TRANSATLANTIC – The Absolute Universe [The Ultimate Edition] (2021)

TRANSATLANTIC have never been a band to resist a challenge. So it should come as no surprise that for their fifth album, “The Absolute Universe“, the foursome of Neal Morse (keyboards, guitar vocals), Roine Stolt (guitar, vocals), Pete Trewavas (bass, vocals) and Mike Portnoy (drums, vocals) have really gone out to do something a little unusual. ‘
“We have actually come up with something unprecedented,” says Portnoy proudly. “We’ve got two versions of this album. There’s a two CD presentation, which is 90 minutes long, and a single one – that’s 60 minutes.” You can buy these separately, or this 3-CD ‘Ultimate Edition‘ package.
The single CD is NOT an edited version of the double CD. They’re new recordings, with different approaches to the songs, fresh lyrics, and different people singing on the single CD version tracks as compared to those on the double CD.

While many Transatlantic fans were most impressed by the band’s first two albums which featured lengthy album-side epics along with a few shorter songs, there also is a strong contingent (including some of the band themselves) for whom 3rd album “The Whirlwind” was their favorite.
Although it was touted as one mammoth 78-minute “piece”, it takes the approach of 12 shorter songs woven together.
Both versions of “The Absolute Universe” follow this form of “The Whirlwind” wherein a number of shorter songs (14 or 18, depending on version) form one complete listening experience, with repeating melodic themes occasionally referenced.

Launching with Overture, the scene is set with the usual bombastic drumming of the never understated Mike Portnoy, the always surprisingly massive keyboards of Neil Morse, Deity-like sweeps of Roine Stolt’s ice cap destroying guitar, and the plectrum driven funk of Pete Trewavas’ bass playing, fuelled by freshly mined dilithium crystals.
This band sum up Progressive Rock Music, not music that has necessarily progressed, but of a genre it is a defining force.

Most predictably, “Forevermore” has more of Stolt. Like, a lot more. If you’re a fan of his guitar playing, there’s a bonanza of his perfected tone during solos and fills that have often been edited out of “The Breath of Life”, along with chiming bells, keyboards and even some alternate chord choices which lend more of a Flower Kings’ shade.
While there’s still plenty of Stolt on Morse’s version, “The Breath of Life” does indeed feel a little more direct and accessible, or at least as accessible as a 65-minute album can be… everything’s relative, after all. Morse has done a marvelous job at injecting a little more light and love into his version, whereas Stolt’s “Forevermore” carries a bit more shadow and mystery.

For most Transatlantic fans whose credo is “More Never Is Enough”, one would think that the longer version would be a slam dunk. In many ways, given Stolt’s guitar mastery and orchestral stylings, along with the number of additional songs included in the 90-minute tracklist, it’s easy to assume that “Forevermore” would be the standard version, with the single-disc version being relegated to an occasional curiosity. For some, that may indeed be the case.
But to Morse’s credit, when one fully takes in “The Breath of Life” there is a deep appreciation of the musicianship and artistry involved and the conclusion has to be made that some of these versions are equally essential.

Thus, neither is the authoritative version. For example, the re-written melody and lyrics to the verses of Morse’s “Reaching For the Sky” from “Breath” flow better than the original version on its companion “Heart Like a Whirlwind” from “Forevermore”.
Likewise, the arrangements/instrumentation of many songs vary from minute to minute in each version, some of which may be preferred on one version or the other and vice versa. Starting with the “Overture” the listener will find a wide range of stylistic changes on each version.
So, while you might love what Stolt plays in one section on “Forevermore”, you then find the same section on “Breath” is maybe even better with a different arrangement, even though Stolt’s guitar is no longer featured. Ultimately it has to be said: “It’s ALL worthy! So glad I can have it all!”

As far as individual songs go, there are numerous special moments, filled with extremely catchy vocal choruses such as “Higher Than The Morning” where the group harmonies have never sounded better. Stolt has a couple of delicious darker moments which make their entrance as if a vampire’s black cape is descending on the proceedings, covering the light of the full moon. “The Darkness in the Light” brings it down at one point for a tasty understated.

Stolt guitar solo accompanied by funky bass pops and grooves from Trewavas. The none-more-creepy “Owl Howl” will surely be a fan fave, the latter-half boasting an off-the-charts jam where Portnoy initially lays back in the groove, hitting triplet fills against the quarter note pulse as the never-ending chord progression slowly builds in intensity until finally releasing into a full-on Portnoy pounding. Ecstacy-inducing for sure. Interestingly, both of these songs appear to have had the least editing/tinkering with between the two album versions, although the finale of “Owl Howl” does lead to two very different places.

The two versions of the album contain their own highlights as well. “Rainbow Sky”, perhaps the happiest dittys on “Forevermore”, hits that power-pop note that Flying Colors, The Neal Morse Band and The Flower Kings have all explored, to dazzling effect. “The World We Used to Know” feels like classic Stolt, beautifully capped off with a moving Morse section included towards the end.
“The Sun Comes Up Today” kicks off the second disc of “Forevermore” with a gorgeous Beatles-esque vocal opening (they’ll surely need Ted or Daniel to pull that off live in concert) before leading into a Trewavas-led bouncy track.
Not to be outdone, “The Breath of Life” version touts its own exclusive uplifting track in “Can You Feel It” which carries a different vibe than any other piece on the album (a touch of “Similitude”, perhaps) with huge drums and harmonies. Utterly radiant.

It’s hard not to fall in love with Trewavas’ bass playing in Transatlantic and on “The Absolute Universe” he absolutely shines. His attack is relentlessly good, blending tone with technique and hardly room for a breath.
At the Portnoy birthday bash on Cruise to the Edge, where Transatlantic did a brief set after many years being inactive, he remarked to me, “Boy, I had to get in shape for this to play so many notes again!” That ethos undeniably continues on these new songs where he never lets up.
Vocally he is featured in many spots (sometimes differing depending on the album version), most successfully on the high-energy driving numbers. Reportedly he authored several of the themes on the album as well, including a spotlight on the slower “Solitude” which alludes back to Whirlwind-era style lyrics.

Portnoy of course is the glue that holds and drives the Transatlantic ship. While he doesn’t write much of the music, his arrangement abilities – tying different themes together and charting out how to coalesce the songwriting contributions from the other three – is perhaps the band’s biggest secret weapon. Vocally he just keeps improving, his voice sounding truly commanding on “Looking for the Light”, as well as several verses he shares with Morse on other songs, depending on version.
In the drumming department it’s business as usual: simply some of the best percussion you will hear on any prog album this year. On the “(Reprise) Looking for the Light” into “The Greatest Story Never Ends” he’s an absolute monster.

Stolt is simply off the chain throughout much of the album, especially the “Forevermore” version. We’ve already spoken about several of his specific highlights, but just to say again that it’s impressive how consistent he is in both his writing and playing, and how much work he has put into the double-album edition to truly deliver something special.

Morse has so many strengths that his keyboard skills can almost be taken for granted which is ironic given that he could easily be in prog’s Top 10 of contemporary keyboardists. Even though Bill Hubauer can fill much of that role with the Neal Morse Band, in Transatlantic Morse really comes into his full reign as a keyboard player. Jams such as in “(Reprise) Looking for the Light” and the “Overture” workouts prove what a natural he is, while good taste is evident in his choice to feature a simple but potent extended mellotron section at the end of “Higher Than the Morning”.
Vocally he continues to retain his range, opting for a convincing falsetto when necessary but with plenty of power in his normal range, not to mention the emotion conveyed which is what makes him stand out as an artist. The numerous songs featuring vocal layering on the album reaches epic proportions, as has been the case lately with The Neal Morse Band, but the sonic payoff is huge.

In summation, “The Absolute Universe” is yet another feather in the Transatlantic cap. No, it’s not revolutionary in any songwriting sense… this definitely sounds like Transatlantic as you know them, so if you’ve never really cared for the band, this won’t be the album to change your opinion.
But the songs are inspired, interesting and moving. The performance and production is top tier. And they do get extra originality points for their unprecedented presentation of the material.

Nobody was prepared for the majesty of the first albums All of The Above and then the perfectly crafted follow-up Bridge Across Forever, so this band had already furrowed a meteor-sized trench for itself to continue the standard, but ”The Absolute Universe” simply sits alongside the pantheon of (abridged and extended) God-sized musical excellence that sums up this beat combo.
HIGHLY RECOMMENDED

The Absolute Universe / Forevermore Extended Version:
CD1:
01. Overture
02. Heart Like A Whirlwind
03. Higher Than The Morning
04. The Darkness In The Light
05. Swing High, Swing Low
06. Bully
07. Rainbow Sky
08. Looking For The Light
09. The World We Used To Know

CD2:
01. The Sun Comes Up Today
02. Love Made A Way (Prelude)
03. Owl Howl
04. Solitude
05. Belong
06. Lonesome Rebel
07. Looking For The Light (Reprise)
08. The Greatest Story Never Ends
09. Love Made A Way

The Absolute Universe / The Breath Of Life (Abridged Version)
CD 3:
01. Overture
02. Reaching For The Sky
03. Higher Than The Morning
04. The Darkness In The Light
05. Take Now My Soul
06. Looking For The Light
07. Love Made A Way (Prelude)
08. Owl Howl
09. Solitude
10. Belong
11. Can You Feel It
12. Looking For The Light (Reprise)
13. The Greatest Story Never Ends
14. Love Made A Way

Neal Morse – Keyboards and Vocals
Roine Stolt – Guitars and Vocals
Mike Portnoy – Drums and Vocals
Pete Trewavas – Bass and Vocals

Pre Order:
www.nealmorse.com/product/the-absolute-universe-transatlantic/