Kyarazen Enterprises: Holy Lotus and Blue Lotus

I have gotten to sample both of these incenses recently; the Holy Lotus is available now at Kyarazen’s Etsy sit.

The listed ingredients are “Himalayan juniper, Mysore sandalwood, borneol, etc” and I am sure after about 10 sticks of each that there are quite a few other ingredients in both of them They are done in such a way that it becomes very hard to discern any individual notes. On occasion one can say “oh yes Juniper or Sandalwood” but it really seems to depend on the state of ones nose at that moment. Neither of these two are “florals” except in an allegorical sense. These are based on original, very old Chinese formulas when floral additives were not too common. These incenses are part of the Hall of the Peaceful Heart series, made by Dr Li Fupeng of Kyarazen Enterprises.

The Holy Lotus is a bit “sweeter” or rounded, while the Blue Lotus a touch dryer or perhaps astringent (but still very softly so). Both of these would lend themselves very well to meditation, as they are great for concentration and centering.

The scent does tell you that as in everything I have had the chance to use from Kyarazen the materials used are truly remarkable as is the amount of effort that goes into the production. His ingredients remind me a lot of the materials on Mandy Aftels perfume organ. Everything on it is sourced through much effort and sometimes years of tracking down, and then used in such a manner as to present a flawless work of scented art. This seems to be true for both of them.

On another note, if given the chance to get a hold of the Cyro Mysore sticks, don’t think, just go for it. There is nothing better in a Sandalwood, really, they are astounding. When I figure out where I managed to store a video clip of the grinding process I will post it. Don’t know of anyone else willing  to use liquid nitrogen in order to not loose any of the sandalwood oils! -Ross

Found the clip….don’t try this at home!!!

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Kunlha Incense: Jetsun Dolma, Lotus Pema, Shing Tsa, Pangpoe, Loong Pö

These are produced by Kunlha Incense, which is a small family business. They are made without any animal materials and also seem to be made of very high quality herbs and woods. They are also pretty much “non sweat sock” or “funk note” in style. At the same time they are very approachable to a pretty broad range of people if you don’t demand the above two stylistic elements. Other than Loong Po there do not appear to be any oils used. At this point I have re-ordered three times so I am pretty sure I like them 🙂

Jetsun Dolma (Green Box): I think this is modeled after Green Tara as it is listed as “curative and healing incense”. The scent is a bit heavier then any of the other sticks, which might be valerian or mugwart. It is also very relaxing (to me at least) and is great later in the evening. This one seems to be herb heavy with some wood notes in the background. I find it fairly pleasant but not something I would use just for the scent.

Lotus Pema (Yellow Box): This is the wood scent one hopes to find when trying out anything that says “cedar” or “juniper”. It is beautiful, subtle, and very clean with no off notes at all. Really a great stick of incense in the pure wood style. This has become my “go to” woods scent. Highly recommended and I have yet to find anything comparable to it.

Shing Tsa (Blue Box): The cinnamon, rhododendron, and juniper in this blend seem to inter weave themselves yet at the same time you can sense each separately, which is a pretty good trick in incense or perfume. It can be very entertaining to sense them as they play out in the room. Great for mornings and afternoons. Really a well-rounded incense, almost Japanese in style. Uplifting and not overdone.

Pangpoe (Red Box): This is along the lines a of a fairly traditional “red stick” Tibetan incense. Lots of herbs and some woods totally blended into an overall combined scent profile. Classic but at the same time maybe not as much a standout like the three above. IMO, as always.

Loong Pö (White Box): This one seems to be designed as something to use for post work chill out. It has a mellower background scent then the Pangpoe with the addition of a perfume note added into it. Since my box is at least two years old and the note is still there (somewhat reduced) I am assuming there are some synthetic aspects to the scent. Essential oils or Absolutes, especially any floral’s do not tend to last that long unless tightly sealed, which these were not. However it is an interesting scent, like a light floral mixed with (maybe) aldehydes, pretty classic in style and not overwhelming at all. A nice mix and a pretty good stick that should appeal to many people.

-Ross

Mermade Magickal Arts / Abramelin, Cyprian, Dark Forest, Dark Goddess

So just as I was wrapping up the previous Mermade review, another surprise batch of new creations showed up at the door. It’s funny but I’ve probably never mentioned what boxes from Katlyn look like, although customers are surely familiar, but even the presentation of the arrival has the same care everything else does. It should be noted of course that Katlyn’s talent at art matches the same talent involved in the incense creation, so part of the fun is seeing the labels and stationery that comes with each box. As someone who gravitates towards the motifs of western esoterica, I find the way each incense comes packaged to be a delight and in fact anyone who has been involved in the western mystery schools to some extent will be delighted at the symbolism just on the tiny jar of the first incense to be reviewed here and even the bag the jar sits in. There is an attention to detail that rewards the attentive.

For example, check out the amount of research and information provided by Mermade on their newly created version of the legendary Abramelin ceremonial incense blend. This is a historically documented incense associated with the occult work, “The Book of the Sacred Magic of Abramelin the Mage,” a guide written to teach a student how to converse with their holy guardian angel and largely associated with Aleister Crowley’s philosophy of Thelema. Of course much has been written elsewhere on this subject and so we’ll stick to the incense itself. Katlyn has chosen to create this incense with one part green frankincense, a half part mix of myrrh and storax and a quarter part aloeswood powder. While this seems like a simple recipe the quality of ingredients can have a massive effect on what the final product will smell like and this is I’m sure the first of its kind used with the powerful and lime-like green frankincense. I know this isn’t Katlyn’s first attempt at such an incense and different attempts and styles can make them all quite different from another. This work has a maturity that has allowed for quite a bit of subtlety most of which seems to float around the beautiful and heady myrrh and storax combination in the middle. The frankincense is definitely powerful in this but once heating gets underway all of the parts merge very nicely together with the aloeswood providing a subtle and more fleeting sort of presence. I also love the color of this incense, it tends to a lovely golden like shade which reflects rather perfectly with the intent behind the incense. One wonders if the original creators behind the incense ever envisioned or formulated the incense with such fine ingredients.

Also a simple, lovely and almost overwhelming incense is the labadanum, rose and agarwood combination found in Mermade’s new Cyprian. This mix strikes me as quite different than a lot of the other Mermade incenses. It’s as if the ingredients are all adding up for something very spicy, alluring and somewhat vigorous. The rose scent in particular is beautifully calibrated and reminiscent of some of the old rose and resin mixes, somewhat veiled by the incense’s spiciness, but still very authentic and gorgeous. The labdanum and agarwood are all finely balanced and the whole thing works perhaps because of its simplicity as a combination, allowing the nature of each ingredient to bring life to the blend. Strangely there is a beguiling earth or clay tone in the mix, as a result of the incense’s combination and the fresh incense itself almost seems to have a complex level of hoppiness to it. I was quite taken away with this blend and highly recommend it as a deep intersection of floral, resin and wood.

I reviewed Wild Woods in the previous Mermade installment and Dark Forest is another in Katlyn’s long and distinguished line of forest and woods incenses. This one is definitely a bit closer to center than the ambery Wild Woods and has a very pungent foresty green presence that is practically unadulterated with any note that might move this off center. I’ve admitted my almost unconditional love for this kind of scent before and this one is no different. It’s not complex in a wider sense, but there is a lot of activity within the greenness, made possible by juniper, black spruce, cypress, fir and cedar with strong backing from the black frankincense. There’s a slight note of patchouli on this that fills in around the edges, not to mention and even more fleeting glimpse of vetiver, both elements that just give different kinds of greens to the whole. As always, there’s a bit of sweetness to the evergreen and resin combo. As always, these incenses are bullseyes and tend to be as user friendly as anything on the market.

Dark Goddess is a new vintage of a previously named incense with some similarities, but overall I think this new blend is quite a bit different in scent. For one thing, the patchouli was a big note in the previous incense, here it’s much more subtle and blends with greater balance. As someone who doesn’t mind a healthy bit of good patchouli, and by that I don’t mean the cheap stuff that can overwhelm a drum circle, I love both the old and new Dark Goddess, but certainly like all of Mermade’s work, the most recent vintage is always the mature work. This mix, which includes ingredients that tend to the polar opposite of the blends based in green frankincense, such as black Ethiopian resin and black frankincense, is a very complex incense where the parts interlock like pieces of a puzzle making it just that more difficult to pick out the single elements. All of the resinous material gives the incense hints of molasses, caramel but also something a bit more dry with the herbs, especially the vetivert, giving it all an earthly feel.

As always, these are just a segment of the wonderful work going on at Mermade and it’s always a distinct pleasure to be able to share my impressions. One thing I often notice is later on I tend to pick up new things as I use the incenses, further giving testament to the depth of the art at play here. And so once again I highly recommend newcomers to Olfactory Rescue Service to visit the site, grab a heater and try out some of the luxuries in the Mermade catalog, as they’re all limited editions and vintages that eventually give way to new ones.

Mermade Magickal Arts / Naga’s Nest, Wild Wood, Scentuality, Kamiwaza, Ensense Antique

Receiving a new Mermade batch is one of my favorite parts of running Olfactory Rescue Service, in fact I can’t really think of too many other companies where I would be hard pressed to come up with a blend they created that I didn’t love. The whole spirit of the operation from the incense to the artwork to Katlyn Breene’s generosity and support makes reviewing the incenses a total joy and as the years go by, the sheer art and experimentation involved, now stretching into actual Japanese and Tibetan style incenses, never fails to elate. If you read this site and have not had the pleasure of checking the Mermade operation out, I’d consider it one of the first stops an incense lover should make. Everything created here is managed to the last detail and the ingredients used are top quality, only to be worked into something of even higher quality. Every chance I get to dish out the hyperbole I relish it greatly and with no reservation. And to see the line incorporate newer incense creators like Gregg King or our very own Ross Urrere only underlines the spirit behind the incense underground. Once I thought that high quality incense could only be found on the other side of the planet, now I know it’s made here too.

Mermade’s Naga’s Nest is a true original. One of the things you’ll notice about Tibetan incenses, particularly the ones sourced from Nepal or India, is that so many of the aromas you’ll find are embedded in very inexpensive woods, often the kind that smell like burning tires and make your eyes water. So imagine if you were to take a Tibetan rhododendron or lawudo incense, strip away all of the cheaper ingredients so that all is left is the aroma itself, and mix those ingredients with good resins and sandalwood adding just the right foresty touch so that the rhododendron ingredient isn’t suffocating anymore. What you have left is a gentle and unique scent floating like a mirage on the top of a good base. The scent is then recognizable from Tibetan incenses but allowed to flourish, and that it does in this blend, which lasted for hours when I put it on the heater. There really is no other incense like this in any market, in fact even the occasional powder incenses don’t sing like this one does. One only hopes Mermade will try their hand at some of the other Tibetan ingredients in a similar fashion.

Wild Wood, on the other hand, is another in the long lineage of Mermade’s forest blends. It’s probably no secret by now that I’m a huge fan of Katlyn’s work in this area, she knows how to craft them in a way where the aroma always tends to be perfectly green, just like you’d smell if you were walking in a forest. This art of using evergreen ingredients and using resins to intensify the scent always makes these a rare treat, and an incense style that might even crossover to friends that can’t abide by strong Indian incenses or heavy woods. Wild Wood is something of an evergreen mix with amber floating in the background, but like all of Mermade’s forest incenses, the green is still up to 11 on this one, with lots of fruity citrus from the combination of two frankincenses, the copal blanco and the pinon resin. The amber subscent acts to give what could be similar to a lot of resin blends a nice richness, and I’m assuming some of this comes from the two balsams in play. Naturally this also comes highly recommended and if you have never tried one of Mermade’s wild nature blends, there’s no better place to start.

The last three incenses here turn over to Japanese styles, with one slight exception. All three of these incenses start with a base of high quality sandalwood and agarwood, but the third element sends all of these to unique destinations. Readers may remember Gregg King’s fantastic Ali’s Roadside Lozenges. The newest variation of it is Ali’s Rare Incense Powder. I have not had the chance to try the latest blend on its own, but recognize its scent from the lozenges, it is an incense created from a staggering number of high quality materials.

Katlyn has managed to take some of this powder and create a meta-incense with it by combining it with the aforementioned base as Scentuality. This blend takes a while to get going on a heater, but when it does, it gets more impressive as it goes and lasts several hours. The mix of ingredients doesn’t tilt in any particular direction, which to my nose creates a kind of bewitching merging, particularly where the spicy and deep qualities of the agarwood intertwine with the complexity of the Ali’s. This creates a lot of rich and wonderful subscents that remind me of the kind of sweet, quasi-kyara candy scents you can find in some of the good Shoyeido wood and pressed incenses. The early scent is powdery and gentle before the agarwood really kicks in. Overall, it’s a fairly mellow incense, more akin to where a Baieido incense might sit and it’s a tribute to both Mermade and King that they’ve created a Japanese style incense of very high quality and complexity with all of the similar grace and subtlety you’d expect. It’s an excellent example of how incense circles and collaborations are improving the work year after year. And for just under $20 it’s quite price conscious and better than a lot of Japanese incenses in that range.

Kamiwaza is an incense in the same family as Scentuality, starting with the same or similar base but using clove, cinnamon, patchouli and borneol from Japanese sources as the “third element” in the incense. These ingredients have deeper aromatic qualities than you would normally find if you were to source them elsewhere and they merge with the base in a rich and spicy way that is a complete delight. The agarwood really pops in this blend, balancing all of the multiple sweetness and spiceness with a solid resin note. If you have ever tried any of Shoyeido’s speciality incenses whether wood chip mixes or pressed incenses you will recognize notes like a fresh roll of Sweet Tarts or a spice tea mix. But like with Scentuality this will likely be at a much more affordable price point and it all works without the use of perfumes and oils. One tip, however, the balance of the scents is probably best achieved by turning the heater a bit lower so the aromatics don’t volatize too quickly, particularly as the woods will go for quite a while.

Ensense Antique also uses a sandalwood/agarwood base, but the third ingredient here is an oud oil called “Encense Angkor.” As such, I would suggest, like with Kamiwaza, to apply gentle heat to this incense in order to not burn off much of the oud oil too fast. This oud oil is of the rich and spicy variety and it melds quite perfectly with the woods and it often seems like the scent dances somewhere in between them. It reminds me slightly of Ross Urrere’s sandalwood and ambergris or souked aloeswood in that the general aroma is woody dry, while having some very complex top notes resulting from the ingredients being very high quality. In particular the sandalwood comes through nicely on this one. All of these blends, as usual, come with the highest recommendation and it has been so much fun to see how Mermade is working in all sorts of incense world traditions, all of the blends created with such a deft and careful touch. And of course all of them are graced with Katyln’s terrific artwork, spirit and presentation, it never feels like any stone is unturned in reaching the final released work. And good news, there are even more blends in queue for review, including a carefully recreated Abramelin incense, an agar/rose/labdanum mix called Cyprian that absolutely wowed me last night, Mermade’s newest forest blend Dark Forest and a new “earthy blend” called Dark Goddess (I’m excited about this one in particular as the description references the old Mermade blend Hecate, an incense I still miss). Stay tuned!

Shambala Incense

Not sure who dreamed Shambala Incense up, but this is a very vibrant Nepali-style Tibetan with a high ratio of good quality ingredients to base. There seems to be some juniper berry content as well as sandalwood, which puts this in very traditional red stick territory, however the good ingredients give this some interesting subnotes including one foresty and another slightly resinous. For this style, this isn’t a bad place to start at all, it’s very smooth and comes in two sizes.

Natural Arogya Dhoop Incense/Bodhisatwo, Karmayogi, Mahadhup, Meditative, Vaidhyaraj

There isn’t a company associated with these five incenses that’s on the wrapper, but each has a full name that goes Natural Arogya-xxx Dhoop Incense, with each of the five specific names going where the xs go. These are fairly common Nepali blends you’ll likely find at most incense outlets, all of them packaged in paper wrappers and like most common Nepali blends, most of these really aren’t worth the cedarwood chips in the base.

One thing I’ve noticed really frequently when it comes to many inexpensive Nepali incenses is just how many ingredients can add up to zero. All of these incenses have long lists of ingredients, but when the full list really only makes up a small spot on the roster next to filler and binder wood, the list starts to feel less than trustworthy. It does me little good to know, for instance, if there’s agarwood or sandalwood in the incense if the quantity is microscopic. It’s almost like someone telling you they’re friends with a famous celebrity only to realize they just waved at them at an airport.

The first of these incenses, Natural Arogya-Bodhisatwo Dhoop Incense, smells of pencil shavings and juniper with a sour or bitter tang in the mix. Naturally, the list of ingredients includes solukhumbu, gosaikund, himla, jimla & mustang along with haro, barro, aguri, krishagur, gokul (one of the few I recognized), cinnamon and others. A teaspoon of sugar in a cup of coffee makes a difference, but that same teaspoon in a swimming pool full of coffee isn’t going to make much of an impression. None of the ingredients in the list do anything to distract you from the cheap, irritating smell. The list, however, does make me curious as to what it would smell like to burn a pencil fire.

Natural Arogya-Karmayogi Dhoop Incense is a resin heavy Tibetan stick in a style you’ll come across in other Nepali lines. I’m assuming from the ingredients most of what I’m smelling is the saldhup embedded in the red and white sandalwood mix. The somewhat marshmallow-like astasugandha is also fairly prominent, helping to give it some herbal depth. This isn’t a rare scent overall, but it’s one I usually like and so I’ve always considered this the best in this group. This is largely because the resins have the presence to make you forget about the binder wood, and not so much a judgment of its quality, which is still relatively low.

Natural Arogya-Mahadhup Incense (see how they did that?) lists sandalwood, gurgum, sunpati, jattamansi, rupkeshar, and dhupi. The jattamansi is fairly noticeable as the soft element in the front, to help make the overall bouquet somewhere between floral and woody, but this is largely because the florals are competing with the cheap woods dominating the whole stick. At least in this case the woods give off a little bit more than pencil shavings with some hints of Himalayan evergreen, but overall the incense still lacks too much personality.

The Natural Arogya-Meditative Dhoop Incense lists sugandhabal, bakchi, kut, ambergris, cloves, and cardomom, all of which seem to promise a rather excellent incense. The intensity of this stick lies somewhere between the Bodhisatwo/Mahadhup and the Karmayogi, in fact it shares a certain swankiness with the latter. It has a nice spiciness in the middle, a combination not very far from Mandala Trading’s Tibetan Monastery incense. This is a good example of where ingredients can transcend the base and not make you feel like you’re burning cheap stuff (relatively speaking). This has a nice clove burn to it and a genuine firey atmosphere I quite like.

The ingredients for Natural Aroga-Vajdhyaraj Dhoop Incense include kapur, dhupi, kumkum, saffron, nutmeg, and cinnamon. The black color of the stick makes me wonder if this is an Agar 31 attempt, but again, like with the Karmayogi and Meditative, the herbs are pretty swanky. Here you get that with the wood center, and the reuslts will remind most of tires and campfire wood. This is a good example, I think, of how certain Tibetan herbs aren’t likely to go down as aromatics with most westerners. And after so many sticks, this is one I feel like I can do without. The only ingredient that really comes out for me is the nutmeg.

Overall this is more or less your standard Nepali line, almost typical of what you’d get from a surface overview of the style. Like many inexpensive Tibetan incenses, these are heavy in cheap materials and rarely reach the promise found in their ingredient lists. Both the Karmayogi and Meditative will do in a pinch, but generally speaking you’ll find better incense elsewhere.

Doma / Agar 31, Relaxation, Ribo Sangtsheo, Pyukar, Mandala, Special Incense

Doma Herbal Incense have a rather sizeable line of Nepali incense products that vary from the inexpensive to the premium ($18). Their products vary quite a bit in style, packaging and quality, but for the most part they tend to be pretty standard Nepali/Tibetan fare with the lion’s share of their sticks tending to inexpensive woods mixed in with light aromatic touches. This review covers about six different packages in the line.

The Agar 31 – Healing Incense (as well as the Relaxation) comes in these unusual flat sized boxes that aren’t really all that easily storable when you consider most Tibetan sticks come in long boxes or rolls. This is what I’d call a pencil shavings incense, even compared to other Agar 31 incenses, this has very little in the way of luster. It even has a strange, light floral note in the mix which is very unusual for this style. The black agar doesn’t appear to be very high grade and along with the herbs it just appears to flavor up a very overwhelming and cheap cedarwood base, which ends up being the dominant aroma.

Relaxation, fortunately, is quite a bit better, but that’s likely because the middle is filled up with resins rather than woods. Not sure if we’re dealing with frankincense, benzoin, myrrh or gugal gum here, although I’d assume it’s a mix of some of these that combines with a bit of herbal swank in the middle. It’s akin in some ways to both Yog-Sadhana and the swankier Heritage (or maybe a mix of the two), as well as the Natural Arogya-Karmayogi or Himalayan Herbs Centre Traditional Mandala. I like all these scents quite a bit, as well as this one, as they’re essentially like resin mixes embedded in Tibetan woods. Don’t expect fireworks, but it’s a good buy for the money and it holds up to any of the comparisons.

Ribo Sangtsheo is one of the biggest rolls I’ve ever seen in a cardboard box. The ingredients listed are cardamom, clove, spruce, hemlock, butterworth and benth, but like many inexpensive Tibetans with dictionary lists of ingredients, the incense ends up as the average. I kind of think of a scent like this as sour wood. It seems to have a great deal of pencil shavings mixed in with the other elements. Nagi? Sandalwood? Saffron? Musk? Maybe in microquantities but I don’t even think straining turns up much in the way of aroma. Then again, most incenses with the Ribo Sangtsheo name tend to be for inexpensive offerings and thus have as much traditional use as aromatic, so perhaps in the end this shouldn’t be held up to too high a standard. As an aromatic it’s not much of interest.

Pyukar is not an expensive incense but at least it doesn’t just smell like spiced up pencil shavings. Like one of the other higher quality Domas, the smoke is fairly low and there’s enough sandalwood to give it a bit of dignity as well as some benzoin and a light touch of spice. It’s still a touch on the sour side, but it’s also a bit similar to Red Crystal and thus bears a sense of familiarity. A touch better than fair.

Doma’s Mandala lists sandalwood, musk, saffron, juniper, and cardamom, but the deep red and thin base speak of cedar and/or juniper wood, and once again it’s difficult to suss out the ingredients on the roll (although strangely the saffron does manage to peak out). Overall this is one of those generic red Tibetan sticks with a strong nod to the campfire, with little to speak for it except for a slight sense of high alititude. There’s lots of incenses like these, after a while it’s difficult to really sense any great difference in quality from one to another.

Finally there’s Doma’s premium priced Special Incense which to be fair isn’t really worth a half or third of its price, given that it shares that tier with much better incenses. Still it’s easily the best Doma in this group. Like the Pyukar this is a low smoke incense and I’d guess in this case that’s due to the myrrh content. The scent is very clean and mellow, with quite a bit of resin and wood in the mix. The major difference to me from other Domas is the base wood quality is a lot higher than usual, but that doesn’t mean it doesn’t have it’s share of campfire associations. It does have that red berry juniper roundness, but then so do a lot of incenses at much more affordable prices.

Doma have quite a few other products, but based on the handful I tried here, I wasn’t inspired to check out any of the other incenses. In many ways the level of Doma quality is generally what you’d expect as a baseline for Nepali incense, there’s definitely some cheaper companies and a few much better, but what you’ll find in the catalog will generally be traditional and not too flashy.

Shechen / Red, Blue, Riwo Sangchoe, Surpo

Shechen monasteries are apparently located in Tibet, India and Bhutan but it seems their incenses hail from Nepal, based on recipes from Mindroling monastery. Essence of the Ages carries four scents from Shechen, two in boxes indicated by their color, and two roll incenses. By price the two boxes seem to be the most premium items.

The Red box incense is slightly the premium of the two colored boxed and it’s actually no surprise that the recipe originally came from Mindroling as the incense here is very similar to Mindroling’s Grade 3 incense. It has that almost common mix of woods and berry found in many Nepalese incenses with some musky/dusty tones that are similar to the Mindroling, but I suspect the difference here is that Shechen probably uses herbal ingredients to get this layering. Overall this is a very common type of incense, but more or less a superior form of it, so well worth starting with here if you haven’t tried it.

If you have the Red it’s unlikely you’ll need the Blue which definitely seems to be sort of a Grade 2 version of the Red with a little more in the way of that filler wood/campfire scent. Given that the two boxes are only separated by less than $1, there’s really no reason to not go for the Red. The Blue’s rather nice on its own merits, but since the musky sorts of tones are more subdued (by replacing some of the red sandalwood content with juniper) it’s less interesting as a result.

The two roll incenses are much less impressive, both have very heavy amounts of cheap wood and little in the way of character, in fact both seem more ceremonial based than aromatic. The Riwo Sangchoe states the inclusion of red and white sandalwood on the wrapper, but I find it difficult to detect either. It does have maybe some slight musky/musty tones that are reminiscent of the Red and Blue boxes, but these tones leaven the rather dull woodiness very little. The Surpo isn’t much different, mostly made from filler wood material (probably cedar and juniper) but having some slight floral notes in the mix. The wrapper mentions ingredients like yoghurt, milk, butter, molasses, honey and sugar but I couldn’t really tell where any of these sat in the aroma.

There’s really not a lot new here if you’re already well stocked in Tibetan incense. I think I liked the Shechen Red more when I first purchased it, over time, it’s struck me as fairly static, but it’s a nice incense (although I’d guess you might find something similar in, say, the Stupa line at a more inexpensive price. Unfortunately the two rolls aren’t likely to do much more than irritate your sinuses.

Unknown / Heritage, Pilgrim

Readers of ORS will likely be familiar with Yog Sadhana incense, a site Hall of Fame pick (be sure to scroll down and read the comments on this page for more info) and one of Nepal’s best incenses. Unfortunately little seems to be known about the company who makes this incense, there appears to be little information on the wrappers. However, we do know by the way the “series” looks that there are two more incenses in the same line, a deep red stick called Heritage and a green one called Pilgrim. While Yog Sadhana is certainly the crowning achievement of the line, the maker’s other two incenses are worthy of attention.

My favorite of the two is the deep red Heritage. You could easily see this as an analog to the Mandala Trading Himalayan Herbal incense, as it strikes the same sort of heavy clove and cinnamon based spice stick mixed with a tangy, herbal nature. I wouldn’t be surprised at all if this aroma was partially made with essential oils or extracts as the spice nature is very strong. It’s not quite the polyherbal masterwork the Himalayan Herbal is, with a much more consonant blend of spice and funk and less complexity, but it’s also a little more ancient and mysterious. It’s also quite a bit less smoky than Yog Sadhana.

Pilgrim is an incense in what appears to be a very common Tibetan style, a thick and evergreen stick based on sandalwood. The closest analog I can think of off hand is the Mandala Arts Green Tara, although Pilgrim is slightly less distinctive and refined. The description has this incense as spicy and floral, although it’s the least spicy of the three sticks in the line and the floral nature is quite restrained. Mostly it strikes me as a sweet and very Himalayan wood incense. While it’s not the sort of incense I’d be compelled to burn often, it’s still very pleasant and friendly, with some slight resin content, a bit of herbal musk and even some slight oceanic hints. Like Yog Sadhana it’s possible much more will be revealed as I continue to use it.

All in all the three incenses that make up this unknown line are all very high quality for the price, with ingredients that give the blends an uncommon richness. However, it should be noted that given the thickness of the sticks, the count will be a little bit lower in a package, although most of these are well suited to breaking 2-3 inch fragments.

Kuenzang Chodtin Tibetan Incense

[This incense has either been discontinued or repackaged.]

Having had so much success with various high end Tibetans costing anywhere from the teens to the 40s, I thought, like Japanese incense, that you’d generally be safe with anything relatively expensive. While price is still often a good indicator of an incense worth buying, Kuenzang Chodtin (scroll down, second from bottom) incense appears to be one of those land mines worth detouring around.

There are a number of Tibetan incenses that use aromatics that Westerners are likely going to identify with tire rubber or other acrid and/or bitter offnotes. Despite a number of herbs and ingredients that give the impression that Kuenzang Chodtin incense is likely to be superb and an initially positive first two or three seconds for the light, my experience was blindsided when after relighting the stick later, a strange black bubbling tar erupted from part of the incense leaving a strange, ashy foamy deposit on the incense. The smell at this point was so chemical that it evoked for me those incense urban legends of companies who say a particular incense is made of natural ingredients, but aren’t actually giving full disclosure. It’s as if the the resins were switched out with asphalt.

Stickwise, Kuenzang Chodtin is pink in a similar manner to the higher grade Nado Poizokhang sticks. I didn’t have quite the same experience with subsequent KC sticks, but the incense has a number of ingredients that will largely be unpleasant to the Western nose, and I don’t mean that in an acquired taste sense. It’s possible the incense was meant to be a more floral Tibetan derivative in that some of the incense’s top notes seem to have a very harsh, almost Indian masala-like rose scent, which when mixed with the incense’s noxious base gives off very harsh notes.

It’s strange because there seem to be some pleasant elements. That richness when nagi is involved seems to be there in the top, but the base overwhelms this quickly. Sometimes the bitterness is so penetrating it’s like the aroma from a bottle of cheap, charcoal filtered vodka. I did some labwork in an organic chemistry lab a decade ago or so, and that’s always the smell chemicals like this evoke for me. There are incenses that are dull and average, not worth picking up because they have little to offer. Kuenzang Chodtin goes past this to where burning a stick is actually fairly unpleasant at times. Less a pleasant aroma than a chemistry experiment.

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