PRESENCE OF LIFE

KERRS PINK is the Norwegian band founded in 1973 (and not the potato with the satirical wink at the start of the appointment), a dinosaur what; dissolved in 82, restarted and waiting for an album for 8 years for this 8th! Progressive folk rock stamped 70's with many traditional instruments like the accordion and the flute, art-rock in fact so much the music goes to various countries, on CAMEL, JETHRO TULL, a bit of GENESIS and PINK FLOYD, closer it brings me back to FLOWER KINGS and especially MAGIC PIE from the same peninsula since the singer also officiates there. Melodic instrumental atmospheres often come right in the middle of the title to plunge us into port stories. KERRS PINK actually does KERRS PINK but better, read why.

"Resurrection" seizes me at the outset for the voice of Eirikur à la GILLAN, close to the singer of Martin BARRE, in short it actually sends me back to MAGIC PIE in the end; the accordion also puts a little folk atmosphere, a little flute and Hammond make this title go up, a little choppy phrasing giving dynamism, the fruity guitar à la MAY then à la HACKETT, the deep piano, the drums in relief , the church keyboards in the end and the enjoyable accordion, in short, a superb start to a sound of the 70's reboosted 2020! "Private Affairs" and the voice a la JETHRO TULL, a la BLUES TRAVELER, à GILLAN, that of "Perfect Strangers", well all that not to say that of MAGIC PIE, rhythmic drums tune which refers to one of their composition on "Tidings", an omnipresent bass, a KANSAS riff amplified by the vintage sound of the keyboards, a nervous musical lion which sticks out its claws, which drives the point home to the typical sound. "The Book of Dreams" on an intro that IRON MAIDEN could have done, very smooth, symphonic; the prog feels here epic, melodic, folkloric with the accordion well placed, moving; it reminds me a little of the musical follies of QUEEN, the guitar and bass set the grandiloquent tone; this title makes a happy tonality, the borderline baroque break of the second part brings a remarkable, moving digression to the final violin and the keyboards which sends you to an Irish or Norwegian fishing pub. Huge and anachronistic.

"Away from Shadows" attacks the second part of the album with a powerful heavy prog genre solo that calls out, then it calms down with a soft, romantic line; it's done well, the voice seems to follow the notes of the rhythmic and symphonic keyboards; a boat on a very beautifully crafted art-musical territory, an ode to a God, breaks-ruptures with a divine piano, the fresh, fruity, slightly tormented guitar, the heavy bass just after to amplify this grandiloquent and progressive side which holds the road; not my cup of tea in general but here I am amazed by this successful amalgam of musical sensitivity. "Luna" and the shortest title for the intimate hymn, a little melancholy, enjoyable because it trains you to take each other by the arms and to dance sitting around the table, when there is no more banquet. at present. A symphonic ballad on a well-known rhythm which risks remaining in the lead amplified by warm choirs; a bit of PROCOL HARUM in the background. "In Discipline and with Love" ends the album with a 12 minute mark. It starts off soft, the instruments come and set a rhythm with the guitar, the keyboards remind me of those of GENESIS, the Moog and the Mellotron; jazzy atmosphere with the piano, a long crescendo taking you on cold and warm musical landscapes, ah oxymoron when you hold us; spleen with a shimmering guitar, be careful halfway it goes on symphonic prog, Scandinavian folk, on classic rock, on the rhyme of '' Wot Gorilla? '' From GENESIS; back home on a colorful variation, a title that merges, that stacks up genres and keeps you in the home port where the group actually plays in front of you, that's it you get it, it's the end and it was beautiful.

KERRS PINK marked a great progressive blow, of the grandiloquent classic, of the symphonic, a breathtaking sound mastery with a very current sound, instrumentalists who have improved over time, all in fact. A sound so progressive as we imagine where we do not bother, where we feel reminiscences yes but where the most important are those of the group. I was quite reserved because the little that I had listened to smacked too much of folklore and the usual sound, that is simply the slap. You have understood that listening to it risks putting it directly in your top 2021.