![]() I am a big fan Roine Stolt and Flower Kings fan, but I haven't been overly crazy about most of his work in the last few years, while Neal is still on top of his game, IMO, so I am a little concerned about Roine bringing great stuff to the table this time. I'd love to read what other people think, I don't believe this forum is packed with Neal Morse, very nice post! Keep the Neal chatter coming. Sorry to ramble on and on you guys, I never spoke about Neal and his side-projects here before so I just let it all blurt out. I'd love to read what other people think, I don't believe this forum is packed with Neal Morse fans. Hopefully this changes this time around, Roine is an excellent songwriter and writes beautiful and unpredictable melodies, perfect ornaments for an ambitious undertaking. I'm thrilled the band is back in the studio and happy for the fifth album announcement/tease, but I really do hope I get to see them play live and hope that this album can get a tad more unpredictable and approach the writing and recording differently, because for some reason I keep hearing Neal 70%, Flower Kings 20% and 10% wild card. Transatlantic is not a band where Neal gets to choose all the direction and sounds, I think that's what makes this band the more interesting pick from his projects. Sometimes you have Flower Kings-inspired, symphonic sounds with gentle riffs and guitar work, sometimes you have Dream Theater-ish heavy passages and ensemble work, but mostly you have the Neal Morse-led, epic, often cyclical and recurrent themes throughout a song or an album which makes the band sort of predictable, but the key lies within those changes of directions in the middle of songs, suites or the album itself thanks to the other band members. Transatlantic is the most interesting of the bands in my opinion, because you have three guys that are all behind their respective band's sound and lyrics that it's interesting to see this sort of tug-of-war that happens between them over where the sound and songs are directed. I am meeting and seeing them performing in Chicago in three weeks, I have high hopes for the live show, not so much for the album but I'm lucky I get to go to one of the few shows this year. I saw the band live for the first time back in February performing TGA and liked the album even more after that, they're a great live outfit.įlying Colors is a very fun band to follow, packed with legends and pop sounds it might appeal to non-prog lovers, but what I heard from the last record doesn't really impress me. To be honest I think his studio input hasn't been up to par since Lifeline (not a huge fan of Testimony 2, Momentum or Similitude/Great Adventure) with the exception of The Grand Experiment because the writing and recording process was indeed a different approach. I think at this point I have such fondness for Neal that whatever he releases I will listen, buy and try to experience the whole thing in as many different ways possible (live and demo forms). I think The Whirlwind was such a masterpiece I would rather watch them play the whole thing live which takes a whole chunk of stage time from the show being 80 minutes long. ![]() I'm glad Transatlantic is back together, but my priority is seeing them live before they release a new album. Honestly, the only thing his discographies need is a surround mix for every album (Kaleidoscope had a tasty surround mix which I love). ![]() Hell, they try to cover the most amount of albums on their shows they sometimes recur to (mostly very interesting) medleys of albums. Being a huge fan this bothers me none, I wish more bands could follow this cycle and people wouldn't go hungry with different live versions of albums, orchestral arrangements and different sound productions (like the Morsefest releases), no lack of relevant unheard material. Huge Neal fan, I love the guy, but I agree with the predictability and idea recycling (same album-tour cycles, same album structures, same song structures, etc).
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