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TRANSATLANTIC

Symphonic Prog • Multi-National


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Transatlantic biography
TRANSATLANTIC is Prog's premier super group. A truly illustrious collection of amazing talent that push the barriers which redefine the meaning of a progressive rock supergroup! Of course thats no surprise, looking at the all-star line-up: keyboardist / vocalist Neal Morse (Spocks Beard), drummer Mike Portney (Dream Theater), guitarist Roine Stolt (Flower Kings), and bassist Pete Trewavas (Marillion). Together, these multitalented guys have created some truly amazing music. For an all-star progressive rock band, TRANSATLANTIC has a chance to make some musical noise in the United States.

All four musicians agree that "SMPTe" is a timeless piece of rock history and one that shows such diverse influences as PINK FLOYD, YES, GENESIS, KING CRIMSON and The BEATLES. This album captures some of the finest progressive rock ever recorded. Barring the prog-nazis and their arrogant opinions! "Bridge Across Forever" is definitely more of a full-band effort. Those familiar with all the band members styles will certainly identify everyones characteristic touches -- Morses melody, Stolts vibrant playing, Trewevas tasteful licks, Portnoys intense drumming. Also appearing are: Chris Carmichael, violin, viola and cello; Keith Mears, saxophone; and the "Elite" choir, background vocals. Each member of the band gets a shot at lead vocals, and the vocal harmonies are outstanding. In all cases, the musicianship is intense, technical, and ambitious, but never goes over-the-top. Made for fans by fans, "Bridge Across Forever" will stand the test of time to epitomize progressive rock.

Transatlantic official website

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Buy TRANSATLANTIC Music


KaleidoscopeKaleidoscope
Metal Blade 2014
Audio CD$17.79
$22.98 (used)
KaliveoscopeKaliveoscope
Box set
Metal Blade 2014
Audio CD$44.98
Bridge Across ForeverBridge Across Forever
Metal Blade 2001
Audio CD$8.94
$7.77 (used)
The WhirlwindThe Whirlwind
Metal Blade 2009
Audio CD$13.33
$11.99 (used)
Stolt Morse Portnoy TrewavasStolt Morse Portnoy Trewavas
Metal Blade 2000
Audio CD$9.97
$7.95 (used)
KaliveoscopeKaliveoscope
Box set
Metal Blade 2014
Audio CD$24.98
Live in EuropeLive in Europe
Metal Blade 2003
Audio CD$9.32
$7.75 (used)
More Never Is EnoughMore Never Is Enough
Box set
Metal Blade 2011
Audio CD$25.02
$25.71 (used)
Right Now on Ebay (logo)
TRANSATLANTIC CABLE various LP 12 track (l25129) aussie transatlantic 1974 US $8.14 Buy It Now 34m 19s
TRANSATLANTIC CONTEMPORARY GUITAR ALBUM volume 1 LP 15 track compilation (tra500 US $8.14 Buy It Now 34m 24s
HARVEY ANDREWS SOMEDAY ORIGINAL UK TRANSATLANTIC TRA 329 US $14.99 Buy It Now 34m 38s
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INCOGNITO - TALES FROM THE BEACH/TRANSATLANTIC R.P.M. [DIGIPAK] - NEW CD BOXSET US $15.73 Buy It Now 1h 26m
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Bob Pegg & Nick Strutt - 1973 UK Transatlantic LP. Ex! US $16.29 Buy It Now 3h 27m
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PENTANGLE HISTORY BOOK transatlantic 72 A-1UB-1U Lp nex US $16.29 Buy It Now 4h 45m
GREYHOUND 1976 Reggae VINYL LP MANGO ROCK Transatlantic US $9.77 Buy It Now 5h 21m
Decameron - Third Light (Transatlantic 304) (UK) ('75) US $19.99 Buy It Now 5h 29m
Renbourn, John, The Transatlantic Anthology Audio CD US $22.99 Buy It Now 5h 55m
RALPH MCTELL - STREETS OF LONDON - TRANSATLANTIC RECORDS REISSUE IN NR EX CON US $8.14 [0 bids]
6h 19m
JOHN RENBOURN - Sampler - '71 UK press Transatlantic label Brit folk LP - EX US $24.99 [0 bids]
6h 24m
Alexis Korner/All Stars/1969 Transatlantic LP US $44.86 Buy It Now 6h 31m
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7h 21m
The Campbells - One Eyed Reilly 1966 7" Transatlantic TRA SP 10 PS US $8.14 [1 bids]
7h 53m
EX+ UK TRANSATLANTIC LP - THE PENTANGLE - THE PENTANGLE US $26.10 [6 bids]
8h
Prog Folk Psych Gryphon "Same" Orig UK Transatlantic Textured Gatefold LP US $22.95 [0 bids]
8h 24m
Prog Folk Psych Gryphon Richard Harvey "Divisions..." Orig UK Transatlantic LP† US $22.95 [1 bids]
8h 33m
Stray S/T 1970 LP UK 1st Press Transatlantic TRA 216 Psych Blues Rock US $26.10 [11 bids]
8h 41m
BERNARD WRIGLEY LP SONGS STORIES & ELEPHANTS Transatlantic / tra 327 US $13.86 Buy It Now 9h 36m
Marsupilami - Arena - Original LP - Transatlantic prog psych folk 1971 US $18.76 [2 bids]
10h 11m
STRAY "MOVE IT" 1st FRENCH *TRANSATLANTIC* MEGA RARE UK PROG ROCK~MINT VINYL!!!! US $19.00 [0 bids]
10h 25m
Memphis Slim - Chicago Blues, 1969 Transatlantic XTRA 1085 LP US $17.93 Buy It Now 11h 20m
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11h 40m
Billy Connolly Live! Original UK Transatlantic Comedy Brit Folk 1972 Live US $9.99 [0 bids]
US $19.99 Buy It Now
11h 46m
MR FOX Little Woman UK BIG T Transatlantic Folk Rock Bob Carol Pegg US $16.23 [0 bids]
11h 48m
Transatlantic Ping Pong [Digipak] by Glenn Tilbrook (CD, Jun-2004, Compass... US $5.99 [0 bids]
13h
2014 TRANSATLANTIC LIVE IN MANCHESTER & TILBURG 2010 JAPAN MINI LP HQ CD DVD US $73.00 Buy It Now 13h 25m
2014 TRANSATLANTIC LIVE IN AMERICA JAPAN MINI LP HQ CD US $41.80 Buy It Now 13h 25m
2014 TRANSATLANTIC LIVE IN EUROPE JAPAN MINI LP HQ CD US $41.80 Buy It Now 13h 25m
Pain Of Salvation Perfect Element CD Marillion Dream Theater Transatlantic Impor US $6.99 Buy It Now 14h 11m
H Natural Selection CD Marillion Steve Hogarth FRC Transatlantic US $21.99 Buy It Now 14h 11m
Marillion Live At Walsall 1990 Rare Fish CD Transatlantic Genesis Dream Theater US $49.99 Buy It Now 14h 11m
HUGUES AUFRAY LP " Transatlantic " ATLANTIC Canada 1977' ** INTROUVABLE ** US $29.95 [0 bids]
US $69.95 Buy It Now
14h 22m
THE DUBLINERS The Definitive Transatlantic Collection DVD Audio DVD-A Surround US $5.95 [0 bids]
15h 34m
2 by The Dubliners "More of The Hard Stuff" Transatlantic, "Best Of" Major Minor US $14.95 [0 bids]
US $19.95 Buy It Now
17h 40m
JOHN RENBOURN ~ SIR JOHN ALOT ~STEREO TRANSATLANTIC FOLK UK LP ~ FIRST PRESS 1/1 US $89.71 Buy It Now 18h
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BERT JANSCH & JOHN RENBOURN ~ MONO TRANSATLANTIC FOLK UK LP ~ FIRST PRESS 1/1 US $244.67 Buy It Now 18h 9m
JOHN RENBOURN ~ SAME SELF DEBUT ~MONO TRANSATLANTIC FOLK UK LP ~ FIRST PRESS 1/1 US $154.95 Buy It Now 18h 17m
THE PENTANGLE ~ SAME SELF DEBUT ~TRANSATLANTIC FOLK UK STEREO LP FIRST PRESS 1/1 US $407.78 Buy It Now 18h 25m
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TRANSATLANTIC LIVE IN AMERICA MORSE STOLT TREWAVAS PORTNOY JAPAN MINI LP HQ CD US $41.80 Buy It Now 18h 34m
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TRANSATLANTIC WHIRLD TOUR 2010 , LONDON JAPAN MINI LP HQ CD US $52.00 Buy It Now 18h 44m
BERT JANSCH ~ JACK ORION ~ TRANSATLANTIC FOLK UK MONO LP ~ RARE FIRST PRESS 1/1 US $407.78 Buy It Now 18h 51m
BERT JANSCH ~ IT DON'T BOTHER ME ~ TRANSATLANTIC FOLK UK MONO LP FIRST PRESS 1/1 US $318.06 Buy It Now 18h 59m
TRANSATLANTIC MORE NEVER IS ENOUGH LIVE JAPAN MINI LP 3 HQ CD + 2 DVD US $73.00 Buy It Now 19h
Stefan Grossman Hot Dogs LP / Stereo Transatlantic US $3.26 Buy It Now 19h 2m
BERT JANSCH ~ NICOLA ~ RARE TRANSATLANTIC FOLK UK MONO LP 1967 ~ FIRST PRESS 1/1 US $203.89 Buy It Now 19h 6m
John Renbourn - VINYL - Self Titled (Transatlantic Records) US $114.16 Buy It Now 19h 26m
The John Renbourn Sampler LP Transatlantic / SAM 20 US $5.22 Buy It Now 19h 35m
SILVERMAN / ZIMMERMANN / CORONA GUITAR KVARTET - TRANSATLANTIC TALES NEW CD US $24.70 Buy It Now 20h 19m
PENTANGLE Cruel Sister UK Original LP 1st Transatlantic Label w/GF Cover 1U/1U ! US $119.95 Buy It Now 21h 18m
Various BEST OF ENGLISH FOLK Vol.5 vinyl LP 1978 Transatlantic Near Mint! US $16.29 Buy It Now 21h 43m
HUGUES AUFRAY - TRANSATLANTIC NEW CD US $27.99 Buy It Now 22h 16m
PREACH - TRANSATLANTIC NEW CD US $19.92 Buy It Now 22h 57m
Pete Robbins - Transatlantic Quartet-Live In Basel CD US $20.22 Buy It Now 23h 29m
JERRY DOUGLAS / ALY BAIN - TRANSATLANTIC SESSIONS 5 (2PC) NEW DVD US $46.31 Buy It Now 1 day
JERRY DOUGLAS / ALY BAIN - TRANSATLANTIC SESSIONS 6 (2PC) NEW DVD US $46.31 Buy It Now 1 day
Incognito - Transatlantic Rpm (NEW CD) US $19.96 Buy It Now 1 day
VARIOUS ARTISTS - THE GREAT TRANSATLANTIC HITS 6 - LP US $2.45 Buy It Now 1 day
Circus~Self-titled LP~1969~UK Transatlantic~Super RARE PSYCH~NM-!!! US $20.50 [2 bids]
1 day
Marillion - Radiation (CD 1998) TRANSATLANTIC STEVE HOGARTH SMPTE US $9.77 Buy It Now 1 day
Transatlantic - Bridge Across Forever [CD New] US $13.39 Buy It Now 1 day
IAN CAMPBELL FOLK GROUP over the hills. UK 1st press Transatlantic US $14.66 Buy It Now 1 day
Incognito - Transatlantic Rpm [CD New] US $14.49 Buy It Now 1 day
XODUS FEATURING DAWN TALLMAN lift up your hands 12" 4 trk transatlantic vocal mi US $8.14 Buy It Now 1 day
The Transatlantic Move - Keoki (CD 1996) US $2.99 [0 bids]
1 day
TransAtlantic ?- Mike's Silver Hammer Live Holland 2001 (Dream Theater) 2 CD US $22.82 [0 bids]
1 day
BILLY CONNOLLY SOLO CONCERT 2 DISC TRANSATLANTIC 1974 US $9.99 Buy It Now 1 day
Aly Bain & Jerry Douglas - Vol. 2-Transatlantic Sessions 4 [CD New] US $18.58 Buy It Now 1 day
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Folk Rock LP THE McCALMANS Burn The Witch UK Import 1978 Transatlantic Records US $3.99 [0 bids]
1 day
MIKE WESTBROOK "Love/Dream & Variations" orig UK Transatlantic LP US $29.00 [0 bids]
1 day
Bridge Across Forever - Transatlantic New & Sealed CD Free Shipping US $19.90 Buy It Now 1 day
The Great Scots Sampler Volume 2 LP Transatlantic Hamish Imlach Watt Nicoll US $19.57 Buy It Now 1 day
BILLY CONNOLLY solo Concert 2LP set TRANSATLANTIC TRA 279 1974 UK US $16.29 Buy It Now 1 day
New! RALPH McTELL The Best Of/Transatlantic Years 2-CD US $29.99 Buy It Now 1 day
Transatlantic Sessions 2, Vol. 1 by Various Artists (CD, Jan-2013, Whirlie) US $18.00 Buy It Now 1 day
?†CHILDREN OF THE SUN Sallyangie LP '68 UK Transatlantic Sally Mike Oldfield NM US $29.99 Buy It Now 1 day
SUPER TRANSATLANTIC-SHUTTLECOCK 2-TRACK U.S. PROMO DJ CD CS390 US $2.99 Buy It Now 1 day
Neal Morse: SONGS FROM NOVEMBER 2014 CD New/SEALED Spock's Beard Transatlantic US $8.27 [3 bids]
1 day
PASADENA ROOF ORCHESTRA The Pasadena Roof Orchestra LP Aust Transatlantic US $10.73 Buy It Now 1 day
THE MIKE RAVEN BLUES SAMPLER Transatlantic UK import 69 US $21.00 Buy It Now 1 day
VARIOUS - Blues For Your Pocket [UK 1972 Transatlantic Compilation LP - NR MINT] US $16.23 Buy It Now 1 day
Transatlantic - Bridge Across Forever CD METAL BLADE US $18.14 Buy It Now 1 day
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The Pentangle UK 1968 TRA 162 Transatlantic 1C RARE ULTRASONIC Cleaned US $60.00 Buy It Now 2 days
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ALY BAIN / JERRY DOUGLAS - TRANSATLANTIC SESSIONS 4: 2 NEW CD US $27.99 Buy It Now 2 days
CONTEMPORARY GUITAR SAMPLER: VOL. 2: TRA SAM 15: 1970 TRANSATLANTIC LP EX / EX US $20.36 Buy It Now 2 days
' This Is The Ian Campbell Folk Group ! ' Vinyl Album Transatlantic Records US $6.51 [0 bids]
2 days
RALPH MCTELL REVISITED 1970 TRANSATLANTIC REC VINYL LP*NEAR MINT PLUS THROUGHOUT US $22.75 Buy It Now 2 days

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TRANSATLANTIC shows & tickets


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TRANSATLANTIC discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

TRANSATLANTIC top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.06 | 561 ratings
SMPTe
2000
4.16 | 626 ratings
Bridge Across Forever
2001
4.04 | 736 ratings
The Whirlwind
2009
3.81 | 377 ratings
Kaleidoscope
2014

TRANSATLANTIC Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.37 | 102 ratings
Live in America
2001
4.49 | 146 ratings
Live in Europe
2003
4.49 | 156 ratings
Whirld Tour 2010 - Live From Shepherd's Bush Empire, London
2010
4.35 | 91 ratings
More Never Is Enough
2011
0.00 | 0 ratings
KaLIVEoscope
2014

TRANSATLANTIC Videos (DVD, Blu-ray, VHS etc)

3.79 | 91 ratings
Live in Europe
2003
3.80 | 46 ratings
Building the Bridge / Live In America
2006
4.64 | 168 ratings
Whirld Tour 2010 Live in London
2010
3.00 | 6 ratings
The Official Bootleg DVD
2010
0.00 | 0 ratings
KaLIVEoscope
2014

TRANSATLANTIC Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.07 | 67 ratings
Bridge Across Forever Limited Edition
2001
4.46 | 60 ratings
SMPTe (The Roine Stolt Mixes)
2003

TRANSATLANTIC Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

TRANSATLANTIC Reviews


Showing last 10 reviews only
 The Whirlwind by TRANSATLANTIC album cover Studio Album, 2009
4.04 | 736 ratings

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The Whirlwind
Transatlantic Symphonic Prog

Review by The Ace Face

4 stars I have recently returned to progressive rock, the music of my high school days, after long periods exploring other genres. More specifically, I have gotten back into Neal Morse and all of his projects in a major way, and I wanted to explore the new Transatlantic albums that had been released since I put them aside several years ago. I enjoyed SMPT:e, but overall the the songs and sections of the various epics seemed strung together, the solo sections were a bit too long, and Neal seemed to dominate the composition, not allowing much room for Roine Stolt or Pete Trewavas to really show their composition styles. Bridge Across Forever had some of those same problems, but there was much more of a focus on band composition, and at least Neal and Roine traded singing on different sections. Not only that, but the recurring musical themes tying the different epics together and the sheer scope and grandeur of Stranger In Your Soul give the album a transcendent quality that puts it amongst my favorite progressive albums.

With The Whirlwind, I think they've finally nailed what they set out to do from the beginning. Setting the difficult task of composing a 78 minute long song actually gives the whole band a lot of room to stretch out and really dig into their various ideas with gusto. The typical opening instrumental opener is longer, given about 7 minutes to introduces the various musical themes and it hits the right balance between musical composition and instrumental virtuosity that really kills, with Roine and Neal both showing their skills with flourishes and riffs but never threatens to dominate. The first vocals, surprisingly, come from Roine Stolt which is indicative of how much of a collaborative effort this is. The Whirlwind vocal theme is as melodic and catchy as anything they've ever written, and gives a wonderful driving start for the album.

"The Wind Blew Them All Away" gives way to eerie minor key acoustic guitars and an offbeat vocal from Morse. Roine gets in a nice solo in the middle, and we get a reprise of one of the dark and heavy themes from the overture near the end. Then the upbeat theme kicks in and melds seamlessly with the chorus of this section to create a powerful climax. As the final note winds down, Pete's bass leads the way into "On The Prowl", a 6/8 section that seems structured to give plenty of room for extended solos but really offers Neal and Roine space to kind of play off one another with their different instruments, and then roars into the vocal section with some darker lyrics and singing from Neal.

"A Man Can Feel" is probably my favorite section taken as an individual song, and sounds very much like Roine got to write this whole section. Spooky harpsichord and singing from Roine give way to a driving rhythmic pre chorus and burst open into the soaring chorus with excellent backing vocals from the rhythm section. Excellent bass riffing here as well, with another great guitar solo backed by Neal's Mellotron-Chorus. After the second chorus, the melody starts in line with the chorus and another guitar solo followed by Neal's first organ solo of the album follow, and a darker instrumental section misleadingly leads into the driving "Out of the Night", another Roine-led section that alternates verses and choruses with Neal reprising the album's main theme.

"Rose Colored Glasses" is a longer section led by Neal that starts as a slow acoustic piece that builds and builds into a strong climax with interweaving themes and a soaring guitar solo. After it winds down, "Evermore" begins with a haunting piano riff constantly interrupted by some darker riffs and drum fills. After some instrumental fireworks, the singing comes in and alludes to a later section before kicking into "Set Us Free", picking up one of the most drivingly rocking themes from the overture and really hammering it home before settling into a kind of funky groove that sets the stage for Neal's vocals. Some ambient piano riffing takes us into the next section, another favorite of mine.

"Lay Down Your Life" kicks in with heavy cello riffing and some deep grooves from the drums. Neal sings this section with high falsetto and some screams that suit the heavy groove, and the chorus is incredibly hard rocking and creepy at the same time. Another great guitar solo and another chorus takes us into "Pieces of Heaven", a short instrumental section. This doesn't last long before going into "Is It Really Happening?", a slower, ambient mood piece for the first half, with chanting from all four members that seem to be spoken from a trance. As the drums get louder and more complex, the song gets faster and a truly killer guitar solo kicks in and tears the sky open, and then Neal's synths join in to drive the section home.

"Dancing With Eternal Glory/The Whirlwind (Reprise)" follows with a slow piano introduction from Neal. A brief word on Neal Morse's epic compositions: he loves to end them with the same theme that began them and this is no exception, but this final section introduces his religious tinged epic ending, and then throws in several of the main themes from the album to boot before literally ending the album of the same riff that began it, and maybe I just love the riff, but its a damn solid way to bring this epic to a dramatic close.

I didn't mention Mike Portnoy once during this review, and I just wanted to include some words on him here. He's an incredible and versatile drummer, and he just kills it all over this album, going crazy with riffs and fills at all the right moments, giving a driving beat and extra few beats to really keep the tempo, slowing down when he needs to, and holding back when he needs to. I can't say a bad word about the guy, he's just constantly on point no matter whats happening in the music.

The music never bores you, I can listen to it several times over and find new parts to love, this album is a true delight from some of the best progressive rockers out there.

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 The Whirlwind by TRANSATLANTIC album cover Studio Album, 2009
4.04 | 736 ratings

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The Whirlwind
Transatlantic Symphonic Prog

Review by Roland113
Collaborator Neo-Prog Team

2 stars . . . In my not so humble opinion.

I'm not going to beat around the bush here, this album did so little for me despite my repeated attempts to enjoy it. I tried, I mean, it's got Neal Morse and Roine Stolt, two of my favorite prog musicians. It's got Mike Portney, nothing more is needed to be said there. Pete Trewavas too . . . this is the definition of a super group, so why did it leave me cold and lifeless inside. On paper, I should love this.

Why, is the real question, what is wrong with this album? Yes, there are some pretty significant religious overtones, not my thing, that's not the problem on this one though. I enjoy some of Neal Morse's preachy albums, Sola Scriptura and ? are brilliant. I'm pretty good at ignoring the content of the lyrics as long as they aren't laughable. There's something deeper going on here.

My first thought was the lack of hooks, but I realized that's not entirely correct, there are hooks all over the place, they're just not very good ones. The more that I think of it, the album is really just a long series of mediocre hooks with a lot of different notes thrown in between. Listening to this album, I just get this picture of Neal Morse jumping from instrument to instrument a-la Buckaroo Banzai with the cheesy smile that keeps saying 'look at how good I am'. I'm sorry Mr. Morse, but your hooks run into each other and your solos seem to involve a lot of notes in succession that work theoretically, but have little staying power. There was a time when I found this band new and exciting, I loved everything Mr. Morse was doing, now even the 'strange off time parts' seem rote and predictable to me.

I'd love to give this a higher rating, I would, but other than the somewhat tense 'Evermore' and the novelty of 'The Return of the Giant Hogweed' this album leaves me totally unimpressed. This album killed all excitement that I had for Transatlantic to the point that I still haven't cared enough to give the follow up album (that's right, I can't even remember its name) a spin.

I wanted so much to enjoy this album.

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 Kaleidoscope by TRANSATLANTIC album cover Studio Album, 2014
3.81 | 377 ratings

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Kaleidoscope
Transatlantic Symphonic Prog

Review by Daggor

3 stars For those unfamiliar (which, up until a short time ago, included myself), Transatlantic is a progressive rock/metal supergroup consisting of members of Spock's Beard, Dream Theater, Marillion and The Flower Kings. The band comfortably exists in a common ground between those other four bands' sounds, with complex, highly melodic, long form songs. This by itself it to be applauded, because my experience with each four of these bands separately has been to hear the music drift into listless complexity, only to snap into empty, uninspired melodies. That's not to insult any of these bands, because these are all musicians with some absolutely incredible music along with the missteps. It's just the nature of the territory. Still, before I go farther in discussing the latest Transatlantic release, Kaleidoscope, I do want to say that just striking the balance between melody and complexity so naturally is to be applauded, especially in a supergroup.

That being said, because Transatlantic exists in the comfortable middle ground between the collected musicians' illustrious careers, that comfortable middle ground is remarkably small, and while 'epic' in scope, the musical ambitions of Kaleidoscope are disappointingly small. This also goes with the supergroup territory, but I still have to address it, especially if you're familiar with the careers of Mike Portnoy, Neal Morse, Roine Stolt, and Pete Trewavas: don't expect to hear anything you haven't heard before. That's not to say that these specific combinations aren't fresh, because combining the symphonic talents that Roine Stolt brings to the table with Portnoy's distinct drum passages creates some really cool moments.

What made this album difficult to review though was the expectations. Transatlantic isn't a band I've followed closely at all in the past, but since Portnoy has left Dream Theater, the quality of his output has been improving notably. On top of that, I have an appreciation for what Stolt, Trewavas, and especially Morse ought to be capable of. So when the four put together a completely predictable, but also excellent album, I'm torn. There's a part of me that wants to come down hard on Kaleidoscope, but then I look around and see albums far more ambitious that I'm enjoying far less, and realize that it wouldn't be fair.

What finally brought me around was "Shine." When I was drawing my attention to the bookend epics, the title track, and "Into The Blue," I found them both too long to be significantly memorable. They're excellent songs in their own right, but the more restrained "Shine" is what gave me the outstanding vocal melodies to latch onto, and ignited my real appreciation for this record. Even if I was a bit disappointed in the level of creativity, I can still appreciate when a progressive rock album just sets out to do the genre proud, and there's really something to be said for familiarity done right.

3.75 // 5

Originally posted at www.blackwindmetal.com

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 Kaleidoscope by TRANSATLANTIC album cover Studio Album, 2014
3.81 | 377 ratings

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Kaleidoscope
Transatlantic Symphonic Prog

Review by ProggyDon

3 stars I've been a big fan of Transatlantic in the past. The first two albums still stand as really good prog. Kaleidoscope however is them just treading water and is a bit of a disappointment to me personally. I know they can play well, and the music is recorded as good as always, but its just average, generic prog with not much to recommend it. Its fine if you want some background prog to play while your 'doing the ironing', but does'nt hold my attention as well as their other albums.

They need to up their game if they want to stay at the top of the prog tree. Lets hope the next installment is an improvement. I very much hope so.

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 Kaleidoscope by TRANSATLANTIC album cover Studio Album, 2014
3.81 | 377 ratings

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Kaleidoscope
Transatlantic Symphonic Prog

Review by siLLy puPPy
Prog Reviewer

3 stars TRANSATLANTIC has become what I call 'Comfort Prog' since to my ears, it's like junk food, meaning it has little nutritional value yet it tastes very good. That's exactly what we get with their 4th album KALEIDOSCOPE which is simply a reworking of all the material they began with their very first album 'SMPTe.' I really like the first two albums and I have nothing against a supergroup doing retro prog as long as it isn't a carbon copy of what came before but at this stage fourteen years after that debut I would expect some serious developments in the musical evolution department. That is not what we get here. We simply get four prog stars resting on their laurels and setting the passion flame to cruise control and churning out very pleasant and well constructed epic suites that neither offend nor excite. They seem to have forgotten that 'progressive' by its very definition means moving forward or advancing in steady increments. We do not get any of that here. This is just doing exactly what you've already done before only changing it around a bit and adding a nice pretty package.

The one exception for me (and many others I see) is the track 'Black As The Sky' which seems to have mustered up some musical mojo to at least add one really satisfying' track to the album. Even this is hardly what I would call a major leap in any sort of development in their musical compositional approach. I give albums 3 stars for a few reasons. One reason is because an album contains a few great songs and lots of filler. Another is because the album is even but just not up to its potential possibly following or preceding a much stronger album and yet another is a perfectly good album that is simply anachronistic. If this was their debut album in 2000 it would be celebrated with the praise that their first two albums received, but these days there is so much more interesting prog to be had and this simply feels lackluster in comparison to their own past releases alone. For this release of comfort prog which is intended to give the prog masses an easily digestible package that doesn't require much effort to take in, I give a middle-of-the-road 3 stars.

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 Kaleidoscope by TRANSATLANTIC album cover Studio Album, 2014
3.81 | 377 ratings

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Kaleidoscope
Transatlantic Symphonic Prog

Review by Aussie-Byrd-Brother
Special Collaborator Rock Progressivo Italiano Team

3 stars When the cover for Transatlantic's latest 75 minute opus `Kaleidoscope' was first released, with all the blue and green colours, it strangely made me think of the Santana band's `Borboletta' disc from 1974. I instantly thought `Wow, it would be cool if this turns out to be Transatlantic's jazz/fusion album', and even the spiritual lyrics from that Santana period would have more than fit in with Neal Morse and Roine Stolt's leanings! Sadly, this was not to be, and instead we have a perfectly decent but utterly unoriginal and even occasionally dull rehash of everything the band has given listeners before, even as good as I've felt those albums have been in the past. Of course it contains all the technical playing, sophisticated arrangements and pleasing melodies associated with the band of professionals, but there's an underwhelming sense of this being...perhaps mere product to hold the prog masses for another year or so?

Transatlantic certainly have their knockers. Those who grumble about the band being so completely retro focused are kind of missing the point at this stage into their career and their solo works. Fans generally enjoy exactly that about Transatlantic, that all four of the musicians pour plenty of their own character into their music, and those same fans admire the love that the band have for those defining vintage days of progressive rock. Those who complain that this is everything wrong with modern prog music, as if prog has ever been `fashionable' in the first place, are deluding themselves! I am perfectly happy to defend a band that is proud of its prog heritage and influence. Morse and Stolt's pride in their spiritual beliefs have inspired and strengthened my own for years, so I'm also more than fine with that element that emerges throughout this music. But sadly with `Kaleidoscope', it's all about diminishing returns, with the band seemingly just going through the motions. Perhaps because the previous album was a comeback they felt the need to prove themselves, as `The Whirlwind' had an urgency and positively crackled with energy and fire compared to this one.

The epics are certainly the strongest works here. The 25 minute opener `Into The Blue' is more or less exactly like the longer pieces on the previous albums, a hugely symphonic prog workout with extended instrumental sections, some orchestrated passages full of epic rises, grand builds, pleasant melodies (one thing Neal Morse can frankly write in his sleep) and a big finale. All the usual trademarks are well in place for this one, just without too much in the way of real excitement. The frantic instrumental opening is well done, and of course the charismatic Neal Morse, simply one of the most versatile and dynamic keyboard players in modern prog, is all over this. His voice, too, is in good form as always, it's just that once the vocals enter, the verse/repeated chorus melodies are not as strong as they have been before. Drummer Mike Portnoy sounds like he's having a great time during the Beatles flavoured section about 12 minutes in, and since he left Dream Theater, we've all been very lucky to have him playing more traditional prog in this band. Pete Trewavas's bass is mixed chunky and upfront like in the glory days of early Marillion and this thankfully avoids sounding like anything on his sleeping pill `Edison's Children' project. The slow- burn instrumental passage of electric piano, mellotron, murmuring bass and a ripping electric guitar solo from Flower King Roine Stolt that runs throughout the 13-17 minute mark is definitely the highlight. Sadly, I can't stand the finale with guest Daniel Gildenlow's overwrought and oh so emotional vocals (yet oddly I enjoyed his time when he was a member of the Flower Kings, go figure), and the verse/chorus reprised outro has a slightly plodding heaviness that doesn't quite succeed.

The 32 minute title track is the album standout of course. There's a foot-tapping quality to the snappy drumming and feel-good joyful vocal harmonies, with dreamy Floydian atmospheres, heavier King Crimson-like menace, thoughtful orchestrated moments and even some singer-songwriter acoustic introspection. Neal lets rip with endless heavy bursts of scorching Hammond, whirring Moogs and jazzy piano, and his lead vocals are very joyful and commanding. Roine's middle-eastern desert swept `Black as Gold' part is sublime with lots of darker tension and blissful group vocals, Mike Portnoy drumming up a tsunami of fury. Sadly despite the whimsical floating psychedelic backing, the `Walking The Road' passage is made excruciating by Pete T's unbearable vocals that make me cringe - great musician, dreadful vocalist. Unfortunately the climactic end is not very thrilling and lazily fades out leaving almost no impression, a bit of a shame. But overall due to the various instrumental runs having a strong build with a better use of reprises and recurring themes, this one is mostly a winner and the best thing here.

Sadly it's on the three `in between' tracks where the album almost grinds to a halt.`Smile' is a clichéd psychedelic acoustic semi-inspirational ballad just begging for a sea of cigarette lighters to be raised in the air at live concerts. Despite a tasty electric guitar solo from Roine in the second half, there's a strong whiff of Dad-Prog to this one that makes me nearly nod off. `Black as the Sky' is more up-tempo and almost playful, full of E.L.P-type keyboard bluster and a catchy chorus, but it's all a rather forgettable if pleasing time-waster - I'm sure it will be great fun at live shows though. `Beyond The Sun' is the obligatory "Classy Neal Morse Christian Ballad", filling much the same spot as the title track on Transatlantic's second album `Bridge Across Forever'. Personally I can appreciate the lyrics, less so the predictable vocal arrangement - nice cello and Yes `Soon'-styled pedal steel guitar though. Overall, the biggest issue is that these tracks aren't even a fraction as strong as similar `straight-forward' tracks on the last few solo Morse and Flower Kings albums. I went back and played several of those discs, and even the less interesting stuff on `Momentum', `Testimony 2' and `Desolation Rose' are all far superior to these.

`Kaleidoscope' is by no means a bad album, and there's certainly no doubting it's performed well by a bunch of musicians who are deserving of their high status in modern progressive music circles. I'd probably say that those who've never heard Transatlantic before will probably enjoy this more than regular followers of the band because it will all be new to them. Either that or it's a little worrying that some fans will adore that it's safe and `business as usual'. But I truly find this one lacking in much inspiration and clear signs of a group in need to a good rethink next time around.

At four albums in, Transatlantic shouldn't feel worried of losing fans by experimenting more and taking a few chances, as in the long run (if the plan is for Transatlantic this time to remain an ongoing project), it's albums that try different things and shake up the formula that are more appreciated than the predictable holding-pattern here. Given the talent of the four musicians, I hold out hope for something more exciting next time around. Come on Transatlantic guys, take a chance and surprise us all!

Three stars.

(Now if only Roine could please put me in touch with his tailor I'd be very grateful, that's a beautiful psychedelic shirt he's rocking throughout the photos in the CD booklet!)

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 Kaleidoscope by TRANSATLANTIC album cover Studio Album, 2014
3.81 | 377 ratings

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Kaleidoscope
Transatlantic Symphonic Prog

Review by Conor Fynes
Prog Reviewer

2 stars 'Kaleidoscope' - Transatlantic (42/100)

For quite some time, I was at a loss to understand why there was such a vitriol against progressive rock. Over the years, I've had to defend my love of prog from my parents, girlfriends, friends and fellow musicians. As it's eventually turned out, it's become clear to me why people might feel so dismissive towards the genre, thanks in no small part to a band like Transatlantic. I've heard proggers sing the praises of this supergroup for ages; after all, a collaboration between members of some of the biggest progressive bands of the past couple of decades couldn't go wrong, right? It's not enough to say I dislike Transatlantic; I think their music exemplifies all of the bad clichťs that have made 'prog' such a dirty word to some people. Kaleidoscope is no different. This fourth album is another hour-plus of the Morse/Portnoy/Stolt/Trewavas collaboration resting on their laurels, spouting the same dinosaur prog that they've played their entire career, a style which, in turn, was explored and perfected decades before the band even formed.

I might argue that Transatlantic is only a part of a larger trend in progressive rock to look to the past for inspiration. Even if few hack the 70's symphonic prog aesthetic as shamelessly as these guys do, there are plenty of bands in this genre that choose to operate on more nostalgic terms. I'll admit that there's only been a handful of modern symphonic prog albums to have really impressed me (the latest having been Monarch Trail's debut Skye), but I don't think I'd ever dismiss a band solely on the basis of being retrogressive. I think the style could be made relevant nowadays, but Transatlantic clearly aren't the band to realize that potential. Between two sterile "epics" and a trio of innocuous shorter pieces, I cannot find enough personality to have satisfied a half-hour of music, let alone the 70+ minute slog of prog rock excess and cheese Kaleidoscope leads us on with.

To the supergroup's credit, it's interesting to hear the members' personal touches merged together so evenly. Although the influence of Marillion (manifest in Pete Trewavas' bass work) is seemingly absent from the Transatlantic style, Roine Stolt, Neal Morse and Mike Portnoy have uploaded their signatures to the music in such a way that you can usually tell which ideas came from whom, but where there also never appears to be competition or conflict between the respective influences. Neal Morse's 'nice guy' approach to melodies and overzealous suite structures are arguably most prominent, but Roine Stolt's Flower Kings heritage is more apparent during the instrumentals. Mike Portnoy's drumwork is instantly identifiable, and while his percussion sounds too lowly mixed, his performance on Kaleidoscope is a close mirror of his past work with Dream Theater. Some of his questionable behaviour and antics post-Dream Theater aside, he's a fantastic drummer and gives the most impressive performance of the group here.

Whereas most bands' careers might culminate in one epic suite, Kaleidoscope offers two on the same disc. Even being as cynical over prog conventions as I am, the idea of an epic still really appeals to me; it's a band's chance to push themselves to the very limit and show the extent of their skills. That novelty and significance really wears off in Transatlantic's case where they treat epics with a two or three-for-one deal. The title epic is certainly a better rounded work that "Into the Blue", which seems to slip haphazardly between bluesy hard rock riffs and tenuous instrumental solos. "Kaleidoscope" is a better epic in most respects; the first five minutes offer a pretty solid momentum. As a whole, the suite's parts feel really compartmentalized; there isn't the sort of fluid flow here that would be needed to make the epic feel complete. "Into the Blue" suffers from most of the same issues: twenty five minutes of generally sterile ideas drawn out to fill half a disc. The lyrics are just as heavy-handed as you would expect, too: some nonsense about 'the dreamer and the healer' sounds like cheesy prog rock mad libs, and there's plenty of Neal Morse's trademark Christian sanctimony to go around too.

While it's clear Transatlantic mean to have all sights set primarily on the pair of epics here, "Black as the Sky" and "Beyond the Sun" are the two best-written songs on the album. "Black as the Sky" is as dinosaur prog as the two longer pieces, but it's more cleverly composed and structured; I've got the slight impression that Transatlantic's songwriting would be generally stronger if they put their ideas on tighter reins more often. "Beyond the Sun" is clearly intended to be some sort of extended introduction to the "Kaleidoscope" epic, but it's actually turned out to be the most heartfelt, powerful track on the album. The instrumentation is focused on atmosphere foremost, letting Neal Morse's vocals shine through. I've never been much into his plain vocal style, but it really works here. It's a real shame that the sort of warmth that's hinted at in "Beyond the Sun" never peaks its head out for the rest of the album. By the way, I realize I failed to mention "Shine" until now; it's a saccharine acoustic track and it's like something I'd expect to hear in the ending credits of some 'family values' sitcom. Not my thing. Not my thing at all.

I know Transatlantic are a group of very talented individuals, and I know that I'm part of the relative minority in speaking against them. They've taken the most pompous elements of the old school progressive style and married it to modern-day sterility and conservatism. Most of the ingredients Transatlantic formed their style upon were pretentious and dull, and they've done nothing to press forward, nothing to improve their art or broaden their horizons. It's like a jilted bride who wears her wedding gown until the day she dies; just because you're clinging onto an ideal past doesn't mean the rest of the world hasn't marched on forward. Oh well, for whatever it's worth, as bad albums go, Kaleidoscope is one the best performed I have ever heard.

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 Whirld Tour 2010 - Live From Shepherd's Bush Empire, London by TRANSATLANTIC album cover Live, 2010
4.49 | 156 ratings

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Whirld Tour 2010 - Live From Shepherd's Bush Empire, London
Transatlantic Symphonic Prog

Review by ProgShine
Collaborator Errors & Omissions and Crossover Team

5 stars Since this live album was announced I wanted it really bad. Not really the audio CD but the DVD. They didn't come to play where I was living so the DVD would at least give me some 'news' on their live set. It turned out that I couldn't find the DVD at the time for a decent price and then I ended up forgetting about it...

Fast forward to 2014, Radiant Records was doing some Clearance on their stock and they have this triple cd for 3 dollars. No second thoughts, bought it.

Talk about Transatlantic is quite hard, and this 3 hours set is everything you could want from the band in the live department up to that point.

The band record their concert in their 'The Whirlwind tour' so nothing more common than having 'The Whirlwind' (full with 79:52) played in its entirey. But the band didn't left any of their epics off and we have an amazing version of 'All Of The Above' (with 30:19), 'Duel With The Devil' (with 28:31) and to close everything 'Stranger In Your Soul (with 30:00).

The band is playing flaless (as usual) and the addition of DaniŽl GildenlŲw as a backing musician is always well welcomed.

This is indeed a hell of a live set! Go for it!

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 Kaleidoscope by TRANSATLANTIC album cover Studio Album, 2014
3.81 | 377 ratings

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Kaleidoscope
Transatlantic Symphonic Prog

Review by FieryEmblem

3 stars Transatlantic used to be my very favorite band around the releases of SMPTe and Bridge Across Forever. I was still quite new to prog, and they were exciting, majestic and just very NEW to me. So my expectations were naturally out of proportions when they reunited and released "The Whirlwind" in 2009. I was left extremely disappointed, because nothing felt fresh or interesting, and it was just confusing to me. The reason is probably not that the band members had "lost it", but rather that I've come into contact with the whole prog world since their first albums, so I have a different perspective on what's "fresh". Today, I doubt Transatlantic would have made the same impact on me if I heard them for the first time, even their old material.

So, moving on to this fourth studio album, Kaleidoscope, I no longer had huge expectations. I just hoped to hear some fresh and new music. But I'm struggling. The two epics (25 and 31 minutes respectively) sound like all the other epics that Neal Morse have composed up until this point (sprinkled with some Roine Stolt stuff, which is a bit quirkier and more interesting to me, but is getting old too). I don't blame them, because it's near impossible to keep making fresh material 20 or 30 years into a career, especially when also wanting to give the fans what they expect. But personally, I'm so very tired of it.

The two ballads tracks are also "just Neal Morse", and if you're still hungry for those, you might enjoy them! I'm sad to realize that I no longer do. There has been too many of them now.

"Black as the Sky" is the exception for me on this album! Sure, I get VERY strong Snow vibes (the Spock's Beard album), but the style isn't overdone yet, and I like the upbeat groove. It feels fresh, and it's fun. The higlight track for me.

All in all, it's certainly not bad music, and I can see why many love it. It's just not "new enough" for me.

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 Bridge Across Forever by TRANSATLANTIC album cover Studio Album, 2001
4.16 | 626 ratings

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Bridge Across Forever
Transatlantic Symphonic Prog

Review by Progrussia

4 stars Transatlantic is modern prog preeminent supergroup, formed not to try something new, but to double down on all the classic prog staples, particularly the "super epic". Those are pretty typical, a bunch of songs stitched together and united by a repeating theme. But to their credit, they are catchy and flow is smooth, unlike, say, certain Rush epics.

Bridge across forever sounds slightly heavier, and more like a band effort that the debut, which had the feel of super musicians hired to do Neal Morse songs (and a Roine Stolt song, plus a cover song). This is reflected in complex arrangements and prominent space in the mix to all four - loads of copycat guitar and synth styles, propulsive bass, busy drumming. Overall, Transatlantic is even better than Spock's Beard (Morse band) and almost as good as Flower Kings (Stolt), almost because it's less varied. The level of catchiness, composition and playing probably deserves 5star ratings to all Trans albums, but a responsible reviewer cannot, unfortunately, overlook many instances of plagiarism.

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