A JOURNEY ON THE INSIDE

By the time of the release of ''Mellom oss'' Kerrs Pink were already falling into pieces.Lytomt and Fundingsrud left the band to form another group called Mantra and by early 82' Kerrs Pink were history.During the 80's Lytomt was also involved in Foxtrot, but the emergence of Musea gave Kerrs Pink back a breath of life.In 1989 the band reformed with old members Jostein Hansen, Harald Lytomt, Torild Johansen and Tore Fundingsrud with newcomer Per Oyvind Nordberg on keyboards/vocals (also a member of Mantra) due to the interest of the French label in re-releasing their early works.In early-90's ''Monday man'' was recorded, heading for the Musea compilation ''7 days of a life'' and by May 93' 20 tracks were mastered, heading for a third album.18 of them made it to ''A journey on the inside'', which was released the same year.

Keeping part of their old stylings and updating their sound, Kerrs Pink returned with an album following their past principles of smooth Symphonic Rock, but this time they pronounced their folky touches.They appear as a cross between post-90's YES, CAMEL, KAIPA and MIKE OLDFIELD during the first running hour, passing through dreamy, epic atmospheres, rural soundscapes filled with Nordic melodies and light symphonic moods, where the music alternates between acoustic and discreet electric guitars with flutes supporting and electric passages with cool moves and nice keyboard parts performed on organ and synthesizer.The vocals are performed in English, featuring a guest female singer and end up to be pretty emotional.The combination of symphonic and Nordic influences works pretty well, but the album lacks the beautiful melodies displayed in ''Mellom oss'' and some moments in here sound a bit thin, despite the good arrangements.Fortunately a decent work becomes pretty strong at the very end, as the best is left for last.The 11-min. ''Rubicon'' is a nice piece of Folk-tinged Symphonic Rock with great vocals and melodies, interesting organ and guitar battles and occasional breaks into Scandinavian tradition, featuring overall a more complex and demanding sound.''Delirious'' is an absolute surprise, recalling PALLAS and featuring flashy, symphonic synthesizers and standard Neo Prog melodies in the guitar solos over clean and expressive vocals.The piano melody is reminiscent of MARILLION's ''Lavender''.''Epilogue'' is a fantastic, melancholic outro, recalling KAIPA, CAMEL and FOCUS, with a stunning melody on guitar and a strong Classical/Nordic feel, monster exit, despite its mellow style.

A succesful comeback by all means.Melodic, atmospheric Symphonic Rock with big time Nordic/Folk influences, pretty great album regarding the year of its release and the period difficulties concerning progressive music.Strongly recommended...3.5 stars.

This mid period release by Norway's national progressive folk treasure was the first to include English vocals, including a few welcome guest spots by the bell-like Heidi Drengsrud Jahren. Moreover, it's the only entry in their discography with lighthearted, even humorous moments, while at the same time pushing the folk aspects to the fore. As a result, this is their most diverse effort, occupying new territories while remaining steadfast to their singular spirit and drive.

The 18 tracks in this typically extended KERRS PINK project are divided almost alternately into instrumentals and songs, with one preternatural epic that is alone worth the price of entry. It's called "Rubicon", and it is a pivotal climactic piece which unites the loose late coming of age concept of the opus. Musically, it alternates between simmering emotive vocals not dissimilar to what CLANNAD achieved on their classic "In a LIfetime", tender acoustic guitar figure bolstered by a tasty syncopated rhythm, and a tense hard rock riff, still backed by jangly acoustic guitars, and occasionally overlaid by organ.

Other powerful vocal tracks include the admonishing "Kingdom of Nothing" and the Celtic rock influenced "Showdown" with superb tin whistle atmospherics by Tore Johansen, Offsetting them with the lighter fare in the form of "The Voice Inside Your Heart" and the caution to the wind of "Downtown Happy-Go-Lucky Bunch" renders both more poignant and eloquent. Among the smorgasbord of instrumentals, "The Initiator" plays to the acoustico-electric strengths of the band better than any other, but many of these pieces serve more to bridge the narrative and capture atmosphere.

"A Journey on the Inside" may be the most complete effort to date by KERRS PINK, and it marks an assertive step out of the shadows of some of the better known bands to which they are indebted, worthy of its own followers.