Dawn of Oberon by Tusmørke

The band went by several names (Sativa, Withywindle, Elektrisk Tusmørke) before solidifying itself simply as Tusmørke in 2009, sharing band members with other Norwegian prog acts like the great Wobbler and the fantastic Jordsjø, bands I adore.

Before moving on to my review, I'd like to share the self-explanatory text on the album's inner sleeve, which Eink Storesund, who signs himself as "Minister of Scandifuturist Affairs," and who in real life is a Norwegian intellectual, podcaster, and essayist whom the band calls a "kindred spirit," uses to introduce the album.

“Tusmørke, arguably the most atavistically trollish, acid drenched musical act ever to come out of the kingdom of Norway makes yet another etemal retum, this time to take the fellow traveler on a subterranean expedition to the kingdom of the Fair Folk! Regardless of whatever you or the band itself might think of the monarchy (among elves, men or otherwise) let this album serve as a land acknowledgement to these most eldritch denizens, who are never far between, yet always in-between: sometimes right beneath our feet, but just as likely to appear in the seat next to you on the bus when you least expect it, perhaps to seduce and take you into the great music mountain with them. While never quite far away, in truth the fairy comes to you and not the other way around, whether you like it or not. Like renaissance men, or even the so-called superstitious peasants of the rustic near past,, we must allow ourselves to entertain the reality of things unseen. Like the "stray sod" of Irish folklore - which was effectively a sort of booby trap or fairy land mine that threw unsuspecting mortals, as soon as they stepped upon it, into eldritch stupors where time and space, fantasy and reality became trifling distinctions - let the fairy ring of this record launch you into the divine madness governing the meads of Lord Oberon!

An exhortation from the ancients:

Follow spores of agéd Norse

To the interface of inner space

Fly on a trip on the Spearshaker's tip

Make every yawn a break of dawn

Pry it open, give it a few spins. Soon you might find a strange communion with the ordinarily hidden folk, and find yourself transported to the mycelial, fortunate lands bordering the obvious.

A whole universe may hide beneath a rock, between the floors or walls of your house, or even wedged behind a public urinal. As an aside, and to illustrate the unending eldom teasing the marginalia of our ontology, the unspeakable cults of the Scandifuturists, taking the common expectation that the Fair Folk inhabit every twilight, every liminal zone, leaving no niche unmolested, it is my personal duty to remind you to lend some thought to the less fortunate populaces of effin hierarchies.

Namely the Piss Elves who were cursed by God (at least one, if not several) with a bottomless thirst that is to endure unti the world's end. So if you find yourself rocking out to this album in particular, and see the need to answer a call of nature. Why not throw a penny or two down the urinal as a token of appreciation, or spending money for some of the least appreciated among them?

See you in the otherworld!

Eink Storesund,

Minister of Scandifuturist affairs

Under the Yule Moon 2024”

Need further introduction?

This concept album narrates a psychedelic, fairytale journey into the underground kingdom of Oberon, the king of the fairies, a subterranean expedition into the realm of the "Fair Folk," through ancient forests and misty swamps, filled with toadstools and wandering lights. Oberon is a key figure in medieval and Renaissance literature, immortalized in works such as Shakespeare's A Midsummer Night's Dream, and the album draws inspiration from these sources. The band describes the album as a "manifestation of our Peter Pan syndrome," an invitation to never grow up and immerse yourself in a surreal, fantasy world. Despite the sometimes dark atmosphere, the lyrics maintain a playful and humorous tone.

The Momrak brothers (the founders) had been planning a concept album about Oberon and the fairy world since the early 2000s, but it never materialized due to other commitments.

The flute dominates, along with complex synth passages and almost jazzy rhythms, with virtuoso performances by the musicians.
The production is "lo-fi" because it's analog, adding a vintage charm that perfectly matches the concept.

Tusmørke used strictly vintage and analog instruments.

Krizla uses flutes and woodwinds for a "pastoral" sound, ranging from sweet melodies to frenetic, distorted passages.
The album is dominated by Mellotron, Hammond organ, Minimoog, and ARP synthesizers to create the orchestral and spatial soundscapes typical of prog.
Extensive use of tape echoes (such as the Roland Space Echo) and vintage fuzz pedals give the guitar and bass a "dirty" sound.
Kusken's drums were recorded with a very dry and natural sound, typical of prog-folk records from the early 1970s.
There's a glockenspiel, ethnic percussion, and bells.

The musicians' performance is exceptional, with the Momrak Brothers taking center stage, Benediktator's hypnotic rhythm section, and Krizla's flute acting as a second lead voice.
The keyboards set the mood, with Mellotron layers reminiscent of medieval fogs and acid synth solos not far from krautrock. Kusken's drums have a jazzy style and an early '70s sound.
The vocals use a choral style, often overlapping to create the effect of a coven chanting pagan hymns.

The album contains a suite on side A and shorter pieces on side B. Here are some notes on the tracks.
- Dawn of Oberon is a suite divided into five parts (Dusk of Tawblerawn) that begins with pastoral flute and Mellotron atmospheres and evolves into a psychedelic cavalcade.
- Dusk of Tawblerawn Part 1: Born to be Mild is based on a large, hypnotic bass riff and a beautiful flute part.
- Dusk of Tawblerawn Part 2: Dwarven Lord, a dark and decidedly folk song.
- Dusk of Tawblerawn Part 3: Midsommernattsdrøm, a song sung in Norwegian, directly recalls "A Midsummer Night's Dream" with a warm and enveloping sound.
- Dusk of Tawblerawn Part 4: People View is a sunny, symphonic instrumental that opens with keyboard melodies and features a very elaborate rhythm section, with a splendid Moog accompanied by pastoral flute inserts and including nonsense vocals.
- Dusk of Tawblerawn Part 5: Troll Male has a more Folk Prog sound, a dreamlike piece with a splendid Moog, deep bass lines, wah-wah guitars, and an exceptional flute.

The liner notes also include special thanks to bands that Northern Prog fans know well, as well as to… the blackbird and the bumblebee, Brother Gnat and Father Tree.

"Thanks to Mystike Martin, Nadia, Aya, Dunya, Ingvid, Abram, Agathe, Vigdis, Per Ame, Magdy, Else, Brennesle, Sigrun, Silvia, Per Christian Berg, Zenon, Actionfredag. Ring van Mobius, Chronicles of Father Robin, Jordso, Elds Mark, Arabs in Aspic, Wobbler, Needlepoint, Mio, Anders and the wonderful people at Fryk Out, Galavel and the lovely lads and lasses and others of Psykstämman, the blackbird and the bumblebee, Brother Gnat and Father Tree.."

Great Band, Great Record, Excellent!!!

Note: All links to the musicians' works are in the TAGS under the article title or on the "Artists" page.

Tracklist

Side A:
Dawn of Oberon (17:53)
Dusk of Tawblerawn part 1: Born to be Mild (3:35)
Side B:
Dusk of Tawblerawn part 2: Dwarven Lord (4:57)
Dusk of Tawblerawn part 3: Midsommernattsdrøm (7:78)
Dusk of Tawblerawn part 4: People View (3:45)
Dusk of Tawblerawn part 5: Troll Male (5:18)

LineUp

Tusmørke on this record is:
 

- Benediktator: Rickenbacker 4003, Gibson Les Paul Custom, vocals, penny whistles, recorder, Mellotron M4000D, Minimoog model D, Minitaur, Jen SM-2007, Roland TR-08, Roland VP-03, Chimera BC9, Yamaha P-515, Glockenspiel, Flex-a-tone, vibraslap, bell, table gong, finger cymbals, tambourine, chimes, woodblock, congas, EHX Super Space Drum, handclaps, MF-102, MF-104Z, Minifooger 06 and 07, Ibanez AD-220, RE-301 and SRE-555, Dynacord VRS 23, Demeter Real Reverb, EHX POG2, Keeley 30 ms Doubletracker, Danelectro Backtalk, Colorsound Wah-wah, EHX Big Muff, Fender Twin Reverb tremolo, Neo Intsruments Ventilator II, Mu-Tron Bi-Phase II, Korg Nuvibe and field recordings.
 

- Krizla: Miramitsu silver flute, vocals, handclaps and congas.
- Herjekongen: Steinway & Sons Grand Piano (flyvel), Korg CX-3, Mellotron M4000D, Minimoog model D and Yamaha P-515.
- Kusken: George Hayman Vibrasonic Drums.

To connect the pseudonyms to the musicians, all the information is in the band's profile.