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TRANSATLANTIC

Symphonic Prog • Multi-National


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Transatlantic picture
Transatlantic biography
Formed in 1999 - Disbanded in 2002 - Reunited in 2009

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 PORTNOY (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.

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TRANSATLANTIC discography


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

4.09 | 867 ratings
SMPT:e
2000
4.20 | 959 ratings
Bridge Across Forever
2001
4.07 | 1034 ratings
The Whirlwind
2009
3.83 | 677 ratings
Kaleidoscope
2014
4.09 | 265 ratings
The Absolute Universe - Forevermore (Extended Version)
2021
3.69 | 146 ratings
The Absolute Universe - The Breath of Life (Abridged Version)
2021

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

3.43 | 151 ratings
Live in America
2001
4.46 | 218 ratings
Live in Europe
2003
4.37 | 229 ratings
Whirld Tour 2010 - Live From Shepherd's Bush Empire, London
2010
4.38 | 136 ratings
More Never Is Enough
2011
4.70 | 19 ratings
The Final Flight: Live at L'Olympia
2023
0.00 | 0 ratings
Morsefest 2022: The Absolute Whirlwind
2024

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

3.88 | 125 ratings
Live in Europe
2003
3.93 | 61 ratings
Building the Bridge / Live In America
2006
4.66 | 228 ratings
Whirld Tour 2010 - Live from Shepherd's Bush Empire, London
2010
3.87 | 15 ratings
The Official Bootleg DVD
2010
4.43 | 71 ratings
KaLIVEoscope
2014

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

4.13 | 93 ratings
Bridge Across Forever - The Limited Edition
2001
4.49 | 34 ratings
The Absolute Universe - The Ultimate Edition
2021

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

4.45 | 87 ratings
SMPT:e (The Roine Stolt Mixes)
2003

TRANSATLANTIC Reviews


Showing last 10 reviews only
 The Absolute Universe - Forevermore (Extended Version) by TRANSATLANTIC album cover Studio Album, 2021
4.09 | 265 ratings

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The Absolute Universe - Forevermore (Extended Version)
Transatlantic Symphonic Prog

Review by BBKron

5 stars Another impressive concept album from this periodic Prog Supergoup (5 albums over a period of 20 years), consisting of Neal Morse (Spock's Beard, Neal Morse Band, vocals, keyboards, guitar), Roine Stolt (Flower Kings, guitars, vocals), Mike Portnoy (Dream Theater, Neal Morse Band, drums, vocals), Pete Trewavas (Marillion, bass, vocals), the album was released in two different versions, a shorter (The Breath of Life, 60 min) and longer version (Forevermore, 90 plus min). I've only listened to the longer version, and it is a great epic release, with some wonderful interconnected songs and sensational virtuoso playing and musicianship in a variety of styles. Although not quite up to their very best (I would rank Bridge Across Forever-2001 and The Whirlwind-2009 higher), this is still a great epic release, and among the very best melodic progressive rock around, melding a variety of styles and influences for a great musical experience. 4.5 stars
 Bridge Across Forever by TRANSATLANTIC album cover Studio Album, 2001
4.20 | 959 ratings

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Bridge Across Forever
Transatlantic Symphonic Prog

Review by Frets N Worries

4 stars I sit here listening to 'Bridge Across Forever', Transatlantic's most critically acclaimed record (at least according to the good folks at Prog Archives). The 2nd Transatlantic album I've listened to, and the second one released. If you like long, epic, building tracks, then I can do nothing but recommend this.

Song by Song:

Track One: Duel With the Devil "Have you woke up screaming in the silence of the night?..." Great opening lyric, and (bad grammar aside) Love the synth work in the first of three epic tracks that grace this record. I love the quiet backing guitar about 7 minutes in. Near the 12 minute mark, there's an epic Wah guitar solo, with some accompanying Sax near minute 13. I've never been a huge fan of Morse's lyrics overall, but they're pretty good here. The female backing singers near the end work pretty well. Great symphonic Rock Epic, 4.5 stars. Very 'Epic' in scope.

Track Two: Suite Charlotte Pike "If she runs, let her run, run, run..." I think I detect a 12 string guitar somewhere in the opening, (I should know, I own one). A bit of 80s harmonies on this one, near Beatles-esque. I have a feeling they realized this, considering the ending of Section I. If She Runs has the lyric 'It's Hard -- Calming the Beatle inside me" It reminds me of (at the time of posting this) the latest Moon Safari record, obviously, that came later, but perhaps Moon Safari took a page out of Transatlantic's book. Everything goes back to The Beatles it seems, go figure.

Many prog-heads don't seem to focus on the lyrics too much, but I'm an exception. I'm sorry Neil, these lyrics are rather generic, nothing spectacular.

The electric piano in the background works on section V, not sure about the REALLY high pitched synth in the background, as I'm writing this, I'm developing a headache because of it. Otherwise, great track!

Track Three: Bridge Across Forever "There's a bridge made of light, that crosses between death and life..." Ok, stop the review

What kinda Jon-Anderson parody stuff is this. I believe this is Neil writing Christian lyrics. I'm a Christian myself, these lyrics aren't where it's at man, I'm sorry. I could write better than this. Generic Rhymes all around, anyways, back to the review.

The shortest song on the album, (and the title track) Runs a mere 5:33, it opens with an ethereal piano intro. This is a very spiritual song. (this is the obligatory Morse Ballad Track, but one of his better ones... I think) Slightly repetive, he repeats the title too much, It's like a Bob Seger song. But slower

Track Four: Stranger in Your Soul "Not so long ago, I lived Far Below..." VERY Nice drum and keyboard intro, Portnoy contributes a drum fill before the rest of the band joins in. Transatlantic love their Overtures, that's for sure. (That's not an insult, OR a compliment. It's a statement, take it how you like) Near 4 minutes they get HEAVY. The backing choir synth, and metal guitar, it all gels together so well? The song builds to a WONDERFUL climax (as per usual).

Having the multiple singers works well here, who cares about the lyrics if they're sung this well?

This is a rather smooth track, my favorite on the album.

ANALYSIS: 5 Stars for the musicianship, 3 for lyrics, it gets a 4

 The Whirlwind by TRANSATLANTIC album cover Studio Album, 2009
4.07 | 1034 ratings

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The Whirlwind
Transatlantic Symphonic Prog

Review by Frets N Worries

5 stars "Catch your breath as you watch your step, Head spinning round as you hit the ground..."

The first (and so far only) Transatlantic album I've listened to, I've heard it nearly half a dozen times, and it really only gets better with each listen. Usually I go through each song individually, but they are so musically and thematically linked, it would be near impossible. However, I will say my favorite section is VI. Rose Colored Glasses. I think it just has a great feel to it, and the lyrics flow very well, especially the line; "This world is not our home, You can live like a rollin' stone, But you cannot escape with your life!"

The record never slows down, in it's 72 minute runtime, (All one GIANT Suite, though some might not agree, who cares when the music is this amazing!)

Like I said earlier, I'm not familiar with the band's catalouge very well. I'm more used to the 70's stuff, and I'm slowly expanding outwards. It seemed cool to listen to a 72 minute suite, so I did. Lo and Behold, it's good. Each member has their time to shine (especially Stolt, he solos all over here)

Section 12 (Dancing With Eternal Glory) seems to get some flak for being your typical Neil Morse Ballad, it seems fine to me, but maybe that's because I grew up with 80s music, it's all ballads there. Nevertheless, it doesn't really bother me in the slightest.

Overall, a fantastic record, and I highly recommend it to those looking to expand their musical horizons.

Easily a 5-Star album, it's beautiful.

"...And from the whirlwind, Comes the breath of life!"

 Bridge Across Forever by TRANSATLANTIC album cover Studio Album, 2001
4.20 | 959 ratings

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Bridge Across Forever
Transatlantic Symphonic Prog

Review by VianaProghead
Prog Reviewer

4 stars Review Nš 732

"Bridge Across Forever" is the second studio album of Transatlantic and was released in 2001. Due to the debut studio album of Transatlantic, "SMPTe", Neal Morse, without question, has become the pivotal figure in the progressive rock supergroup Transatlantic. But, for this second album, the group attempted to balance each member's contribution more equally, because of the criticism that their debut studio album "SMPTe" was too dominated by the musical style of Neal Morse. Anyway, "Bridge Across Forever", at times, sounds more like a Spock's Beard's album than an album from any of the other players' primary bands. Perhaps that's because Morse handles most of the lead vocals, but it could be something deeper than that. While isn't a concept album, the lengthy epics share at least one movement with another.

The line up on the album is Roine Stolt (vocals, electric and acoustic guitars, Mellotron, keyboards and percussion), Neal Morse (vocals, grand piano, Hammond organ, mini Moog, Rhodes piano, synthesizer, guitars and mandolin), Pete Trewavas (vocals, Warwick bass and Taurus bass pedals) and Mike Portnoy (vocals and drums). It had also the participation of Chris Carmichael (violin, viola and cello), Keith Mears (saxophone) and Elite choir (background vocals).

"Bridge Across Forever" has four tracks. All songs were written and composed by Roine Stolt, Neal Morse, Pete Trewavas and Mike Portnoy except "Bridge Across Forever" which was written by Neal Morse and Celeste Prince. The first track "Duel With The Devil" is divided into five parts: "Motherless Children", "Walk Away", "Silence Of The Night", "You're Not Alone" and "Almost Home". It starts with good instrumental themes played in a classic heavy progressive style. After some minutes Neil's vocals starts with a heavy Mellotron sound. The lead vocals are shared by the band in a very effective way. After that, Roine brings a second vocal melody, which is also very strong, followed by a quieter part, with some guitar sounds and saxophone. After several minutes, the rest of the track mainly consists of themes that were introduced earlier, performed with some variations. This is a great and very exciting opening track to the album. The second track "Suite Charlotte Pike" is also divided into five parts: "If She Runs", "Mr. Wonderful", "Lost And Found Pt. 1", "Temple Of The Gods" and "Motherless Children/If She Runs (Reprise)". It has a more bluesy feeling and is the song most different from the other tracks on the album. According to the diary on the official website of the band, it was meant as an ode to The Beatles and a way to use some unfinished bits that the band had lying around. This is a track that sounds pretty good and that has a very strong retro feel, and where at the times the band is doing wild 60's rock. Sincerely, I don't feel this piece of music too much original, cohesive and progressive. However, we must say that it has some great musical moments like "Temple Of The Gods". The third track is the title track "Bridge Across Forever". It's a short and intimate piano ballad where the emphasis is on its melody, which is very beautiful, and is magnificently sung by Neal. A nice sensitive romantic ballad is a very good idea to break the all tension of the album, indeed. Like "We All Need Some Light" of "SMPTe", this lovely ballad it would have fitted very well on one of Neal's solo albums. The fourth and last track "Stranger In Your Soul" is divided into six parts: "Sleeping Wide Awake", "Hanging In The Balance", "Lost And Found Pt. 2", "Awakening The Stranger", "Slide" and "Stranger In Your Soul". It shares many similarities to the opening track, and in a way this reflection gives the album a cyclical feel. Again, some very good themes are used, and performed in a very fresh and energetic way. The mood changes from aggressive and bombastic to melancholic and subtle. Vocally, it's a very strong track, both on melody and on the singing voices. Some earlier themes from the album appear on this track, mostly effectively. This and the first track are clearly the best and worth buying the album.

Conclusion: "Bridge Across Forever" has the same formula of their previous studio album "SMPTe". Nobody can criticize the band as a low respectable band, because they always said that Transatlantic wanted to make classic prog rock music releasing all the musical influences from the old classical bands of the golden prog era. The two long tracks "Duel With The Devil" and "Stranger In Your Soul", are in the same vein that "All Of The Above" from the first album. This is where the band develops their own sound and at the time shows all the musical influences that they have. The performance is very good, providing the technical skills of each member. The vocals are excellent, giving the perfect balance between the classical symphonic rock and the freshness of the present day production. Between these two masterpieces there are "Bridge Across Forever", a typical beautiful ballad which isn't very well connected to the rest of the tracks and "Suite Charlotte Pike" a funny track with a lot of The Beatles feel were all band's members singing for a final unsorted but an interesting result. Concluding, here we have again a very good album with a high commercial potential, with two long tracks with absolutely stunning quality from the band that helps to cover the other weak points.

Prog is my Ferrari. Jem Godfrey (Frost*)

 SMPT:e by TRANSATLANTIC album cover Studio Album, 2000
4.09 | 867 ratings

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SMPT:e
Transatlantic Symphonic Prog

Review by VianaProghead
Prog Reviewer

5 stars Review Nš 724

Transatlantic is a multinational progressive rock super group consisting of Roine Stolt of Flower Kings, Neal Morse ex-Spock's Beard, Pete Trewavas of Marillion and Mike Portnoy Dream Theater. They formed in 1999 a side project to their full time bands and solo musical projects. Transatlantic started when Portnoy invited Morse to join him on a super group project. Portnoy is known for his love for Spock's Beard, so Morse wasn't a strange choice. One of Portnoy's other favourite bands is Marillion and Trewavas was another natural choice. But, finding a guitarist was more difficult. Originally Jim Matheos of Fates Warning was meant to be the first choice, but due to several delays it wasn't possible. So, Morse suggested Stolt and finaly the project was ready to go. It was disbanded in 2002 but they reunited in 2009.

'SMPTe' is the debut studio album of Transatlantic and was released in 2000. The title is a play on words. It's a combination of the band's member initials and a type of time code used in recording technology of the four names.

So, the line up on 'SMPTe' work is Roine Stolt (vocals, electric guitar, twelve string acoustic guitar, Mellotrons and percussion), Neal Morse (vocals, keyboards, acoustic guitar and electric guitar), Pete Trewavas (vocals, bass guitar and moog Taurus pedals) and Mike Portnoy (backing vocals and drums).

'SMPTe' has five tracks. All songs were written and composed by Roine Stolt, Neal Morse, Pete Trewavas and Mike Portnoy except 'We All Need Some Light' which was written by Neal Morse and 'In Held (Twas) In I' which is a Procol Harum's song that was written by Gary Brooker, Matthew Fisher and Keith Reid and arranged by Stolt, Morse, Trewavas and Portnoy. The first track 'All Of The Above' is divided into six parts: 'Fool Moon Rising', 'October Winds', 'Camouflaged In Blue', 'Half Alive', 'Undying Love' and 'Full Moon Rising (Reprise)'. It's an epic of a length seldom seen in the recent years. Atmospheric sounds in the style of 'Close To The Edge' lead to a typical Spock's Beard intro. This is quite Beard's, especially the vocal parts of Morse that are very much similar to his own Beard's style. The music rolls through rhythm and tempo changes, through symphonic and bombastic. The keyboards are quite dominant and the influence of the guitar style of Howe on Stolt is perfectly evident. This track alone is more than a worth to buying the album for. The second track 'We All Need Some Light' is a song with a beginning of acoustic guitar and piano that gives place to a great melodic song. It's the shortest song on the album that develops into a very nice ballad that would have fitted perfectly well on any Neal's solo album. It's the most accessible song and serves as a contrast with the complexity of the previous track. The third track 'Mystery Train' is a song with influences of The Beatles and has a very good work of its rhythm section with a lightly filtered voice. It has a dynamic melody elaborated with Mellotron and excellent chorus, without losing its almost psychedelic air that presides over the whole song. The highlight of the song is the drumming work by Portnoy. The fourth track 'My New World' has a beginning in the style of Yes and where Stolt appears singing with filtered voice. The differences among both vocalists are patent in this music. The song is guided more towards the classic progressive music, being very well worked, with good vocal harmonies and a soft melody. There are some guitar fragments that remind me strongly Howe, and powerful musical atmospheres clearly influenced by Genesis with some references also to Camel. The fifth and last track 'In Held (Twas) In I' is divided into four parts: 'Glimpses Of Nirvana', 'In The Autumn Of My Madness', 'Look To Your Soul' and 'Grand Finale'. This song was originally recorded by Procol Harum in 1967 and was released on their second studio album 'Shine On Brightly' in 1968. It's widely regarded as the first progressive rock epic. This dark and enigmatic suite has a length of about 17 minutes and is a modern view of the classic version, which is taken into a more symphonic version. I like very much of this new version of the song, and that can real explain why a cover song became as one of the highlights of this album.

Conclusion: 'SMPTe' is an album with heavy reminiscences to the 70's. We can revisit many classic prog bands such as The Beatles, Yes, Genesis, Gentle Giant, King Crimson and Camel, for instance. They even covered a song of Procol Harum, one of the most underrated prog bands. The references to some of the greatest classic prog musicians are also evident. Listen to Stolt's guitar playing and you might be able to relate to Howe. Some keyboard playing is also similar to Wakeman. 'SMPTe' is an excellent album of symphonic prog rock with the objective of arriving to more public and making the genre more known. If we compare it with the musical trajectories of the bands of the musicians that form this project, we may say that it's much closer to Flower Kings and Spock's Beard than Dream Theatre or Marillion styles. So, 'SMPTe' is an excellent musical proposal served with some of the best prog musicians in our days. It seems to be an obligatory purchase for all progressive rock followers, especially for the lovers of the classic progressive era.

Prog is my Ferrari. Jem Godfrey (Frost*)

 The Final Flight: Live at L'Olympia by TRANSATLANTIC album cover Live, 2023
4.70 | 19 ratings

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The Final Flight: Live at L'Olympia
Transatlantic Symphonic Prog

Review by progrockeveryday

5 stars I can judge this album twice, because I was right there in first person, attending one of the best concerts in my life and in prog history. The album sounds incredible and I can tell that what you hear in the album was exactly what we lived there at L'Olympia. The mix sounded really nice, also the theater is an excellent place, and the CD and especially the Blu-ray is a perfect representation of that.

The setlist was (almost) perfect, revisiting the entire discography (except Kaleidoscope... it would be great to hear 'Shine' or 'Black as the Sky', or even better, a bit of 'Kaleidoscope' inside the Medley), but... The Absolute Universe Ultimate Edition, Whirlwind Medley, WE ALL NEED SOME LIGHT, and the Final Medley with sections of their best prog epics... almost 3h of epicness, I think it's fine.

Goosebumps since minute one when the intro started. The Absolute Universe was a long album, but watching it live makes it better. The 'Overture' was an incredible prog exhibition with all members showing their skills. This first CD has no pauses or moments to disconnect. The songs flowed perfectly smoothly, increasing the tension until 'Looking for the Light' (really powerful performance) and 'The World We Used to Know', ending the first set with an emotional Transatlantic-ish short moment. 'Bully' sounded really strong too and 'Rainbow Sky', the most poppy song, was really fun actually.

The second part of the Absolute Universe started with the Mike Portnoy speech, there was almost no salutations until that moment. CD2 is less powerful than the first one but it has some of the most emotional moments, like 'Solitude' with Pete singing, beautiful song... and 'Can You Feel It?', a typical Morse happy section from the Abridged version, but personally it's a shoot of energy that song in that moment of the album, goosebumps... After that, the tension increases until the big melodic theme at the end, with all people standing up, waving arms and singing in unison.

The second part of the show was spectacular: Whirlwind Medley was like "Is It Really Happening?", it was incredible. No words, music speaks by itself. 'We All Need Some Light', the most emotional song I've heard live, a really clever choice for a last song, before the Final Medley breaks in. 'Duel with the Devil', 'My New World', 'All of the Above' and ending with the best closing section of all time, 'Stranger In Your Soul', the crowd was like a sea of waving arms. What else can we say? This concert should not end...

A special evening in an incredible venue, one of the concerts of the century, Transatlantic is the synonym of prog.

 The Final Flight: Live at L'Olympia by TRANSATLANTIC album cover Live, 2023
4.70 | 19 ratings

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The Final Flight: Live at L'Olympia
Transatlantic Symphonic Prog

Review by kev rowland
Special Collaborator Honorary Reviewer

5 stars When Transatlantic first came together I don't believe any proghead could believe it, as here we had four musicians taken from some of the most important prog bands around, coming together for the sheer joy of combining their talents. The first two albums came quickly (more than 20 years ago), but for multiple reasons the rest of the albums came more slowly and then after a seven-year gap they returned in 2021 with 'The Absolute Universe'. This came in two alternate formats; an abridged 64-minute record known as 'The Breath Of Life', and a companion piece entitled 'Forevermore' that added a further four songs, clocking in at 90 minutes (I personally prefer the longer version). Though the foundations of both were shared, each format featured lyrics and music independent of the other, and then when they played it in concert, they changed it yet again so now we have a 96-minute arrangement known as 'The Ultimate Edition'. Of course, they could not just be expected to play just the album, so this set includes a third CD of other material, so we have a total playing time of 170 minutes!

To enable them to fully realise their vision, Neal Morse (keyboards, acoustic guitar, vocals), Mike Portnoy (drums, vocals), Roine Stolt (guitar, vocals), and Pete Trewavas (bass, vocals) brought in Ted Leonard (guitar, keyboards, percussion, vocals), making that supergroup just a little more super. This means we have three people who are normally lead singers in their own right, a rhythm section where both players have sold multiple millions of albums, and a list of bands they have been involved with which all progheads know and love. But all of that would stand for nothing if the music they were writing and performing together did not stand up against the expectations, but Transatlantic have been incredibly consistent since the outset, putting their egos at the door and doing whatever it takes to come up with the best group outcome. I have long thought that Pete does this to take any from the boredom and banality of working in Marillion, as that band is nothing like it used to be, and here he can really demonstrate his skills in a style which totally suits him. Roine and Neal love bouncing off each other both vocally and musically, while Mike is always one of the happiest drummers one can find and his love of working with Neal is apparent give all their collaborations together over the years (and if you have yet to see the Yellow Matter Custard DVD then you need to seek it out). Ted Leonard has fitted in seamlessly, just as he has in Spock's Beard, but the very first time I saw him perform was with the wonderful Enchant and is another I have always rated very highly indeed.

Although this concert may not actually be the end of the road for Transatlantic, they are all realists and given how long it takes for them to produce a new album it is quite possible they may be too old to play a three-hour concert in future. As Roine said, "I felt the challenge of learning, or re-learning, three-and-a-half hours of music before leaving Sweden. Now that I am getting slightly older, I was a little worried about playing for that long ? it requires a lot of concentration: 'Is this one in 7/8 or 9/8? Maybe we'll play it in 13/8 and in a different key?" Of course, when they hit the stage there were no issues whatsoever and the reaction from the crowd is wonderful. There is a point when Neal says they were considering playing just two hours and letting the crowd sing the rest and the dismay was palpable, so he quickly gave in and said they would play for three after all. When you bring together Spock's Beard, The Flower Kings, Dream Theater and Marillion in one place, the result is what you hear on this album, with four musicians performing wonderful flowing complex and intricate progressive rock which has its roots firmly in the Seventies (and even a few hints from the Sixties) but brought right up to date and polished until it gleams.

There is another live album due, showcasing the band at 'Morsefest', but this concert was after that one, so this may well be the last show from the band. If that is the case then they can rest easy, as more than 20 years into their career they produced yet another wonderful album and then took it on the road and absolutely nailed it.

 The Whirlwind by TRANSATLANTIC album cover Studio Album, 2009
4.07 | 1034 ratings

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The Whirlwind
Transatlantic Symphonic Prog

Review by progrockeveryday

5 stars For those who have not listened to Transatlantic (progressive rock supergroup formed by Neal Morse, Roine Stolt, Pete Trewavas and Mike Portnoy) this is a great starting point, especially if you are a classic prog fan or if you like long music pieces. Twelve tracks, but it's considered a unique song of 77 minutes. The lyrics and the concept of the album are really enjoyable, very inspiring songs.

Musically, what can we say? All of the musicians show their great individual skills but with a solid band writing, and a nice mix by Rich Mouser. In this record, they sound more like a band. After a decade since their two first albums (SMPTe and Bridge Across Forever), they returned with these mature compositions, showing a great evolution individually and a great complicity as bandmates. Without any doubt this album was their best job.

This is a must in prog rock history.

 The Final Flight: Live at L'Olympia by TRANSATLANTIC album cover Live, 2023
4.70 | 19 ratings

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The Final Flight: Live at L'Olympia
Transatlantic Symphonic Prog

Review by alvezk89

4 stars The Transatlantic starts its last flight in style, the set list of this album is the recently released album "The Absolute Universe" with some of its classics at the end.

The audio quality of this release is incredible, it captures the essence of the musicians, a lot of inspiration, songs performed with extreme perfection, which is to be expected.

This band always moves me with their musical nuances, the epic, they are great fits in their music, essential melodies.

I really like the addition of Ted Leonard, he has a great voice that contrasts very well with the other musicians.

4 stars for just one detail, I love the transition from "My New World" but it wasn't performed, cutting to "All of the Above: Full Moon Rising" ...

finally, another great release that is indicated for every lover of prog rock.

 Bridge Across Forever - The Limited Edition by TRANSATLANTIC album cover Boxset/Compilation, 2001
4.13 | 93 ratings

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Bridge Across Forever - The Limited Edition
Transatlantic Symphonic Prog

Review by Shaxy

4 stars as a daily album seeker ive came across this album while searching for some symphonic prog rock album. and ho my what have i came across. at first i was like ok... and then the first song hit me. the music is very intresting and considering i listen to alot of symphonic prog prock it is not often i find somthing that's "newish". and this album is very much the definition of a success in is own music genre. "Duel with the Devil"-.every single note is genius, you can listen to the whole thing and be amazed all the way... i loved it so much. its Beyond compare to any other song tho it have a bit resemblence to "windchase-simphinity songs" ill end up and say its not a masterpiece but its definitly a hidden gem every symphonic prog enjoyer should listen to and considering adding it to his collection
Thanks to ProgLucky for the artist addition. and to Quinino for the last updates

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