Review Summary: A sign of great things to come.
With their first album being bland and boring to the fullest extent, Genesis had to make a change. Experimenting with different, even odd types of songwriting, as well as with keyboards and far more complex musicianship, combined with lengthy songs, would bring on a whole new sound for the group, a sound that they would later perfect.
The thing about
Trespass is that it's a transition album serving as a bridge for what is to come later, and often, "bridge" albums can be skipped. Peter Gabriel is experimenting with a more theatric and over-the-top vocal style, which is one of the strongpoints of the album. Tony Banks steals the show and displays the most talent because the songs are generally keyboard-driven numbers. Rutherford's bass is also developing into the complex and driving force it would soon become. Yet still, they are all just practicing for later it seems. While
Trespass is a thoroughly enjoyable listen, it proves to be a harbinger of good things to come and little else.
The highlight of the ablum is the lengthiest cut, "The Knife," which has gone down as a Genesis classic, appearing in their setlist all the way up to the Three Sides Live tour. It is the most cohesive track, one where the band really comes together, and with it being the final song on the album, it left listeners in 1970 (the five or six people who bought this album) wondering, "What's next for Genesis?"
