TUSMØRKE

For as long as I've been running this site, I have repeatedly praised Scandinavia's thriving progressive rock scene. In particular, I enjoy when acts put a uniquely Nordic spin on prog, rather than just doing some (admittedly quite good) Anglo-prog. Hailing from Oslo, Tusmørke is a band I was surprised to find I had not yet covered. They're prolific, with Hestehoven (The Horse's Hoof) being the band's twelfth full-length release in eleven years. 

On top of that rapid release schedule, they're distinctive. Other bands might incorporate Scandinavian folk into their music, but it can sometimes be superficial or somewhat sparingly utilized. Tusmørke's songs sound like they begin life as folk songs before being given a rock rhythm and an abundance of keyboard effects. The band's music also steers clear of the self-serious dourness that can easily befall this subgenre. Songs are frequently peppy, bouncy, and light-hearted. (I do not speak Norwegian, so I wouldn't be surprised if the band dabbled in some darker lyrical themes for contrast.) One of their releases from 2017?Bydyra?was even explicitly tagged as children's music.

Hestehoven opens with "Cycle of the Gylfaginning". (The Gylfaginning is the first part of the Prose Edda.) Intricate flute and keyboard lines lead the charge on this song, and there is an irrepressible energy to it. Piano flourishes add a dash of jazzy flavor, and I really like the subtle audio effects applied to the vocals. This is also one of only two songs to be sung in English on the album.

The title track comes next, and it's got a more sedate opening. The music is airier here, with some warm reeds deployed nicely in the background. As the song picks up, it's got a bouncy, jaunty feel with a vaguely-Medieval aura. During the mid-song instrumental section, the band deploys a wiggly, squeaky synth lead that provides some otherworldly contrast to the folk backbone; and the organ passage has an eerie, Eastern Mediterranean feel.

"Den behornede guden" ("The Horned God") immediately begins as upbeat and optimistic-sounding. Subtle plucked strings in certain moments underscore this mood. The keyboard tones are rich, and the bass playing is especially intricate. In contrast to this happy opening, the band occasionally dips into a darker, lurching theme beginning around halfway through the piece.

There's a fun, mildly funky groove to "Åndemaneren" (The Spirit Manner) that is complemented by the lightly-distorted organ that's used throughout. It's the shortest song on the album, and it works well as a fun little interlude.

"Jeg klumser deg" ("I'm Stumping You") has the folkiest instrumentation yet, with violin, flute, and acoustic guitar providing most of the backing. There's a loose, fun, call-and-response vibe to the verse, and Tusmørke keeps slowly fleshing out the backing track. Chimes, keys, and electric guitar gradually enter. This song is a stellar example of Nordic prog-folk, and it reminds me a lot of the Swedish band Kebnekaise at moments.

Spooky strings and pared-back instrumentation gives "Kyprianos" ("Cyprian") a haunting atmosphere. It's tense and tight, and I especially like the rhythm section's playing on this cut. Things slow down in the second half, and the band really doubles down on the eerie mood. It sounds like a horror film soundtrack, or maybe guitarless doom metal, if that makes sense.

Hestehoven ends on its other English-language cut, "The Wicked Ways of Witches and Wizards". Strains of psychedelia come together with the band's usual prog-folk ways on this relatively-guitar-forward composition. Tusmørke fluidly shifts between folky rhythms and slower, creepier passages. This is an exceptionally strong way to end the album

Tusmørke's newest album is another strong entry into their discography. The music is fun, diverse, and distinctive. The fusion of progressive rock and Nordic folk feels natural, and all the individual songs are well-put-together.

Review originally published here: theeliteextremophile.com/2023/08/28/album-review-tusmorke-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.

Tusmørke followed their children's album Bydyra with Fjernsyn i Farver which was back to the more mature music style and subject matter. They recorded a second children's album with Leker for Barn, Ritualer for Volksne and you can't think of a more 180 turn than to their followup Nordisk Krim. It's because it's full of gory and gruesome lyrics worthy of countless death and black metal bands. The concept behind the album stems from the Momrak brothers visits to Danish museums during their childhood depicting dead bodies in bogs from ancient ritual sacrifices. Seems this practice was done all over ancient Europe, and they mention several important remains including Lindow Man in England (which I knew about in the 1980s BBC TV series The Celts, which features a pre-fame Enya providing music) on the song "Moss Goddess". Anyways this is perhaps their most grand and epic album they've ever done, with the most creepy and graphic lyrics they've ever delivered! The Momrak brothers Benediktator (Benedikt) and Krizla (Kristoffer) are present as always, with HlewagastiR (that is Martin Nordrum Kneppen of Wobbler on drums). and with Lars Fredrik Frøislie absent, we get Haugebonden Gode Gullstein on keyboards, who has a much more scaled-down gear setup, sticking mainly to a couple of synths, Hammond organ, and Mellotron (likely an M4000D which is not tape-driven but sampler keyboard that samples Mellotron, kind of like if M-Tron was a standalone keyboard instead of a computer app). Plus we get Åsa Ree on violin, who also appeared on Wobbler's new release Dwellers of the Deep. With music clicking at over 80 minutes this is a double album in every way and I believe this is the lengthiest release they ever done. The first three cuts are the most accessible, with "Age of Iron Man" being their idea of a "hit single" (but never sacrificing their dignity, thankfully) and a promo video was made ahead of the album's release. As usual the video is very interesting and the band always inserting their humor in their videos. "Mumia" sounds like Tusmørke in a nutshell as it's very typical for them. "Dog's Flesh" is an instrumental piece and a really eerie sounding piece. They really get trippy here towards the end where I can see comparisons to Krautrock being made here. Then comes "Moss Goddess". I don't know if it was intentional but I swear in parts of the song they're spoofing the lyrics to Cat Stevens' "The First Cut is the Deepest" with lyrics that go "The last gasp is the deepest / Death's kiss is the sweetest" Regardless if the band had "The First Cut is the Deepest" or not recording this piece I can't help but think they're parodying the song in regards to ritual sacrificial bog victims in Denmark. Plus they reference several major remains (including the ones in Denmark including I presume the ones they seen in childhood) asking if they died for nothing. "Et Moselik" and "Hoksejakt" are the only two songs song in their native Norwegian, the latter being a rather upbeat piece which seems strange giving the morbid nature of the lyrics to the album. The final is the 17 minute "(The Marvelous and Murderous) Mysteries of Sacrifice" clocks in at 17 minutes and I really dig those flute passages and the narrations. The narration really sends chills to my spine. Most of the rest of this piece consists of jamming. In conclusion this is a really amazing album, but it's also not the most accessible. As the album progresses the songs get longer and weirder. This is truly the band at their most grand and epic. Plus those lyrics are certain to drive away dinner company. This album really comes highly recommended!

Update: Repeated listens only review how such an amazing album this really is. It really grew on me. I'd even go as far as saying this is their crowning achievement, with some of the finest material they ever presented us. I've noticed a stronger VdGG vibe in the music this time around. I'd even give this a five star rating if it weren't for the fact it's not exactly the most accessible album out there. It's sort of like Harmonium's L'Heptade in that manner, a very difficult to get into masterpiece (although of course they're very different). Both double albums. If you got scared off Tusmørke because of one of their children's albums, you need to reconsider them as those were just a couple of untypical side-projects. Nordisk Krim may not be for Tusmørke newbies (try Underjordisk Tusmørke, Ført Bak Liset, or Fjernsyn I Farver first) but for an epic adventurous ride this is just what you need!

Riset bak speilet (= 'The Birch Behind the Looking Glass') is the second album by the Prog Folk group Tusmorke (= Twilight) from Oslo, Norway. Apart from Bydyra (2017) which, as music from a children's musical, gives a completely false picture of the band, I'm not very familiar with the other albums. By the way, interesting that their record company at this time was Svart Records from Finland.

The CD edition contains three bonuses, two of them pretty long, stretching the CD length to 71 minutes. The album contains lyrics both in Norwegian and in English, and the Norwegian lyrics are translated in the booklet. 'Offerpresten' (= 'The Sacrificial Priest') is an uptempo song full of tradition-honouring folk prog elements reminiscent of Jethro Tull's Songs from the Wood era. Flute and vintage keyboards sound very delicious, but I'm not so fond of trumpet and sax -- luckily this is their sole appearance on the album. The instrumentation is the fullest on this hectic opening track. The slower and more calm 'Gamle aker kirke' is about an old church and is confusingly sung in English. Nice, moody melodies and a beautiful retro soundscape featuring lots of flute and some Mellotron. This is exactly what a Prog Folk enthusiast likes to hear. 'Black Swift' has a bit bigger emphasis on the chorus with vocal harmonies reminding of the late 60's stuff of e.g. The Moody Blues and Omega.

Dark-toned 'All Is Lost' has heavy guitars and is actually the dullest composition to me, despite some little signature changes and nice flute work. The 15-minute title track (the second song with Norwegian lyrics) is the longest and the most dynamically progressive. At times I wish there were less vocals, but the instrumental sections are all the more effective.

The first one of the bonuses sounds very Medieval: I can imagine hooded monks accompanied by a small group of musicians who at the end wander into slightly experimental gloominess. The two pieces of roughly 10 minutes length rival the main album's highlights. So, even if you're a vinyl enthusiast, it's definitely wiser to have the CD in this case. This is among the best Prog Folk albums of this decade, with a full blooming of both sides of the term.

This album has two preceding reviews, both surprisingly favourable 4-stars. Therefore I feel I have to bring the more negative point of view as a warning to anyone who is trying to decide whether to buy the CD or not. The crucial question is: can you imagine enjoying a happy-go-lucky CHILDREN'S MUSICAL (in Norwegian), with the children's choir backing on most of the openly naiive songs? Because, if you are generally not a friend of children's music, chances are that this music will irritate you too. This is not progressive rock for adult listeners, this is primarily children's music. Yes, the instrumentation does lean towards Prog Folk, there are flutes, Glockenspiel, Mellotrons and vintage synthesizers, but the vocals are VERY central and VERY pure children's music, not only for the presence of children's choir but also for the irritatingly naiive singing style of Benediktator (as the Tusmorke vocalist and multi-instrumentalist wants to call himself). The few vocal-free moments and perhaps also some choir- free moments with B's vocals only, are like glimpses of an album that a Prog Folk fan might wholeheartedly enjoy.

Some background information: the music is taken from two children's musicals staged at flautist-vocalist Krizla's workplace, a primary school in Oslo, in 2015 and 2016. For Tusmorke it "has been one of several long-term plans for expanding the creative output of the band into new areas". The musical was to be "about urban wildlife, the skyrocketing prices of housings in Oslo, the financial crisis, social issues, global warming, and good and bad magic." The main characters in the story are some animals that lose their home tree, or something like that. Some songs like 'Rottekongen' (= Rat King) are extremely irritating in my opinion. The choruses are very very simple and heavily repeated. Moreover, nearly all songs are rather similar with each other. I'm afraid I'm sounding like a children's hater -- which I'm definitely not -- but to me the continuous presence of the kid's choir, and the childish singing style of Benediktator, really eats the music's potential.

Frankly, I have listened to better children's music -- and also more progressive; especially Finnish children's music from the early seventies -- when it comes to the eclectism in compositions. The playing, ie. the Prog Folk arrangement, is charming, but unfortunately it has a minor role in this music. What a pity! Subjectively I can't rate this musical recording any better than two stars as I choose not to re-listen it ever again, and I bet that an average fan of Tusmorke's 'adult' output will be disappointed. But if you're a friend of children's music and enjoy the plain bright naivety in it, or if you wish to find some prog-related children's music for your kid(s), then by all means get it.

Norwegian band TUSMORKE has been a going concern for more than 20 years, but haven't really established themselves as recording artists until the past five years or thereabouts. They have been a creative band for the past few years though, and following their 2012 debut album they now have seven full length studio albums to their name. "Osloborgerlig Tusmorke" is the most recent of these, and is the second studio album released by the band in 2018.

Tusmorke is a band that have many sides to them, and on this particular occasion they have assembled a collection of tunes that celebrate the spirit of vintage era progressive folk rock and vintage era symphonic progressive rock blended into and alternating with the earthen and pastoral landscapes explored. Timeless progressive rock with a vintage feel to it, and with a clear orientation to the folkier parts of the progressive rock universe. An album well worth a check if this is a description that strikes you as interesting.

One can't expect ordinary things from a far-from-ordinary band as Norway's Tusmorke. The fact that is the second album they release in the same year and, mostly, that Osloborgerlig Tusmorke: Vardoger og Utburder Volume 1 is consisted of 'curios', demos, outtakes and songs that weren't qualified for previous ones, would be more than enough to not anticipate a remarkable outcome. Let's be honest, albums of previously 'unwanted' material usually address to diehard fans only. Surprisingly, Tusmorke took a very special care of this material in order to present a solid and coherent album and they succeeded this beyond any doubt.

The first way to achieve this was by creating a conceptual basis for all the songs. As a result, this is a loose but a real concept album, one that explores the history and myths of the beautiful city of Oslo. It's a simple but very clever way to thematically unify songs that could otherwise be unrelated. This idea is especially assisted by Tusmorke' s musical style which actually reminds or remains strongly bonded with the notion of an undefined past.

Respectively, their musical approach furthermore projects that eerie and elusive sense of times bygone. There are no new elements added to their established progressive folk style but this album's perspective seems to be focusing slightly more to the folky angle of their music. For example, only 3 tracks feature standard drums while the majority is based on percussion. There are very few distorted keyboards and as a result, minimum electric guitar imitation (which is something like a trademark for the band) and the whole vibes are more laid back, colourful, cheerful even in cases like ''Djeveren fra Oslo''. It seems that some of the darker sides of Tusmorke were left behind for this album but that feeling of magic and mystery remained intact.

The vibes from Tusmorke' s music is always eccentric albeit their songwriting feels normal and solid. Their eccentricity lies in the fact that, unlike many other 70s-inspired bands, Tusmorke don't sound like reproducing or copying sounds they love. There is truly something timeless that follows them instead, the collective energy of a band that convinces the listener they are trapped in a timespace of their own, like a mythical psych/prog/folk rock of an alternative reality. Tusmorke would be equally 'outsiders of great value' 40 years ago as they are in the present.

The quintessence of Osloborgerlig Tusmorke: Vardoger og Utburder Volume 1 hides in its wonderful arrangements. As already said, the compositions are melody-oriented and they hold no surprises, twists or turns. They invest on the sonic warmth instead, with excellent use of keyboards (with some of the best key instruments of all time as always) and especially wind instruments. And while the flute is a protagonist throughout the album, it's the marvelous voice of the clarinets that steals the show. The 11 minutes of the final track ''Gamle Aker Kirke'' prove my claim, in a composition that has to be considered the album's highlight.

A truly unexpected album, as the odds seemed to be against it, Osloborgerlig Tusmorke: Vardoger og Utburder Volume 1 showcases once more that Tusmorke is one of those bands which, while bringing nothing new to prog music, carry a very strong personality instead. The listener can be convinced and this is what actually matters. And as Oslo waits the travelers to solve its riddle, a riddle formed among drakkars, modern architecture, fancy clubs and gloomy gothic cathedrals, Tusmorke just add to the mystery. They add that distant echo that comes from somewhere deep in Oslo's woods, wherever these might be.

Norwegian band TUSMORKE was formed back in the middle of the 1990's, but didn't actually become recording artists until 2012. Since then the band have grown considerably in status and stature, with half a dozen albums to their name at this point. "Fjernsyn i Farver" is their most recent studio album, and was released by Norwegian label Karisma Records in the spring of 2018.

While "Fjernsyn i Farver" doesn't strike me as the most obvious buy for those with a fascination for the folkier landscapes of the progressive rock universe, this is an album featuring details that crowd would enjoy and to some extent this aspect of the band is one you need to enjoy, just like the striking vocals. But as far as I'm concerned, this is a production that by and large should find most favor among those who find bands such as Atomic Rooster and Black Widow to be compelling. For people with that leaning, that haven't come across Tusmorke yet, this production may well feel like a revelation when uncovered.

Norwegian band TUSMORKE was formed back in the middle of the 1990's, but didn't actually become recording artists until 2012. Since then the band have grown considerably in status and stature, with half a dozen albums to their name at this point. "Bydyra" is their fifth studio album, and was released by Norwegian label Karisma Records towards the end if 2017.

Music made for children are one of those details of life that can give some people headaches merely by mentioning it. Car vacations with the same album of simplistic, limited musical dandruff repeated over and over again a real life nightmare I imagine a few are still familiar with, even if this is mainly an experience from a bygone age by now. Tusmorke proves quite nicely that music of this kind doesn't have to be as limited as certain international corporations wants us to believe, and that music of this kind can be an interesting listen also for adults. Primarily one for the children this one, but also an album that prog loving parents can safely play in their car or at home without being in danger of getting a migraine. As far as style is concerned, this is progressive folk rock blended with a children's musical. A blend that is rather more appealing than what you would expect.

This was the debut for this Norwegian band released in 2012. Quite a vocal dominated affair really but with some killer instrumental work throughout. If it wasn't so heavy on the vocals I would be considering a higher rating. Still I went from being kind of amused with what I heard after the first couple of listens to not being able to wait to play this album once again. Very melodic and catchy throughout. This band formed from the ashes of LES FLEURS DU MAL who never released an album but we do get a 17 1/2 minute bonus track by them that is the best song on this recording and it doesn't sound much like the same band as we get Andreas the current vocalist for WOBBLER singing and a much more Swedish sound in my opinion with the mellotron, guitar, upfront bass and melancholic sound. I agree with Andy from Planet Mellotron that this bonus track is almost worth the price of admission alone.

I don't usually even comment on bonus tracks unless they are exceptional and there's another one by TUSMORKE called "Singers & Swallows" that would be second favourite track on here, go figure. The main album features plenty of vintage keyboard work from WOBBLER's own Lars Fredrik Froislie as he brings in mellotron, spinet, chamberlin, clavinet, organ, synths, glockenspiel, musical box and the kitchen sink. He also produced and recorded it. Again the main album has lots of vocals, harmonies and catchy choruses which usually isn't my thing but I was won over fairly quickly. The album's title means "Subterranean Twilight" and this is a mellotron album for sure.

"Fimbul" is catchy with flute over top then the vocals join in. Shades of mellotron and chamberlin too along with synths. I like when it calms down after 2 minutes with mellotron, bass then flute. Reserved vocals join in along with keys. It all kicks back in around 3 1/2 minutes. Another calm with vocal melodies after 4 1/2 minutes which sounds really good.

"Watching The Moon Fall Out Of The East" has this excellent melancholic intro with flute, mellotron and more as these relaxed vocals join in. This is a top four track for me. Reminds me of SINKADUS and ANGLAGARD actually during the more laid back sections. Love when it picks up as well 4 minutes in especially that rickenbacker bass. We get flute, guitar, drums and more. It picks up even more late with vocals and vocal melodies. What a song!

"The Quintessence Of Elements" has melancholic flute to start as bass, drums and more take over with vocals. Catchy and melodic and we get organ on the chorus. A beautiful instrumental section starts after 2 minutes then it picks up before the vocals return. "Young Man & His Woman" is very uptempo and vocal led with plenty of flute and organ. I like when it settles down after a minute without vocals. It kicks back in and we get vocal melodies here and some passion in those vocals too. Themes are repeated.

"A Nightmare's Just A Dream" is laid back to start with flute, prominent bass and a beat as the vocals join in. It turns fuller a minute in, in fact it gets quite intense really. It settles again as contrasts continue. Check out the mellotron before 2 1/2 minutes and that incredible section starting before 6 minutes instrumentally. Love that bass!

"Hostjevndogn" features vocals in their native language and this is a top four song for me as well. It's more relaxed with drums and flute standing out to start then reserved vocals join in. Man that instrumental section sounds so good beginning 3 minutes in and ending around 4 1/2 minutes. This song reminds me of SINKADUS. "Singers & Swallows" one of the three bonus tracks is a top four. A chilled tune really with flute, a beat, upfront bass and more. Such a beautiful track. Some nice vocal melodies along with mellotron too.

"Ode On Dawn" is a classic and as I said in the intro I want more! Hopefully there is more archival material from this early incarnation of the band under the name LES FLEURS DU MAL. The percussion gallops along early on with the sound of wind as the flute arrives. The percussion ends but not the wind or flute. Vocals from Andreas before 1 1/2 minutes along with mellotron, bass, guitar and some brief spoken words. Flute, a beat and mellotron kick in too and what a great sound as it builds with that in your face bass. Vocals are back 5 minutes in as it settles with lots of mellotron and bass. A calm with wind before 7 1/2 minutes as the drums and bass build. Guitar joins in along with flute. So good! Vocals are back before 13 minutes but again like the first two times they don't last long as the guitar, bass and drums lead. So Swedish sounding with that mellotron. The percussion gallops away to end this stone cold classic.

So not counting the bonus tracks a solid 4 stars and an enjoyable release.