably suggest applying to a larger room as there’s no doubt the scent here is very perfumey.

I couldn’t find a lot on Monica as the commonality of the name and place (Santa Monica) make searching a bit problematic for any sort of taxonomic connection. Incense-wise it’s a very fruity floral, although the fruitiness comes out more in the way it would in an alcohol drink or wine. And it’s an incredibly sweet scent which manages to actually make the overall scent a bit less floral than you might imagine, in fact I’d say this might fall just ahead of Kasturi on that scale. It’s perhaps closest to the Lilac in its beauty and it might even be just a bit more accessible.

Night Rose is the last of this group and obviously not your common rose scent, even if they share some characteristics. For one thing the oils here are very intense, even cloying. I’ve personally got to have a rose pretty close to the real thing to enjoy it and having not personally experienced the true night blooming rose this appears to be portraying, my only comparison is the usual and it’s just not a very gentle scent due to the combination of loud perfume and charcoal base.

The next group, which also falls under this Masala Base category, seem to be completely different incenses that remind me far more of the original and larger dry masala group. For the seven in this review, you’ll want to be sure you’re at least tolerant of charcoal incenses before sampling as these can be very loud and overwhelming at times. However, to my surprise I’ve also come to appreciate them more, if not for helping to vary up the usual floral scents.

Mother’s India Fragrances / Arjava, Hansa, Lavanya, Om, Purusha, Sattwa, Yajna

[Recipes may have changed and review may not be relevant anymore. Further research needed. Mike 6/17/21]

Since the last installment on the newly released Mother’s Fragrances Nagchampa incenses, the company kindly sent me what I’m dubbing the “Nag Champa Construction Set,” which is a series of ingredients that go into making their fantastic bases. One thing I learned fairly early about incense is that information from the east on these treasures has actually been remarkably sparse and so I’m extremely thankful to have received a further education from the creators. Not only has the set helped to show me where the sandalwood works into the base, but in particular having a sample of halmaddi resin has really helped to narrow down just where this works into these incenses. And overall my already high respect for the creator of these incenses has grown when I consider what the base smells like compared to the finished product. These are just works of art on every level.

So I wanted to say a few words about halmaddi resin before getting to the “back seven” nagchampas (10/8/21 – This link goes directly to US distributor Mere Cie Deux now; however, there are no specific pages for each aroma). This ingredient is particularly interesting in that the actually fresh smell of the resin itself (almost like a combination of chocolate and turpentine elements) is completely different from the smell while it’s burning, which is floral (likely that element similar to the champaka flower), slightly bitter and very balsamic. Not only is this obvious from the resin, but also from the base stick. Even on its own this a pleasant scent but what struck me is how much of a chameleon halmaddi must be since the oils that go into the incense change the nature of the relationship. Also, the Mother’s bases, while soft, aren’t gooey like the resin or many of the incenses I used to burn 15 years ago and as I intuit from the oils, there’s a really impressive level of balance and restraint here.

I wouldn’t have even recognized the base stick in the Arjava Nagchampa, which is the first of four incenses in this group that was not part of the original 12 incense sampler I received months ago. If there is a slight wildness to the halmaddi, you wouldn’t find it in this incense, which has a level of gentleness that is quite surprising. Where the descriptions of many of the other incenses list as many as 5 or 6 ingredients, there is only one specific listed here: rose. It’s interesting in that this is one of the new 14 that really stands out as being quite different, there’s an unusual herbal note at the top that is quite exotic and unique. The central scent is almost akin to some of the herbal-rose combinations found elsewhere and this all lies on a wood level that has been turned up a notch, while remaining pillowy soft. While it could be said that this is another wonderful contrast of spice and floral elements, the results aren’t quite so piquant as they are in the other scents, leading to a very sublime finish. Particularly because when I burn this I feel like I’m always trying to reach a description of the end, one that’s essentially elusive and mysterious. Like all great incenses the final notes end up as part of one’s memories.

Hansa Nagchampa is similar to the Arjava only in that it also has a fairly noticeable woodiness in the mix, but essentially this is a scent that returns to the floral/spice mix of many of these incenses. A lot of the main players in the whole line are in this one, including kewra, vetivert and lavender, but as always the addition of other ingredients modify the aromatic contour substantially. In fact, of the entire line this is perhaps the incense I find the most difficult to describe as the ingredient combos seem familiar, but the overall scent has been changed enough to be completely unique. Perhaps part of this is the golden champa scent in what I’d describe as the fourth fifth from top to bottom.  The amber here isn’t as strong as it is in the Om Nagchampa but it definitely flirts with the attention around all the floral notes and in many ways actually accentuates these notes so one feels that the florals are dominant to the spice mix in the background. And overall it’s the Kewra and Lavender that make, incrementally, the boldest statements in the mix. But in the end it’s puzzling because perhaps the best word to describe this incense is kaleidoscopic, because at any different time it’s possible to see new interactions among the ingredients. Which means in the end any static description won’t do this justice, as the base and the vetivert that tie it all together are really the only constants.

Lavanya Nagchampa really clicked with me after a couple sticks when it became obvious that the central part of the incense is very evergreen and spicy. I’ve discussed some of the incenses that contrast florals with a spice that could be roughly described in the cinnamon/clove/hot area, but this seems to get part of its spice from the use of resins as well as cedar, so that the spice note feels more green than red. Users of resin blends may have come across those that are resonantly foresty and that would be the comparison here. But it’s only a beginning and a platform because what dances on top is the jasmine and ylang ylang, and like the Arjava the results are just so delicate. It constantly strikes me that among Indian incenses, many of which can be incredibly strong and aromatic, that these are among the most refined and gentle, something only a master perfumer could gauge so perfectly. In the end it’s almost as if your aromatic senses try to convince you of its floral nature as the bewitching, rich evergreen and liqueur like background bubbles underneath, creating an almost yin/yang like paradox.

In fact as you use these incenses it’s really hard to separate one masterpiece from another, but there’s something in the Om Nagchampa that has made it my fastest used incense in the whole line, I literally have trouble trying to keep from burning my stock up in a couple days. It basically presents a triangle of amber, vanilla and cassia that is simply breathtaking and close to my sense of aromatic nirvana. My idea of the perfect incense is something that manages to be dry and rich at the same time, hinting at sweetness without being cloying. The cassia in this incense is just so perfectly placed that it’s a sheer delight and the amber notes are virtually flawless. As this scent burns it becomes so sublime by the end of the stick that it manages to represent the concept of Om in a way that might evoke ain ineffable response in the user. In fact it’s even difficult to want to burn another incense after this as it leaves such a powerful energy in the air after the last elements go up in smoke. By a long shot my top incense of August and it could be a reigning favorite for a while now.

Purusha Nagchampa is another of the dominantly lavender incenses in the line, which follows the absolute success of the Ganesh Nagchampa. Mother’s uses a number of different lavenders, however, and in this case we’re seeing an English lavender at the front, a note that is probably the most dominant lavender scent in any of these incenses. But while sitting on the top, the ingredients from the base up do a lot to modify the scent. For one thing this is one of the few, if not the only incense that has a sage note, an ingredient that seems to be far more common in American incenses (specifically southeast or Native American blends). Here it’s used to modify the lavender, and the results seem to bring out some of the wilder, herbier elements the two ingredients have in common. I’m not as familiar with orris, but I suspect this has a great deal to do with the more unfamiliar middle subscents that help to give this incense its individual personality. Closer to the base, the patchouli blends with the balsamic nature of the halmaddi to help make sure the top notes don’t go overboard. In the end this is definitely on the sweeter side of the Mother’s range, but it’s got just that touch of wildness to rein it all in.

Sandalwood is a main ingredient in all these incenses but it perhaps makes its presence most known in the Sattwa Nagchampa. With kewra, lavender tuberose and vetivert in the mix, this is definitely something of a cousin to the Atma and Hansa blends, if you can imagine the biggest change to be an increase in the amount of woodiness used. The vetivert here also seems to be turned up enough to give the scent a pleasant and sharp subnote and adding this to the woods and halmaddi base helps to balance the florals without reducing the richness of the scent. Overall this is a very pretty incense with a lot of activity in the mix and it’s among the bolder scents in the line. And like its cousins, the mix seems gauged to reveal its complexity slowly over time, something a review really can’t account for without an excessively lengthy preparation period.

Continuing a number of incenses with a strong lavender element is the spicy Yajna Nagchampa. However, if some of the Mother’s scents tilt more to a floral side, this is a decidedly spicy incense with woody notes, nagarmotha oil, patchouli and oakmoss all combining to imply a spice that also reminds me of cinnamon toast. This is also a very woody incense, however the type of wood scent it reminds me most of is akin (but far superior to) Satya’s Patchouli Forest scent, with that sense of crystalline, green resin that that incense evokes. Not only is the Yajna spicy, but it’s also devilishly complex in that there seems to be a lot of elements that make up this level of the incense. The oak moss is particularly noticeable here, almost more than a subnote at times, and with the patchouli it grounds the scent as something far more earthy the fire-like. In the end as you notice all this spicy, grounded activity it makes the presence of the lavender on top such a surprise and delight.

I’ll have to admit nearly every incense in this line is at a level of intricacy that they’re very hard to do justice to in words. So many of them are like a puzzle, because I feel that in a lot of other incense lines you wouldn’t expect some of these ingredients to work together like they do and in the end appraising them is like looking at a beautiful painting and switching between the singular elements and the composite final work. I may have mentioned strongly how much I love the Om, but over time I have no doubt that I’ll switch from favorite to favorite because in the case of complex aromas like found in the Hansa or Yajna, you get the feeling that it will take at least 10 sticks to feel that you’ve got a full grip on what’s going on here. And in the end I think this is the real joy in the use of incense, that what you have has the potential to continue to surprise and elate you as changing circumstances provide the varying viewpoints to smell new facets of complex bouquets. Because in the end with this line of Mother’s Nagchampas, all 19 exquisite treasures, you have some of the finest incenses available, particularly at an affordability that is quite astonishing. And please do check out the previous article for buying options, as I suspect in less than a month’s time they should be widely available to most of our readers.

Mother’s India Fragrances / Nagchampas / Agni, Amrita, Atma, Bhakti, Jyoti, Lila, Moksha

[Recipes may have changed and review may not be relevant anymore. Further research needed. Mike 6/17/21]

After being introduced to and living with Mother’s India Fragrances’ original five Nagchampas, I can’t imagine anyone wouldn’t have asked the question “How come there aren’t more of them?” After all the originals are a phenomenal quintet of nagchampas in an era where the form has mostly degenerated. Where so many companies have either eliminated or reduced the content of halmaddi in their products, often creating inferior recipes that only resemble the incenses they used to create, Mother’s have managed to continue a line that not only still contains the ingredient (also called mattipal) but considerably expands the art form.

That is, when nagchampas were made 15 years ago or earlier, the incenses were so full of the gum that the sticks remained so wet you could easily pull them apart. The Mother’s Nagchampas (10/8/21 – This link goes directly to US distributor Mere Cie Deux now; however, there are no specific pages for each aroma) don’t aim for a similar effect and while the incenses are still quite damp, often visibly through the inner packagaing, they all have a uniform consistency that follows the original five scents to what is an incredible 14 new scents. And for those of you already well familiar with the original five, these are going to surprise and elate you as in most cases they have brought the form up to a new level of complexity. Almost all of these incenses have as many as five or six different oil or material sources not even counting the halmaddi/mattipal and honey base. The results are so impressive that it’s difficult to feel that even after sampling several sticks of them that the full story has been told.

I’d like to thank both the home company of Mother’s India Fragrances and their Dutch distribution company Wierook for not only making Olfactory Rescue Service aware of them, but by providing a bounty of gifts and samples in time for me to get some reviews out just before the products come to the United States (not to mention one of the most informative and descriptive English language documents I’ve ever seen for a line of incenses, something that strongly assisted my reviews). Where it was difficult to label only five incenses as the finest Nagchampa line available, now that the total is up to 19, there’s really no question that this is the top line of its format, with a fascinating and aromatically superior range that doesn’t stop to recreate any old recipes and instead uses superior essential oils and absolutes to create a wide range of impressive and intricate scents. This installment will cover the first half of these 14 new incenses with the second half to follow shortly.

The first of these incenses is Agni Nagchampa. Perhaps the most simple description is that this is more or less a musk nagchampa, but it’s far more complex than that. It’s essentially a French Musk sort of scent, which bears some comparison to Shroff’s incense of that name or even the old Blue Pearl Musk Champa, however we know from the description that the central musk scent is created from ambrette seeds. My experience with musks created this way is that they usually aren’t quite this sweet, so one has to look to the other ingredients to see how the bouquet is formed. Obviously the halmaddi and honey anchor this quite nicely at the base as they do for all of the incenses here, so it’s really the middle of the aroma where the magic is. The pivotal ingredient here is neroli or orange blossom oil, an aspect which is the first of many through these incenses that show an incredibly clever perfumery at work because it’s a scent that is mellow and doesn’t overpower while anchoring the musk to the base. The cedar seems to bring out the balsamic aspects to the scent more which both balances the neroli and ensures the fragrance doesn’t go over the top on its way out. Make no mistake, this is still a decadently rich and sweet incenses as any sweet musk would be, but you can almost feel the restraint nonetheless.

As rich and sweet as the Agni is, the cinnamon-laden Amrita Nagchampa is almost a study in contrasts. Even with the amazing halmaddi and honey base, the results are very dry and of this seven, this could be the most direct incense. The cinnamon is very beautifully drawn, in fact the description the company uses is “edible,” something easily understood with a sample. However the cinnamon does have its supporting actors, including patchouli, cedar and some unnamed woods and resins. There are some elements in this that remind me of Nippon Kodo’s Silk Road incense except with a much more genuine feel) but the comparison hints at an exotic subnote that really helps to transmute the base to support the overall dryness.

The Atma Nagchampa is also a restrained piece of work, but in this case it doesn’t transmit a single essence like the previous scent did, instead it portrays a balancing act with a number of different notes at work. What’s amazing about it is that even with so many players the composite aroma remains gentle and subtle. On top we have the dominant floral oils at work, some lavender and what seems like a closer mix of geranium and kewra (pandanus or screwpine) notes. But like several incenses among the new aromas, Mother’s have chosen to contrast these floral elements with a spicy backdrop (including clove), something the company is clearly adept at. The results are actually akin to a standard (if exceptional in quality) nag champa with a soft floral in touch. What it loses without a particularly aggressive bouquet, it gains with a gentle aura and since everything seems to work on such a subtle level, it’s one of the most difficult in this group to get a hang on. But by the last stick I had out it was really starting to get under my skin.

Bhakti Nagchampa is something of an instant classic. As mentioned with the previous incense, Bhakti goes for a floral spice mix that is extraordinary in that it seems possible to pick out the individual elements as they interact with each other. The rose/tuberose/geranium mix on the top could be the best among a number of incredible floral elements across all these incenses and this is perhaps because they not only have strong definition but they’re contrasted perfectly with the patchouli and cedar base. In fact the only question I have is whether a scent like this might lose some of this fantastic definition with aging, because the balance here is like a highwire act with all the base elements a stage for the florals to dance lightly over.

Jyoti Nagchampa has some similarities to the cinnamon heavy Amrita, but here the scent is less monochromatic and more of a tangier multi-spice blend. In fact, it seems likely some of its spicier attributes come from the mix of myrrh, vertivert and patchouli, a group of ingredients that all have great transmutational qualities in different blends. In fact any time Mother’s uses a larger amount of resins in its incenses, it seems to trigger the more balsamic and sometimes evergreen qualities of the base. The mix definitely leaves me very curious about the quality of benzoin used in the ingredients as I recognize none of the usual subnotes and a quality that is truly exquisite. Again this mosaic (which also pulls in kewra to a slight degree) really hits a great balance with a vanilla and spice presence that is just perfect.

Lila Nagchampa is a patchouli heavy incense whose other ingredients really shift the whole tonal balance you normally associate with the herb in new and fascinating ways. For one, this is an incense as sweet as the Agni or Moksha blends, something particularly unusual for something so prevalent with patchouli. Sharing the stage with the patchouli on the top is tuberose, which has already shown its effectiveness in the Bhakti, but where that incense contrasted the floral and spicy, the Lila goes for the composite approach, like a rainbow color chart changing from one end of the spectrum to the other. Undoubtedly the vetivert changes the patchouli element some, always a great partnering, but perhaps where the benzoin and oakmoss lies is where the true transmutation occurs as it falls into the sweet base. The informational material also calls chocolate as a note as a result of the benzoin and you indeed find a powdery cocoa-like subnote in the mix of all this interaction. Like so many of these beautiful scents this seems like one that will have a learning curve as long as the best incenses because it’s not at all what you’d expect in the long run. It’s better.

Moksha Nagchampa …. well if you think it couldn’t get any better than what I’ve already run through then we’d have to at least call this a gamechanger. Champa users may be familiar with a lot of the intersections between style and addition, but the incredibly lily of the valley scent (muguet) that crowns the Moksha is positively ecstatic. And Mother’s doesn’t shy from the contrasts here either, setting off on a trail of oriental woods and saffron notes that end up creating a very rich depth before giving one a floral shock that starts with the rose notes, part of which are described as “citrusy rose petals” which seem to be what I’m picking up as a slight melon-like fruitiness. It all results in the most incredible, kaleidoscopic aroma that has the feminine, floral notes of so many modern perfumes but with the depth of the traditional. I’ve had a few incenses with lily of the valley in them, but none quite so stunning as this one.

One thing you’d expect from a great company is that in expanding what was a really impressive quintet, Mother’s haven’t sat on their laurels and tried to spin similar variations off of an already established success, they’ve possibly surpassed them, or if not, they’ve added such an incredible amount of variation to their line that it breathes new life into the whole line and makes you want to go back to the original quintet for reevaluation. With each stick I became far more deeply involved with each one to the point that picking a favorite is very difficult, there’s really not a blend here I wouldn’t want consistent stock on. There’s just no question that this is the crowning line of the modern nagchampa and I’m fortunate to be able to bring seven more to your attention in the next installment.