(Symphonic Progressive Rock) Andrew Roussak - No Trespassing - 2006, APE (image+.cue), lossless

Рожденный в Уфе, Эндрю начал играть на фортепьяно в возрасте 7 лет. Долгое время работал, как студийный музыкант и как главный музыкальный редактор местной радиостанции. Помимо классической музыки он был увлечён записями Кита Эмерсона и Рика Уэйкмана. С момента его "знакомства" с другой музыкой и до настоящего времени массивный звук его клавишных и виртуозность игры, а также любовь к классическому фортепьяно, были представлены в записях различных групп и проектов. С 2001 Эндрю живет в Германии и, как приглашённый музыкант, играет живые концерты с группами, выступает соло, много сочиняет, записывается и даёт уроки фортепьяно. В 2006 Эндрю выиграл German Pop & Rock Award, как лучший клавишник и лучший инструментальный солист.

Данный альбом не является 100%-сольным дебютом. Он состоит из десяти композиций, две из которых - Prelude и Jesu Joy of Man’s Desiring являются интерпретациями Иогана Себастьяна Баха, а всё остальное - его собственные произведения.

Диск должен понравиться многим поклонникам арт-рока, особенно тем, кто не ставит музыкальную сложность во главе списка своих приоритетов.

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, 11 May 2008

Отчёт EAC об извлечении, выполненном 26. мая 2009, 23:59 для диска:
Andrew Roussak / No Trespassing

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