HESTEHOVEN

TUSMØRKE remember that uglier/strange/weird cover of 2021, a vintage folk sound from almost before the birth of prog, that was them; archaic psychedelic folk a bit progressive, bucolic and very disconcerting. A 10th album in a genre apart for dancing buttocks and swinging fingers or almost, a singular sound to change the surrounding world.

"Cycle of the Gylfaginning" starts directly on a folk prog vintage, they do not change; dynamic, reminding me of JETHRO TULL and especially the Scandinavian troubadour groups dancing in the moonlight; the 'Lalala' of the young choirs add a little more. "Hestehoven" eponymous track with a 70s or even 60s atmosphere, proto folk rock of the time when the devils danced in farandole; flute and psychedelic keyboards take you far with the original voice; and then suddenly this too well-known tune taken up like 'They have round hats', good on 'The Fiddler On The Roof', its oriental sound, its psyche for the gig of the night; it becomes intoxicating, maddening and really (in French in the text) creative finally. "Den behornede guden" recreational bucolic air; Kristoffer's voice in his language reminds me more of the sounds of the Balkans than that of Norway; expressive air where we expect to see the imp with its corkscrew tail coming out of a thicket, touching, dancing, folkloric and Hallelujahnt. "Åndemaneren" for the title 'radio edit' no I'm kidding, but it feels good; short title and much more psychedelic than folklo; dithyrambic air, between vintage and avant-gardism, the choice is yours, borderline voice-over on a minimalist space synth. "Jeg klumser deg" atmosphere from there, that you understood; crazy folk yes, prog no for me; sound of a world where the air smells weird, surely bathed in fragrant herbs; I find there shoots of the GONG, singular. "Kyprianos" goes on krautrock, the dark wave psyche, that's good since it's about a Black book; cold, dark, metronomic, a bit of the fantastic POLYPHONIC SIZE to tell you that we are going to a distant land where the musical contours are widened; dark flute break, proto cries and a sound that upsets, we don't know if it's for a pagan dance or a satanic mass, in short hilarious but also innovative. "The Wicked Ways of Witches and Wizards" for HENDRIX's proto-riff; the air and the voice on MINIMUM VITAL for a time before resuming their own musicality, a Crimsonian sax at the bend to make us sink a little more then the joyful rhythm à la Ian ANDERSON; a sudden heavy riff-based break denotes and gives the impression of an evil incantation, just to be reborn in this inhospitable territory; flute, cries in chorus.

TUSMØRKE continues to roam his hospitable cold lands; from hell, from the chthonic world, from a universe in perpetual creation from which flutter fairies and headless troglodytes, a dark kingdom which must hide bacchanalia and other bawdy festivals; while reading I am taken aback by the subjective feelings that this group, a priori nice, whose cover clearly conveys lust can impress; an album to strut about in the shade of an apple tree, to endlessly bite into that damn apple; for satyrs and nymphs dancing in the twilight like TUSMØRKE, for fans opposed to prog aging unstoppably and languishing, for worn-out fans hoping to find eternal youth in this listening.