KALEIDOSCOPE

I'am really happy nowadays as so many prog bands who deliver excellent albums including this one by the supergroup Transatlantic comprising Roine Stolt (The Flower Kings), Neal Morse (ex Spock's Beard), Mike Portnoy (ex Dream Theater) and Pete Trewavas (Marillion). 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 special edition package includes covers of other musicians tunes including Yes, ELO, Elton John, Procol Harum etc.

The opening epic "Into The Blue" (25:13) 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?) he wanted this album as Close to The Edge of this time. 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 2011 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 ...in fact I feel like "why it stops now?" at the end of the track.

The second track "Shine" (7:28) 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" (6:45) 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. "Beyond The Sun" (4:31) is also not my favorite - too easy listening ...not prog at all.

The album title as well as epic "Kaleidoscope" (31:53) is a great concluding track that also blew me away at first spin. There is segment that reminds me to Pink Floyd's Wish You Were Here but it's not something similar. 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' ...!

Peace on earth and mercy mild - GW

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