doomsday_disco
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A warm gold poured slow as honey, catching sparks of sun-fired gold microsparkle. Hand crafted in collaboration with Haute Macabre, this polish carries the same molten warmth as the Mead Moon perfume oil it's named for. All of our nail polish is hand crafted by Haute Macabre! Black Phoenix Alchemy Lab Claw Polish is 10-free, vegan, and cruelty free. Ingredients: Butyl Acetate, Ethyl Acetate, Nitrocellulose, Acetyl Tributyl Citrate, Adipic Acid/Neopentyl Glycol/Trimellitic Anhydride Copolymer, Isopropyl Alcohol, Stearalkonium Bentonite, Acrylates Copolymer, Silica, Benzophenone-1, N-Butyl Alcohol, Diacetone Alcohol, Trimethylpentanediyl Dibenzoate, Red Iron Oxide (1309-37CI #77491), Black Iron Oxide (12227-89-3 CI#77499), Mica, Titanium Dioxide, Tin Oxide, Iron Oxide
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This oil sharpens focus, steadies resolve, and calls back the stubborn, unglamorous strength it takes to keep moving when the weight of the world has settled on your chest. This is an oil of speed and heat, stoking your vitality, sweetening your outlook, and firing up little blessings of good fortune in order to help you get back up when you are down for the count. Anoint your wrists and the soles of your feet before your day begins or when you need an extra boost. Dress a candle with it when you need to see a task through. Rub a drop into your palms before facing whatever is waiting for you. Contains: ginger root, cinnamon bark, High John the Conqueror root, five finger grass, orange peel, allspice, sunflower, and clove.
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"You can take the dirt up out of their foot track... put it all together, and then wrap that up, and bury that. Put it in a bottle and stop it up right airtight, and bury that. That'll make you stay." — Harry Middleton Hyatt, Hoodoo, Conjuration, Witchcraft, Rootwork, 5 vols. (Hannibal, MO: Western Publishing, 1970–78), entry 5640. While there is another Sampson's snakeroot (Orbexilum pedunculatum), the Sampson Snake Root commonly used in rootwork and conjure is purple coneflower (Echinacea purpurea). It rises out of the tallgrass prairies of the central and eastern United States on a stiff, hairy stalk, its ray petals drooping backward from a spined, coppery cone like something bracing for a blow it has already decided to survive. The root beneath is tough, dark, and bitter, and generations of rootworkers have read that toughness as instruction. Named for a Biblical strongman, Sampson Snake Root is worked for what it is said to confer: strength that holds under pressure, mastery in a courtroom or a hard negotiation, solid footing when someone else means to pull yours out from under you. It is carried in mojo hands and dressed into oils for respect and for keeping a job, tucked into a shoe to steady the walk of someone who needs the room to believe them. Worked toward the body rather than the will of another, it is reached for in matters of virility and of holding a lover close, and laid down as a ward against crossed conditions and the work of enemies. Root doctors have also called on it to make someone stay, bound not by charm but by something closer to gravity, dirt and salt and pepper and snakeroot sealed airtight and put into the ground, so that leaving stops feeling like an option. This oil pours dark amber-red, thick as clay caught in a boot heel. Cracked coneflower root and black pepper sit low against a base of dug earth and iron filings, with a single thread of clove pulled taut through the center.
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The perfume of the Sea King's court: crushed pearls, strange incense, honey suspended in cold water, green amber shining through veils of seaweed, flecks of ambergris, narcissus and rose mysteriously blooming in the ocean's darkness, musk as fathomless as the Mariana Trench, and glittering, shimmering flickers of gold. Ilya Repin
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The musicians disappear into shadow while the dancer remains, incandescent. A heel strike like a command, stamping the floor hard enough to wake the dead: red wine, orange blossom, tobacco smoke, the faint spice of a dancer's perfume, and the warm leather of a vintage guitar case.' John Singer Sargent
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Wildflower honey and almond cream, poured over hair the way the Mead Moon herself pours light over everything below. A gloss built to leave a soft sheen and a trailing hint of orchard sweetness.
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The Mead Moon, Worn as Skin The same golden warmth as the Mead Moon perfume oil, worked into a lotion for the nights that call for more than a wrist and a throat. Honeyed ale and orchard spice, left to sink in slow.
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Red apple and golden honey.
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Fig and black pepper.
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Blackberry and vanilla bean.
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Black cherry and sage.
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Golden mead, fermented with gruit, nutmeg, clove, cinnamon, ginger root, sweet-briar, rosemary, and lemon. The moon was but a chin of gold A night or two ago, And now she turns her perfect face Upon the world below. Her forehead is of amplest blond; Her cheek like beryl stone; Her eye unto the summer dew The likest I have known. Her lips of amber never part; But what must be the smile Upon her friend she could bestow Were such her silver will! And what a privilege to be But the remotest star! For certainly her way might pass Beside your twinkling door. Her bonnet is the firmament, The universe her shoe, The stars the trinkets at her belt, Her dimities of blue. - Emily Dickinson
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Red Bean Paste and Wisteria
doomsday_disco replied to doomsday_disco's topic in Duets & Menage A Trois
I blind bottled this one because I've been enjoying the Lab's red bean paste note and have found myself really enjoying wisteria in the past year, so since this features two notes I seek out, I figured it should be up my alley. The wisteria in this is more heady than I'm used to and doesn't have the high-pitched quality it usually has in the other scents I have featuring that note. It's at the front of the stage, backed by the red bean paste, which again, is very accurate, and I believe it's the same one found in Peach and Red Bean Paste Hair Gloss. I also feel like there's a bit of breadiness with the red bean paste, like it's contained within a bun? But I only get that after it has been on the skin for several hours. On me, this has great throw. I wore this to run some errands after sunset on a day with the temperature in the triple digits, and I'm sure the heat probably contributed to it having a ton of throw, but in any case, I was able to smell this scent on myself without having to lift my arm to my nose. Although the headiness of the wisteria was unexpected for me, I do appreciate it with the earthy red bean paste and will be hanging onto my bottle. -
Petrichor
doomsday_disco replied to doomsday_disco's topic in Single Notes, Layering Scents & Simple Blends
This smells nice, but it doesn't smell like the scent you get when it's about to rain -- rather, it smells like the scent you get after it has already rained. I get a really good rain note that I think might be the same one from Waiting 2016. The rain is accompanied by a smidge of dirt that's quick to fade, a bit of moss, and a little stone -- but it's not as prominent as the asphalt note in Waiting 2016. Although this doesn't remind me of actual petrichor, I do appreciate the scent and will keep the imp around to try layering it with other scents and wear next time there's a rainy day in the desert. -
Sugar Glaze
doomsday_disco replied to doomsday_disco's topic in Single Notes, Layering Scents & Simple Blends
I've tried this one a few times, but on its own, not layered with any scents. Sugar Glaze features a mixture of sugar and vanilla notes. I get the lemony sugar that smells like one of the sugar notes from 13 March 2020, a powdered sugar note, the Lab's sheer bourbon vanilla, and a touch of a billow-y vanilla pops up after it has been on the skin for a few hours. It's definitely sugary, but it doesn't remind me of the glaze on a baked good as it's a bit too perfume-y for that. On its own, this scent stays close to the skin and doesn't have any throw -- I have to put my nose up to my wrist in order to be able to smell anything. That said, it might be different slathered or layered with another scent as intended. While I like this, I think I'm fine with just my imp.