Posted on

PSYCHEDELIC PROG FOLK ROCKERS TUSMØRKE PREMIER NEW VIDEO

With their latest release “Osloborgerlig Tusmørke: Vardøger og utburder vol. 1” set to hit the streets on Karisma Records on the 30th November, Norway’s TUSMØRKE have released a video for “Skattegravere i Grefsenåsen” , the opening  track from the album.

The stop motion video by Sondre Bergersen Mæland of Wild Man Movies can be seen below and at https://youtu.be/hqbZ6DauXyg

Commenting on the song , TUSMØRKE had this to say:

“Skattegravere i Grefsenåsen”  was written during the winter of 2015 and recorded in Det Ytre Rommet  during 2017 and 2018 by Benediktator. The inspiration for the lyrics came from a folk tale by Asbjørnsen & Moe,  as well as from the legends about children who find  silver under rocks in the wilderness. There are stories of poor people stepping on stones and hearing the clang of metal and finding buried and forgotten treasure. There are also stories of people hearing the sound, only to realise later what it must have been and going on the spend the rest of their lives searching for the spot, never to find it again and driven mad with frustration and the lust for coin.

“Osloborgerlig Tusmørke: Vardøger og utburder vol. 1” itself is a a concept album that explores the rich history and mythology of Norway’s capital city Oslo. Vardøger are premonitions that precede an actual event. Utburder are infants who are abandoned in the woods at birth and whose haunting cries reverberate eerily through the night .

TUSMØRKE describe “Osloborgerlig Tusmørke: Vardøger og utburder vol. 1” as “the signs of things to come and the sounds of the unwanted”, and, as the “vol 1” part of its title suggests, the album  is the first part of a series of compilations that feature songs, demos, outtakes and curios that didn’t QUITE make it onto TUSMØRKE’s albums themselves.  It will be available in CD, Digital and Limited Edition vinyl formats with the  first LP being released on transparent orange vinyl (limited to 700 copies) with a 4 page lyric booklet and an A2 poster.

With artwork by the renowned Norwegian artist Arne Bendik Sjur  “Osloborgerlig Tusmørke: Vardøger og utburder vol. 1”, is available to pre-order in all formats from https://tusm-rke.bandcamp.com/album/osloborgerlig-tusm-rke-vard-ger-og-utburder-vol-1

Tracklisting is as follows:

  1. Skattegravere i Grefsenåsen
  2. Hovedøya
  3. Gamle Oslo
  4. Djevelen fra Oslo
  5. Kjentmannen
  6. Akers Akropolis
  7. Alvene i Oslo
  8. Gamle Aker Kjerke

Osloborgerlig Tusmørke: Vardøger og Utburder vol 1

TUSMØRKE recently released a single taken from the album for the track “Kjentmannen” which can be streamed and downloaded at https://karismarecords.lnk.to/kjentmannen

Featuring members of WOBBLER, JORDSJØ and ALWANZATAR,  TUSMØRKE’s lineup fields an almost dizzying variety of instruments,  and is comprised of  Benediktator on Bass, vocals, Glockenspiel and percussion, Krizla on Flute, vocals, electronics and percussion,  The Phenomenon Marxo Solinas on Minimoog Model D, Korg CX3, William de Blaise on harpsichord, Steinway & Sons Grand Piano, Hohner Clavinet D6, Mellotron M400, Hammond C3, Wurlitzer 200 and Solina String Ensemble, Dauinghorn on  Clavinet, Hammond, grand piano, acoustic and electric guitars, and additional flute, and HlewagastiR on Drums and percussion.

Photo by Terje Skår

TUSMØRKE’s will be holding a listening and Q&A session at the Platebutikken Big Dipper in Oslo on Tuesday 27 November.  Details of the event can be found at https://www.facebook.com/events/2115575042036695/

They will also be celebrating the release of “Osloborgerlig Tusmørke: Vardøger og utburder vol. 1” with the following two shows supported by SAMMAL and BISMARCK:

30 November:  Røverstaden, Oslo
https://www.facebook.com/events/289436484979229/

01 December:  Inside, Bergen
https://www.facebook.com/events/552001755238553/

More information about TUSMØRKE can be found on the band’s Facebook page at https://www.facebook.com/Tusmorke/

Posted on

ALTERNATIVE ROCKERS LJUNGBLUT RELEASE NEW VIDEO

With their sixth full-length album “Villa Carlotta 5959” having  hit the streets on Karisma Records on the 2nd November, Norwegian Alternative Rockers LJUNGBLUT have today revealed an atmospheric new video for the track  “Himmelen som vet”.  The video, directed and shot by Edvard Brendsrød,  can be seen below and at https://youtu.be/otl9HvJSkns

To  celebrate the release of “Villa Carlotta 5959” LJUNGBLUT are set to play their only live dates of 2018.  The shows will take place in Norway as follows:

09 Nov:  Papirhuset, Tønsberg
10 Nov:  Papirhuset, Tønsberg
12 Nov:  Kulturkirken Jacob, Oslo

Formed in 2005 by Kim Ljung  as a vehicle for material he didn’t think would be suitable for  either SEIGMEN or ZEROMANCER , bands for whom he is both the bassist and main songwriter, LJUNGBLUT eventually expanded from a solo project, which saw the release of three albums, into a fully fledged band.  Dan Heide (ZEROMANCER, RED7) on guitars, Ted Skogmann (APOPTYGMA BERZERK) on drums , Joakim Brendsrød on keys and Sindre Pedersen on bass, joined Ljung, on keys and vocals, and, as a quintet, the band released two independent albums with Norwegian lyrics.

Encompassing a wide range of tempos and dynamics,  “Villa Carlotta 5959” is an album that presents the listeners with a cohesive sound and a melancholy mood, swathing Ljung’s characteristic vocals in vintage synths and instruments .    Recorded live in the studio and mixed by Alex Møklebust (SEIGMEN / ZEROMANCER) and Terje Johannesen, guest artists on “Villa Carlotta 5959” include Ljunggren (A-HA, ZEROMANCER), Ginge Anvik (SUBGUD, soundtrack composer) and  Terje Johannesen.

With artwork by Hanne-Christine Flåten , “Villa Carlotta 5959” is available in CD, Digital and Vinyl formats, as well as a Limited Edition Turquoise LP,  and is available from all the usual retailers and streaming services, as well as direct from Karisma Records at

Bandcamp (all versions) : https://ljungblut.bandcamp.com/
Webshop (CD and LPs): https://www.karismarecords.no/webshop/

Ljungblut - Villa Carlotta 5959

More information about LJUNGBLUT can be found on the band’s Facebook page at https://www.facebook.com/Ljungblut-86549322482/

Posted on

ENSLAVED X KRAKOW:  IVAR AND FRODE DISH THE DIRT ON EACH OTHER’S BANDS

This press release was sent out via Karisma Records at the request on Nuclear Blast.  Enjoy! Copyright © 2018 Nuclear Blast Records, All rights reserved.

Black avantgarde Norwegians ENSLAVED recently toured across Europe and the United Kingdom alongside co-headliners High On Fire and support band KRAKOW. We caught up with Ivar from Enslaved and Frode from KRAKOW at the bands’ sold out London show to see how the tour has gone and to find out who is willing to dish the dirt on each other’s bands. Find out what happened, below and here:  youtu.be/OFmLmVBHjgY

Order ENSLAVED’s latest album E here: nuclearblast.com/enslaved-e
Order KRAKOW’s latest album minus here: karismarecords.no/artists/krakow

Formed in Bergen, Norway, in 1991, Enslaved had evolutionary zeal in their eyes from the start. Even as they emerged from the nascent Norwegian black metal scene of the early ‘90s, guitarist Ivar Bjørnson and vocalist/bassist Grutle Kjellson demonstrated a fervently idiosyncratic approach to making extreme music. By eschewing the wilful conservatism of their peers in favour of an outward-looking ethos, Enslaved’s reputation grew rapidly in the wake of extraordinary, epic albums like their primitive but insidious debut Vikingligr Veldi and its strident follow-up Frost (both 1994). By the late ‘90s, the band had morphed into a wildly progressive and adventurous beast, always retaining the core, aggressive tenets of their musical roots but increasingly in thrall to the limitless possibilities that music, in its entirety, truly presents. Widely acknowledged as a powerful and ferocious live band, Enslaved entered the 21stcentury by flexing new muscles on the acclaimed likes of 2003’s Below The Lights and its groundbreaking successor, Isa (2004). Now as much a part of the flourish progressive rock and metal realm as they were loyal servants of the extreme metal underground, Bergen’s finest hit a rich vein of form as the years passed, with albums as diverse and challenging as 2008’s Vertebrae and 2010’s Axioma Ethica Odini joyfully expanded the Enslaved musical universe, drawing in countless new acolytes along the way.

In 2015, Enslaved released their 13th studio album, In Times. A tour-de-force of hypnotic prog intensity and scabrous, blackened pomp, it exuded an air of completion and finality that led perfectly into 2016’s extravagant celebrations, as Enslaved marked their 25th anniversary with some truly life-changing shows that explored all shadows and hidden corners in the band’s colossal catalogue. In Times represented the end of an era and the opening of a gateway to somewhere entirely new.

Despite rarely pausing for breath – not just as a result of Enslaved’s hectic touring schedule, but also due to numerous extracurricular projects – Ivar and his comrades have somehow managed to piece together yet another full-length milestone in the shape of their 14th studio effort, the elegantly titled E. Written amid a burst of creativity, grabbed at the tail-end of the band’s 2016 US dates, the new album marks the majestic birth of a revitalised and newly inspired Enslaved. Against the logistical odds, a new dawn was coming.

An album full of revelatory moments, spine-tingling dynamics and exquisite but alien atmospheres, E showcases a refreshed Enslaved line-up via songs that take the band into unprecedented territory. From the grandiose, weather-beaten riff-scapes of 11-minute opener Storm Son to the wild, psychedelic frontier squall of Sacred Horse and the muscular, sax-

powered shoegaze barrage of monstrous closerHiindsiight, it is both a typically bold and fearless statement from this most inventive of modern metal bands and a thrilling sideways step that harnesses the spirit of old and sets it loose in a whirlwind of imagination. Conceptually, too, Enslaved are making giant forward strides. While past albums frequently focused on notions of individuality and isolation, E offers a transformative fresh perspective.

14 albums and 26 years into a career that shows no signs of losing neither momentum nor its magical, effervescent creative sheen, Enslaved are once again evolving before our ears and eyes. This time, however, even the sky is no limit. Stronger than ever and manifestly thrilled to be in such rude health, Ivar avows that life in Enslaved has never been more rewarding. And the best is yet to come.

KRAKOW was formed in Bergen, Norway in the fall of of 2005. The post metal collective received much praise and recognition for their special take on the genre with their second album diin, which was voted the 3rd best metal album of the year by Metal Hammer Norway in 2012.

Their third album, amaran, saw the band develop their style even further. The band made a unique and atmospheric record that stands out against its competition. With this album, the band explored both the calmer side of their sound, as well as the more experimental and drone aspects. This makes amaran a highly varied album, filled with both dreamy soundscapes and sinister, harsh atmospheres.

Following the laborious process of distilling two albums worth of material into one focused gem, the band then created their latest offering, minus. The pinnacle achievement of KRAKOW’s thirteen-year existence. After a year of recording, shaping, re-recording and refining, minus has been reduced to the bare essence of who KRAKOW are as individuals, as a group and as story tellers.  It’s an album that defies any attempts at genre definition and covers the heavy, the subtle, the melodic, the atonal, the groovy, the sluggish, the dense, the airy, the naked and always, always, that wall of sound where no light can escape.

With themes spanning from outer space to the hidden worlds deep below, travelling in time from the distant future to the near past like an inverted space odyssey, we are taken on a journey where “we all become stories”, in ways as much a reflection of the ones we tell, as a revelation of the ones we won’t.