Transatlantic Official Thread

[rumborak]

I think to some degree it's a smart way of extracting more money out of a given release. Even just judging by this forum, people are total suckers for "bonus extra boxes with bobble head and pez dispenser". Recording a cover album is a quick and easy thing to do, and it lets you sell the bonus box for twice the money.

[The Letter M]

I gotta be honest, I don't get MP's cover-itis anyway (BCSL extra disc, Coverta etc etc). I mean, I *do* get wanting to play your favorite tunes, but recording it in a studio setting I don't get. Covers, IMHO, really only belong on a record if a) you have a really different approach to the tune or b) you don't have enough original tunes to fill up an album.
I think when they play it live on the cruise this tune will be probably all kinds of awesome. But the recording is decisively "eh".

I'm somewhat with you.  I actually like getting some bonus covers now and then, whether live or studio.  Both are cool for different reasons.  But I am definitely with you on the fact that I feel like Mike has overdone it in recent years, and I am burned out on covers by him in his various bands.  Not that they aren't well done, but it's just overkill.

The studio covers have been a bit more and more rampant lately. Although he's only done covers with Adrenaline Mob, Neal Morse and now Transatlantic, since leaving Dream Theater at least. However, he's been doing covers all along. Looking at his discography on Wikipedia, it seems that ever since 2000 (with the exception of 2002), he's released at least one album every years with some sort of cover on it, be it studio or live, stand-alone or medley, one song or a whole show, so it's not really a NEW thing for him, and he was always about covers in DT, especially during the Derek-era.

I can see why an MP-fan might feel overwhelmed by it lately, though, especially since one of his bands (PSMS) strictly does covers, and since 2010, he's had at least 8 releases with covers on them, so it has been a bit more concentrated lately.

I guess not having one single major band tied to his name, he feels like he spread out his covers between various bands and fitting them to their style and genre. I mean, with Dream Theater, he was able to cover prog, metal, classic rock and even pop-rock tunes. Now with various bands, he only covers pop-rock with Flying Colors, metal with Adrenaline Mob, prog with Transatlantic, classic rock with Neal Morse, etc. etc. It just seems overwhelming now because he's got more outlets for covers, more options and choices.

If I were him, I'd totally take advantage of the situation and have my various bands cover various songs that I love. I'm sure there were times when he was in DT and they wanted to do a cover but not all of them could agree to it, so songs weren't played. I recall that he wanted to do "Heart Of The Sunrise" on Transatlantic's Bridge Across Forever tour but Neal (and one other) vetoed it. Eventually, Dream Theater covered it live.

I'll give Mike ONE thing, though - he doesn't repeat himself often, if at all, in terms of his covers, both studio and live.

-Marc.

[El Barto]

I gotta be honest, I don't get MP's cover-itis anyway (BCSL extra disc, Coverta etc etc). I mean, I *do* get wanting to play your favorite tunes, but recording it in a studio setting I don't get. Covers, IMHO, really only belong on a record if a) you have a really different approach to the tune or b) you don't have enough original tunes to fill up an album.
I think when they play it live on the cruise this tune will be probably all kinds of awesome. But the recording is decisively "eh".

I might be inclined to agree with you if it weren't the case that the covers have generally been better than his original material. Hell, the covers on BC&SL blew away the album itself. Add to that, he tends to be pretty thoughtful with the whats and hows of recording covers.

As for this one, I like it a lot. Like many here, I'm a huge fan of AYAI, and I like what they've done with it. I don't think it's trying to modernize it at all. It's Transatlantic just being Transatlantic with a great song.

[lonestar]

"bonus extra boxes with bobble head and pez dispenser".

There was a Pez dispenser set?!!?!?!? Awwwww man, missed that one.

[emtee]

I don't get why anyone would complain about extra music. It's so easy to NOT play it if you don't have an interest. Many enjoy them.
I think it's a way to create value for your fans. It's something extra that most bands don't do. And, maybe most important, it's
a way for the artists in the band to pay homage to songs that influenced them as musicians. Seems like everyone wins to me.

[Ben_Jamin]

I bought the artbook w/ songbook....$75 includes shipping, not bad at all.

[ariich]

I think to some degree it's a smart way of extracting more money out of a given release. Even just judging by this forum, people are total suckers for "bonus extra boxes with bobble head and pez dispenser". Recording a cover album is a quick and easy thing to do, and it lets you sell the bonus box for twice the money.

I agree with you, but I don't see that as a problem at all. It's a business. And while you and bosky are losing interest in all these covers discs, a lot of people love that stuff. So if they can, at relatively little cost, get a whole load of extra income from selling covers albums or special editions of albums with covers bonus discs, more power to them. Those who aren't interested can just buy the regular versions of the albums.

[rumborak]

Oh, absolutely. Don't get me wrong, I think the single biggest aspect in which I respect MP the most is his business skill. He has been very good at generating revenue, through Ytsejam Records, his drum videos, cover bands etc etc.

[TheLordOfTheStrings]

I liked Shine. It was the generic transatlantic christian ballad (i.e. We All Need Some Light, The Bridge Across Forever). Super disappointed with And You And I, since that's my favorite Yes song. Didn't like the cover at all.

I've got high hopes for the rest of the album though.

[ytserush]

 Unfortunately (or fortunately) I forgot about the pre-sale  and when I remembered a few hours later I figured anything signed was likely gone so I'm just getting the 3 Cd Deluxe Edition in my favorite independent store a few days before it comes out (although, if I got it through Radiant it would have been here even earlier.)

I've never liked the business side of Neal's world, and I don't know if it's intentional or just through ignorance, but there are musicians or don't want anything to do with the buisness side and he might be one of those - I don't know.

I will say everything usually arrives well ahead of the release date, but since there's no longer hope of a cool signed poster I'm not going to take on the inflated shipping cost this time.

[Mindflux]

https://www.facebook.com/l.php?u=http%3A%2F%2Fyoutu.be%2F5vfNNMkKB78&h=cAQFaUI1D&enc=AZPbUpT2UKKOrJQ9rimGzqW68t8-wPfnnPcJTSROqL3F5uOZpVLbVeXCZiVHXAMS-smAxU99gjUHQe1fldLlEa7h&s=1

Portnoy drum cam for King Crimson cover.

[The Letter M]

https://www.facebook.com/l.php?u=http%3A%2F%2Fyoutu.be%2F5vfNNMkKB78&h=cAQFaUI1D&enc=AZPbUpT2UKKOrJQ9rimGzqW68t8-wPfnnPcJTSROqL3F5uOZpVLbVeXCZiVHXAMS-smAxU99gjUHQe1fldLlEa7h&s=1

Portnoy drum cam for King Crimson cover.

Very nice! I was wondering when he would announce the eventual drum-cam video, now titled "Kaleidodrums" 

This song suits MP very well, and I think he does a good job, again, of emulating Bill Bruford, TWICE on this album alone (earlier on "And You And I", and for those keeping track, he once did "Starless" with Neal Morse and Randy George, as well as KC's "Larks' Tongues In Aspic, Part 2" with Dream Theater). Nice drumming and his vocals, while more like spoken-word reading, work really well here!

-Marc.

[bosk1]

I like it!

[rumborak]

I liked MP's vocals.

You heard it here first.

Seriously, be has an interesting speaking voice, and this type of stuff suited his voice very well.

That said, I don't think it's a good cover. As with the previous cover of theirs, while they play all the notes correctly, they fail to capture the mood of the song. MP's vocals are interesting, but they completely fail to get the manicness across. Belew's voice-over makes you think this insanely sleep-deprived, manic person is describing his object of obsession to you. MP's rendition reminded me a bit of how William Shatner would go about it. Accentuated, in itself actually somewhat interesting to listen to, but eventually devoid of the emotion the piece is supposed to evoke.

[Mladen]

They didn't really grab me with their version of And you and I, but this is pretty damn cool. Hats off to MP. 

[El Barto]

That was great. MP was the perfect choice for the vocals there. I couldn't fathom any of the other guys singing that; they all just seem way too happy. Also, I don't think it was any more spoken word-ish than the way Belew sang it.

[ytserush]

Very tempted to check this out, but I'm still going to wait until it's in my hand.

[Perpetual Change]

That was pretty awesome.

I haven't heard the original song, though.

Goddamn it's good to see Mike though. Looks like he's having fun in the home studio. I wonder if we'll see any crazy solo recordings coming from that dude.

[bobs23]

That was pretty awesome.

I haven't heard the original song, though.

Goddamn it's good to see Mike though. Looks like he's having fun in the home studio. I wonder if we'll see any crazy solo recordings coming from that dude.

That vocal was recording on TWD bus during the European leg of their tour.

[ytserush]

Still haven't listened to it, but I can't imagine it approaching the original.


Larks Part 2 is pretty good and I'm glad they (Dream Theater) recorded it, but I thought the original was so much more.

[El Barto]

Does anybody know what the VIP situation in Phili is? Is the "reception" a M&G? Do you have to purchase it through Radiant or do any of the $75 tix include that?

[Perpetual Change]

Does anybody know what the VIP situation in Phili is? Is the "reception" a M&G? Do you have to purchase it through Radiant or do any of the $75 tix include that?

All I know is, a lot of prog bands play that venue, and when you go to see 'em, there's a decent chance you'll meet MP for no additional cost

[Nihil-Morari]

I believe I already have gotten an email saying my media book edition of the new TA is on its way!

[Mindflux]

I believe I already have gotten an email saying my media book edition of the new TA is on its way!

Nothing here yet. I just got an email a while ago that said other non preorder items are shipping and the TA4 stuff would ship much closer to release date ( which is still 18 days away?)

[The Letter M]

I believe I already have gotten an email saying my media book edition of the new TA is on its way!

This was in an email from Radiant I received 10 days ago, on New Year's Eve:

"Hello,
 
Happy Holidays to you! We want you to know that if you pre-ordered the new Transatlantic or are going to we are beginning the process of preparing your order now. So, you may get a notification that your order has shipped (because it's an automatic email that goes out when we print the shipping label), however, ***the pre-orders will not ship until closer to the release date***. (We will do our best to ship your order so you get it on or just before the release date.)
 
We just want to make sure there is no confusion.
 
Thank you all for a great year and we wish you a great 2014!!
 
Radiant Team"

So it looks like they may have just printed our shipping labels because I got the "Chris Thompson has sent you a package" email today as well. But, HEY, if they shipped them out today, then I hope I get mine on Monday or Tuesday next week! If not, I'm okay with waiting a little longer.

-Marc.

[Nick]

Review: https://www.wpapu.com/rev074.html

It is hard to believe it’s only been four and a half years since The Whirlwind. After waiting eight years between Transatlantic’s second and third albums, the fourth seems to have come up rather quickly. Perhaps the difference was the band staying somewhat active in the period between studio releases this time, perhaps it was better scheduling, but whatever the case may be, Roine Stolt, Neal Morse, Mike Portnoy and Pete Trewavas have returned with the new album, Kaleidoscope.

 It will come as no surprise to fans of the band that the opening piece, “Into the Blue” is twenty five minutes long. The band at this point has become a flagship band for the longer songs that progressive rock is known for. “Into the Blue” along with the thirty two minute closing piece and title track “Kaleidoscope” make up the bulk of the album, and together feature songwriting that seems slightly more driven by Neal Morse’s input than the previous release “The Whirlwind”. Both tracks, especially parts of “Into the Blue” seem to have a strong influence from classic Yes and Genesis. Along with the track lengths, certain other aspects of the two epic tracks, and in fact the whole album will feel familiar to fans of the band: First, the lyrics, while not as clearly religious as on Morse’s solo work are still clearly spiritual, and the vocals are handled mainly by Morse, with Stolt, Portnoy, and Trewavas contributing in descending amounts. The one amazing surprise in “Into the Blue” is a few excellently done lines of vocals from longtime live member of the band Daniel Gildenlow. That same movement of the song also features the first of many excellent solos on the album from Roine Stolt. The song ends  much as it began, with a classic prog reprise to the second and most memorable movement.

The next track, “Shine” is a classic ballad, and the one chosen as the lead video from the album. Though the track is perhaps a tad too long and repetitive, strong vocals from Morse and Roine, and the most stunning guitar solo of the album certainly help distract from any other issues. The third track, “Black as the Sky” ended up fulfilling what I felt was something this album needed, and is what I found to be the best on the album. The song sees the epic, prog loving band keep things short, simple, and rocking. While not necessarily metal by any means, the song just drives forward at a great pace, has a great chorus, and beautifully features the talents of four amazing musicians wonderfully crammed into seven minutes. The fourth track, and last of the shorter pieces, “Beyond the Sun” harkens back to the very simple, vocal driven ballad that was “Bridge Across Forever”. One part piano, one part slide guitar, and one part Morse’s emotional vocals make up the formula for most of this song, which is a breather before the epic conclusion to the album.

“Kaleidoscope” starts, perhaps expectedly with an instrumental overture, that along with the earlier track “Black as the Sky” highlights what is perhaps one of the highlights of this album. Along with some of his great more atmospheric work, Morse came up with some fantastic more up-tempo keyboard leads for this album. Those leads, along with Stolt’s guitar work, really help create a one-two punch of hooks as far as the instrumental work on the album is concerned. As a whole I found the song “Kaleidoscope” to be the stronger of the two epics, I can certainly see that question as a subject of debate amongst fans for years to come. Both tracks sound new, and to a degree fresh, but there is certainly no big departure from what fans have come to expect from Transatlantic.

Through all of this I’ve made little mention of drummer Mike Portnoy or bassist Pete Trewavas, and there is a reason for that. As has often been the case the pair made a perfect supporting cast for this album. Both played as we’ve come to expect, and both gave the songs, especially the epics, just what they needed to compliment what Morse and Stolt seemed to be trying to accomplish. The sound of this album, as with the similarly crafted previous effort is crisp and clear, and for the fan with a little extra to spend it is offered in a plethora of formats including a bonus covers CD, vinyl, an artbook, and with a songbook for musicians who will want to learn the album. While I don’t see this as the best effort to date from these four amazing musicians, it is certainly strong enough to reside alongside the incredibly strong catalog they have delivered thus far.

Nick’s grade: A-



 When it comes to expectations from a band, it is quite possible that Transatlantic has a higher bar than any other band I follow.  All three of their previous albums would probably make my top 50, and so putting a fourth album in that stratosphere would be akin to making two hole in ones during a single round of golf. As unfair as that expectation is, that is pretty much where it was heading into the album.  I won’t go into the specifics that Nick has already covered, but I will give a few additional thoughts on Kaleidoscope.

This review is probably going to sound much more negative than it is intended.  Don’t get me wrong, Kaleidoscope is a very good album; however it was clearly not in the rarified air of their previous albums.  Unlike the previous albums, Kaleidoscope did not seem to feature a balance of creative power, and at times felt more like a Neal Morse solo album than a Transatlantic album.  “Into the Blue” lacked that really special moment that all the previous Transatlantic epics have, and unlike the other opening tracks, did not have a “grab me by the short and curlies” moment and this leaves the song as the weakest epic from the band to date.  “Shine” similarly falls short of excellence in my eyes, but since that track has been released, you can draw your own conclusions.  “Black is the Sky”, however, takes the title for best non-epic Transatlantic song including the four on the Whirlwind bonus disc (but taking Whirlwind as one song).   “Beyond the Sun” doesn’t really even register for me when I’m listening; it feels like a filler piece to hold over to the title track. When I'm not listening to the album, but I think about it, my mind immediately recalls the melodies of the title track.  "Kaleidoscope" encompasses everything in a song you expect from Transatlantic, and sees the album finish strongly.

One of the things I really liked in this album was the use of recurring themes.  You will hear little pieces of one song in the other songs, and it helps make the whole listening experience cohesive.  My biggest complaint is that at times it lacks the mutli-songwriter dynamic I alluded to earlier.  While Neal and Roine do shine in their spots, Mike and Pete take more of a backseat than they ever have, which I feel Nick implied in his review without stating it.  Like I said, this is a very good album – but what the listener needs to brace themself for is that this is not what we have come to expect.  This is the only Transatlantic album that had to grow on me, all the others wowed me from the first listen.  It has probably the weakest epic in “Into the Blue”, and weakest short songs in “Shine” and “Beyond the Sun”.  “Black is the Sky” and “Kaleidoscope” are certainly what one comes to expect from this super group.  While any Transatlantic fan will like this, I don’t think anyone will ever consider this a classic, or even a great album.  Very good is a fair and apt description for what was my most anticipated album.  I’m still looking forward to the covers, which I suspect will excellent.

Dr. DTVT’s grade: B+

[Perpetual Change]

Interesting review, Nick.

I'm very curious about them Gildenlol vocals. Also, I find it kind of unfortunate that neither of you seem to really love this album as much as their others.

[Mindflux]

Pics of the media.




DAT LP SET

[KevShmev]

Just got the email from Radiant about pre-ordering the record.  It might as well say:

"Pre-order Kaleidoscope today and we guarantee you'll have it no later than several weeks after its release!"

 

[Dr. DTVT]

Interesting review, Nick.

I'm very curious about them Gildenlol vocals. Also, I find it kind of unfortunate that neither of you seem to really love this album as much as their others.

I could lie to you if it would make you feel better.

[Mindflux]

Just got the email from Radiant about pre-ordering the record.  It might as well say:

"Pre-order Kaleidoscope today and we guarantee you'll have it no later than several weeks after its release!"

 

How do you figure?

Welcome to 2014! We know it's going to be an amazing year in prog and it is kicking off with the crazy new Transatlantic Kaleidoscope extravaganza!We are getting close to the shipping date so if you haven't already ordered now is the time

doesn't sound like any delay to me.

[Mindflux]

I'm very curious about them Gildenlol vocals. Also, I find it kind of unfortunate that neither of you seem to really love this album as much as their others.

I find it interesting how they don't love the album but still give it A- and B+. Those are pretty high marks.  I'd love to see how the grading scale works unless it's just arbitrary.

[bosk1]

Just got the email from Radiant about pre-ordering the record.  It might as well say:

"Pre-order Kaleidoscope today and we guarantee you'll have it no later than several weeks after its release!"

 

How do you figure?

Welcome to 2014! We know it's going to be an amazing year in prog and it is kicking off with the crazy new Transatlantic Kaleidoscope extravaganza!We are getting close to the shipping date so if you haven't already ordered now is the time

doesn't sound like any delay to me.

I think Kev is simply referring to Radiant's history. 

[Mindflux]

I think Kev is simply referring to Radiant's history.

Everything I've preordered from Radiant has come before the release date. Maybe I'm lucky that way.

[KevShmev]

LOL, well, they aren't gonna say that ahead of time, but many of us could give you stories about ordering from Radiant and then not getting the CD until well after the release date, hence my sarcastic post earlier.  I was burned by them on that back in 2005 when I pre-ordered Neal Morse's ?, had to bug them over a week after the release date about it, finally got a reply saying that it was being sent out, with no apology or anything.  They burned their bridges with me right there and then, and I have read enough stuff over the years, from others who've had similar problems, to know that I made the right decision.