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Andrew Roussak - No Trespassing
"No Trespassing" ist das erste Soloalbum des Karlsruher Keyboarders Andrew Roussak. Ursprünglich in Ufa, Russland geboren, lebt Roussak seit 2001 in Deutschland. Im Alter von 7 Jahren erlernte er das Pianospiel, das er später auch studiert hat. Seine Einflüsse sind europäische Klassik sowie die Rockkeyboarder Keith Emerson und Rick Wakeman.
Andrew Roussak lebt als unabhängiger Künstler und spielt in mehreren Bands, schreibt Orchesterpartituren, macht Studioarbeit und unterrichtet Piano und Keyboard.
Die 10 auf seiner selbst produzierten CD enthaltenen Songs wurden 2005 und 2006 in diversen Studios in Deutschland, Frankreich und Russland eingespielt und in seinem eigenen Studio in Karlsruhe gemixt. Einige Songs sind live eingespielt worden.
Der Klang der Aufnahmen ist gut bis sehr gut. Gewiss waren die Studios, in denen die Songs eingespielt wurden, nicht die allerteuersten, und die Toningenieure nicht die Besten ihres Faches, der Klang hat etwas viel Hall, wirkt in aller Räumlichkeit kalt und erinnert an die blechernen Achtziger Jahre. Das unterstützen einige Songs, die vor allem in den Vokalpassagen und dort besonders im Refrain Melodic Rock und Pop bevorzugen.
Das Gros der Songs kann als symphonischer Melodic Rock bezeichnet werden, der in der Keyboardarbeit seine stärkste Entfaltung findet. Auch Schlagzeugtechnisch sind die Songs, bis auf den verhallten Sound, sehr gut geworden. Der Einfluss der Gitarren (und des partiellen Saxophons) hingegen tendiert gegen Null, zwar sind Gitarren zu hören, ohne aber mehr als Statistenaufgaben zu übernehmen. Andrew Roussak ist ein hervorragender Keyboarder, der die instrumentalen Parts seiner Songs am eindrucksvollsten bestimmt.
Instrumentale und harmonische Abwechslung und dynamische Wechsel zwischen zarten und harten Parts in den Songs sind außergewöhnlich gestaltet, die Gesangsparts hingegen sind eher gewöhnlich und schlicht, haben schon mal einen Hang zum melodischen Kitsch und sind nicht in jedem Fall gelungen, zum Beispiel im bluesbetonten "Do Without Me", wo der Gesang zum Ende deutlich über die Sprünge schlägt und die Intensität der Komposition konterkariert.
Zwei Stücke stammen von John Sebastian Bach, alles andere hat Andrew Roussak selbst geschrieben. Sein Faible für klassische symphonische Musik wird gerade in den Bach-Kompositionen deutlich, wo harter Spielansatz am Piano mit lyrischer elektrischer Keyboardbegleitung große Harmonien intoniert.
Während die Vokalarrangements relativ herkömmlich und poporientiert sind, sind die instrumentalen Parts wesentlich anspruchsvoller und komplexer. Vermutlich steht Andrew Roussak an einem Punkt, an dem er sich entscheiden muss, wo er musikalisch hin will. Im leichteren Melodic Rock wird er breitere Anerkennung finden, im anspruchsvolleren Symphonic Rock seine musikalischen Vorstellungen intensiver ausleben können. Die Verbindung dieser beiden Seiten ist auf "No Trespassing" angenehm gelungen. Dennoch kann die CD nur als ein erster Schritt gesehen werden. Andrew Roussak hat als Keyboarder und Komponist viel Potential.
In der Progressive Rock Szene werden die Vokalarrangements gewiss nicht besonders gut ankommen, ganz anders die instrumentalen Arrangements.
--Reviewed by Volkmar Mantei on RAGAZZI, 6 Nov. 2007
Andrew Roussak - No Trespassing
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
Andrew Roussak - No Trespassing
A Russian keyboard player living and making music in Germany, Andrew Roussak cites Rick Wakeman and Keith Emerson as his primary influences. Add a dash of classical-music sensibility, and you’ve got No Trespassing — a prog-rock mix of instrumentals, songs with vocals and traditional pieces. Here’s a guy who’s obviously poured his soul into this music, winning awards in Germany for his playing, and he’s surrounded himself with talented guitarists and a groovy rhythm section. Roussak imagines what Bach’s “Prelude” would sound like with 21st century enhancement and rearranges the composer's “Jesu, Joy of Man’s Desiring” by dedicating it to his father. “Do Without Me” rallies around a grand piano, Hammond organ and Wurlitzer standoff, while instrumentals like “Wartime Chronicles” and “Vivace Furioso” show off Roussak’s virtuoso chops. The tracks with vocals, however, are where No Trespassing often falls short of the mark. Roussak’s melodic, symphonic music deserves both a stronger vocalist (Hendrick Plachtzik sounds sort of like Fish but not nearly as convincing) and stronger production (Roussak recorded, produced and mixed this one on his own). But once those two elements are in place, look out!
--Reviewed by Michael Popke for Sea Of Tranquility on October the 1st, 2007
No Trespassing - Andrew Roussak
Andrew Roussak (website) 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 the International Magle Music Forum, 16.06.2007