Band:	Lumsk
Album:	Fremmede Toner
Style:	Neofolk, Folk rock
Release date:	May 05, 2023
A review by:	AndyMetalFreak

01. Det Døde Barn
02. En Harmoni
03. Avskjed
04. Under Linden
05. Fiolen
06. Dagen Er Endt
07. Das Tote Kind
08. A Match
09. Abschied
10. Under Der Linden
11. Das Veilchen
12. The Day Is Done

Do you feel like taking a break from extreme metal, or looking for something on the soft, folky, and slightly experimental side of things to lighten your mood? Then Fremmede Toner could perhaps suit your needs.

Here we have Lumsk, a seven-member Norwegian Viking folk metal act that formed back in 2000. You could say their style over the years has closely resembled their fellow countrymen Einherjer, with themes strongly centered around old Norse and Viking culture, whilst dabbling with traditional Norwegian folk influences. Now, with this fourth release, Fremmede Toner, Lumsk have taken a much softer and more mature route. You won't find anything resembling Viking metal in the slightest here; instead, this is a combination of neofolk and folk rock.

Fremmede Toner has an extraordinarily different approach in style compared with Lumsk's previous releases. This is made evident from the opening track, “Det Døde Barn”, which begins with a gentle piano melody and soft rhythm pattern, accompanied by Mari Klingen's mellow vocals, before gradually building in heaviness, where the bass, guitar, keyboard, and even violin are presented. The following track, “En Harmoni", follows a similar pattern to the first track, again opening with a soft mellow tempo and style that gradually builds up, only, this time, the instrumental layering becomes all the more dense. The violin has a stronger presence than on the previous track, the piano and various keyboard/synth-work is also strongly present, and, if I'm not mistaken, a saxophone is even featured at one point.

So, even at this early stage, you'll hear a hefty number of instruments being played; at times, it sounds as if an entire orchestra could be at large. The lyrics are mostly inspired by poems of André Bjerke, and are mostly represented in the band's own Norwegian language. However, there are two tracks featuring lyrical content in English: “A Match” and “The Day Is Done” — the only two tracks in which male vocals are present.

There are several moments throughout the album that I find intriguing, such as the track “Das Tode Kind”, with its melodiously soft piano intro and female wailing, resembling Pink Floyd's classic “The Great Gig In The Sky”, before the heaviest section of guitar work on the album takes place. “Under Linden” features a heavier than usual bass presence and also contains some of the finest lead guitar work on the album. Then there's the eight-minute-plus “Dagen Er Endt", a gentle folk ballad with beautifully constructed piano melodies, an impressive range of synths and keyboards, and a fantastic solo to finish off.

Fremmede Toner is an interesting release to say the least. The songwriting is, for the most part, unpredictable, from the soft sweeping melodies and gentle instrumental passages to the upbeat folkish grooves. Despite the tempo being for the most part pedestrian, you still never really know which way this album is going to turn, and that's something I admire. However, there are times that I wish the tempo would increase, with maybe a few extra riffs here and there, and lengthier guitar solos. But, overall, it's a solid comeback despite the drastic change in style. This is a band to be keeping a close eye on for softer-side-of-folk rock fans.