Bands In Karlsruhe
MusikZirkus Magazin
Ragazzi, Progressive Rock Newsletter N 61, 2008
Musiker Magazin N1 , 2007

Internetportal www.bandsinkarlsruhe.de

Eins vorneweg – Andre Roussaks CD ist ein Juwel. Sie wollen wissen warum? Wo soll man anfangen? Was erwartet man von einem Musiker, der zu Deutschlands bestem Keyboarder gewählt wurde? Einiges! Virtuosität, geile Sounds, Musikalität, technisches Verständnis für Keyboard-Programmierung, vier Hände, vier Füße? OK – gebongt. Hat er! Was hat er darüber hinaus? Unendliche Liebe zur Musik! Und die kann man hören. Jeder Song ein neues Universum. Sie wollen Vergleiche? OK! Haben Sie 300 Jahre Musikgeschichte studiert? Dann sind Sie hier richtig. In zehn Werken präsentiert Ihnen Andre Roussak mit seinen genialen Mitstreitern einen Querschnitt aus den wichtigsten Epochen der Klassik, Romantik, dem Jazz, der Rockmusik und der Popmusik – natürlich in seinem unverwechselbaren Stil. Kennt noch jemand PH/D, Emerson, Lake & Palmer, Styxx, Rick Wakeman, Sky, Toto? Leider längst versunkene Flaggschiffe der Rochgeschichte. Hier werden sie wieder geborgen, restauriert und mit neuem Glanz versehen. Eine Freude gehobener Art für einen Freund der stilarten- übergreifenden Musik. Hier finden Sie keine Sounds, die des Effektes willen inszeniert werden. Mit jedem Keyboardklang wird Musik gemacht. Durchdachte Arrangements, die ans Herz gehen, übersprudelnde Ideen. Rhythmik, die endlich mal wieder die Grenzen der radiotauglichen Achtelbeats überschreitet. Gekonnt! Mehr sollte man nicht verraten. Die CD ist ein Muss für jeden wahren Freund der Musik. Dass dieser außergewöhnliche Musiker aus der Nähe von Karlsruhe kommt, sollte eine Ehre für die Region sein.
Heinz Reinlein

MusikZirkus Magazine

Und schon wieder eine Entdeckung, die ich bei myspace.com gemacht habe. Der im russischen Ufa geborene Andrew Roussak lebt seit 2001 in Deutschland und spielt seit seinem siebten Lebensjahr Klavier, da ist es nicht verwunderlich, wenn sein Album „No Trespassing“ sehr Piano- bzw. Keyboardlastig ist. Es sollte noch erwähnt werden, dass er im Jahr 2006 mit zwei Stücken der CD den Deutschen Pop & Rock Preis als bester Keyboarder / bester Instrumentalist gewonnen hat.

Auf dem Albumcover der CD prangt groß der Titel „No Trespassing“, von dem man sich nicht täuschen lassen sollte, denn man sollte unbedingt eintreten und sich der Musik von Andrew widmen, denn das lohnt sich, auch wenn sich eine gewisse Stilvielfalt auf der Cd befindet. Auf den zehn Stücken präsentiert uns Andrew mit Unterstützung von weiteren sechs Gastmusikern die ganze Bandbreite seines Könnens, daher ist es auch etwas schwierig seine Musik in eine bestimmte Kategorie zu schieben. Neben NeoProg- und Melodic-Rock finden sich auch klassische Passagen und sogar Jazz und Swing auf dem Album. Und die Einflüsse so bekannter Keyboarder wie zum Beispiel Rick Wakeman, Jon Lord, Matthew Fisher (Procol Harum) oder Keith Emerson blitzen an vielen Stellen auf.Mit dem Titelstück, das mit Satzgesang aufwarten kann, begrüßt uns Andrew mit einer sehr eingängigen Melodie und einem lockeren Rhythmus, die beide sofort ins Ohr gehen. Etwas retromäßige Atmosphäre lässt er durch den Einsatz der Orgel aufkommen, ja sogar etwas Funk ist durch Perkussion und Wah-Wah-Gitarre angesagt. Beim folgenden „Prelude“ heißt es jetzt „Klassik meets Rock“, denn Andrew präsentiert Johan Sebastian Bach’s „Das Wohltemperierte Klavier Nummer 2“ in einer rockigen Variante, die ihr sehr gut steht und zeigt, welche Qualität in Andrew steckt.
„Lost In The Woods“ ist ein Melodic-Rocker mit eingängiger Hookline und schönem Gitarrensolo. Schon fast hymnenhaft, wie ein Soundtrack, so klingt das Instrumental „Wartime Chronicles“ und erzählt quasi ohne Text eine Geschichte. Das erinnert mich von der Struktur her auch ein bisschen an „War Of The Worlds“. Mit 7:18 Minuten Spielzeit der längste Track, der eine ganze Menge an Abwechslung zu bieten hat.
Dass Andrews Herz eine Menge Platz für Klassik bereit hält, beweist dann beim nächsten Instrumental „Jesu, Joy Of Man’s Desiring“, das wiederum eine Neuinterpretation eines Stückes von Johan Sebastian Bach darstellt. Dieses Mal ist es die Kantate Nr. 147 „Herz und Mund und Tat und Leben“. Dabei spielt er eine Orgel, die mich an Procol Harum erinnert. Zwar behält das Stück seine klassische Note, ist aber trotzdem für Freunde von Rockmusik, die Stücken wie „A Whiter Shade Of Pale“ nicht abgeneigt sind, geeignet. Damit ist dann aber auch der klassische Teil des Albums abgeschlossen.
„Rhythm Of The Universe“ bietet Flöte und einen Rocksound, den man so auch von Jethro Tull in der „The Broadsword And The Beast“-Phase her kennt. Allerdings hat für meinen Geschmack die Gesangsstimme von Andrew etwas zuviel Hall, was auch bei einigen anderen Stücken der Fall ist. Ansonsten ein Stück mit schöner Melodie, das Spaß macht.
Glockengeläut eröffnet dann „All Good Things“, eine Pianonummer mit Geigen, die sehr orchestral klingt und den Pianisten in Andrew hervorkehrt. Auch das folgende „Do Without Me“ ist kein Rock im herkömmlichen Sinn, denn Andrew präsentiert eine Mixtur aus Jazz und Swing, die ich mir in einer amerikanischen Bar für gut betuchte Gäste gut vorstellen kann.
Mit „Vivace Furioso“, das bereits mehr als 10 Jahre alt ist, erweist Andrew dem großen Keyboarder Keith Emerson seine Ehre. Zwar fängt das Stück zunächst recht klassisch an, doch schnell entwickelt es sich zu einem Track der ganz in der Tradition von ELP gehalten ist. Toller Track.
Mit dem Song „Maybe“ endet dann das Album. Meeresrauschen und sanfte Keyboardakkorde, Andrews Stimme und eine Pianolinie sind die Bestandteile dieses letzten, recht süßlichen Songs.
„No Trespassing“ ist ein Album mit unterschiedlichen Stilen, die für eine Menge Abwechslung sorgen. Allerdings fehlt fehlt mir so ein bisschen der durchgehend rote Faden. Die CD macht auf mich daher mehr den Eindruck einer Werkschau. Dass Andrew ein Profi an seinem Instrument ist, das ist deutlich herauszuhören, denn die musikalische Qualität der einzelnen Tracks ist jederzeit spürbar. Meine Empfehlung: bei www.myspace.com/andrewroussak mal in die Songs reinhören und dann das Album bestellen.
Meine Anspieltipps: „No Trespassing“, „Wartime Chronicles“, „Rhythm Of The Universe“ und Vivace Furioso“, die für mich auch zu den besten Stücken des Albums zählen.

Stephan Schelle, Januar 2008

Ragazzi - Website für Erregende Musik

"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.

Volkmar Mantei , 6 November 2007 für RAGAZZI ,
Progressive Newsletter ( Ausgabe 61, 2008 )

MUSIKER-Magazin, 1 - 2007

Seit 2003 räumt er jedes Jahr einen Rock & Pop- Preis ab. Seit 2002 unterstützte dieser Vollblutmusiker internationale Künstler bei ihren Produktionen. Mit "No Trespassing" präsentiert Andrew Roussak eine orchestral-getränkte CD,die in ihrem Facetten-Reichtum mit dem 60er und 70er Classic-Rock kokettiert, plötzlich sich aber wieder jazzig-bluesig gibt. Die solistischen Leistungen Andrews sind unverkennbar, trotzdem verzahnt sich die Musikalität seiner Begleitband mit ihm zu einem respektablen Musik-Getriebe, welches den Hörer/in mit seinem akustischen Moment mächtig mitnimmt. Seine Preise sind redlich verdient.Höchste Anerkennung!!
H.D.

CDbaby, USA
Progwereld , Holland
Progressor, Uzbekistan - Russia
Sea Of Tranquility, USA
Radio Alfa, MLWZ radio show , Poland
Radio Indy, USA
Magle International Music Forum, Denmark
ProGGnosis, USA
Prognaut, USA

CDbaby

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

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

Sea Of Tranquility

"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 - 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 )

Radio Indy

No Trespassing" by Andrew Roussak is a very pleasing progressive rock compilation. Superb instrumentation is one of the most noteworthy aspects of this CD. The instrumental and vocal performances are filled with fever, passion and emotion. "Lost In the Woods" flaunts a razor sharp rock edge and demonstrates robust vocals of Hendrik Plachtzik. "Jesu, Joy of Man's Desiring" stands out among the more solemn tracks on this CD, serving up some great piano, organ, flute and string arrangements. Intriguingly, many of these songs are multi-faceted in nature, constantly morphing into varying emotional expressions. Furthermore, the production of "No Trespassing" utilizes small elements and sounds that really give these compositions a life of their own.

Xavier P. and RadioIndy.com

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

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