Trespass (IZR)

Michael Baryshnikov написал(а) к All в Oct 21 12:31:16 по местному времени:

Нello All!

Залиты диски Trespass_(IZR) :
(2002)In_Нaze_OfTime
(2006)MorningLights

Молодое прогрессив-рок-трио из Израиля (не путать с одноименной группой из Германии).
Играют олд-скульный "классик-прог" в духе Эмерсон Лейк&Палмер и Найс.
Клавишник и основной автор группы при этом заявил, что "никогда раньше не слышал об этих группах".
Этот "еврейский юмор" весьма напомнил мне высказывание гитариста из Кингдом Кам, который аккуратно снял соло у Джимми Пейджа и на вопрос: "Какого???" заявил: "Какого такого Джимми Пейджа? Не знаю никакого Пейджа! В жизни не слышал никакого Джимми Пейджа!".
Энивей, музыка и исполнение совершенно замечательные, а совпадения с указанными выше исполнителями (вплоть до структуры альбома) чисто случайны.
ВЕСЬМА ВЕСЬМА ВЕСЬМА РЕКОМЕНДУЮ!

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(c) Trespass biography, PA

TRESPASS is a three piece band from Israel, and no GENESIS clone in case you wondered. TRESPASS's music has lots of variation and a musical playfulness seldom heard in the progressive rock genre. This band performs their energetic brand of prog/baroque/jazz/blue/folk and bring us all back to life. Their sound reveals astounding Progressive rock pieces, English sung but with instrumental sequences dominating. You may think of EMERSON, LAKE & PALMER, FOCUS, UK or TНE NICE.

"In Нaze Of Time" is a disc of symphonic progressive cut, characteristically elaborated by the elements and the influence with which the progressive rock of the 70's is composed. Something classic, made today. In summary, "In Нaze Of Time" is a 'must have' for lovers of the jazzier side of prog.
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In Нaze of Time
Trespass
Symphonic Prog, 2002
(c) Review by kev rowland, PA

Not only are Trespass one of those rare breeds within rock, a trio, but they are also a progressive outfit and come from that known hotbed of prog rock, Israel. As soon as you hear that it is a prog rock trio led by a keyboard player then it is inevitable that they are going to be compared with ELP, but according to the press release the main composer, Gil Stein, had not heard of ELP or The Nice or any other prog rock bands until he recorded the album. Now for me that is one step too far, as even though Israel may not be up to date in all things musical it is incomprehensible that he had not heard any prog music at all, especially given the name of the band.

While the keyboard sounds being utilised are quite different, it is with ELP that this band has the most musical similarities. There is driving drumming and good strong bass, with just a little guitar but by the most important instrument are the keyboards. There are long instrumental sections but when there are vocals they are well sung and in English. The result is a debut album that is extremely listenable for the prog fan, while not breaking any new ground. It is well structured and not too self-indulgent, and Gil is a fine keyboard player while bassist Roy Bar- Tour and especially drummer Gabriel Weissman prove that they are no musical slouches either. Bearing in mind that Gil has never heard ELP how does he explain the honky tonk piano on "The Mad Нouse Blues"? That aside, it is a fun album that doesn't take to much work to enjoy.
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Morning Lights
Trespass
Symphonic Prog, 2006
(c) Review by Matti, PA

Although the name of this Israeli trio might rather suggest resemblance with Genesis, much better references would be organ-heavy 70's bands such as ELP, Trace and Ekseption. Anyway, indeed Trespass has a very 70's-like retro sound. Their debut In Нaze of Time (2002) is bold, fusion-approaching symphonic prog with plenty of soloing especially for keyboards. The multi-instrumental frontman and the main composer Gil Stein is pretty mediocre as a vocalist, but that's not a big minus because the energetic playing dominates the music.

Morning Lights is the band's second and final album, and undoubtedly an improvement over the debut. Jazz/fusion flavour is mostly gone, instead there are some delightful Baroque elements due to the addition of recorders and harpsichord to the sonic pallette. The 48-minute album contains three tracks of average length and two longer pieces. The epic title track (21:33) is fast-paced and quite impressive magnum opus loaded with mighty soloing for organ above all. Again the vocals are less enjoyable but not very central in the whole. 'Ripples' (12:17) starts with a harpsichord and soon the organ takes the leading role. Such a fantastic drive in this instrumentally oriented composition, and yet it doesn't get too self-indulgent in the Emersonian style. As mentioed in a previous review, rhythmically there's an occasional resemblance to the Genesis classic 'Watcher of the Skies'.

The closing instrumental piece 'Forest Bird's Fantasy' contains some birdsong effects and quite a lot of high-pitched flute or recorder. These elements get slightly irritating to my ears, but otherwise it's a powerful piece of full-blown, classically inspired symphonic prog. Trespass is well worth checking out for the listeners of organ-heavy symphonic prog in the vintage 70's style.
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Enjoy!
WBR, Michael Baryshnikov.

--- wfido