KERRS PINK

Not particularly original, this work combining the style of CAMEL (period regarding the issue of "Mirage") with a bunch of folk progressive styles, a bit CURVED AIR (otherwise they avail themselves also of a female vocalist, although quite seldom) and with some "FLOYDian" breaks through as well, is a remarkable attempt to innovate such 70's "classic progressive". Actually the whole range of music ideas are filtered through their typical "Norwegian folklore", in an interesting way, although at last you remember this sort of experimental "New-Age" enriched with a few "proggy"elements. Make your choice!!

The eighties threshold appeared in assorted ways before the eyes of progressive rock world, some say (count me in those stats) that was the fatidic decade, the one that came along with the vicious era of musical impertinencies and disarray for the genre and its multiple variations translated in "rediscovering and experimentation", plagued of disappointing results. But there was a group of believers that proved us all devoted detractors of the eighties wrong; some of the few braves who dared to challenge the music industry and the cultural parameters were these intrepid Scandinavian musicians renamed as KERRS PINK. The band gathered together all the essential and most representative Nordic elements, such as the infallible mellotron, acoustic guitars, remarkable drums performing, the flute, and of course, the lyrics in Norwegian. And presto, a great symphonic more than folkloric (and almost instrumental), prog rock band was reborn in Northern Europe.

As I just underlined above, it is quite remarkable how in spite the inconveniences of being considered a brand new prog band competing with the all time masters of the prog scene in the early 80's, these Norwegian fellows never detached from their origins and roots by singing in their own mother tongue when the musical arrangements needed lyrics and the melodic voices of most of the members: bassist Jostein HANSEN lent his voice to the song "Bamse Brakar"; keyboard genius and pianist Halvard HAUGERUD led vocals on "Sang fra skogen"; and musical guest, lead singer Steinar STRAUMDAL on "Sett Dem bare ned" & "Hvis jeg er der neste år". In the same context of multiple drawbacks, the band has been suffering several changes in its original formation ever since they were known as CASH PINK (Jostein HANSEN named the band that), and at the time they renamed the band the way we actually know them, definite decisions were taken. Per KVAERNER and Per FRYDENLUND left the band and were replaced by multi-instrumentalist Trond BÖHN on keyboards and guitars and by Tore JOHANSEN, who reintegrated the band again.

This debut album of the band, self-named and self-produced; was recorded during the summer of 1980 and officially released on January '81. Firstly, 1000 copies of the album were made and received favorable reviews from the national press and was played on the radio. The music of KERRS PINK through the use of folk music, through its fresh bucolic and impression of merriness, the playful charm, proves itself to be totally personal and fully influenced by Norwegian culture and identity. Through its joyful, roguish and waggish music, compared to some other Nordic bands such as SAMLA MAMMAS MANNA or KEBNEKAISE, KERRS PINK defines itself throughout the personal and typical Scandinavian music. For those who haven't listened to KERRS PINK yet, or even heard of the bands compared to them; a slight resemblance to the early 70's GROBSCHNITT prog school (72 - 78) will approximate your ears to picture the sound of the Norwegian band debut album. Deservedly, excellent performed music, worthy of total and complete appreciation.

A legend of the Norwegian prog scene,KEERS PINK started under the name ''Cash Pink'' and we have to go back in May 1972 in the small town of Trømborg to find their early beginnings with bassist Jostein Hansen forming the band.Guitarist Harald Lymtot joined soon after,while several members came and go in a 5 year period.1977,after the band was renamed to KEERS PINK,keyboardist Halvar Haugerud joins them and he has been a consistent member since then.After playing a great number of lives,The first album was released as self-titled on Pottittskiver in 1980.

STYLE: This is quite relaxed progressive rock in general with lots of psychedelic elements, light Folk influences and a heavy amount of melodic guitars.Lymtot is in the center of the arrangements,delivering very melodic work in the vein of ANDY LATIMER with nice solos here and there,but the Norwegian vocals add the appropriate Scandinavian flavor.The calmer parts have an intense Blues/Psychedelic feeling,while Haugerud seems to be playing a b-role,despite using a variety of keys.Keyboards are very distinctive and soft,the same thing with a couple of flute parts.So,melodic guitar-driven prog is the stuff here.

INFLUENCES/SOUNDS LIKE: With Lymtot being the main figure,CAMEL's characteristic style is more than evident,especially from their first two albums.But do not expect some PETER BARDENS' keyboards,as afore mentioned.Several Psych/Prog bands from Scandinavia come also to mind,with KAIPA being the closest comparison.

PLUS: The guitar work is not only melodic,but very inspired as well with some great moments,that stick in your mind.Not a weak track,all arrangements are on the same good level.Classic Prog fans will indicate a few symphonic parts as well.The few flute parts are quite strong.Strong and tight rhythm section as well.

MINUS: The album tends to be rather monotonous,as everything comes around Lymtot's guitars.The keyboards are lost in the background,while plenty of slow-tempo tracks are somewhat boring.Vocals are mediocre and rather indifferent.

WILL APPEAL TO: CAMEL fans for sure!Anyone after melodic or Scandinavian Prog with psychedelic influences and/or a sound of the old-school should also approach.

CONCLUSION/RATING: Guitar work is excellent,all tracks are qualitive,but the album lacks in varety.Not bad,but not that good.No more or less than 3 stars.Dedicated CAMEL followers should add a half star.

Replete with gorgeous guitar solos and occasionally assertive keyboards and flutes, this debut by Norwegian legends KERRS PINK reflects the maturity of a band that has held back 8 years worth of material and is done holding back. Sumptuous lead guitar melody follows sumptuous lead guitar melody so closely that the heels of the first often step on the toes of the second. Roughly half the tracks have vocals, but they are, for the most part, no more assertive than the occasional flute or organ passage. Similarities to early CAMEL are unmasked at this point in their career, although, apart from a poorly integrated graft of "Rhayader Goes to Town" on "Sirrus", these influences are unobtrusive.

Where KERRS PINK distinguish themselves to some degree is in their incorporation of Nordic folk melodies into the modern arrangements. Even here, the prettiness is spread a little wide and rarely pierces the surface virtually lacking in tension. Almost any cut could be transferred to a compilation album with minimal spillage and be a highlight, but in each others' company they are like store bought lingon berries, tasty but best partaken in small doses lest one succumb to their less desirable effects.

It is easy to point out a highlight - the brilliant "If I'm still here next year" is an entirely arresting blend of WISHBONE ASH, OUGENWEIDE, early HOELDERLIN and late NOVALIS, with some EDEN (Germany) thrown in. It's a shame they didn't write more "songs" of this nature that establish a groove, for want of a better term, which is a skill long ago mastered by their heroes with humps. The opening two tracks are also noteworthy, the first for its appealing almost Slavic melody, the second for the thrust of lively vocals towards the end, a skill they would hone on mid period releases.

I don't mean to beat a dead camel but this comely disk is far less than the sum of its parts, and for that reason I round down from 3.5 stars