CDbaby, USA
Progwereld , Holland
Dutch Progressive Rock Page, Holland
Progressor, Uzbekistan - Russia ( 1 )
Progressor, Uzbekistan - Russia ( 2 )
Sea Of Tranquility, USA
Radio Alfa, MLWZ radio show , Poland
Radio Alfa (Poland ), Silhobbit ( England )
BARIKADA, Rock In Serbia, Blockner - Serbia & Bosnia-Herzegovina
Magle International Music Forum, Denmark
ProGGnosis, USA
Prognaut, USA
CDbaby USA
This is a fine addition to the art-rock genre. Sometimes it is classed 'progressive rock', but this does a disservice to the variety of musical styles found on the album. One highlight is the keyboard playing. Andrew's MySpace site states that he has acted as a session-musician. Certainly, this is in strong evidence. From rock versions of Bach to Jazz improvisations, the keyboard playing reaches quality levels that are extremely rare. For me, however, it is the quality of the musical ideas and composition that commend this album the most. Andrew's own writing - to me - comes across as stronger, musicially, than the cover versions of classical pieces. For me, tracks 1, 3, 4, 6 and 8 all stand out for their strong musical themes and musicianship. I particularly like track 6, for the Jethro Tull-like quality to the composition and arrangement.
Rory Ridley-Duff on CDbaby
Progwereld - progressive webzine, Holland
Andrew Roussak is a classically schooled Russian pianist, who has settled down in the German town of Karlsruhe. We have already reviewed his band Dorian Opera's album "No Secrets". Our reviewer was not very impressed with that. With his first solo album "No Trespassing" Roussak is trying something completely different. His classical schooling, his love for and professionalism in keyboard playing is fully evident in this album, far more in Dorian Opera.
Eight out of the ten songs on "No Trespassing", half of which include vocals, were writen by himself. Two songs are contemporary versions of classical compositions by Johann Sebastian Bach, whom he really does justice. It is very clear from various tracks that Andrew Roussak has been influenced by Keith Emerson as well as Rick Wakeman. His quick and frivolous play often reminds one of the grandeur of (amongst others) Yes.
The singer Hendrik Plachtzik is a good solid singer, whose voice fits very well with this music. His voice is close to Fish and John Wetton. Just listen to the opening track No Trespassing or Lost In The Woods. These are two melodious tracks with a poppy influence, at the same time very symphonic and influenced by Asia.
The most impressive track is Wartime Chronicles, based on the Russian war in Afghanistan in 1990. This is a rather heavy and rocking track with very solid keyboard play, influenced by Emerson, Lake & Palmer. Rhythm Of The Universe was writen in 2004 for a live rock- and popfestival in Hamburg. Although Roussak failed tog et a prize with this fast and happy song, it is not out of place in this album. Another great song is the swinging instrumental Vivace Furioso, writen a far back as 1997 in honour of Keith Emerson. Keith can be happy with such a furious honouring.
Two tracks fit less well on the album, even though they are by no means bad songs. The jazzy and cabaratesque All Good Things and the closer Maybe, which would be well suited for a musical.
"No Trespassing" has surprised me very much - in a positive way. Andrew Roussak takes an impressive revenge as far as the world of Prog is concerned. It is not a coincidence that he was chosen as the best keyboard player and instrumentalist in the 2006 German Pop & Rock Awards. He knows his way in a large variety of styles, and really deserves to be called a vituoso keyboard player. I hesitate to ask this of Andrew Roussak, bit actually he should give priority to the further development of his solo career. What does he mean by no trespassing? "No Trespassing" is the entrance to his career!
Hans Ravensbergen , 10/09/2008
Dutch Progressive Rock Pages
Andrew Roussak is, among other things, the keyboardist for the fine band Dorian Opera, whose debut album I reviewed not long ago. This is a solo album, although he’s joined by a number of guest musicians on various tracks; Roussak himself wrote all the compositions (save for the two classical pieces, Bach’s Prelude and Jesu, Joy Of Man’s Desiring) and plays all the keyboards.
I’ll say at the outset that I like this album a lot; I’ll enumerate all my reasons for liking it later, but first I want to address the album’s weaknesses. They’re not damaging weaknesses, and, if I get them out of the way first, I can spend the rest of my time elaborating on the album’s virtues.
First off, and most significantly, I’m not altogether certain about Roussak’s choice of singer. Or rather, I’ll confess to liking Hendrik Plachtzik’s voice quite a lot; and I’ll admit that it suits the music, in most cases, not too badly. But Plachtzik’s voice, though expressive, is not particularly strong, and I can’t help wondering if the songs would come across a little more forcefully with a more powerful singer. However, I’ll give Roussak the benefit of the doubt: this must be the way he wanted the songs to sound, and, as I say, Plachtzik’s vocals do largely fit well with the material.
There’s an exception, though: the lounge-jazz song Do Without Me. To my ears, this song is a disaster in every way. The band is trying to swing but can’t, and, well, I’ll just be kind and say that this is not Plachtzik’s idiom either. This one song throws the album off stride, and I wish Roussak hadn’t included it.
But you know what? Those are my only adverse criticisms. The rest of the album is fine, fine stuff. It’s unselfconsciously 70s-sounding keyboard-grounded progressive rock; Roussak writes fine, melodic compositions (and ones that are not at all self-indulgent – though this is a solo album, Roussak has clearly envisioned the compositions as songs, not as showcases for his admittedly excellent keyboard work. Interestingly, too, the album showcases many styles (includingly, disastrously as I’ve said, an attempt at jazz), and Roussak is adept at all of them. I guess my favourite pieces are the instrumentals, but a few of the songs with vocals stand out, too.
Here are some highlights:
-- Lost In The Woods is based on a Steven King story of a young girl who got, well, yes, lost in the woods. Roussak gives the song an almost baroque treatment, and Pachtzik’s rather frail vocals suit the subject well.
-- Prelude is Roussak’s vision of how the prelude from Bach’s „Well-Tempered Clavier“ would sound had Bach had access to modern instruments. Roussak may well be right!
-- Wartime Chronicles is an instrumental piece about the horrors of war, Roussak’s gorgeous grand-piano melody riding above grand, martial-sounding synthesizers and drums.
-- Maybe was, Roussak says in the CD booklet, intended to be part of a yet-unwritten musical, and that’s exactly what it sounds like. This song is the one on the album best served by Pachtzik’s voice; the song is a bit of a surprising choice to end the album (since it’s more mainstream, more straightforward than anything else here), but it works.
There are other pleasures on the album, certainly not least Roussak’s confident and stately interpretation of Jesu, Joy Of Man’s Desiring (which segues beautifully from Wartime Chronicles); the gorgeous solo-piano piece All Good Things; and Roussak’s tribute to Keith Emerson, the propulsive, even rollicking Vivace Furioso, on which, as on many of the other tracks, Roussak is well served by his talented guest musicians. In fact, those two qualifications with which I began aside, this album is a delight, sure to please fans of the grand old bands and musicians of the first wave of progressive rock. I recommend it highly and look forward to Roussak’s next project.
Conclusion: 8 out of 10 - DPRP's recommended!!
GERALD WANDIO
Progressor - Uzbekistan Progressive Rock Pages
Ranking - 5,50, Reviewed by Vitaly Menshikov
Prolusion. Formerly a citizen of Russia, Andrew ROUSSAK has been resident in Germany ever since 2001. He is a professional musician, classically trained in fortepiano, and was recognized as the best independent keyboardist and instrumental soloist by the German Pop & Rock Awards in 2006. No Trespassing is the debut solo album by the artist. It consists of ten tracks, two of which, Prelude and Jesu Joy of Man's Desiring, are Andrew's interpretations of the pieces by Johannes Sebastian Bach, and all the others are his original compositions.
Analysis. Besides European Classical Music, Andrew names ELP's Keith Emerson and Rick Wakeman as his primary sources of inspiration, but personally I find him to be much more influenced by the Yes keyboardist, especially as regards his performance technique, two instrumentals, Prelude and Vivace Furioso, being on all levels strongly reminiscent of Rick's work, instantly bringing to mind The Myths and Legends of King Arthur and the Knights of the Round Table. Since analog keyboards play a key role on most of the tracks, the album's overall sound comes across almost exclusively as vintage, but nevertheless only the said two pieces depict classic Symphonic Progressive in a form that was most widespread at the heyday of the genre, which I see as a positive factor, though not because none of the other compositions come across as being derivative. Of the remaining three instrumentals, Jesu Joy of Man's Desiring and All Good Things both have strong leanings towards Classical music and are dominated by a virtual symphonic orchestra, very convincingly reproducing the sounds of various string and woodwind instruments. Finally Wartime Chronicles is symphonic Prog-Metal rather than anything else, a highly diverse multi-sectional composition perfectly reflecting its title in mood and eventfulness alike. Regardless of the style or even the wealth of outside factors in a couple of cases, each of the instrumentals is a success due to an excellent blending of writing, arranging and delivery. The songs vary in style also, but first of all I'd like to point out for you what unites the five tracks from this category of compositions. Although Andrew and his band mates still prove to be resourceful musicians, providing solos much more often than playing chords, they rarely start on an all-instrumental raid here. In other words, the vocal-based pieces all feature few instrumental interludes, while it's exactly during those movements when the music there (as well as everywhere on the disc) is especially compelling, at least from a classic progressive viewpoint. Owing to their specific sound, the title track, Lost in the Woods and Rhythm of the Universe all may at first seem to be steering in the same direction as the two compositions described first, but are in fact pomp rock creations, close to early Saga in construction, though neo-proggers preferring vintage keyboards (Oliver Wakeman was the first:-) to come to my mind in this respect) can also serve as reference points. Maybe is a light Classical music-stylized ballad and is fine as it is, probably a perfect ending for the album. Only the eighth track, Do Without Me, is not to my liking at all and seems to be generally out of place on this recording. This is a blend of Blues and ▒50s commercial Jazz whose old-fashioned nature is far-fetched, the vocals being delivered in a playful manner very much like Marilyn Monroe's in the "Some Like it Hot" movie.
Conclusion. Showing versatility and skill while handling his massive array of keyboards, Herr Roussak appears to be quite a good disciple of his teachers in absentia, particularly on the instrumentals. Overall, No Trespassing is a solid debut effort and should delight many art-rock fans, especially those who don't put musical complexity at the head of their list of priorities.
Written by Vitaly Menshikov, published on www.progressor.net on 11 May 2008
Progressor - Uzbekistan Progressive Rock Pages
Ranking - 5,00, Reviewed by OMB
Analysis. When keyboard players make solo albums you expect to get served keyboards by the dozen. Many like to do everything themselves, trying out on instruments they're not that skilled in playing; others may try to emulate all instruments on one keyboard set-up or another, while others play with samples of various instruments. Keyboard players associated with a regular band might get their fellow band members to help out on drums, guitar, bass and whatever other instruments they need for the performance of their compositions. Roussak's approach is one somewhere in between these. There are a score of guest musicians covering guitars, sax, bass and drums, but some instruments are provided in simulated or sampled versions too, and the keyboards are the key instrument. Piano and guitars serving rhythmic melody lines, organ and drawn out guitar chords for that ‘70s Deep Purple feel, but first and foremost multilayered keyboards – adding nuances and textures to all style variations explored, and mimicking classical symphonic music in some instrumentals as well. In some instances we're served up to 4 different melody lines by means of the tangents (that I could count, that is), either harmonizing or slightly contrasting, used to create detailed, intriguing moods and atmospheres. We're served typical ‘70s synth soloing in the Keith Emerson tradition on this production, variations on works from the likes of Bach, even some creations adding folk-inspired elements, but also several songs where Roussak and his guest musicians rock out following a style closer to ‘70s hard rock mixed with vintage progressive rock, with a highly jazz-tinged segment thrown into the mix as well. Although several style variations are explored on this release, they all seem as pieces of the same puzzle, and the mix and production get much of the credit for this. Besides being a more than able composer and keyboardist, Roussak is a skilled producer to boot, seeing to it that the dominant instrument gets a similar sound and placement in the mix, which enhances his style of playing to produce a distinct sound that ties the different individual pieces together to a whole. The compositions are well planned; the individual performances are of good quality, mixed in a well-produced package where the focus is on versatility and melodies rather than flamboyant virtuosity.
Conclusion. Keyboard-dominated symphonic rock is the main feature on this production, where the focus seemingly is to showcase different aspects of this style in compositions highlighting moods and melodies rather than technical abilities. As such this is a good release: perhaps lacking really brilliant songs but highly enjoyable nonetheless. Recommended to fans of the genre and those intrigued by keyboard-dominated progressive rock in general.
Written by OMB, published on www.progressor.net on October 25, 2008
Sea Of Tranquility - progressive webzine, USA
"J.S.Bach was far ahead of his time and one of the greatest composers in human history. Have you ever wondered what his music might have sounded like had he been able to make use of the technologies and sounds of the 21st Century?" These are his own words and, amongst quite a few other things, Russian Andrew Roussak tries to answer his own question on No Trespassing, treating us to a couple of arrangements of Bach classics during the piano/keyboard-led progressive rock extravaganza that makes this an excellent debut album.
If you love music, then you really do love music - all varieties. Roussak is clearly someone who loves music and demonstrates the depth of that love to us on this album. He has a strong pedigree as a keyboard player, playing in the bands Dorian Opera and Henry and having been voted "best keyboard player" and "best instrumental soloist" at the 2008 German (his country of residence) Pop & Rock Awards. Keyboard instruments and piano are a major feature of No Trespassing and the music herein will delight all fans of these instruments.
It quickly becomes clear on listening to the album and reading its sleeve notes that some of Roussak's major musical loves are European classical music and the progressive rock of keyboard artists such as Keith Emerson and Rick Wakeman. Certainly, anyone who enjoys the music of those two gentlemen will enjoy No Trespassing. But his love of music transcends just classical and progressive rock and on the album, as well as rock-band progressive rock and classical piano, Roussak also treats us to jazz and Broadway-musical style numbers.
The danger with an album of such strong eclecticism is that it becomes difficult to find a unifying factor that links all of the music and gives the listener a cohesive, strong "album feel", a feature that is present in all of the best albums. Strangely, despite the variety of styles of music on offer, I would say that this album does have a unifying factor and that is a keen sense of melody. The album is very rich in melody, irrespective of the genre and that helps to unify the sound across these pieces. It's peculiar in a sense that something as simple as melody could do that but, on the other hand, good melody is NOT simple, it just sounds that way. You either have the knack of composing good melody or you don't - that's the point. Roussak has the knack not only of identifying good melody but also of composing it, and demonstrates those qualities in abundance here.
Genre wise, the predominant flavor is of a rock-band electronic keyboard led progressive rock, played at medium to fast tempo, either in instrumental or sung formats (the vocalist is drummer Hendrik Plachtzik - don't be frightened, he's a good singer for this style of music!). Even within these numbers however, Roussak is wont to include sections of classically played piano but, like I said before, if you enjoy the kind of progressive rock pioneered by the likes of ELP and Rick Wakeman, you'll have no problems with this.
Interrupting the "straight" progressive rock compositions are "Prelude", the first of the two Bach pieces, which is given a prog-rock beginning before the classical piano takes over in the second half; "Jesu Joy of Man's Desiring", the second Bach piece given a pretty arrangement but still dominated by the piano and "All Good Things" which is similarly dominated by piano; "Do Without Me", a good jazz number; and "Maybe", a Broadway musical style song with a gorgeous melody.
It's an album of varied music but that should suit us progressive types, right? It's also a very good album and will make me explore this artist's work more widely.
Reviewed by Alex Torres for SoT, 12/11/2008
Radio Alfa (Poland), Silhobbit ( England )
Autor: Kev Rowland
25.10.2009.
ImageAndrew Roussak is keyboard player with Dorian Opera, but this is a solo album where he has composed all of the material (apart from two classical pieces by Bach) and has been joined by some guests so that at times this does sound like a band project. Normally progheads are the most forgiving music fans when it comes to different styles, but I am not sure that many would be expecting lounge in the middle of what is predominantly a prog album, witness “Do Without Me”. But, do you know what? I think it works to a large extent, just not within the context of the album as a whole. But, this is a solo album and part of the reason for recording outside of the band context is that the musician is free to do whatever he/she likes and obviously Andrew feels that it belongs.
However, overall this is a very enjoyable album with some very strong passages. The vocals aren’t always as powerful as they might be, but they work well with the music. This is melodic neo-prog that is firmly middle of the road in that it isn’t challenging any musical boundaries, but it is extremely accessible and enjoyable even on first hearing and at the end of the day isn’t music there to be enjoyed? I feel it could have done with more push and power but for a debut solo this is a worthwhile effort and it will be interesting to see where Andrew goes from here.
( You may find this review also on Silhobbit- prog website, England )
Radio Alfa - MLWZ show ( Poland )
Andrew Roussak is a Russian born (Ufa) pianist who has moved to Germany, the place where he found success, and 2 years ago he was honored by a German official award "Pop & Rock Award 2006" as the best keyboard player and the best solo artist.
Andrew considers Bach , Keith Emerson and Rick Wakeman as the big masters. He showed his respect for them on the album "No Trespassing" on which he gathered songs recorded through the years in different studios and countries like Germany, Russia and France.
He put on this CD two own interpretations of Bach's works: Preludium no. 2 in C minor from "Das Wohltemperierte Klavier" and this famous chorale from cantata no. 147 „Herz und Mund und Tat und Leben“ („Jesu, Joy of Man’s Desiring“). These two very skillfully adapted to the contemporary requirements and played by Roussak in a thrilling way on synthesizers versions of classical pieces are corresponding on "No trespassing" with own compositions of our hero. You can divide them into two groups. First ones are instrumental pieces. And it is here where you can see that Roussak appreciates and respects the achievements of Emerson and Wakeman. When listening to „Vivace Furioso“, „All Good Things“ and „Wartime Chronicles“ one can almost hear that these could be unknown recordings of ELP trio or solo repertoire of Rick Wakeman. Second group of Roussak's own compositions are songs. They are sung (unfortunately not always in a good way) by Hendrik Plachtzik, and you can also hear other instrumentalists accompanying Roussak: Steffen Hehrer, Olivier Weislogel, Alan Graham, Jurgen Wannenwetsch, Sebastian Sauberlich. Among those compositions we find pieces that can be put into "pop-rock" category (No Trespassing“, „Lost In The Woods“ or Rhythm of The Universe"), almost musical-like pieces („Maybe“), and even recording with cabaret-vodevil character („Do Without Me“).
It is quite an eclectic album but - as I have mentioned earlier - it is supposed to sum up and put together different material, that Andrew's been working on for last few years. We should assume that his future CDs will be oriented more "one-way" which helps gaining more integrity and stilistic homogeneity. Nevertheless, while listening to "No trespassing" music you can find out three different things. First, Andrew is wonderfully skilled pianist gifted with a divine spark. Second, he is a talented composer. And third, skilled interpretator of the old music who can accomodate it to modernity with help of batteries of his magically played synthesizers.
Written by Artur Chachlowski on 02.04.2008
Translated into English by Mat, Alexiakl ( the members of Magle International Music Forum )
BARIKADA - rock in Serbia ( English version )
Written by Branimir Lokner
Thursday, 18 December 2008
ANDREW ROUSSAK " No Trespassing "
( Mals ) 2007/2008.
CD
Progressive/symphonic rock
There's no doubt that Andrew Roussak is nowadays one of the most prolific keyborder/pianist on the progressive territory. Born in Russia, and relocated to Germany in 2001 , he is active as a free lance artist, studio musician, and composer. He won the "German Pop & Rock Award" as the best keyborder and instrumental soloist in 2006 year. He is a classically trained performer, but his technique also clearly communicates with modern musical heritages. "No Trespassing" is his debut, recorded in various studio locations in France, Germany and Russia.
Together with his collaborators, he has created an album materials full of colorfull themes, fine keybord passages, and more than convincing arrangements . His progressive/symphonic offering finds inspiration in 70's sympho rock legacy, and as a performer Andrew names his older collegues - Rick Wakeman and Keith Emerson as a leading influental tandem. I would also like to mention another keyboarder as a possible comparison to Andrew's performing style and that is a nowadays maybe underrated Dutchman - Rick Van Der Linden from TRACE/EKSEPTION fame. Except two classical transcriptions, all other
presented materials belong completely to Andrew's authors work.
In a very fine and intelligent way Andrew knows to connect 70's period with nowadays options, and his album clearly confirms that opinion.
"No Trespassing" is more than recommendable issue, acceptable also for the followers of older as well as newer progressive tendencies.
Rating : 9,5/10
Magle International Music Forum
Magle Intl. Music Forum
CD Review: No Trespassing - Andrew Roussak
About the artist:
Andrew Roussak is a 38 year old composer, keyboard and piano player, born in Russia and working in Germany. He has won several prestigious awards recently, as listed on his site. No Trespassing is his first album, which he describes himself as "very melodic art- or progressive rock with the elements of classical music".
About the songs:
Track 1: No trespassing
Nice introduction with some simulated flute play, very much in the classical prog vein. A bit sooner than I expected, the singer (Hendrik Plachtzik) jumps in, and I must say that his voice initially requires some getting used to. I would have preferred a stronger preference, and maybe even to have lyrics in German. That said, the voice is certainly adequate, and by the time I gave the CD a third or fourth spin, I had overcome my initial reservations. Some nice guitar works in addition to the great keyboards. It is a good melodic work, which would have deserved a longer more elaborated version than the 4:31 it actually lasts. A track that grows on you with repeated hearing.
Track 2: Prelude
Having read the information on this track in advance, I did not have high hopes. "This is the Prelude No.2 in C Minor from Das Wohltemperierte Klavier by J.S. Bach". It is all a matter of taste, but I don't like modern reworks of classical music, and that includes the famous efforts of Emerson Lake and Palmer, Ekseption, and Renaissance to name a few. Well, I was in for a pleasant surprise. The rework is very tastefully done, with sufficient original contributions and variations in mood to keep me interested the whole track. Without doubt the best rework of a classical theme I have ever heard, by a quite large margin.
Track 3: Lost in the woods
Back to an original Roussak track, based on a Stephen King story. This one is to my taste very much in the neo-prog style. Plachtzik sounds much better here than in the opener, and makes the most of this melodic and dramatic (but not melodramatic) song, with a memorable refrain. Again, the guitar play stands out, and the ending works well.
Track 4: Wartime chronicles
The first original instrumental, and the only track that lasts over 7 minutes. Roussak obviously dominates this track with his keyboards and piano play, and does so with great panache. About halfway the track, simulated tubular bells like sounds get added to the instrumentation for a short period which is hauntingly effective, and they return near the end. One of the best instrumentals I have heard in quite some time, and for me the best track of the album. It can be sampled on his website and I encourage everyone to do so.
Track 5: Jesu, Joy of man's desiring
Another Bach rendition. After an interesting intro, Roussak interprets one of the most beautiful of all Bach melodies, but unlike the second track, this one does not particularly work for me. To my taste, there is insufficient variation, but I realize that others will love this track. He dedicates it to the memory of his dad, which I found striking, as it was one of the themes we selected for my mother's funeral.
Track 6: Rhythm of the Universe
After a very original and intriguing intro, we find ourselves in another melodic song with a good drive, but I find Plachtzik struggling at some points with the delivery, and I would have preferred more variation in the instrumentation that for a long time relies too much on guitars and drums, until the keyboards get more chance to shine later on. Not a bad track (certainly not filler), but it could have been better executed in my opinion. The end, echoing the beginning, is great.
Track 7: All good things
Church bells sounds open and close a great instrumental where the piano dominates the proceedings, a bit like a romantic classical concerto at places. As good as this track is - and I certainly would not want to do without it - the shifts in moods and style from song to song start to become a bit bewildering by now.
Track 8: Do without me
Continuing the theme of rapidly chaging moods, track 8 evokes the mood of a jazz singer giving a concert in a lounge or bar. Plachtzik sounds more at home in this repertoire which suits his voice perfectly. Roussak shows that he is as much at home in this jazzy idiom with his keyboard play as in the more progressive tracks. The song is strong and would not look out of place on any contemporary jazz album. After Wartime chronicles, my favourite track on the album. I would be highy interested in a complete album in this style by Roussak and his colleagues.
Track 9: Vivace furioso
Back to prog. In spite of the title, this instrumental is not a re-work of a classical tune, but Roussak's own composition dedicated to Keith Emerson. It is a fitting tribute to one of the great prog keyboards legends, full of fireworks, and with a very fine melody line.
Track 10: Maybe
My first reaction: What the heck? This sounds like a musical song. So I looked at the artist's notes and read: "Maybe is actually a song for a still unwritten musical." It definitely shows that he would have the talent to pull off a complete musical. Plachtzik sings his lines adequately, the instrumentation is suitably restrained and gives the great melody the chance to shine. A good closer, and consistent in the selection of somewhat inconsistent styles within one CD.
About the styling:
The album front cover is OK, but lacks some impact and imagination to my taste; the back cover is better, and gives the relevant information including run times. The CD itself comes with a far more interesting design. The little booklet gives some background for the tracks and good information on the musicians, including pictures of them, but no lyrics. The text is sometimes difficult to read due to the styling chosen.
Overall assessment:
Great musicianship from Andrew Roussak himself on keyboards and piano, with adequate to good contribution from the supporting musicians. The album grows on you with repeated listening, like most good albums. The sound (as far as I could judge by playing on my PC) is good. The highly melodic songs are good, sometimes even great, but I personally find that there is a bit too much variation in style and mood. I would have preferred a complete prog album, or a musical, or a complete jazz album. Nevertheless, an excellent debut with great promise for things to come. Points for improvement: a bit more consistency in the choice of the tracks, and the styling of the cover. On a scale from 1 to 6 stars, a solid 4 star album.
Art Rock on Magle International Music Forum
ProGGnosis - prog rock and fusion
Published on: 27 Dec 2007
Reviewed by progcat
No Trespassing is Andrew Roussak's debut album. Roussak is a Russian musician living in Karlsruhe,Germany. He is classically trained from an early age and plays keyboards and piano. On this album he is performing mainly progrock with classical influences. The artist helds his influences to be ELP, Keith Emerson and Rick Wakeman. Besides his solo effort,Andrew is playing keyboards in the bands Henry and Dorian Opera.
This CD, No Trespassing, has both it's strong and weak moments. The short version of my review is that the excellence of the keyboards and progressive music here is counterbalanced by style & song choices that diminish from the overall listening pleasure.
Here is a track by track commentary:
No Trespassing 4:31 - At first listen a disappointment. The track grows, however,after a few listenings. The vocals of Hendrik Plachtzik is not great on this track. Roussak shows great skills at the keyboards. The production,however, sounds a bit flat and dated.
Prelude 2:59 - A piece written by J. S. Bach done in a Wakemanesque way. Roussak's keyboards and piano playing is very good. Exception comes to mind. A good but too short track.
Lost in the Woods 4:36 - an instrumental Roussak-track based on classic neoprog. Good guitar playing throughout the track. Plachtzik vocals sounds much better on this track. Wartime chronicles 7:18 - The longest track on the album is a nice instrumental piece heavily based around Roussak's strong piano and keyboards playing. After some 3 minutes heavy drumming accompanies the synths in a proggy way. Both Keith Emerson and Rick Wakeman clearly comes to mind. A good track.
Jesu, Joy of Man's Desiring 3:56 Simply does not work for me as it is presented. This J. S. Bach piece is nice enough, however as delivered here it seems more suitable on a Henry Mancini or a James Last album.
Rhythm of the universe 5:27 - A good rock start is taken over by Hendrik Plachtzik's vocals which reminds this reviewer of a performer in the European Song Contest. Puddle rock,or AOR-dance music. After 3 minutes; however, the track picks up and a good guitar sound accompanies Roussak's excellent keyboards making for a strong ending after a weak start. All Good Things 4:10 - A track more suitable on a classical piano album than on a prog album. It's true that straight classical piano appears successfully on other progressive albums and it might have worked here had the overall album flow been more consistent. There is no doubt thought that this song has fine piano playing though.
Do without me 5:01 - A completely change of style here. As this gives the listener a feeling of a jazz-cabaret direction. Maybe a good idea on a contemporary jazz album, however, not here.
Vivace furioso 5:15 - The artist's clear admiration for Keith Emerson is again clearly shown. After a short piano-introduction Roussak again shows he really is a great keyboard player. Excellent synths and mellotrons in the old Emerson/Wakeman way. This is a strong keyboard track.
Maybe 5:35 - Unfortunately the album closes in a boring cabaret-concept like way. Colin Blundstone or Barry Manilow comes to mind. All in all, No Trespassing is an album that has its' very good moments. Roussak has many talents however this release suffers because they are mixed all together on one album in a way that distracts from the whole. If he wants to choose cabaret-jazz then it would be better if he were to keep that to its' own album. Same with AOR and puddle rock; leave it out. As individual and separate releases of these styles they may succeed (and I am sure a prog one would a strong audience). And bundled together here, well.....
There are excellent prog moments on No Trespassing and these moments - on their own - make a good start on what might have been an excellent prog album. Unfortunately, the incongruous styles from the selection of tracks presented here reduces the total impression of the album.
I look forward to Roussak's next solo and to his work with Dorian Opera with hopes that he puts his best ideas together in a more cohesive fashion. I give this release a 6 out of 10.
Prognaut - Reviews from a fan's perspective
Andrew Roussak, composer, keyboard and piano player, hails from Russia and is currently working from Germany. He released his debut solo album, No Trespassing. The music is very melodic symphonic styled epic progressive rock Much in the vein of Camel, Alan Parsons Project (1st album), Pink Floyd and Genesis to name a few.
The album starts out with a very nice song, No Trespassing. A very nice introduction to what's to come. The vocals, provided by Hendrik Plachtzik, which is rather low key at times but fits the music. I found every song to be quite nice, nothing extraordinary but very well done in all areas.
It is one of those albums that grows on you with each listen. In fact, you can hear new things which to me is the sign of a great album. With the great musicianship from Andrew along with contributions from the supporting musicians, makes me look forward to more. I would definitely recommend No Trespassing, to fans of the aforementioned bands.
Reviewed by Ron Fuchs on October 2nd, 2007