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Bridge Across Forever reviews

Various quotes from magazines about "Bridge Across Forever"
Fireworks magazine review of "Bridge Across Forever"
More Than Music review of "Bridge Across Forever"

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POWERPLAY (UK) - OCT 2001
"Transatlantic's second album is a crucial aquisition for fans of the players involved and expands the boundaries of progressive rock into 'distant sands and magenta winds'".

EMPIRE (D) - SEPT 2001
"'Bridge Across Forever' is one of the biggest contenders for 'Album Of The Year'".

BREAK OUT (D) - SEPT/OCT 2001
"The best of progressive music mixed with the best of jazz, rock, orchestral music and short blues passages. To put it short: unbelievably genius and not of this world".

WONDROUS STORIES (UK) - OCT 2001
"An impressive album and a definite advance on SMPTe".

ROCK HARD (D) - OCT 2001
"Something better will not be heard for all prog fans until the next Spock's Beard CD comes out".

DUTCH PROGRESSIVE ROCK PAGES (NL) - OCT 2001
"There is no denying it, this will definitely be one of the best albums of the year". (read the complete review)

Fireworks magazine review of "Bridge Across Forever"

Review by Phil Ashcroft
© Copyright 2001 Fireworks magazine (UK)

Because of the busy schedules of it's four members, the debut Transatlantic album was recorded separately without the guys being in the same studio at the same time like 'real' bands do. There was no hanging out together working on ideas, rehearsing the songs and fine-tuning the arrangements, or accidentally stumbling across those magic moments that seem to happen to talented musicians during soundchecks. Even so, they managed to create one of the best traditional sounding progressive rock albums of the last 20 years, so what would they come up with if they spent more time together and knew each others capabilities a little better? An even better album called 'Bridge Across Forever', that's what! What was the old saying about too many chiefs and not enough indians? Transatlantic have proved that you can never have enough chiefs, and while Neal Morse is Spock's Beard's leading light, Roine Stolt has a similar role in The Flower Kings, and Mike Portnoy is the driving force behind Dream Theater, it's Morse who again proves to be the most prominent. Also, while bassist Pete Trawavas may have never had the chance to drive the Marillion bus, his performance and overall contribution in this band can't be underestimated, especially his drastic improvement as a vocalist. What you get for your money is just four titles, which is one less than the debut, but because of the way the songs are structured there are over a dozen recognisable songs and a few instrumental bits to tie them together. Style-wise it's also a little less 70's than the debut with Stolt's guitar and Portnoy's drums a little more powerful than before. The direction still seems to come mainly from Neal Morse whose song melodies are instantly recognisable, and because he's also the best singer he takes on most of the lead vocals, although a lot of the songs contain four-part harmonies. The vocals seem to be something they've taken particular care over this time, and the interaction between the four of them is one of many highlights on this disc. Detailed track analysis is pointless as themes recur throughout the three longest pieces, with one or two song parts being repeated in other tracks, and even though two of the songs clock in at over 26 minutes there aren't any sections that drag. What Neal Morse seems to be able to do is take straight-ahead melodic songs and weave them together to create something way more epic without any of the tedious repetition that dogs much of the progressive genre. With the input of Portnoy, Stolt and Trawavas the band create something that's more melodic than Dream Theater, more bombastic than Marillion or Spock's Beard, and not as off-the-wall as The Flower Kings, but still having elements of each. There are parts of the epics 'Duel With The Devil' and 'Stranger In Your Soul' that are just gorgeous, and even though all the band are virtuosos on their respective instruments they choose to shine within the song structures without any pointless instrumental sections. Morse plays a little more synthesiser this time along with his trademark piano and organ, some of Trawavas' basswork on the more upbeat stuff is superb, Portnoy plays with his usual mix of power and finesse, and some of Stolt's guitarwork, especially on 'Stranger' borders on crushingly heavy. I have to say that I prefer both these tracks to the epic 'All Of The Above' from the debut, so if that's not praise enough I'd also compare them to the best of Spock's Beard, and even the mighty Dream Theater in terms of quality. 'Suite Charlotte Pike' at a mere 14 and a half minutes and in 5 parts, is a little looser and simpler, and brings Morse's Beatles influences more to the fore with it's Lennon-esque vocals and honky-tonk piano among the usual jiggery-pokery. I'm not sure how this will go down with some of their fans but personally I'll take it over Procol Harum covers anyday. The other piece of sheer brilliance is the title track, which is a simple Morse piano ballad clocking in at just 5 and a half minutes. This is the kind of thing he excels at and this is one of his best, with an awesome plaintive vocal delivery and lyrics that make your head spin. A lot of thought has been put into how this album flows, and once it's finished despite it's 70-odd minute length, you just want to play it again such is the quality of the compositions. I would go as far as to say that Neal Morse is one of the outstanding singer-songwriters around today in any genre, and after many years in the business he seems to be continually improving in everything he does despite being more prolific than ever. Transatlantic are a marriage made in heaven and this release is absolutely essential.

Phil Ashcroft

More Than Music review of "Bridge Across Forever"

Review by Magnus Florin
© Copyright 2001 More Than Music

Click here to read this review on More Than Music

Transatlantic - Bridge Across Forever

A follow up released from the best "project" that's ever been within the progressive rock genre. I said even before the first album was out that this is going to be something different, and "better" than all other fusions of musicians that's been lately. With this album the Transatlantic band points out that they are more like a band, and that the first chapter wasn't enough at all. In fact, the book maybe never ends? Neal Morse, Peter Trewavas, Roine Stolt and Mike Portnoy is once again here to feed us.

The first track "Duel With the Devil" is introduced by a typical Spock's Beard intro featuring the lovely instrument called cello. This part if somewhat remindable of the Spock's Beard track "At the End of the Day". As soon as the band enters with a basic melody it all gets a bit more Flower Kings to the sound, for and in general you know by know that this is going to be a great song. It takes a while before Neal Morse's vocals appear, but when they do I get shivers down my spine. His pproach to the lyrics are a bit "aggressive", if that is the right word to use for the Neal-vocals, and it really shows that he does get better for each album released. This tune has a Yes atmoshpere over it as a general matter of fact, but after aprox 8 minutes have rolled this attribute gets ever stronger. A guitar shows up and there are these typical Steve Howe chords played over a few bars.This evolves in a piece where Roine Stolt finally shows up behind the microphone as well. The song is finished by the typical grand endings with bombastic chords and playing from all in the band, very typical to Spock's Beard and Flower Kings.

"Suite Charlotte Pike" starts out with a cool jam thing, with sounds from the Beatles without doubt and in general with a quite funky feel. Neal counts in after a while and then the "song" starts. The Beatles feeling is not at all lost after this count, since I feel that parts of this song could as well belong to the "Abbey Road" album by them. This song is pretty basic when it comes to time changes and that sort of stuff, and it even features Mike Portnoy in a longer vocal part. This song is much more as a medley rather than a long song with one red thread.

The magnificient title track "Bridge Across Forever" is a piano ballad thing from Neal Morse, and defenitley among the more beautiful peices he's ever written. Pete Trewavas is supposed to have cried the first time he heard this song, which says it all really. Pete should be used to beautiful songs by now (since his work with Marillion), so I guess with this we get sort of a feel for what we're dealing with here.

My favorite song from the band ever is the last end closing "Stranger In Your Soul". Introcuded by some organ work and later on a typical Genesis thing with high pitching lead guitars folllowing the rhythms. Neal shines of course on this track too thinking of the vocals, but in this song Pete Trewavas plays a big part as well, both vocally and bassically (bass). Odd time signatures in the Marillion kind of way, and with typical Ian Mosley drums from Mike Portnoy the arrangement of this song tops them all. After a while there is this extremely heavy guitar riff from Roine and this is where the song gets a bit more intensive. At this point all four band members contribute with vocals, as they still carry the chorus with them at the same time as Roine adds some very cool slide guitars, but still with heavy distorsion. This song evolves in a gigantic middle section later on, where most will have problem hanging on to the song the first time it's being played. The coolest parts if the simpliest though, with some "violin" chords from Roine. At the same time Peter Trewavas is featured with one of the coolest bass solo parts I've ever heard. The man simply knows how to play, and what to play. To me, he's one of those who touches stuff and turn it to gold. I'm glad to hear that he's gotten a much, much bigger part of this album.

The album in general is of course a great one (among the best this year), but I don't think I'd make it better than the best from Spock's Beard, Flower Kings, Marillion or Dream Theater. I don't even think it's better than the previous Transatlantic, but that is hard to say as an official statement though. The "band feel" is way much stronger with this album, and I know that they've let in a lot more ideas than just Neal's this time. The instrumental passages are more controlled and better organized this time, at the same time as the vocal parts are maybe a bit weaker.

No matter what.... ignore all read above and get this album!

Duel With the Devil

Suite Charlotte Pike

Bridge Acoss Forever

Stranger In Your Soul