Yea, I've warmed up to it more, but Lifeline still remains a lower tier album.
It's amazing how Neal went from one of his least best, to what I consider, his best work, in The Whirlwind. Obviously the rest of the band contribute, especially Roine Stolt, but TA to me has always had a strong Neal presence, moreso than having a TFK vibe. Just like Neal Morse Band is still predominantly Neal. I consider Neal (and MP) working with Roine a great combo though, as Transatlantic albums chart high for both artists, I think TW is Neal, Roine, and Portnoy's best work out of anything they've done; I don't know Marillion well, I'm gonna go ahead and say it's likely the same for Pete.
I think it's a near perfect album, and has so much energy it's addicting. Even though they're divided into tracks, it really does feel like one long composition with distinct parts, as opposed to something like DT's Six Degrees of Inner Turbulence which sounds more like a suite, though there are some structural similarities to SDoIT.
Everything from the melodies to the riffs to the instrumental sections to the more equal share of vocals by Neal and Roine to the powerhouse sound that comes from the rhythm section of MP and PT, Pete's bass is monstrous on this album. One of the best bass tones I've ever heard, prog or otherwise. I could see this being a good album to start with if you are unfamiliar with Neal and Roine's music.