TRANSATLANTIC — Bridge Across Forever (review)

TRANSATLANTIC — Bridge Across Forever album cover

Album · 2001 · Metal Related

4/5 · 2021-03-30
siLLy puPPy

When TRANSATLANTIC released its debut album “SMPT:e” in 2000 it was met with wild enthusiasm by both prog traditionalists as well as revivalists and the critics alike but had it not been heralded as one of the greatest prog albums of the second coming, it’s unclear if the team of Mike Portnoy, Neal Morse, Roine Stolt and Pete Trewavas would have continued. However since the album was a smashing success the band wasted no time crafting a follow up that was worthy in capturing the majesty of the debut without directly copying it. The answer was the sophomore release BRIDGE ACROSS FOREVER which quickly followed the very next year.

One of the main criticisms of “SMPT:e” was that it was a bit overly dominated by Neil Morse’s Spock’s Beard compositional style along with his vocal performances so the band made a deliberate attempt to have each member participate on a roughly equal footing thus making BRIDGE ACROSS FOREVER a much more diverse stream of music that like its predecessor featured a lengthy playing time of over 70 minutes with two massive sprawling compositions “Duel With The Deveil” and “Stranger Across Your Soul” which both featured multiple suites and clocked in over the 26 minute playing time. Together they sandwiched two shorter tracks with the tiny title track at nearly six minutes long a mere blip in comparison.

While very similar in construct, BRIDGE ACROSS FOREVER wasn’t just a mere clone of the debut although it was clear that TRANSATLANTIC didn’t want to stray too far from the goose that had laid that golden egg. While all the expected Yes and Genesis symphonic prog influences were in full affect along with the respective band member’s own projects ranging from Spock’s Beard, Marilion and The Flower Kings (Portnoy’s Dream Theater was the only influence least adopted), the band also experimented with new sounds which included guest musicians that added violin, viola and cello sounds as well as a bit of swinging saxophone and a beautiful backing vocal section referred to as The Elite Choir.

The near 27-minute “Duel With The Devil” begins the album and is arguable the strongest track on board with five fully developed suits stitched together with all the right proggy glue to make the proper sound collage complete with all the symphonic prog pomp and excess that made “SMPT:e” stand out and usher the classic prog sounds of the golden years into a new millennium. While the two massive tracks are very much in vein of the debut, the two shorter tracks sandwiched in between were quite different. Although the 14 1/2 minute “Suite Charlotte Pike” shows a series of evolving concepts and nerdy prog workouts, at its core was a simple blues rock jamming session only embellished with the keyboard heft of Hammond organs, Fender Rhodes and piano.

The track that makes the least impact is the overwrought piano ballad of a title track which serves as an intermission between the heavier rocking tracks and multi-suite epic tracks but in reality is a bit too winy and unfortunately breaks the continuity of the epicness. Personally i could totally live without this one. The final “Stranger In Your Soul” concludes the album in a grandiose way with a six-suite 30-minute performance that goes for the symphonic prog jugular and delivers all the expected prog gymnastics teased out into a series of varying instrumental workouts and lyrical earnestness, once again mimicking the success of the debut’s appeal to the true proggers who just can’t get enough of those ridiculously long suites that in the vinyl years could’ve swallowed up a whole album’s playing time.

For my money BRIDGE ACROSS FOREVER is a worthy followup to “SMPT:e” but a serious step down in continuity. Whereas the debut just had a certain flow that was perfectly maintained through its 70 minute plus running time, BRIDGE ACROSS FOREVER just feels a bit clumsy in how it meanders from idea to idea without the proper connective tissues to pull it off. The two epic tracks are well worth the price of admission but the two middle tracks are less engaging and could’ve easily been nixed from the final cut. There was also a special edition with a bonus disc that featured everything from non-essential covers including a 15 1/2 minute version of Pink Floyd’s “Shine On You Crazy Diamond” as well as studio casts, demos and other non-essential material. When all is said and done, BRIDGE ACROSS FOREVER is an excellent followup but for my liking lacks the masterpiece perfection of the debut.