Moss - Spanish

  • Bald Cypress and Spanish Moss Label Art
  • Cathouse Home & Linen Spray

    A nineteenth century Southern bordello: magnolia, jasmine, honey musk, tobacco, vanilla bean, bourbon vanilla, and Spanish moss.

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  • In his hands all thy cruelties thrive

    In His Hands All Thy Cruelties Thrive Perfume Oil

    Thou shalt blind his bright eyes though he wrestle,

    Thou shalt chain his light limbs though he strive;

    In his lips all thy serpents shall nestle,

    In his hands all thy cruelties thrive.

    In the daytime thy voice shall go through him,

    In his dreams he shall feel thee and ache;

    Thou shalt kindle by night and subdue him

    Asleep and awake.

     

    Gleaming black vetiver, bay laurel, opoponax, hiba wood, Spanish moss, clove, and leather accord.

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    Jazz Funeral Perfume Oil

    Considered a great honor, this is one of the most distinguished aspects of New Orleans culture. Its roots lie in the customs of the Dahomeans and Yoruba people, and is a celebration of both the person’s life and the beauty and solemnity of their death. The procession is lead by the Grand Marshal, resplendent in his black tuxedo, white gloves and black hat in hand; almost a vision of the great Baron Samedi himself. The music begins with solemn, tolling dirges, moves into hymns of sorrow, loss and redemption. When the burial site is reached, a two-note preparatory riff is sounded, and the drummers start the second-line beat, heralding the switch in music to joyous, upbeat songs, dancing, and the unfurling of richly decorated umbrellas by the ‘second line’ friends, family, loved ones and stray celebrants. Strutting, bouncing, and festive dance accompanies the upbeat ragtime music that sends the departed soul onto its next journey.

    Didn’t he ramble
    … he rambled
    Rambled all around
    … in and out of town
    Didn’t he ramble
    … didn’t he ramble
    He rambled till the butcher cut him down.

    His feet was in the market place
    his head was in the street
    Lady pass him by, said
    look at the market meat
    He grabbed her pocket book
    and said I wish you well
    She pulled out a forty-five
    said I’m head of personnel.

    Didn’t he ramble
    … he rambled
    Rambled all around
    … in and out of town
    Didn’t he ramble
    … didn’t he ramble
    He rambled till the butcher cut him down.

    He slipped into the cat house
    made love to the stable
    Madam caught him cold
    said I’ll pay you when I be able
    Six months had passed
    and she stood all she could stand
    She said buddy when I’m through with you
    Ole groundhog gonna be shakin yo’ hand.

    Didn’t he ramble
    … he rambled
    Rambled all around
    … in and out of town
    Didn’t he ramble
    … didn’t he ramble
    He rambled till the butcher cut him down.

    I said he rambled
    lord
    … ’till the butcher shot him down.

    Bittersweet bay rum, bourbon, and a host of funeral flowers with a touch of graveyard dirt, magnolia and Spanish Moss.

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    Silenti Perfume Oil

    The Silenti reject human society completely, and are, quite literally, the living dead. Either due to trauma, sociopathic psychological conditions they possessed while human, or through a desire to embrace this peculiar aesthetic, they adopt many of the stereotypes and trappings of the vampire-as-undead. Some act as monstrous killers, akin to the murderous ways of Interfectors, while others are more peaceable, but no less strange. Most of these vampires choose to live in crypts, haunting graveyards like proverbial ghouls. Many vampire death cults have sprung from the philosophies and writings of Silenti, including the House of Azrael, whose members venerate death itself as the supreme deity and oblivion as heaven.

    Grave beauty: Spanish moss, lilac, wisteria, myrrh, and olibanum.

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    The Day Burned White Perfume Oil

    Using the door, which was centrally placed in the wall like a mouth, the artists had sprayed a single, vast head onto the stripped plaster. The painting was more adroit than most she had seen, rife with detail that lent the image an unsettling veracity. The cheekbones jutting through skin the color of buttermilk; the teeth, sharpened to irregular points, all converging on the door. The sitter’s eyes were, owing to the room’s low ceiling, set mere inches above the upper lip, but this physical adjustment only lent force to the image, giving the impression that he had thrown his head back. Knotted strands of his hair snaked from his scalp across the ceiling. Was it a portrait? There was something naggingly specific in the details of the brows and the lines around the wide mouth; in the careful picturing of those vicious teeth. A nightmare certainly: a facsimile, perhaps, of something from a heroin fugue. Whatever its origins, it was potent. Even the illusion of door-as-mouth worked. The short passageway between living room and bedroom offered a passable throat, with a tattered lamp in lieu of tonsils. Beyond the gullet, the day burned white in the nightmare’s belly. The whole effect brought to mind a ghost train painting. The same heroic deformity, the same unashamed intention to scare. And it worked; she stood in the bedroom almost stupefied by the picture, its red-rimmed eyes fixing her mercilessly.

    Plaster and spraypaint, mottled with buttermilk – sweet, chalky, and edging on sickly. White and golden amber beams of daylight pour through the belly of the scent, while oakmoss and Spanish moss add a touch of decay.

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    Vicomte de Valmont Perfume Oil

     I promised her my eternal love, and I actually thought that for a couple of hours. 

    Rake, scoundrel, demon in a frock coat. Devilishly seductive, ultimately tragic; a villain undone and redeemed by love. Based on an 18th century gentlemen’s cologne: ambergris, white musk, white sandalwood, Spanish Moss, orange blossom, three mints, jasmine, rose geranium and a spike of rosemary.

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