Reviewed by Rob on 14 Nov 2001
Second Studio released of the supermen of Spock's Beard, The Flower Kings, Dream Theater and Marillion.
I have bought the limid edition of this CD that contains a second CD with some extra's.
Opening song starts with some SB violins followed by a FK guitar a change of rhythm, great!
It looks to be the best of everything.
Opening song Duel with the devil is a 26 minutes masterpiece that is built on Motherless children - Walk away - Silence of the night - You're not alone - Almost home.
The middle piece of the song a spacy electric piano that starts up a guitarsolo to a climax and end's in a joined sax theme to go back to the main theme.. I think Roine Stols' composing is credit for that. He is the person who is the best in building themes to a climax.
The end of the song is an example of Stolt's Flower Kings endings.
The second song is titled Suite Charlotte Pike.
It started a bit funky-jamming in a theme that is become the ultimate live jamming song.
Seeing them live in Tilburg at 013 (11-12-2001) this song was at leased 30 minutes with several well known songs in a -Mike's Medley- version. Of course including some Beatles classics.
As a studio track It's not my favourite. Bridge across forever is a sencitive Neil Morse song. The last song of CD-1 is Stranger in your soul.
And in my opinion best song of the album, 30 minutes of great harmony vocals, and giving everybody his credit in that song.
Live performed exactly the same.
On second CD a suppurb Pink Floyd- classic-Shine on you crazy diamond.
A second song calledStudio Chat gives an impression of the admosphere during the recordings of Stranger in your soul .making a lot of fun and jamming along. Revolving in the third song And I love het so a carribian Beatles version.
Smoke on the Water is the Classic of Deep Purple that was played by Dream Theater before. Dance with the devil is a different aproach to the version on CD-1. It's a more sympho version with distorded voice singing.. Last song it some Roine Stolt demo bits. The cd ends with a movie of the recordings.
If you should get the change to see them live play 6 songs in 3 hours like in Tilburg, You MUST go.
You will see Daniel Gildenlow of Pain of Salvation assisting the best band around.
Reviewed by Plamen on 17 Jan 2002
The first impression after the listening of this CD is the establishment of their own sound style in comparisson with their debute SMPTe from year 2000. If the debute was influenced of some musical ideas underlying in the works of Spock’s Beard and The Flower Kings then Bridge Across Forever opened a new page in the musical growth of the four members. The most clearly this is becoming aware in Trewavas – you will never hear such a ‘jazzy bass’ in a Marillion album. Anyhow, from time to time, the Beatles spirit is reviving, but it is not a surprise having in mind that they are amongst the favorites of every one member of Transatlantic.
The complicated four compositions in the album included in whole 77 minutes add epic, majestic and conceptuality of the album. In the same time everything is precisely dosed and not in a moment the musical thread is not going into weightlessness – a quality feature of which more of the Neo-prog bands are suffering.
It is obvious that Bridge Across Forever is recorded all in a breath without any visible tension between Stolt, Morse, Portnoy and Trewavas. Everyone of them has been liberated to experiment but not to obey his ideas in the name of the group. This fact exactly is creating the own face of Transatlantic and is giving a request for serious musical presence. Because if the 70s were possessed by the Titans of the style, 80s were to Marillion who revived the Prog-rock and 90s were to the new wave of the same style then the first decade of the new Millennium will belong to Transatlantic. Let’s wish the future will justify these hopes – the members of Transatlantic deserve it!
Reviewed by MJBrady on 02 Sep 2002
Bridge Across Forever, doesn't give me the impression that TransAtlantic is a passing attempt at progressive folly. This cd seems to better represent this convergence of talent, even more so than the much talked about debut. Again we can hear both Stolt and Morse sharing the vocals, as well as voicing the musics identifiable instruments on guitars and keyboards respectivly. As each of these musical wellsprings fuse together to create the imagined chemical reaction to the synthesis of Roine's Flower Kings, and Morse's Spock's Beard bands. I can hear the very essence of both those bands in this one, as it should be. What I really don't hear are the influences of either Marillion, or Dream Theater. I guess that goes to show you who was most involved in the writing aspects of TransAtlantic's music. As a listener of both the FK's and SB's, this hybridization of the both bands into one is a most interesting experiment, one that goes beyond what could have been a meeting of aquaintances. I hear a very impressive cohesion of musical souls going on here, and the added ingredients of Portnoy's busy drumming abilities only add to the fun. The cd is comprised of four songs, of which three are of epical length. The music lays down progressive rock basis' to build over with the vocals antics of both Morse and Stolt, with both Portnoy and Trevawas doing double duty as background singers. With songs of this length and the fact that the musicians involved are also highly capable soloists, the instrumental parts are in abundance, which is also where the music really shines. I can only imagine that had lesser known musicians produced this cd, it may have launched yet another band into progressive infamy, yet the fact that each member has a loyalty to their band of origen, will probably mean that TransAtlantic may in fact be a passing fancy. At least we the prog community have these few recordings to listen to, as each should stand the test of time as any good progressive rock should.