The band features Deep Purple guitarist Steve Morse, former Dream Theater drummer Mike Portnoy and Transatlantic keyboard player Neal Morse. The full track listing is:

1. Blue Ocean
   2. Shoulda Coulda Woulda
   3. Love Is What I’m Waiting For
   4. The Storm
   5. Kayla
   6. Forever In A Daze
   7. Everything Changes
   8. Better Than Walking
   9. All Falls Down
   10. Fool In My Heart
   11. Infinite Fire

Find out more at www.flyingcolorsmusic.com

Following the announcement yesterday that Sykes was no longer involved, stories have spread that Kotzen has now been brought in. And the guitarist himself has posted the following comment on his Facebook page:

“I wanted to address the recent rumor about the project with Billy, Mike, and I… Although we did throw some ideas around, neither of us decided to make any public announcements, so today’s Internet buzz was a surprise. I will say I am a fan of both Mike and Billy. I’m sure a collaboration would produce some interesting results.”

All of which means…what? Is he in or out? What do you reckon?

The former Dream Theater drummer and ex-Whitesnake guitarist had been in the studio working on songs, with Billy Sheehan on bass. But Pornoy has revealed via Twitter:

“Sad but true… I tried my best to make it work… Me and the bass player Billy Sheehan couldn’t wait around any longer… Billy and I moving on and now working with another guitarist/singer.”

Aside from drummer Portnoy (Transatlantic and formerly with Dream Theater), keyboard player Neil Morse (Transatlantic and ex-Spock’s Beard) and guitarist Steve Morse (Deep Purple), the album also features bassist Dave LaRue and vocalist/guitarist Casey McPherson. It was produced by Peter Collins

Says Portnoy: “The album has bits and pieces of what you’d expect from each of us. The sum of all its parts led to brand new, unchartered territory for everyone involved.”

Find out more at www.flyingcolorsmusic.com

To be called Storm Corrosion, the pair have now finished work on their debut album. This will be released in April, although no label has yet been confirmed.

The rest of the line-up is Gavin Harrison (drums),  Ben Castle (woodwind) and Dave Stewart (string arrangements). At one point, drummer Mike Portnoy was due to be involved. But that’s no longer the case.

Find out more at www.facebook.com/corrosedstorm

Reports say that the drummer filed a law suit against the band on April 27, alleging that they ‘wrongfully excluded’ him from the band, and are ‘wrongfully using the name of the band in connection with their recording of an album without the participation or consent of Portnoy’.

It’s further claimed in the suit  that they ‘are wrongfully using the name of the band in connection with the promotion of live performances by the individual defendants, without the participation or consent of Portnoy’.

However, this is what Portnoy himself has said about the situation:

“Everyone needs to chill out. Stop feeding into this negative poison on the net… I am legally NOT ALLOWED to speak of business matters, but I’m sure you realize there are two sides to every coin… If I could openly talk about this stuff and expalin the REALITY of everything, I would love nothing more!!! But I am legally unable to discuss it… In the meantime, life is bright and positive…I am happy and so are they….so shouldn’t YOU be too??? Don’t believe the hype…Carpe Diem!”

UPDATE: Dream Theater’s lawyer has said there is no outstanding law suit against the band from Portnoy.

Words: Malcolm Dome

Dream Theater face a moment of truth with new album A Dramatic Turn Of Events (Roadrunner). This is their first release without drummer Mike Portnoy. But with Mike Mangini in his place, the band not only sound as powerful and sophisticated as ever, but almost as if a huge weight has been lifted. Hey, the Dreamers even feel relaxed on what is certainly an impressive album.

German guitar hero Axel Rudi Pell can clearly play and has a gift for writing decent tunes. But do we need an entire album of ballads? Well, that’s what we get on The Ballads IV (SPV/Steamhammer). It’s incredibly his fourth collection of such music, and while some of Pell’s own material works reasonably enough, his attempts to turn covers of Holy Diver and Love Gun into soppy soporific soapsuds is risible. Besides, an entire album at a sedate pace is just a little too daunting.

Deep Purple keyboard master Don Airey is in top form on All Out (Mascot). While there’s plenty of opportunity for the man to show his dexterity, diversity and depth, nonetheless what makes the differences is that it is not an album about keyboard solos, but some fine songs. The guitarists include Joe Bonamassa, Bernie Marsden and younger brother Keith Airey, all of whom are given the chance to shine as well. Maybe, Airey’s finest solo work to date.

Work Of Art already have a formidable reputation in the AOR world, thanks to their debut album Artwork. Now the Swedes are back with In Progress (Frontiers), delivering yet more classy, stylish and utterly compulsive music. This is definitely among the melodic hard rock releases of the year.

Status Quo keyboard player Andy Bown doesn’t put out too many solo albums. In fact, Unfinished Business (Cherry Red) is his first for over 30 years. Now, whether it’s been worth the wait is a moot point, but there’s no doubting the vibrancy of this collection of unpretentious songs. Well written and thoughtfully played, this is British rock ’n’ roll with an early 70s punch and a lot of enthusiasm. Quo fans will find a lot of this record thoroughly enjoyable.

British proggers Cosmograf are led by multi-instrumentalist Robin Armstrong. And on When Age Has Done Its Duty (Festival Music), there’s no doubting the individuality or creativity of what he achieves. You hear motifs that bring to mind so many of the pioneering giants. But he also has a firm grasp on how to combine finesse and power in a modern idiom. With It Bites drummer Bob Dalton involved, this is an album to savour.

The Brew are essentially a blues-rock band, who are never afraid to dabble with a little hint of jazz or progressive music. The British trio are certainly on top of their game with The Third Floor (Jazzhaus), maintaining a raw, live sound throughout on an album that actually brings to mind the Jimi Hendrix Experience and Cream. Feted in Germany and across Europe, it’s about time they got noticed at home.

FreddieGredde is the solo project of one Fredrik Larsson, a Swede who shows such a versatility and melodic mastery on Thirteen Eight (White Knight). He’s a progressive rocker who has an inate appreciation for the power of a simple tune. So, what you get are songs that have a warm complexity, yet are also easily hummable in a shower or bath (if that’s your thing). Not far removed from Europe on a prog rock crusade. A redoubtable debut.

The self-titled release will be available through iTunes. Physical copies will be sold at the band’s upcoming shows and also online.

The band Symphony X frontman Russell Allen, drummer Mike Portnoy, plus guitarists Rich Ward (Fozzy) and Mike Orlando and bassist Paul DiLeo.

Find out more here.

The pair have yet to give the band a name. Nor have they announced who’ll be the bassist in what’s likely to be a power trio. One name being mooted is Mr. Big’s Billy Sheehan, but that’s far from confirmed. However, Portnoy and Sykes are currently recording in Los Angeles.

Words: Malcolm Dome

Walking through, the first sight on site are the 21st century morris dancers, who look like black metal nutters dressed up for a posh wedding as they wield what look like baseball bats! Anthony Burgess should have written this into A Clockwork Orange. The droogs would drool with envy.

First band on to the Main Stage on Sunday, July 24 are Love Fungus, introduced by TV personality James May. In fact, this lot are only on the bill because they’re being filmed for the next series of Man Lab. The approach is rap metal and rather clichéd in a late 90s style, but a pleasant enough early diversion.

Heaven’s Basement are the acknowledged and expected opening band on the Main Stage. Just a few years ago, they were hot and happening. British melodic rockers whom some tipped to be the new Def Leppard. But things have been going wrong since then, and today they look and perform like a band who know their time has gone.

On the Metal Hammer Stage, The Treatment emphasise why they’ve now surpassed Heaven’s Basement. Vibrant, focused and full of cranked-up songs. The future belongs the them.

They actually are the second band on this stage, following the impressively intelligent metal of Furyon, a band who can shake any trees yet also have depth of musicianship.

Meantime, over at the Prog Stage, Pallas get everything right into gear with an impassioned performance that climaxes on the deft and evergreen Arrive Alive. They pave the way for The Enid, whose unique brand of classical prog might be bonkers – but is also spellbinding. Robert John Godfrey et al bring back memories of the Reading Festival in 1983 as the set ends with The Dambusters Theme, featuring snippets of Land Of Hope And Glory and Also Sprach Zarathustra. Evocative in the sunlight.

Over on the Main Stage, Saint Jude more than live up to expectations as their groove-riddled blues rock provides the perfect showcase for vocalist Lynne Jackaman’s incredible vocals.

Lynne is the first female on stage at this year’s festival, but she only just beats Sonja Kristina, who leads Curved Air through an extravagant set on the Prog Stage. She really is the earth mother of progressive music, still has a sensual voice and a vital presence.

Dashing over to the Metal Hammer Stage, Gentleman’s Pistols again show why they are such a cult band. Their mix of blues, stoner and hard rock is both a trip back to the early 70s, but also makes them one of the 21st century’s most iconic underground bands.

Sweden’s Graveyard follow the Pistols with a similar approach, albeit much more straightforward. But it’s an enjoyable romp nonetheless.

If only the same were true of Michael Schenker on the Main Stage. He starts well enough, with Into The Arena and Armed & Ready, and one hopes these would be harbinger of a set predicated on classic MSG. Instead, we get two songs from an album not even released as yet, plus Scorpions and UFO tracks. Now, one from each of those bands would have been expected and more than acceptable. But big brother Rudy is on stage, so we get Another Piece Of Meat (fair enough) and Rock You Like A Hurricane, despite Michael having nothing to do with the latter. OK, his drummer today is Herman Rarebell, who is on the Scorpions original. But this is billed as Michael Schenker, not Schenker/Rarebell. We also get Pete Way dancing on for the UFO interlude, and Doogie White stepping out to sing one of the new tunes. All a bit messy, and Michael Schenker’s guitar is often lost in the mix.

Thunder, though, show everyone how it’s all done. They come on to a huge reception and deliver a totally crowd-pleasing set which… well, pleases the crowd. The band sound huge and having the time of their lives, with Danny Bowes once more proving he as an all-time great voice. Thunder are claiming this was a one-off, never to be repeated. Yeah, sure!

Mostly Autumn have come through the gears so well that they seem to be a logical choice for the third-on-the-bill slot on the Prog Stage. Their folk-rock approach is exactly right for this time in the afternoon. And anyone who believes they’ve been elevated above their capacity is soon made to rethink such a rash opinion.

Spock’s Beard are sublime as they follow Mostly Autumn. Their sophisticated, American take on the genre is backed up by an easy manner with the crowd. A definite winner.

As are Black Spiders, in a similar slot on the Metal Hammer Stage. They’ve a vibe somewhere between rock’n’roll and punk. Plus an assertive stage conviction. It all adds up to a band who pull a big crowd and make everyone enjoy the musical heat. The Spiders are surely destined for major honours.

On the Main Stage, it’s Black Country Community who step up next. Eagerly anticipated, this supergroup are still coming to terms with being a band. Glenn Hughes is in his element out front, but the impression is that Joe Bonamassa is taking time to find his niche. But the music is outstanding, the goodwill from the crowd is a torrent and the version of Deep Purple’s Burn is majestic. Hang on, didn’t Hughes recently insist the band won’t be doing any songs from their past? Oh well, it’s a festival. Let’s forgive them.

So, to the headliners. On the Metal Hammer Stage, Neurosis overcome the potentially disastrous situation of playing in daylight. The music is so intense and atmospheric, it usually relies on a light show that’s as much a part of the performance as the instrumentation. But tonight, they overcome all hazards and tripwires. This is a monumental reminder of why they can suck the soul right of out of you, and then replace it in a somewhat damaged yet elevated form.

Not to be outdone, Jethro Tull are at their finest on the Prog Stage. The area is absolutely packed and Ian Anderson leads the band through 80 minutes that pulse with life and some fascinating choices. Thick As A Brick and Hot Night In Budapest are astounding, while it’s fascinating to hear the way they treat Mother Goose and Hymn 43. Inevitably, the main set ends with Aqualung, to major cheers. At this juncture a lot of people drift away; they are quickly sucked back, though, when the band not only return for a well-deserved encore, but are joined by Joe Bonamassa for Locomotive Breath. Hearing the way the Black Country Communion man dovetails with regular Tull guitarist Martin Barre is a revelation. Let’s hope this guest appearance leads to more collaborations between band and the master American guitarist.

Finally, it’s down to Dream Theater to close not only the Main Stage but the whole festival. And they rise to the occasion brilliantly. Mike Portnoy might be gone, but Mike Mangini slots so comfortably into his position that he’s hardly missed. The great thing about the new drummer is that he already has his own reputation, and never feels the need to try and prove he’s worthy of the new position. Even Mangini’s solo has an ease and self-confidence. And the rest of the band seem so relaxed in a set that rightly concentrates on the classics, but has hints at what we can expect from new album A Dramatic Turn Of Events.

It’s a fine way to end two days which made Victoria Park victorious in the world of rock and metal.