Review - Transatlantic - Bridge Across Forever

I like this one better than their most recent but both are still better than any album by Marvin Suggs and His Amazing Muppephone. Almost.

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Here's a good idea: take four musicians from critically acclaimed but widely unknown melodic progressive bands and make a "supergroup". Now put out an album with only four songs, two of which are almost thirty minutes long. Commercial suicide? Probably. Good eats? Definitely! The suspects in question are multi-instrumentalist and vocalist Neal Morse of Spock's Beard, Flower Kings guitarist Roine Stolt, Marillion bassist Pete Trewavas, and Dream Theater drummer Mike Portnoy. Last year they released their first album, SMPTe, which received the expected critical acclaim, ensuring this year's follow-up Bridge Across Forever. As a fan of melodic progressive music (as opposed to those bands which only want to show off their technical chops and the song be damned) I held my breath as I spun the CD, hoping for the former but fearing the latter. What I found is a nice amalgam of classic progressive rock and modern pop/rock, lots of memorably, hooky melodies, all presented with astounding musicianship cloaked in the guise of a good song. Actually, to this corn-fed Hoosier, the songs all have the indelible fingerprints of Morse on them (making the album sound quite a bit like the best albums by Spock's Beard) but with everyone sharing the vocal responsibilities, giving some nice variety to the mix. The entire album is very symphonic in it's structure. Each song is made up of a variety of recognizable melodies that cross-pollinate to other tracks, giving a nice cohesion to the album. For instance, the first track opens with a moving, melancholy, Morse-ish orchestral string section that develops into the "motherless children" theme that appears later in the second track. Elements of Dark Side Floyd surface later with the addition of sax and a gospel choir, which are later revoked and replaced with an aggressive rhythm and some really spicy guitar tones. The second track, at a puny thirteen minutes long, has a very "Abby Road side 2" feel about it and is literally brimming with hooks. The title track is a somber respite from the grandiose aural assaults of the previous tracks with Morse singing against piano and strings. The final track, "Stranger In Your Soul" begins with the same string passage that opened the album, albeit in a different key. After many musical changes, drawing from Supertramp to Gabriel-era Genesis to straight ahead 70s arena rock, the song, like the opening track, ends with an overblown, dramatic finale which to my ears sounds a bit overdone: a small Achilles heel for an otherwise remarkable project. As far as I'm concerned, any album that leaves it's songs in my head for days after last vibrating across my eardrums is a winner and this one has plagued me for weeks with it's astounding musicianship and catchy powerprogpop melodies. Now if only the voices would stop.

This review first appeared in WhatzUp, November 2001.

Current Review - Transatlantic - Whirlwind

I submitted this one for publication over two months ago and it's just now seeing print. It's another Neal Morse project (see next entry) and it's unfortunately not one that has drawn me back to it since the review. Hmmmm....


As the songwriting nucleus for Spock’s Beard Neal Morse wrote some amazing music, following firmly in the melodic rock footsteps of such legends as Yes, Kansas, and Genesis. About ten years ago he got himself saved and decided that the band format chaffed his faith and so went solo, a song we’ve all heard before. Since that time he has continued to be prolific but his quality has been a bit schizophrenic. I caught his first solo album, found it tepid, and then didn’t pursue his music much. In doing so I missed out on reviewing the amazing Sola Scriptura, a prog-metal rock opera about the life of Martin Luther but jumped back in for Lifeline, which was musically on par with Spock’s Beard but lyrically a bit limp.

It was with not a little curiosity to see what would happen to Morse’s song crafting when he again joined forces with three other titans of prog to record a new Transatlantic album, the first in eight years. The other members are bionic drummer Mike Portnoy of Dream Theater, bassist Pete Trewavas from Marillion and multi-instrumentalist Roine Stolt of The Flower Kings. Regardless, as in past Transatlantic albums this is a Neal Morse album as he wrote most of the music and lyrics, this time making a seventy-seven minute epic album formed around a metaphor for like, curiously named The Whirlwind.

My first few listens left me cold. So did the next few. In fact with so much music it took nearly two months of casual listening before I “got it”… and I’m still not sure if I have all of it or if what I’ve gotten is a touch less than spectacular. Musically it’s quite top shelf. Mike Portnoy is, as always, a phenomenal drummer both in technique and taste. Stolt adds his unique vocals as well as some mighty fine guitar textures and Trewavas booms forth plenty of mid-range pingy goodness that serves as a melodic anchor. There’s the usual Morse grand orchestral overture and uplifting dramatic final track as well as some amazingly melodic rock that would find a home with many who normally fear the label of “progressive rock.” Of special note is “Out of the Night” which is not only an exceptional song by itself but allows all four to sing, forming Beatlesque melodies. “On the Prowl” takes time out for some adventurous instrumentals similar to very early Pink Floyd, going almost psychedelic with the guitars. The album is broken up into twelve “songs”, each containing bits of musical themes that are used and repeated throughout to give the album the kind of cohesion and symphonic integrity characteristic of Morse’s best work.

With The Whirlwind Morse has been able to reverse his post-conversion lyrical decline, this time artfully incorporating his faith into a larger metaphor that is explored throughout the album. He’s still not back to his Spock’s Beard heyday level, but I’m tired of whining on this subject so will instead shut my stinkin’ trap.

Sometimes I come across rock albums with progressive touches that I can confidently recommend to non-prog-lovin’ friends. The Whirwind is not such an album. Transatlantic creates classic genre music, dense and complicated, making no bones about tipping their hat at melodic forefathers while spinning up something more modern. Fully listening to The Whirlwind is a big investment in time but one that will pay off with audible enjoyment not only now but, I suspect, for years to come.