Mimicking their previous albums the bonus CD is filled with covers only. As the previous bonus discs the band released all versions are faithful to the originals and very well played as expected. It's a great bonus CD! The DVD, also as in the previous album of the band, brings the making of from the recordings of Kaleidoscope , also the video clip for 'Shine' and some footage of the Prog Awards For me the DVD is absolutely great.
I just love documentaries and making of's. Kaleidoscope is an album that doesn't break any barrier they're not really trying anyway in the superb discography of Transatlantic but the album also owes nothing to any of their previous albums. Kaleidoscope , in fact, is a breath of quality to a musical world that every week releases dozens of mediocre Prog Rock albums, most of them inspired in a fashion where the music seems to come directly from some Pop FM radio instead of actually Prog Rock artists.
Buy the special edition! This is certainly one of the great releases of ! I salute this supergroup which its members are all basically very busy musicians with their original band as well as with other projects.
I would say Transatlantic is also another project by its member, As I can remember reading from music magazine that the effective writing session of this fourth album after SMPTe, Bridge Across Forever, and The Whirlwind took only something around couple of days not more than two weeks, I think. Yet , the result is another excellent album as its predecessors. The supergroup's competence has been in creating epic track with a minimum duration of something about twenty-minute plus, as in here with this album there are two epics: one as opener and the other one at the end of the album.
The opening epic "Into The Blue" really blew me away at first spin as it has a superb composition stemming from its good melody, balanced harmonies created by all instruments used throughout the passage of the epic, many tempo changes and time signatures. Most importantly, despite its long duration and many style changes, it still maintain a solid structural integrity.
As Portnoy said in one of interviews with music magazine Classic Rock? Listening this opening epic I imagine that the supergroup might match its dream to be the Close to the Edge. Even though the opening part of this epic is an ambient music that reminds me to the intro of "Soon" part in Yes epic Gates of Delirium, as the music unfolds I can see the supergroup's high ambition with this Kaleidoscope album.
As far as music taste, I have no problem at all with this epic as it flows smoothly and nicely from start to end, blending soft as well as heavy parts nicely. Morse and Stolt work very closely in this epic.
This whole epic reminds me to the style of Spock's Beard music even though this one is better in terms of balancing the music and vocal part. Daniel Gildenlow of Pain of Salvation who has been missing since not releasing album for his band is of course a very welcome for the band. He has been very close to the supergroup and as part of touring member backing on Morse' works, especially. As I do enjoy the epic, I don't feel any sense of being bored with its long duration The second track "Shine" is basically a ballad that does not impress me at all.
I think this supergroup should stop producing this kind of music as it really bores me and creates an immediate regret after a wonderfully crafted opening epic. I don't believe these gentlemen still willing to sing this mediocre track any band can produce. But, I really love the third track "Black As the Sky" even though it has a short duration. It rocks in style and it's progressive in style. I am impressed with powerful basslines created by Trewavas combined with inventive drums work by Portnoy.
In fact I can sense that Pete Trewavas much better play his bass guitar in Transatlantic than in his original band, Marillion. Black As The Sky is my favorite track as well as the two epics. The album title as well as epic "Kaleidoscope" is a great concluding track that also blew me away at first spin. The last epic is really superb and this is the kind of prog music that I expect from supergroup like Transatlantic.
The epic starts nicely with a relatively medium tempo music combining guitar, keyboard, bass and drums that come together into one single piece of musical intro. Of course there are parts like staccato style as result of guitar and keyboard work in some segments, augmented by Stolt's guitar solo. It takes relatively long duration at intro without any vocal and the music in itself is captivating until it then inserted by a rhythm guitar portion followed with inventive keyboard work that brings the music moves in crescendo.
The vocal line enters at approx the fourth minute. This epic is much more dynamic in style as compared to the opening epic. Overall, this is an excellent addition to any prog music collection. The composition is top notch as it combines good melody, excellent harmonies, many tempo changes, complex arrangement , however it maintains the album as a cohesive whole especially in its solid structural integrity.
There two tracks that actually both are unnecessary fillers: "Shine" and "Beyond The Sun" that should be removed from this album.
Is this any closer to Close to The Edge? You are the judge. Keep on proggin'! For quite some time, I was at a loss to understand why there was such a vitriol against progressive rock. Over the years, I've had to defend my love of prog from my parents, girlfriends, friends and fellow musicians.
As it's eventually turned out, it's become clear to me why people might feel so dismissive towards the genre, thanks in no small part to a band like Transatlantic. I've heard proggers sing the praises of this supergroup for ages; after all, a collaboration between members of some of the biggest progressive bands of the past couple of decades couldn't go wrong, right? Kaleidoscope is no different. I might argue that Transatlantic is only a part of a larger trend in progressive rock to look to the past for inspiration.
Even if few hack the 70's symphonic prog aesthetic as shamelessly as these guys do, there are plenty of bands in this genre that choose to operate on more nostalgic terms. I'll admit that there's only been a handful of modern symphonic prog albums to have really impressed me the latest having been Monarch Trail 's debut Skye , but I don't think I'd ever dismiss a band solely on the basis of being retrogressive.
I think the style could be made relevant nowadays, but Transatlantic clearly aren't the band to realize that potential. To the supergroup's credit, it's interesting to hear the members' personal touches merged together so evenly. Although the influence of Marillion manifest in Pete Trewavas' bass work is seemingly absent from the Transatlantic style, Roine Stolt, Neal Morse and Mike Portnoy have uploaded their signatures to the music in such a way that you can usually tell which ideas came from whom, but where there also never appears to be competition or conflict between the respective influences.
Neal Morse's 'nice guy' approach to melodies and overzealous suite structures are arguably most prominent, but Roine Stolt's Flower Kings heritage is more apparent during the instrumentals. Mike Portnoy's drumwork is instantly identifiable, and while his percussion sounds too lowly mixed, his performance on Kaleidoscope is a close mirror of his past work with Dream Theater.
Some of his questionable behaviour and antics post- Dream Theater aside, he's a fantastic drummer and gives the most impressive performance of the group here. Whereas most bands' careers might culminate in one epic suite, Kaleidoscope offers two on the same disc.
Even being as cynical over prog conventions as I am, the idea of an epic still really appeals to me; it's a band's chance to push themselves to the very limit and show the extent of their skills. That novelty and significance really wears off in Transatlantic 's case where they treat epics with a two or three-for-one deal. The title epic is certainly a better rounded work that "Into the Blue", which seems to slip haphazardly between bluesy hard rock riffs and tenuous instrumental solos. As a whole, the suite's parts feel really compartmentalized; there isn't the sort of fluid flow here that would be needed to make the epic feel complete.
The lyrics are just as heavy-handed as you would expect, too: some nonsense about 'the dreamer and the healer' sounds like cheesy prog rock mad libs, and there's plenty of Neal Morse's trademark Christian sanctimony to go around too.
While it's clear Transatlantic mean to have all sights set primarily on the pair of epics here, "Black as the Sky" and "Beyond the Sun" are the two best-written songs on the album. The instrumentation is focused on atmosphere foremost, letting Neal Morse's vocals shine through.
I've never been much into his plain vocal style, but it really works here. It's a real shame that the sort of warmth that's hinted at in "Beyond the Sun" never peaks its head out for the rest of the album.
By the way, I realize I failed to mention "Shine" until now; it's a saccharine acoustic track and it's like something I'd expect to hear in the ending credits of some 'family values' sitcom. Not my thing. Not my thing at all. I know Transatlantic are a group of very talented individuals, and I know that I'm part of the relative minority in speaking against them.
They've taken the most pompous elements of the old school progressive style and married it to modern-day sterility and conservatism. Most of the ingredients Transatlantic formed their style upon were pretentious and dull, and they've done nothing to press forward, nothing to improve their art or broaden their horizons.
December 24, Retrieved February 22, Mike Portnoy's forum. Retrieved The Flower Kings official website. Transatlantic - The Official Site. Mike Portnoy. Catch the band on tour this year beginning with the Progressive Nation at Sea Cruise. Track listing No.
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The Whirlwind Medley. Shine Transatlantic. A Man Can Feel Transatlantic. Retrieved 26 November Radiant Records. Archived from the original on 3 December Retrieved 16 December Archived from the original on 16 December Archived from the original on 31 January Retrieved 29 January BBC News. Retrieved 31 October
It was worth waiting and when The Whirlwind was released I bought the Album edition without even listening to a single teaser before. But with his latest offering, Album) Whirlwind, I was frankly disappointed. Chartgenie.net Across Forever. And there you have it. KaLIVEoscope Black As the Sky 4. At least for the most part. Neal Morse's 'nice guy' approach to melodies and overzealous suite structures are arguably most prominent, but Roine Stolt's Flower Kings heritage is more apparent during the instrumentals.
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