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TUSMØRKE

Prog Folk • Norway


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Tusmørke biography
Norway's TUSMØRKE (Norwegian for twilight) go straight to the heart of the psychedelic matter on their full-length debut album 'Underjordisk Tusmørke' (Subterranean Twilight). Culling influences from such prog-psych luminaries as GONG and CARAVAN, Krautrock giants like CAN and AMON DÜUL 2, acid-leaning folksters like The INCREDIBLE STRING BAND as well as a healthy dose of Nordic folk music, TUSMØRKE present a dark cauldron of magical, musical potions.

The band's history dates to the mid-nineties and a budding Scandinavian scene of new progressive bands. The Momrak twins, who would become the core of TUSMØRKE, called their band LES FLEURS DE MAL. That group included future WOBBLER vocalist Andreas Prestmo and shared the stage with other up-and-coming bands such as WHITE WILLOW. Eventually the collective morphed into TUSMØRKE, whose music is darker, more intense and even primeval than their more delicate predecessor.

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TUSMØRKE discography


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TUSMØRKE top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.61 | 34 ratings
Underjordisk Tusmørke
2012
3.70 | 14 ratings
Riset Bak Speilet
2014

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TUSMØRKE Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

3.14 | 3 ratings
Den Internasjonale Bronsealderen
2013

TUSMØRKE Reviews


Showing last 10 reviews only
 Underjordisk Tusmørke by TUSMØRKE album cover Studio Album, 2012
3.61 | 34 ratings

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Underjordisk Tusmørke
Tusmørke Prog Folk

Review by apps79
Special Collaborator Neo Prog Team

3 stars The roots of this odd Norwegian band can be traced back in 1994 in Skien, evolving from the Psych outfit Captain Cumulonimbus and his Wondrous Cloudship, where Benedikt Momrak and Krizla played together.Tusmorke started as a Medieval Folk acoustic trio, developing into Electric Tusmorke in 1996 with the addition of future Wobbler member Andreas Prestmo on bass and into Les Fleurs Du Mal in 1997.After a short history full of live shows and a demo they split up with Benedikt Momrak and Krizla returning to their studies.More than ten years later the duo met with drummer HlewagastiR and Wobbler's Lars Fredrik Froislie and decided to rebirth Tumorske.Initially with Svenno on percussion and Reggie on keyboards, both replaced later by keyboardist Deadly Nightshade, they recorded their debut ''Underjordisk tusmorke'' at LFF Studio in Honefos at the fall of 2011, guided by the experience and instrumental help of Froislie.The album was released in November 2012 on Termo Records both in CD and vinyl format.

Tusmorke started basically as a Retro/Prog Folk band with strong references to the sound of the energetic side of JETHRO TULL, where Medieval rock experimentations met with Heavy Rock pounding and dark, psychedelic tunes.Lots of driving flute parts, psych-spiced guitars and rhythmic vocals with an IAN ANDERSON vibe complete a vintage-styled approach, backed up by a consistent rhythm section.Music performed under groovy flute-led ideas and tight executions.But the Norwegians offer more than this.They incorporated the sound of Mellotron deep into their sound and they even added some synths, electric piano and harsichord in moments to deliver extremely rich and semi-personal Folk Rock, only comparable with WHITE WILLOW.The vocal arrangements are excellent and the instrumental moves are played with passion and dynamics, while the combination of folky soundscapes with the sharp edges of Heavy/Psychedelic Rock is quite interesting and even genuine, especially when the Mellotron washes come in evidence.

While the LP issue is great and definitely interesting for all vinyl collectors, the CD contains a bonus of three stunning tracks.The first two were issued in 2011 as a 7'' vinyl by Fresh Tea in only 200 copies, featuring incredible Scandinavian Heavy/Folk Rock with both English and Norwegian lyrics and an absolutely original mix of flute-powered Prog Rock with Mellotron, strings and synthesizers, creating a very dramatic enviroment.But the most surprising piece comes from the 17-min. ''Ode on dawn'', released as a demo back in 1997 by Les Fleurs Du Mal, a great Scandinavian Prog Rock epic with a dramatic tone, not dissimilar to ANEKDOTEN, MORTE MACABRE or LANDBERK, with less pronounced flute work and more evident symhponic tendencies due to the omnipresent Mellotron and the definite KING CRIMSON influence in the guitar workouts.Nice and lengthy piece with melodramatic vocals and extremely powerful bass work.

The vinyl issue of ''Underjordisk tusmorke'' is respectable and partially inventive Heavy/Folk Rock with tight songwriting, retro nuances and an impressive level of energy, coming along the lines of JETHRO TULL and WHITE WILLOW, the CD offering is simply more than this, a documentary of Tusmorke's history with a more varied sound on ''Ode on dawn'' and a pair of stunning extra pieces.No matter which one you select, this debut by the Norwegians hippies is strongly recommended...3.5 stars.

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 Riset Bak Speilet by TUSMØRKE album cover Studio Album, 2014
3.70 | 14 ratings

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Riset Bak Speilet
Tusmørke Prog Folk

Review by Second Life Syndrome
Collaborator Post/Math Rock and Crossover Teams

4 stars It must be the time of year for prog folk releases, as Tusmorke (meaning "twilight") and Ian Anderson have both released new albums recently. If I have to be honest, though, I much prefer this new album from Tusmorke, "Riset Bak Speilet". These Norwegians have some inspired passages to share with us, even if it's done in a not-so-perfect fashion.

A very "full" sounding prog folk music, Tusmorke combine the standard organ and flute with other prog rock instruments to make a lusher soundscape. The music is rather dark at times, though never suffocating. More than anything, the music just meanders along pleasantly while taking some downward dips here and there. I rather like the use of the flute to keep a constant flow of melody, rather than just use it to play solos, like some other artists. Tusmorke likes to build a foundation of flute from which they can add more touches of other instruments to create an overall eeriness or beauty, whatever they desire.

The first and last songs are sung in Norwegian, I believe. The rest are mostly sung in English. I appreciated that, as an English speaker. The vocals are basically constant harmonization between two singers, and they perform very well. I honestly feel that their tone is perfect and wonderfully smooth. It adds a great touch to the already full feeling of the album.

"Riset Bak Speilet" features five great tracks, though I honestly do connect more with the English-sung ones. I especially love the deliciously eerie "Black Swift", as it's chorus is fantastically harmonized and the rest of the song is so delicately black and haunting. It also includes the best instrumental passage of the album. "Gamle Aker Kirke" is a wonderful, more upbeat track that I appreciate for its vocals, especially. "All is Lost" is also a flute- laden journey into darkness and momentum. I rather like its nuances and its atmosphere, as well as some well-timed signature changes therein.

Overall, Tusmorke have composed a wonderful album that will appeal to any fan of prog folk music. The middle three tracks are specifically good and more structured, regardless of the language differences. There is a certain maturity at work in this band's music, and a hypnosis that they try to engage, and succeed many times in creating. This is certainly an album worth hearing this year.

3.5 stars

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 Underjordisk Tusmørke by TUSMØRKE album cover Studio Album, 2012
3.61 | 34 ratings

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Underjordisk Tusmørke
Tusmørke Prog Folk

Review by Progfan97402

5 stars A great new discovery for me. Tusmørke was apparently formed in the 1990s, at one point they were going by the name of Les Fleurs de Mal in which future Wobbler vocalist Andreas Prestmo was a member of.

Underjordisk Tusmørke is their first full release, released on Termo who released the last two Wobbler CDs. Warning: this stuff might not appeal to the symphonic prog crowd, aside from the bonus cut, "Ode on Dawn", an old Les Fleurs de Mal recording that is full-on symphonic prog. The rest is basically retro psychedelic folk prog, it's rather song-based. There is a strong Nordic feel in the music, and in fact often reminds me of a Nordic Jethro Tull, especially the flute playing. I also get reminded a bit of the British group Purson, a retro psychedelic act lead by Rosalie Cunningham, except there's no female vocals, it's all male vocals, sung in English with an accent, although there are two songs in their native Norwegian. I've heard references to Camel and Caravan, but I really don't notice that. I do notice the occasional Canterbury-type fuzz organ. The music also gets me thinking of Wobbler's last release Rites at Dawn, but not symphonic. It helps that none other than Lars Fredrik Frøislie of Wobbler and White Willow makes an appearance here providing Moog, Hammond organ, Mellotron, and Chamberlin M1 (he bought the Chamberlin from an American seller on eBay, and as far as anyone knows, I'm sure Lars included, the only Chamberlin in Norway). This would have been the perfect release for Rise Above Records, although that label had specialized in heavy metal for years, the last several years they've been including several retro-psych and prog acts on their roster including Astra, Purson, and Diagonal. But thanks to the Wobbler connection, it's little surprise it was released on Termo. This is full of great songs like "Fimbul", "A Young Man and His Woman", "The Quintessence of Elements" and "Høstjevndøgn". There are also three bonus cuts, one of them the wonderful "Salomonsens Hage" and "Ode on Dawn". "Ode on Dawn", at 17 minutes, dates back when they called Les Fleurs de Mal. They go full-on prog, and without a doubt they owned a Mellotron which they put to good use here. As mentioned before, current Wobbler vocalist Andreas Prestmo was in this early incarnation, and it certainly sounds like him! The music is something like Yes, King Crimson, and perhaps Sinkadus. The sound quality isn't the greatest though, it has a more demo cassette quality to it. But it would have been nice if they recorded albums then, if anything else they recorded was on the level of "Ode on Dawn", they'd be hailed as another great retro Scandinavian prog of the 1990s (maybe not up there with Änglagård, after all, what is, but still great).

Some of the prog purists might not take too this, given it's more melodic and straightforward approach, but then this is basically psychedelic prog folk. For me this is nothing short of amazing, something from 2012 that sounded like it came out in 1970 (aside from the occasional synths which are more mid '70s sounding). I can't believe stuff like this is still being made. Makes you glad there are artists out there who detest AutoTune. Also you can tell these guys are hardly keen on groups like Marillion or the Flower Kings. Highly recommended for those who want more great retro psychedelic folk prog!

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 Den Internasjonale Bronsealderen by TUSMØRKE album cover Singles/EPs/Fan Club/Promo, 2013
3.14 | 3 ratings

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Den Internasjonale Bronsealderen
Tusmørke Prog Folk

Review by Conor Fynes
Prog Reviewer

3 stars 'Den Internasjonale Bronsealderen' - Tusmørke (6/10)

Though it may be known better for its metal exports, Scandinavia has been a fertile ground for progressive rock. As the rest of the progressive world began to slumber with the onset of the '90s, the Nordic countries began to enjoy a golden age of progressive rock. Nowadays, Sweden's Anglagard and Anekdoten, Finland's Höyry-Kone and Norway's Wobbler and White Willow have each produced albums that might beckon the 'classic' label. With this in mind, it was little surprise to hear such vibrant progressive rock in the form of Tusmørke last year and their debut, "Underjordisk Tusmørke". Though the album's vintage sound could have otherwise blended with a hundred other like-sounding acts, Tusmørke injected the tried-and-true 'classic prog' formula with a dark atmosphere and penchant for the macabre more often heard on horror film soundtracks. It was this fusion of the fresh and familiar that left such an impression on me. Less than a year since the day I first laid ears on their debut, the band have summoned new material, this time in the form of a two-track 'maxi single'. "Der Internasionale Bronsealderen" represents a healthy advance deeper into the realms of the otherworldly and occult, but this bite-sized chunk of Tusmørke's music lacks the sense of completion that would have recreated the wonder of their debut.

Upon first hearing Tusmørke's debut, I remember interpreting their sound as a surreal take on the Jethro Tull school of progressive folk rock. Vintage hard rock timbres are mixed into a witch's cauldron with swirling flutes and psychedelic arrangements. Though not novel ingredients to the progressive rock stew by any stretch of the imagination, I have heard few contemporary bands that manage to make the classic style sound work so well in their favour. Not only were the compositions on "Underjordisk Tusmørke" excellently written, but the band's execution and performance standard spared no expense. The production enjoyed a rich, organic quality to it, and all of the instruments sounded as if Tusmørke had travelled back in time to rescue them from the classic era. Possibly above anything else however, it was Tusmørke's somewhat creepy and surreal atmosphere that really sold me into their sound. It's that atmosphere that "Der Internasionale Bronsealderen" capitalizes on. Described as a tribute to the Bronze Age, Tusmørke have shifted their focus from alchemy and psychedelic storytelling to the occult reverence of Egyptian deities and mythological tropes. Though their Nordic folk rock palette remains the same, this teleportation to another place and time results in a more exotic atmosphere than on Tusmørke's first time around. "Kairo kicks off the EP with a thick Middle-Eastern atmosphere, casually mixed into the European timbres. Dark and foreboding, "Kairo" takes Tusmørke ever closer to recreating the atmosphere of an ancient pagan ritual through prog rock. "En Verden Av I Gaar" represents a lighter, more traditional side of Tusmørke's music, a dainty piece that spares no opportunity to throw in an extra dose of flute or mellotron. Though "Kairo"s fairly unsettling atmosphere may turn off some listeners, "En Verden Av I Gaar" should make for a more enticing and accessible experience.

Above all else, Tusmørke once again succeed on a performance level. It's by now rather cliché (not to mention something of a mixed compliment) to say that a piece of contemporary music truly sounds like it could have been from another period, but it's definitely the case here. Everything down to the rich production gives the impression of 'vintage'. Though Tusmørke would have undoubtedly given a greater impression with a stronger sense of innovation, there's rarely the feeling on "Der Internasionale Bronsealderen" that the band is being too derivative with it. It's most certainly a tribute to the past (in more ways than one), but Tusmørke enjoy a sense of present-day relevance in making this style more music more darkly atmospheric and severe. Tusmørke managed to achieve all of this and more with the debut, however.

"Der Internasionale Bronsealderen" maintains a sturdy par with "Underjordisk Tusmørke" in every way except one. While the composition benefit from Tusmørke's excellent, nostalgic arrangements and musicianship, the songwriting lacks the urgency of the debut. In spite of (or perhaps as a result of) the two tracks' ten minute length, I do not get the impression that either composition expresses anything of a truly grand nature. As bright and intelligent as the arrangements are, the melodies are rarely memorable, and the song structures seem to be nearly-rhapsodic, never reaching that 'full circle' satisfaction that most longer pieces require to succeed. "Kairo evokes a convincing atmosphere and feeling of dread, but "En Verden Av I Gaar" leaves a surprisingly weak impression on me. Considering the excellent musicianship and impressive dedication to a specific style, Tusmørke don't impress me as much here as they did with the debut. Thought "Der Internasionale Bronsealderen" could make for something of a disappointment depending on a listener's preconceived notions, their unique charm and impressive musical chops have me feeling very optimistic for this band's future.

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 Underjordisk Tusmørke by TUSMØRKE album cover Studio Album, 2012
3.61 | 34 ratings

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Underjordisk Tusmørke
Tusmørke Prog Folk

Review by b_olariu
Prog Reviewer

3 stars From Norway comes Tusmørke meaning Twilight in english is a new band in prog circles, but the musicians involved here are already quite known in this field. The band initialy was called Les Fleurs de Mal and was one of the bands from the '90's with potential conducted by Momrak brothers. The voice of Les Fleurs de Mal - Andreas Prestmo will become the future voice of Wobbler , while Momrak brothers will change the name in Tusmorøke. The first album was released in fall on 2012 and was named Underjordisk Tusmørke meaning Subterranean Twilight. The music offered is progressive folk with some psychedelic passages, very retro in sound, very similar with Jethro Tull (Stand Up or Benefit era) or with Incredible String Band but with that typical nordic feel with a more darker atmosphere. Some great parts here like on first 2 pieces, Fimbul and Watching the moon sail out of the east, great voice aswell and very nice flute parts. Another highlight is The quintesence of elements againa very well performed prog folk tune where the voice and the flute are very well melted with some keyboards, very nice. A nice album with pleasent moments for sure, the psychedelic moments are well integrated in the prog folk passages giving in the end a sound similar with bands from circa 1972, only the production betrays the year of release. 3 stars rounded to 3.5. The CD version has 6 pieces, plus 2 bonuses and one tune from Les Fleurs de Mal period.

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 Underjordisk Tusmørke by TUSMØRKE album cover Studio Album, 2012
3.61 | 34 ratings

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Underjordisk Tusmørke
Tusmørke Prog Folk

Review by BrufordFreak

3 stars Ian Anderson playing with The Moody Blues. Richard Sinclair palying with Genesis. Arthur Brown playing with early King Crimson. Camel playing Canterbury. Imagine those combinations and you get a feel for the songs coming from this album. A Richard Sinclair-like vocalist singing over the presence of flutes, Hammond organ, and a kind of militaristic early-Genesis-/Michael Giles-like drumming--it all connotes "retro!" Though Tusmørke has done quite an admirable job blending the styles and sounds of earliest prog rock, they have, IMHO, fallen a bit short in terms of "meat" or, rather, substance. There's just not enough interesting, engaging, mind-blowing new music here to keep the listener coming back.

What follows are my impressions of where these songs sound like they originate as well as my usual ratings.

1. "FImbul" (6:29) JETHRO TULL (6/10)

2. "Watching the Moon Sail out of the " (5:59) CARAVAN + GENESIS (7/10)

3. "The Quintessence of Elements" (7:53) early KING CRIMSON + ARTHUR BROWN (7/10)

4. "A Young Man and His Woman" (5:00) ARTHUR BROWN + J TULL (7/10)

5. "A Nightmare's Just a Dream" (7:39) J TULL + MOODY BLUES (7/10)

6. "Hostjevndogn" (7:50) (sung in Swedish) BLACK SABBATH (7/10)

7. "Salomonsens Hage" (5:03) (sung in Swedish) in the second half we get some Hackett-like volume controlled electric guitar. (7/10)

8. "Singers & Swallows" (4:16) CAMEL + CARAVAN with a J TULL ending. (8/10)

9. "Ode on Dawn" (17:28) Is almost embarrassing. Did the group compose and record this one on their first day together? Back in sixth grade? (5/10)

Excellent recreation of many key sounds from the dawn of prog rock--and all composed and performed at a very high level of competency. What seems to be lacking, however, is within each song there is not enough variation and development, the songs seem to plod along far too long without really exciting or hooking the listener in. There is excellent clarity of all instruments, great players all, but the soloing (or lack of) coupled with interminable repetition tend make the songs grow old quickly. The music throughout lacks those emotional, adrenaline-pumping soli, dynamic key and tempo changes that make us want to come back. However, this is a band I will watch: They could mature to the next level in which they could produce something enduring and original. Talented ears, talented instrumentalists, ambitious composers. Keep on progging!

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 Underjordisk Tusmørke by TUSMØRKE album cover Studio Album, 2012
3.61 | 34 ratings

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Underjordisk Tusmørke
Tusmørke Prog Folk

Review by Conor Fynes
Prog Reviewer

4 stars 'Underjordisk Tusmørke' - Tusmørke (8/10)

Perhaps as far as the 'traditional' sound of progressive rock goes, I might argue that the mantle was passed from Britain to Scandinavia somewhere in the 90's. Certainly, there are more American progressive bands nowadays, but Sweden and particularly Norway have earned the title for the sheer concentration of high quality 'vintage' prog rock that has come out of the Viking lands over the past couple of decades. Tusmørke (Norwegian for Twilight) is a relatively new name on the scene, although the musicians are already well established in the modern progressive canon. With musicians from Momrakattakk, Wobbler, and Arabrot, fans of Norway's prog scene will no doubt hear some familiar sounds on "Underjordisk Tusmørke". Many bands have attempted to go for the nary-obtainable classic sound and atmosphere of the legendary seventies albums and fail, but Tusmørke bring the richly organic sound of the past era to 2012. Combine that with clever compositions and slick musicianship, and you have one of the strongest vintage prog rock albums of the year.

Vintage, vintage, vintage. From the first time hearing "Fimbul"- the album's opener- it was the only word that came to find. It wasn't merely as a result of the folkish, psychedelic musical style either; Tusmørke take the seventies spirit to heart with the production as well. The recording sounds freshly ripped off of a long-forgotten vinyl in an obscure record store, providing a sense of sonic clarity while still managing to stay true to the analog sound. "Underjordisk Tusmørke" effectively combines many sounds of the Jethro Tull-led folkish progressive movement with spacey overtones and light jazz flourishes. Particularly with regards to the mid-range vocal work and heavy flute presence, Tusmørke fit somewhere in between Jethro Tull and Focus. Throughout the album, there is the sense that Tusmørke prefer to emulate, rather than adopt a sound of their own. Of course, originality was certainly not the first thing on the band's mind. More adventurous listeners may be put off by Tusmørke's intrinsically retrogressive approach to prog, but their execution makes it more than worth the experience.

Tusmørke's atmosphere is rooted deep within fantasy. Although nostalgia is the primary emotional drive here, there is a decidedly spooky quality about the music, as if Tusmørke sought to plunge their listener down the rabbit hole. The lyrics- mostly in English- reinforce this 'unknown fantasy realm' mood; "The Quintessence of Elements" focuses in on the subject of alchemy, whereas "A Nightmare's Just A Dream" can speak its piece with the song title alone. There is a satisfying depth to the compositions; Tusmørke tend to let the warmly arranged vocals and showy flutework dominate the music's forefront, but the real joy of Tusmørke lies in the background. The drummer (listed as HlewagastiR) lives up to the high expectations I had from his work in Wobbler, and delivers the highlight performance of the album, infusing jazzy rolls into a precise and technical style of rock percussion.

On top of the album-proper, there are three bonus tracks included. Although "Underjordisk" would have felt overdrawn had they been included in the album, they generally manage to hold up to the par of the studio material, with the would-be epic "Ode on Dawn" showing great promise. Sadly, these bonus tracks are never given the same attention and care in recording that the main album is, although the potential is certainly left open for these pieces to be on the band's tentative second record. These Norwegians have not explored any new territory here, instead developing upon what has been built up in the past. The golden quality of Tusmørke lies in the wonderful execution they have given their work. Vintage-inclined 'progressive' rock is nothing new, but it's rare that a band manages to refine their studio art to genuinely analog-glory. It's a great trip, and for lovers of this genre's roots, it would be a shame to pass this up.

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