Monday, September 5, 2011

ADRENALINE MOB: Las Vegas, Tulsa Shows Canceled

ADRENALINE MOB — the new band featuring drummer Mike Portnoy (DREAM THEATER, AVENGED SEVENFOLD), SYMPHONY X frontman Russell Allen, guitar virtuoso Mike Orlando (SONIC STOMP), bassist Paul DiLeo and STUCK MOJO/FOZZY axeman Rich Ward — has released the following statement:

"We regret to announce that our upcoming shows in Las Vegas and Tulsa will unfortunately be cancelled. Our bus had major mechanical failure today and we are stuck in San Francisco. With the holiday weekend here, we cannot get the part we need in time to make the shows. We truly regret
and apologize for any inconvenience this will cause for our fans. We were looking forward to playing for you and will hopefully get back to your town soon!"

Affected dates:

Sep. 04 - Las Vegas, NV - LVCS
Sep. 06 - Tulsa, OK - The Marquee

The self-titled debut EP from ADRENALINE MOB sold 1,800 copies in its first week of release. The CD landed at position No. 13 on the Top New Artist Albums (Heatseekers) chart, which
lists the best-selling albums by new and developing artists, defined as those who have never appeared in the Top 100 of The Billboard 200.
"Adrenaline Mob" is available via iTunes and is being sold in physical form at the group's shows and online store. Self-produced by the band, the effort features four original tracks as well as a blistering cover of the Ronnie James Dio-era BLACK SABBATH classic "The Mob Rules". From the opening riff of "Psychosane" through the over-six-minute epic-sounding "Hit The Wall", it is clear that ADRENALINE MOB are in class all their own as musicians.

"Releasing the EP gives fans around the world a chance to get a taste of the MOB NOW without having to wait until the full-length album comes out at the beginning of next year," states Portnoy.

"Adrenaline Mob" track listing:

01. Psychosane
02. Believe Me
03. Hit The Wall
04. Down To The Floor
05. The Mob Rules

The EP is now available for streaming in its entirety using the player below.

ADRENALINE MOB's first-ever headline tour runs through mid-September. The trek will make stops in various markets, including Chicago, Denver and San Francisco. ADRENALINE MOB has also been tapped to open for GODSMACK on select dates of the Massachusetts act's headlining tour.

ADRENALINE MOB formed in early 2011 when Orlando approached Allen with some material the guitarist had written. Allen and Orlando refined those ideas, at which time Allen reached out to longtime friend Portnoy to see if he had any interest in playing with them. Portnoy jumped on board and soon thereafter DiLeo and Ward were recruited to join the family. From the very first note, the chemistry was apparent and the beast that is known as ADRENALINE MOB was born.

Jonathan Barrett Leaves The Tangent



Hello everybody.
I'm afraid that I'm leaving The Tangent.
The last year has been a difficult one emotionally,and I've been pushing myself a bit too hard for a bit too long.The effects have caught up with me.
Secondly,I'm suffering quite as the result of a neck injury I received some years ago.I have constant,sometimes severe,pain in my neck,both arms and my right hand,which manages to be almost completely numb and extremely sore.Quite an achievement! I'm scheduled for surgery in the very near future,and am assured by the Neurosurgeon that my chances of a full recovery are very high.Fingers crossed,if possible!
Thirdly,my spirit has been somewhat sapped by the acceptance of theft as a way of acquiring music.All our efforts are scuppered by thieves.The minute we start to get a little bit ahead financially,somebody posts our latest CD or DVD online,and sales plummet.This is incredibly depressing.I know that some of you have been offended by my intemperate language on the subject in recent threads on The Tangent FB page. Please accept my apologies.
I'd like to wish Andy,Luke,Tony,Sally and Theo all the very best for the future.It's been a fantastic experience,some highs, some lows and some hysterical giggling in a Midnight Garden in The Netherlands, 4,000 miles in a collapsing van and a lot of Full English Breakfasts.And that's just the last 3 months!
So,to finish-all the very best to all of you.
Thanks for all the friendship and general loveliness I've received.
Toodle Pip,and Hurrah for all Tangerines!
Jonathan Half Badger.

PS At the risk of being a little bit mischievous,I know who the new recruit is,and you're all in for a hell of a treat!

SOURCE: The Tangent

DREAM THEATER Keyboardist: Writing Without PORTNOY 'Gave Us More Freedom To Do What We Wanted'

“I don’t want to be limited by other peoples desires or abilities.” (Jordan Rudess)
Interview with Jordan Rudess by Phil Ashcroft

To the outside eye things had seemed pretty stable in the Dream Theater camp. Founder members John Petrucci (guitars), John Myung (bass) and Mike Portnoy (drums) had been mainstays since the mid-80s, whilst singer James LaBrie had joined in the early 90s and appeared on all but the debut album, and even the new guy, keyboard wizard Jordan Rudess, has been around for over a decade. Therefore it came as a huge shock to the band and its fans when undisputed band leader Portnoy announced his departure late in 2010. After a brief period of confusion the rest of the band decided to carry on without him and started to audition many of the world’s top rock drummers. Obviously surprised by this development, Mike Portnoy asked for some sort of reconciliation, stating that he’d only wanted some time off, but with personality issues obviously going deeper than anyone realised, the remaining members declined his offer and continued their audition process, selecting the wonderful Mike Mangini and entering the studio in the new year to record their new nine-track opus – the autobiographically titled ‘A Dramatic
Turn Of Events’.
All my previous Dream Theater interviews have been with either Mike Portnoy or singer James LaBrie, so I was particularly looking forward to speaking with Jordan Rudess for a different view. So the first big surprise as I waited in the press area at London’s High Voltage festival was that the whole band turned up to do five separate interviews simultaneously, even the usually reticent John Myung and new drummer Mike Mangini are on press duty. I shook Jordan’s hand as we were introduced and expressed my surprise about this unexpected situation, to which the keyboard player quipped with a grin, “Yes, these days even the unheard Dream Theater members get to be heard!” With Portnoy having played such a huge role in every aspect of the band’s career it was perhaps inevitable that everyone in the band would have to change their roles slightly to take up the slack.

Yeah, in a way there’s been a kind of natural shift just to make up for the fact that we lost a member,” agrees Rudess, “and now we have a member that’s new and has different concerns and a different personality. At first it was a little bit ‘Oh my God! What are we going to do now?’, but
then we started making lists of what needs to get done in this band. Mike Portnoy had so much to do with so many things that we really needed to step up to the plate and say, ‘OK, we’ve been a little bit complacent here, let’s figure out what needs to happen,’ which I think
we’ve done quite successfully.”
As for making their first Portnoy-less album, Jordan reveals that the band had absolutely no doubts that they could pull it off.

“We went into it with a feeling of really wanting to focus, do our thing and be able to create the best music that we knew how to do, just to show people that Dream Theater can continue on in a positive, strong and musical way,” he explains. “Actually the least of our concerns was the
music. If you look at the bigger picture then the guys in this band are all very capable musicians and writers, so going into this album was more about continuing on with the music as we’ve done before and showing people that everything is still cool in Dream Theater land.”
Another area where work has been spread around since Portnoy’s departure is the songwriting.

“Well,” begins Rudess, “our new drummer Mike Mangini was not there at that point so he wasn’t involved, but the main writers are John Petrucci and myself, and John Myung was very involved in the process, he contributed freely and he came up with some great riffs, and James (LaBrie) was very particular about the vocal melodies and said what he did and didn’t like, and what he wanted to keep.” But are there any songs that definitely wouldn’t have happened if Mike Portnoy was still in the band? “Yes!” he says without hesitation. “As creative and talented as Mike obviously is, his opinion and his style of drumming would sometimes push us in a different direction, whereas this way we could write whatever we wanted and then later tell Mike Mangini how to play it. It worked out
quite well for us because as composers it opened us up a little bit and gave us more freedom to do what we wanted. I liked that, I don’t want to be limited by other peoples desires or abilities.”
One of the things that the guys have complained about in the past was Mike Portnoy insisting they rehearse far more songs than they really need so that he could change the set almost nightly.

“That’s something that we don’t want to do that much anymore,” says the obviously relieved keyboardist, “and right now we’re sticking to the songs we most want to play. I don’t know how we’re going to approach it in the future but I can pretty much promise that no-one is particularly
into changing the set every night. What we really value and what everybody could never really do to a point where we were comfortable, was nailing down a show. We have sound people and lighting people and what they really need to do is time everything so that the show is really smooth, and it’s really important to all of us in this period of transition to say ‘You know what? We have the opportunity to really work out a show, so that when we move from one song to another it’ll be
really smooth and professional!’ We think the fans will really enjoy it more that way.”
Does Jordan think that the set has suffered because of that before? He pauses before replying,
“I think that the show has suffered. I think there are fans out there who value having a different set every night because they go to more than one show, but they’re relatively few, and I think sometimes our performance has suffered because of that approach. There’s a lot to be
said for a show that’s dialled in – I mean we’re playing in different towns, so how many people are seeing it from night to night? Only a few I think, so why not just do the same set and work on it until it’s dialled in, so that’s what we’re doing and it’s really working so far, there’s a lot of good stuff. That’s not to say it’s not without its challenges, and nothing against what Portnoy did - he led this band for quite a number of years and did a good job - but we’re enjoying where we’re at now, the music is really happening, we’re running around the stage and we’re smiling, and it seems like the audience seems to be really elated.”

‘A Dramatic Turn Of Events’ will be released by Roadrunner on September 12th.


Pink Floyd News

Originally released in 1973, The Dark Side of The Moon became the band’s first number 1 album in the US, remaining on the chart for 741 weeks between 1973 and 1988. One of the best-selling and most critically acclaimed albums of all time The Dark Side of The Moon also introduced
The iconic album cover artwork by Hipgnosis featuring a prism representing the band’s stage lighting, the record’s lyrics, and the request for a ‘simple and bold’ design. The Immersion version features the classic Studio album digitally remastered and presented as a limited edition high quality boxset featuring 6 discs of rare and unreleased audio and video material, plus a new 40 page oversized perfect-bound booklet, a book of original photographs edited by Jill Furmanovsky, exclusive merchandise and facsimile collectables.

TheDarkSideOfTheMoon - Immersion Box contents:

Disc 1 – CD 1:
The Dark Side Of The Moon digitally remastered by James Guthrie 2011

Disc 2 – CD 2:
The Dark Side Of The Moon performed live at Wembley in 1974 (2011 Mix and previously unreleased)

Disc 3 – DVD 1, all audio:
- The Dark Side Of The Moon, James Guthrie 2003 5.1 Surround Mix
(previously released only on SACD) in standard resolution audio at 448
- The Dark Side Of The Moon, James Guthrie 2003 5.1 Surround Mix
(previously released only on SACD) in high resolution audio at 640 kbps
- The Dark Side Of The Moon, LPCM Stereo mix (as disc 1)
- The Dark Side Of The Moon, Alan Parsons Quad Mix (previously
released only on vinyl LP/8 track tape in 1973) in standard resolution
audio at 448 kbps
- The Dark Side Of The Moon, Alan Parsons Quad Mix (previously
released only on vinyl LP/8 track tape in 1973) in high resolution audio
at 640 kbps

Disc 4 - DVD 2, all audio visual:
- Live In Brighton 1972:
'Careful With That Axe, Eugene' (previously unreleased on DVD)
'Set The Controls For The Heart Of The Sun' (previously unreleased on DVD)
- The Dark Side Of The Moon, 2003 documentary (25 min EPK)
- Concert Screen Films (60 min total):
British Tour 1974
French Tour 1974
North American Tour 1975

Screen films play in stereo and 5.1 Surround Sound

Disc 5 – Bluray, Audio+audio Visual

- Audio: The Dark Side Of The Moon, James Guthrie 2003 5.1 Surround
Mix (previously released only on SACD) in high resolution audio at 96

- Audio: The Dark Side Of The Moon, Original stereo mix (1973) mastered in high resolution audio at 96 kHz/24-bit

- Audio visual: Live In Brighton 1972:
'Careful With That Axe, Eugene' (previously unreleased on DVD/BluRay)
'Set The Controls For The Heart Of The Sun' (previously unreleased on DVD/BluRay)

- Audio visual: The Dark Side Of The Moon, 2003 documentary (EPK)

- Audio visual: Concert Screen Films (5.1 Surround Mix):
British Tour 1974
French Tour 1974
North American Tour 1975

- Audio visual: Concert Screen Films (High Resolution Stereo Mix):
British Tour 1974
French Tour 1974
North American Tour 1975

Disc 6 - CD3:
- The Dark Side Of The Moon 1972 Early Album Mix engineered by Alan Parsons (previously unreleased)
- 'The Hard Way' (from Household Objects project)
- 'Us And Them', Richard Wright Demo (previously unreleased)
- 'The Travel Sequence', live from Brighton June 1972 (previously unreleased)
- 'The Mortality Sequence', live from Brighton June 1972 (previously unreleased)
- 'Any Colour You Like', live from Brighton June 1972 (previously unreleased)
- 'The Travel Sequence', studio recording 1972 (previously unreleased)
- 'Money', Roger Waters’ demo (previously unreleased)

- 40 page 27cm x 27cm booklet designed by Storm Thorgerson
- Exclusive photo book edited by Jill Furmanovsky
- 27cm x 27cm Exclusive Storm Thorgerson Art Print
- 5 x Collectors’ Cards featuring art and comments by Storm Thorgerson
- Replica of The Dark Side Of The Moon Tour Ticket
- Replica of The Dark Side Of The Moon Backstage Pass
- Scarf
- 3 x Black marbles
- 9 x Coasters (unique to this box) featuring early Storm Thorgerson design sketches
- 12 page credits booklet