Transatlantic

Transatlantic is back again, with a 77 minute magnum opus called The Whirlwind. As one might correctly assume, Transatlantic delivers prog rock heaven – in more ways than one.

At the eye of this furious storm of progressive rock music we find four superstars of the genre: Neal Morse (lead vocals, guitar, keyboard), Roine Stolt (lead vocals, guitar), Mike Portnoy (drums, vocals), and Pete Trewavas (bass). Respectively representing Spock’s Beard, Flower Kings, Dream Theater and Marillion, the quartet combines their talents in the studio for the third time, and the third time’s certainly a charm in this case. Of course, the prolific Morse has firmly established a successful career as a solo artist apart from Spock’s Beard and has honed a symbiotic relationship with his frequent musical partner, Mike Portnoy, who provided the original spark that formed the prog super group some ten years ago.

Fans of Morse’s solo albums in particular will dive right into this symphonic work  -  really a single piece in twelve parts – which features classic rock-inspired soloing, elaborate prog arrangements, thunderous, metal-style riffs and drum work, emotional vocals, occasional nods to The Beatles (always a good thing), and challenging, inspirational, thought-provoking lyrics. As one might expect, there are some signature Transatlantic elements to the work – themes are introduced in the overture that will reappear throughout the 77 minutes, one in particular, which returns near the end with the expected emotional effect.

The music always manages to sound big – certainly bigger than you’d expect from a quartet of musicians. There’s an emotional sweep to the whole thing, tied together by those melodic motifs introduced in the seven-minute opening section of the nearly ten-minute “Overture/Whirlwind”. Cycling through several musical styles, including, pop, jazz, metal, ballad, and (of course) progressive rock, The Whirlwind still manages to retain the feeling of one unified composition moving from theme to theme, and ultimately to the powerfully hopeful climax of “Dancing With Eternal Glory,” which ushers us into the ultimate reprise of the “Whirlwind” motif.

The versatile Neal Morse once again puts on multiple hats, creating textural walls of sound and intricate, jazzy solos on keyboard. Of course, his guitar work is legendary, and his chameleon-like vocals manage to shift from emotionally powerful (“Rose Colored Glasses,” “Dancing With Eternal Glory”) to somewhat sinister, when called-for (“The Wind Blew Them All Away”).

Roine Stolt’s guitar work is a revelation, articulate and full of emotion, often sounding, to these ears, very influenced by the tones and stylings of Frank Zappa (“A Man Can Feel”), but in a more listener-accessible mode – that being said, his brief ‘tribute’ to George Harrison on the second track, where Stolt references the solo from The Beatles’ “While My Guitar Gently Weeps” can’t help but bring a satisfied smile to the face of classic rock fans everywhere.

Mike Portnoy turns in his usual stunning percussion work, straddling the lines between a double-bass Metal style and prog – playing with flourish, style, and even a bit of bravado, but still respecting the basics,. One of the great drummers around today, Portnoy’s contribution to this project lends more than just faceless power drumming – his personality and emotional contribution to the music speaks for itself.

Pete Trewavas’ bass work, combined with Portnoy’s drumming, create as solid a bottom-end as any group has ever had – his bass lines are sure, clean and hard-edged, and as adept in the jazz sections as in the heavier parts.

Production work aside, listen to what these four musicians can do as a band on the several tracks where they get to jam for a while. On “A Man Can Feel,” check out Morse’s very jazzy organ solo and listen to the band working out on “Evermore,” or the driving, ELP-meets-Zappa-meets Kansas feel of “On the Prowl,” with its opening bass riff introducing the inspired playing that follows.

The amazing instrumental work backs up a lyrical scenario that deals with life’s circumstances, often coming unexpectedly, like the whirlwind of the title, leaving a wake of confusion, fear and desperation. For those familiar with Biblical end-time scenarios, there’s a possible parallel here, as the whirlwind of apocalyptic events might mirror the mirror the feeling of sudden catastrophe in some of this music – chaos, fear, mystery and salvation certainly can be seen as elements of the personal and the bigger picture at the same time.

The album isn’t without an answer, though, as songs like the very powerful “Rose Colored Glasses” points to hope beyond this life, where we’ll see things clearly instead of like we’re looking “through glass,”  - a Biblical reference that nicely dovetails with the common expression that provides the song’s title. Of course, “Dancing With Eternal Glory,” full of cinematic grandeur, closes the album with a challenging but uplifting premise. Yes, there’s a way through this whirlwind…

Tagged as: The Whirlwind, Transatlantic

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