TRESPASS

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 Haze 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.

Trespass was one of the most promissing progressive rock acts from Israel in late '90s. With the second album released in 2006 named Morning lights they really make a very solid album full of great surprises offer. The album is loaded with blistering galloping keyboards made by Gil Stein, what a great and inventive keyboard player, very much in same vein as the bands from 70s like ELP, Trace, Triumvirat, etc with very complicated long symphonic prog instrumental sections. Also in their sound are present jazz elements, some folk ones and even baroque atmosphere apear, all are melted very well and with great duels between musicians. Only 5 pieces, but the title track is clocking around 21 min, is a pure delight to the ears, really, is a fantastic prog rock journey and the best they had in their sleeves for sure. Elaborated passages, very nice and smooth guitar meets keyboards, nice elegant druming and an ok voice sung in english. I truly great album, I think little under rated, I mean this is better then their first offer and is for sure one of the best Israel ever released in this field. I don't find the low parts as other saw in this album, this is a very competent album that can be compared with any solid album in this genre without hesitation. Another worthy thing is the cover art, the gatefold cover is excellent, I like it a lot, very nice and invetive. One of the pleasent album I've heared lately, even I have the album for years I've only mange to take a close look in last few month. 4 stars easy, very good album that goes recommended.

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 House Blues"? That aside, it is a fun album that doesn't take to much work to enjoy.

Originally appeared in Feedback #70, Oct 02

TRESPASS are a three piece band from Isreal (keyboards, bass & drums) who are greatly influenced by ELP. A variety of keyboards dominates this recording. Vocals are in English but after reading the lyrics I think that was a mistake. They need to get someone who can write a song lets put it that way. I guess my dislike for ELP (except for their debut) is showing here, but man I do not like this album.

"Creatures Of The Night" is uptempo with keyboards galore as the drums pound. The synths end up all over this bringing to mind STYX. "In Haze Of Time" is better because they slow it down. Reserved vocals and lots of keyboards. Vocals do get passionate later. "Gate 15" is uptempo and kind of jazzy.

"City Lights" has cringe-worthy lyrics and is uptempo. They slow it down again on "Orpheus Suite" with a variety of keyboards in play. "Troya" is uptempo with some guitar in it. "The Mad House Blues" is one of those silly ELP-like songs that I detest. Lots of piano.

Just my taste in music I know but I find this to be pompous at best.

The second album from Trespass is a slight break from their debut album. Gone are the jazz/fusion elements. The replacement are a far more baroque feel. Trespass has moved sideways in the direction of Trace and ELP, with some Genesis and IQ influences too. But they still maintain their own style.

The very impressive keyboardist Gil Stein shows off big time with his fluent style. He is alpha & omega in their sound. The tasty flutes and the other instruments just adds texture to his keyboards. Most songs are based in classical music with some medieval and rennaissance music added. Baroque music, to be precise. On the top of this, there is some elements of neo-prog too. This in the meaning of the up to date sound this album has. The album feels like 2006 and not like 1970. Which is good in cases like this piece of music, in my view.

I tend to look at albums like this as one piece of music instead of just an album of songs. In this respect, this album is both playful and epic at the same time. There are alot of excellent parts. The song Ripples is one of them with the very strong baroque music part running through it. The vocals are not too bad either and more than hints about Genesis. The Vivaldi tribute is excellent too. I am surprised about the choice of musical hero. Mozart is a much more obvious choice. Yes, I can add him to the obvious influences on this album. Trespass is the symphonic prog rock scene answer to Wolfgang Amadeus Mozart.

My conclusion is that this is a very delightful album and I am very much hoping that Trespass will release more albums. So far, two excellent albums. Can I get some more, please ?

4 stars

This is a very delightful album from Israel.

It starts as a very funky, jazzy album and then proceed to touch base with both the symphonic prog, the neo-prog and the jazz/fusion scene. Well, mostly symphonic prog although it starts as an almost fusion album at the opening seconds of Creatures Of The Night. But it turns more into a commercial neo-prog song with some ELP influences too. This kinds of sets the standard here. Other songs also has some folk-rock and GENESIS influences. Most songs has a strong jazz influence too. This album is an open minded church, if you get my drift. It is also pretty much influenced by the GENESIS album which has given the name to this band. Parts of this album is pastorial. Other parts is more ELP and other parts is jazzy again. Everything is down to this excellent keyboard player Gil Stein. A man whose work cannot be praised highly enough on this album. He also does the guitars and even they are excellent. Keith Emerson; you have got company.

The music is very beautiful and haunting symphonic prog on Troya and Orpheus Suite and commercial neo-prog on City Lights. The first two are excellent. The last one not so good. This si an album I thoroughly enjoy both now and very probably in the future too. This album has hidden layers I have yet to explore, I believe. I have also just got their second album and I am looking forward to that one too. I think TRESPASS is an excellent band. Both they and this album is most definate worth exploring.

4 stars

Following the succesful steps of E.L.P.,TRESPASS were formed in 1999 in Jersusalem,Israel, led by keyboard-maestro Gil Stein.Joined by Gabriel Weissmann on drums and Roy Bar-Tour on bass,they formed a powerful prog trio,which, unlike their name suggests, recalls the best moments of E.L.P...Release on Musea Records in 2002,''In haze of time'' meant to be a really strong debut for the band.

Gil handles all keyboards and guitars and his main influences seems to be Keith Emerson and Rick Van Der Linden on keys and Jan Akkermann on guitars.Powerful and bombastic Hammond organ solos in the vein of E.L.P. constantly alternate with classical-sounding keyboard passages in the style of TRACE,while there is also some careful yet atmospheric use of digital synths,sometimes with an ambient feeling,making the whole effort sounding more modern.Gil's guitar work follows the smooth and confindent style of Jan Akkermann filled with tons of melody and harmony.Vocals are scarce,but there are also quite great and suitable to the music.The rhythm section is also amazing with a very tight playing,you will certainly notice it in some good improvisational parts with jazzy leanings and fantastic interplays with Stein's piano.I had a lot of time to listen to such an inspiring and elaborated work by a prog trio and TRESPASS deserve your attention for one of the most amazing modern works in prog territory with an obvious vintage aura.Highly recommended!

This band from Israel released a good debut album, a rather surprising one.

The music is well diversified on this offering. A truly folkish opening number is more an appetizer to discover the epic title track. At times frenetic, this number seems to come straight from the ELP repertoire. Wild keys, great drumming and powerful bass. But Trespass also adds some medieval sounds (with flute) which differentiate them. Even the artwork and its renaissance flavour features this tendency.

Classical influence can't be denied during this long song (over twenty one minutes), and the vocal harmonies are really pleasant. They have seriously improved in comparison of their debut. This is an extremely varied piece of work. The highlight of course.

The renaissance style is back again with Ripples. Even if it is not a cover song, it holds a lot of Genesis influences. Great beat à la Dance On A Vulcano, but fully keyboards oriented of course. Very strong synthesizers, even if one might think that Banks is whispering the sounds.Watcher. has been listened to in Israel, for sure. Flute adds such a pleasant touch as well to this good track.

I'm not sure if Vivaldi would have appreciated the tribute Vivaldish. I don't like it very much but the work on the keyboards is wonderful. Not bad after all. And the closing number Forest Bird's Fantasy is almost a sountrack for a fairy tale. Classical and pompous. Pastoral (all these birds sounds) and childish.

It is encouraging that the band could release another good album. Let's just hope that they will continue on this good trend and promptly deliver a third one.

Three solid stars for Morning Lights.

Two things intrigued me with this band. First, they come from Israel (a country which does not hold a lot of rock bands) and their name : Trespass. The latter reminding me vaguely something.

It is obvious to say that one of their major source of inspiration is Genesis. Especially during the instrumental parts from the first two songs. The problem being the vocals which aren't as catchy as they ought to be, just to meet the music level.

This is especially true during the very good opening song Creatures Of The Knight. Next track is also excellent : In Haze of Time is a great mix of folkish influence (very nice flute) and a relatively complex song writing. The high pitched vocals are much more convincing here. A very good song again.

The instrumental Gate 15 is more on the jazzy side. The keyboard playing is very much in the style of a Keith Emerson or Jon Lord. It is not as strong but still decent.

During City Lights the band can fully demonstrates his maestria during this complex and rhythmic track. Great beat for sure, but maybe too self indulgent. A good jazz-rock song though (which is a compliment since you might know that I am not really into jazz).

The band reverts to an almost classical mood with Orpheus Suite. Maybe an indication for their next release?

It has been quite some time that their Genesis roots were abandoned but Troya has a definite Los Endos feeling. Another powerful song with sublime drumming. ELP is not very far away either.

This album is a mix of neo-prog (three songs), jazz-rock (three songs) and classical influences. More of a cross-over music than symphonic actually. It contains well crafted and enjoyable music. A real and good surprise from Israel (even if the closing number The Mad House Blues is the weakest song of the whole, a jazzy-bluesy track but with some pleasant fluting).

It definitely deserves your attention. You might be as impressed as I am. Three stars for this good album.

- I was impressed by the debut CD In The Haze Of Time (2002), especially the swirling keyboard work from the young and promising Gil Stein. It took four years to make a successor, it's entitled Morning Lights. The cover (Sleeping Giant) is very funny, showing a giant that is sleeping on a bridge with his head on a fire brigade car. But back to the music.

1. Songs Of Winds (3.38) : The atmosphere is this first song is Medieval (and JS Bach inspired) with a delicate flute sound and sparkling keyboards.

2. Morning Lights (21.33) : The long titletrack is loaded with great keyboard play and sounds very dynamic, the fans of bands like Trace and The Nice will be delighted. I am not really pleased with the mediocre vocals but there's plenty good instrumental music to enjoy.

3. Ripples (12.16) : (This is not a Genesis cover) The intro delivers the distinctive sound of the harpsichord, then it's Hammond organ time, what a mighty sound and also the synthesizer flights sound awesome! Again the mediocre vocals don't add an extra dimension to the music but the exciting keyboards and dynamic rhythm-section are caressing my ears.

4. Vivaldish (5.39) : This tribute to Vivaldi could have come from a Trace album, what a virtuosic keyboards (great Hammond sound) along some fine flute sounds.

5. Forest Birds'Fantasy (4.59) : The final song has strong classical overtones featuring a fluent rhythm, swirling keyboards and again some flute sounds.

I have to admit that I had expected a little bit more from this new album: more variety, some real highlights and better vocals. But in general Trespass makes pleasant and melodic, very entertaining keyboard-driven prog. If this trio matures in writing, they can become the new Trace!

www.progwalhalla.com