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.

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/