Band: Tusmørke | Album: Balderdom | Genre: Progressive rock | Year: 2026
From: Oslo, Norway | Label: Karisma
For fans of: Jordsjø, Caravan, Yes, Jethro Tull
Apparently Tusmørke put out an album last year that I missed, but they’re prolific enough, there’s never that long a gap without them on this site. Balderdom (Baldness) follows in a template similar to Dawn of Oberon, in that it consists of a handful of shorter songs and a side-long epic. Tusmørke’s unique Norse-folk-prog is on proud display here, and this is another strong entry in their catalog.
“Svensk drøm” (“Swedish Dream”) starts off with a fittingly dreamy atmosphere. Chimes, Mellotron, flute, and wordless vocals weave together. Nordic folk melodies lend this piece a light bounciness, but there are bassy blasts of either brass or synth that counterbalance that, lending some weight to an otherwise-floating (albeit somewhat eerie) composition.
In contrast to the sylvan tones of the opener, “Balderdom (Tres Jolie)” is a peppy bit of psychedelic pop that draws from space-jazz. There’s a bright joyousness to this piece, and the effects on the vocals remind me of certain late ‘60s acts, like The Small Faces. This song’s second half is sparer and more atmospheric, and the band’s folky influences crop up more prominently.
“Return of Forever (Stravinsky)” features some weird and wonky keyboard lines. Classical, folk, and jazz elements mingle, with a choir playing a prominent role alongside glittering synths and crunchy electric piano.
Closing out side A, “Vi er et kollektiv” (“We Are a Collective”) has some twangy, folky guitar. That guitar cuts through the murky and swirling backdrop of piano, bass, wordless vocals and tight, jazzy drumming. The rhythm here is insistent, like some kind of crazy march. The group vocals help underscore the title, and the second half features a great, Canterbury-inspired organ solo.
Side B is consumed by the 21-minute epic “Lidskjalv”. (Google translate tells me that apparently this translates to “scott_scott” in Norwegian. Great job, Google. But in the related Icelandic language, it means “Tremor”, so I’m guessing it means something similar here.)
Jazz elements are immediately at the forefront, with jangly guitar and shiny synths leading the way. Classic prog influences abound, as well, with Wakemanesque synth lines adding some propulsiveness. Recorder complements the synth quite well, both having a wonderful brightness to them.
As this piece progresses, it freely moves between Norse folk and classic Anglo-prog as its basis. While the transitions between these moments can occasionally be jarring, the individual elements are strong, and the moments where the two musical traditions truly meld are stellar. Each individual instrumental element is beautiful and complex, and they fit together without stepping on any toes. Despite that, the instrumental midsection of this song does run a smidge long.
The “Heimdal” section of this opus is fun and dramatic, balancing classic prog’s over-the-top pretension and theatricality with Tusmørke’s unique playfulness. Odd-time and anxious patterns are a great contrast to brighter moments in this song.
Balderdom is another excellent outing from Tusmørke. Their signature blend of styles is as strong as ever, and this record demonstrates a great deal of creativity and flexibility. The closing opus does have a bit of bloat to it, but beyond that, there’s not much to critique here.
Score: 87/100
The Elite Extremophile 