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Modern Drummer Festival 2005 (DVD)

Chris Adler and Jason Bittner, Live at Modern Drummer Festival 2005 features the full length performances of these two incredible drummers, along with in-depth interviews that include demonstrations, discussions of technique and practice routines, and specific playing examples from their MD Festival performances. Included is almost 30 minutes additional performance and clinic footage not included on the Modern Drummer Festival 2005 DVD!

Bonus Footage includes:
Chris Adler On The Road - Chris discusses his drums and cymbals, talks to his drum tech, talks about his daily routine while on tour, about warming up, and what it's like to be on road. Also features live clips of Chris with the Lamb of God.

Jason Bittner in Clinic - features excerpts of Jason in a great clinic from Ibben Germany shot with a Handycam. Also, an 18-minute lesson that includes Jason's actual, in-studio performance of The Light the Blinds and an explanation and demonstration from Jason of his drum part in that song.

Exclusive interviews with Chris and Jason, backstage at the Modern Drummer Festival 05, at pad kits, during which they talk about technique, warming up, double bass, practicing and more. And at various points during each interview intersections with their on-stage performance can be accessed with the DVD remote.

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  • "Tracer release their new album ‘Spaces In Between’ on October 3rd (UK release) on the Cool Green recordings label.  The Australian desert rockers, who are based in Adelaide, comprise of brothers Michael and Leigh Brown and Andre Wise. They have had success with two previous independent releases, but ‘Spaces In Between’ will I feel launch Tracer to new heights.Tracer’s blend of 90’s stoner and 70’s classic rock is steeped in epic guitar sounds, clever hooks and raw, uncompromising vocals.I hope (and imagine) that Tracer can reproduce live on stage the intensity and passion and raw rock n roll that is so evident in this album. With the UK tour coming up I think we should all go and check out these Aussie contenders!“So what’s the album really like?” I hear you say.   The album starts with ‘Too Much’ and a great start it is. A guitar riff straight from the 70’s classic-rock bible. A solid, constant rhythm throughout. A very catchy rock song, which is understandably the first single from the album.Check out the video belowTrack two; ‘Push’ has a more laid back feel. It still rocks, but in a groovier kinda way. If Jimi Hendrix and Paul Rodgers had a lovechild, it would sing like this!‘Walk Alone’ continues the 70’s rock vibe. A solid drum beat throughout which has a simple yet traditional guitar riff over the topThe fourth track, ‘Louder Than This’ is stoner rock at its finest. Distorted vocals over a solid pounding drum beat, with guitars turned to eleven. There is almost a Slade vibe to this song. I can imagine Noddy Holder belting this out in the 70’s.The next track ‘Devil Ride’ goes back to the rockier tempo of track one. Definitely the catchiest chorus on the album so far.  I have a feeling that ‘Devil Ride’ might just be the next single.Track six is another thumping tune. ‘ The Bitch’ is the song which will get the crowd going wild in the mosh-pit, although they will still sing along to the chorus, with devil-horns flying high.The seventh track, ‘Voice In The Rain’ has a much slower pace than most on the album. The Paul Rodgers comparison to Michael Browns vocal is most evident here. A great performance.The album’s title track ‘Spaces In Between’ is the stand out track. The bass line complements the raw guitar sound and you find yourself singing along to ‘The Spaces In Between’ line of the chorusTrack nine is ‘Dead Inside’. This starts slow and Bluesy, rocks in with screaming vocals and guitar solos, slows back down again then totally rocks out towards the end. A clever song, which highlights the bands musical talents.‘Save My Breath’ is another pulsating rocker with some nice stop/start moments and even a little psychedelic middle eight!‘All In My Head’, the eleventh track, is a mellow rocker with another catchy chorus.The album closes with ‘Won’t Let It Die (Run Mary)’. A shot of Bad Company, a dash of Led Zeppelin and topped up to the brim with Jimi Hendrix.  Get the idea? A laid back song but with great guitar work, especially the solo. This will have you singing along by the end." - I Review Rock
    $12.00
  • "It’s Canadian to do things in an unorthodox fashion. Not like there’s anything wrong with it (there isn’t), and when it comes to metal, all one needs to do is look at the long list of prominent Canadian bands and it makes sense: Voivod, Kataklysm, Neuraxis, Cryptopsy, etc., etc. None of them bothered to do anything by the book, resulting in some of metal’s most expansive and off-kilter sounds. In the mix is Montreal’s Heaven’s Cry, who are returning after a seven-year hiatus with their third album, Wheels of Impermanence.A band of the progressive/power variety, Heaven’s Cry function largely in their own sphere, with perhaps the only real comparison being Perfect Symmetry/Parallels-era Fates Warning. This means that wacky time signatures, weird chord movements, and initially hard-to-digest songs come to the fore, making Wheels of Impermanence sound…very Canadian (FW is not Canadian, though). Nevertheless, there’s an assortment of quirky riff action going down here, rolling up into songs that for the most part, have some guile to them, such as opener “Empire’s Doll” and “The Mad Machine.”Singer Pierre St. Jean has a solid AOR caw to him, one that is occasionally ill-fitting for the band’s malleable music. That doesn’t prevent him from unfurling some adventurous vocal takes, as heard on the title track and “Consequence,” where he benefits greatly from back-up gang vocals and spurts of melodic guitars. Ultimately, St. Jean is able to cross the ever-difficult divide between power metal majesty and progressive metal over-thinking. He’s absolutely stellar.Evidently, Heaven’s Cry reformed at the right time, able to catch the attention of Prosthetic Records for the release of Wheels. Not to be forgotten is the inclusion of guitarist Eric Jarrin, who used to do time in deathcore merchants Despised Icon, which again, breeds additional peculiarity with this one. Canadians…they are a tricky bunch. " - Blistering.com
    $11.00
  • "The phrase, "A New Dawn" has become one widely used these days with the ascension of the Obama presidency in the United States, and certainly, that is a breath of fresh air for most of us. However, it’s also a good time for a metal band, with that phrase as a name, to make a serious arrival on the international music scene.A New Dawn isn’t really new. They’ve actually been around since 1998 in one form or another, although they began as a side project. Several demos and one semi serious EP and DVD later, the band has released the title under review here and is primed for a run at the big time.The band is a 6 member group headed up by a duel female lead. That lead, Sanne Kluiters and Jamila Ifzaren do something of an operatic front end. The guitars are provided by Elbert de Hoog, bass by Michel van Beekum and drums are compliments of Rik Bruineman. The final member is Michiel Glas whose responsibilities include vocals and grunting. Poor Michiel has the unenviable task of replacing the lovely Monica Janssen who played bass and was clearly the most impressive female grunter in metal. She was always, for me, a significant interest in this band and will be missed, but, as they say, the show must go on.It should be noted, however, that this CD was actually produced with a different lineup, and Monica is the grunter and bass player here. The additional clean vocals are done by a friend of the band, David van Santen. Willem Cremer performed on guitar and Peter van Toren did drums on this recording. With the completion of the CD, the changes came about, so this is the swan song for Monica. And that’s unfortunate but certainly not devastating. Lineup changes in European bands, unlike many American bands, are like changing your clothes in the morning.Doesn’t matter really who does the grunting, this is a B & B Gothic metal band. That Beauty and the Beast approach serves as the focus of A New Dawn and carries through much of the music presented here. And, as B and B bands go, this one is pretty good. They’re Dutch of course, and utilize a style found in numerous western European bands, even if the composition is a little unique. The sound, however, is pretty much mainstream metal, with a few twists.Falling from Grace opens with a beautiful little piece called Black Lotus, the two female leads doing an operatic harmony over a lovely symphonic background. You get the feeling we’re in for a lovely bit of harmonic Gothic, heavily orchestrated. Something like what we’d hear for a movie about life in the Middle Ages. David van Santen even joins in with a lovely male vocal component to augment this direction. The tome lasts some 1:22. . .. and then things change.As mentioned previously, A New Dawn is Gothic Metal, fairly hard Gothic Metal over a solid guitar base. The vocals, the female vocals anyway, are operatic, but they ride a cushion of heavy guitars to get where they’re going. Living Lie begins this journey, and pretty much introduces the real A New Dawn. And Monica’s grunting provides a highlight to the composition.Arguably, the most interesting song might be the following title, Veil of Charity. It made the Sonic Cathedral release A World of Sirens and gets significant airplay on the radio outlet. The song opens with an interesting guitar line over a metal core. Things heat up fast and flow to the duel female lead, which is juxtaposed against the grunting female vocals. This is, of course, the core of the A New Dawn sound and is probably the best implementation of that sound on the CD. Guitars are always secondary to the vocals with A New Dawn but they cannot be ignored, especially on this title. They are solid and get significant solo time, as well they should.The CD being somewhat new I haven’t been able to get lyrics online. However, the English of singers Kluiters, Ifzaren, Janssen and David van Santen is excellent so you can pretty much understand everything they’re singing. That’s not always the case with European bands, especially as they move further to the east. When you get to the Russians, they quit trying.A New Dawn does most of its work in heavy mode. However, there are exceptions. Wisdom of Hindsight is actually something of an acoustic number, at least at first. Vocals are different as well. The band does a sound like a Medieval Folk song on occasion, and this is one of those numbers. However, even here, the metal comes back at some point, but the movement back and forth is really interesting. There are almost three or four distinct styles here in one song.The acoustic sound carries through on other numbers as well, especially as an intro. A short number, Prelude to a Farwell, uses this technique to serve as a mid point on the CD, almost like an intermission, very beautiful and moving.That midpoint takes us to the second part of the CD, introduced by Kissed Goodbye. Again, the song starts slowly with a moving guitar that takes us to the lead female vocals. It should be pointed out that these vocals are not all that similar and are used differently, even when done at the same time. One is more operatic, the other less so, and they work in different ranges. Very different in the style and effect. Anyway, the slow stuff doesn’t last long, the guitars crank up and the metal goes full tilt.Much of the second part of the CD follows this format, slow and dreamy intros that lead to a crunching guitar guiding the female vocals to their face offs with Monica’s grunting.The final number, Ascension, Part III, is worth mentioning. It’s been a favorite of mine for some time and has video clips on YouTube where you get to see Monica (and the rest of the lineup at that time) in performance. This is one of the songs where the grunting is more up front, the guitars are a bit harder and we get the image of A New Dawn on stage. Of course, the two female vocalists are a delight and the band performs this number in much the same style as they would on stage, there is an electricity to their sound that transcends the recording.I’m sure that, in all respects, the band is every bit as good as ever, but I’m sure going to miss that little brunette bass player with the killer voice. Fortunately, we still have the strong contributions from the two female leads who carry the majority of the load.Oh well, progress is inevitable, and, in this case, we move with the tides. A strong offering from a band we will, no doubt, hear much more from in the future." - Sonic Cathedral
    $17.00
  • Hyperdrive marks a new era for Knight Area.  The long running Dutch progressive rock band had previously released four studio albums and toured Europe and USA extensively, performing at all major prog rock festivals.  1n 2012 the band welcomed guitarist Mark Bogert as well as legendary bassist Peter Vink (Q65, Finch, Ayreon) into the fold. With these newcomers onboard, Knight Area introduced a heavier element and fuller sound to their repertoire.  All the classic symphonic rock traits of their previous albums are still clearly evident but the songs on Hyperdrive are more immediate and concise.The band invited noted prog guitarist Arjen Lucassen (Ayreon, Star One) to participate as a special guest on one track.  Joost van den Broek, who is known for his production work with Epica, Mayan, and After Forever, mixed the album.   Rounding out the package is startling artwork by Gustavo Sazes.
    $6.00
  • My Soliloquy is a British band formed in 2002 by multi-instrumentalist Pete Morten.  Since then the band has released a number of demos, gaining traction in the metal underground. The band had a number of notable support shows with Pagans Mind, Power Quest, Oliver and Rick Wakeman, and Threshold, as well as a second-to-headline set at Bloodstock 05 and a showcase at 2007’s ProgPower UK II.Since 2007, Morten has been an active member of British prog metal legends Threshold.  His membership has raised awareness (and created anticipation) for My Soliloquy’s long awaited debut.The essence of My Soliloquy is pure forward thinking metal – symphonic keyboards, shredding guitar leads, soaring vocals – all finely woven together with a blend of intricacy and melody.  The Interpreter was mixed and mastered by Rob Aubrey who has been a mainstay of Marillion’s camp for many years.
    $5.00
  • Dutch symphonic metal band EPICA celebrated their 10th anniversary with a one-night-only event, dubbed Retrospect. The band was accompanied by the seventy piece Extended Reményi Ede Chamber Orchestra and the Choir of Miskolc National Theatre, playing an unforgettable 3-hours best-of set.According to respected Dutch newspaper the Volkskrant "The band wrote a chapter of Dutch metal History" this evening. Rock Tribune (Belgium) thought it was "an unforgettable show".Ten high definition cameras captured this very special sold-out show while Epica played in front of nearly five thousand ecstatic fans in Eindhoven, the Netherlands. In addition to a collection of the band’s biggest hits from across the spectrum of their entire catalog, this once-in-a-lifetime spectacular also features the live debut of “Twin Flames” and the previously unreleased “Retrospect”, covers of classics by Vivaldi, Pergolesi, and Oscar-winning film composer John Williams, two guest collaborations with the venerable Floor Jansen (Nightwish, ReVamp), and a very special performance of their breakthrough single, “Quietus”, with founding members Jeroen Simons, Ad Sluijter, and Yves Huts.Nuclear Blast will release Retrospect as a deluxe hardcover book with 32 pages. Both as a 2DVD/3CD and 2Blu-ray/3CD version. Retrospect will contain the following fan favorites:01 - Introspect02 - Monopoly on Truth03 - Sensorium04 - Unleashed05 - Martyr of the Free Word06 - Chasing the Dragon07 - Presto08 - Never Enough09 - Stabat Mater Dolorosa10 - Twin Flames11 - Serenade of Self-Destruction12 - Orchestral Medley13 - The Divine Conspiracy - Anniversary Edition14 - Delirium15 - Blank Infinity16 - The Obsessive Devotion17 - Retrospect18 - Battle of the Heroes & Imperial March19 - Quietus20 - The Phantom Agony21 - Cry for the Moon22 - Sancta Terra23 - Design Your Universe24 - Storm the Sorrow25 - Consign to Oblivion26 - Outrospect                                                                                                                                                                                 Retrospect features this massive performance in its entirety, as well as exclusive interviews with all band members and behind-the-scenes footage from the show. 
    $45.00
  • Note this is not a 2 on 1.  Its a 15 track compilation of the albums Balls To The Wall and Restless & Wild.
    $5.00
  • "Santana's fourth album, Caravanserai, finally being reissued and remastered by Columbia Legacy/Sony, is a landmark recording for the band. Originally released in 1973, this album marked a change for the band, as they were moving away from the Latin tinged psychedelic pop rock of their earlier recordings to a more ethereal, jazz fusion based sound. Change also brought about line-up shuffles, as after this album second guitarist Neal Schon and keyboard player/singer Gregg Rolie left the band to form Journey. Famed keyboard virtuoso Tom Coster made his first appearance on this release, and he later spent many years alongside Carlos Santana in various incarnations of the band. The influence of groups such as Weather Report, Mahavishnu Orchestra, Lifetime, Miles Davis, Larry Coryell's Eleventh House, and John Coltrane are heard all throughout this CD. Latin percussion mixes with swirling organ while Santana and Schon's guitar licks run rampant on each track. While the bands signature melody on "Song of the Wind" still remains a classic, it's the extended breakouts on tunes like "La Fuente Del Ritmo" , complete with an amazing electric piano solo from Coster, and the energetic "Just in Time to See the Sun" that really shine. Drummer Mike Shrieve comes into his own on this albums more jazzy context, and the percussive tandem of Jose "Chepito" Areas, Mingo Lewis, and the legendary Armando Peraza provide the perfect Latin rhythms. "Every Step of the Way" features some wicked guitar work from Schon and Santana, supported by manic percussion and raging organ from Rolie, and stands out as a classic example of Latin jazz fusion.My advice to you all, don't walk, but run to your local CD shop and indulge yourself in this timeless classic. The remaster job is superb, with every instrument crisp and clear, and you get a nice booklet that goes into the history behind the album. A must have!" - Sea Of Tranquility
    $7.50
  • "Insurgentes is the new documentary film about Steven Wilson (Porcupine Tree) directed by Lasse Hoile. Porcupine Tree are currently enjoying massive success across the world with their latest album, The Incident. Insurgentes is a musical road movie that follows the making of his solo record of the same name, and is a portrait of an increasingly rare artist who works with music and media out of love and not for fame and fortune, persisting in making art on his own terms in a world where 'throw away' mentality is increasingly becoming the norm. The film features footage of Wilson with other artists and friends including Mikael Akerfeldt from Opeth, Jonas Renkse from Katatonia, the Israeli superstar Aviv Geffen, and the legendary producer Trevor Horn."
    $9.00
  • Fourth studio album from Leprous reinforces the fact that they are one of the most innovative and cutting edge bands working in the prog metal idiom.  The music of Coal has already kicked up a bit of controversy from the early listeners.  The music isn't quite as angular and frenetic as Bilateral.  Atmospheric passages similar to Tall Poppy Syndrome are perhaps a bit more prevalant as well.  All in all it's clearly identifiable as Leprous.  Ihsahn guests on one of the tracks - don't forget Leprous is his backing band.  Nice guys - great band.  Highly recommended."Considering Leprous‘s previous album Bilateral is considered by many to be a masterpiece of progressive metal; Norway’s Leprous had a tall order in front of themselves. Coming up with a followup to such a critically acclaimed and beloved album is no doubt a daunting task. Despite that, after two long years of waiting, Leprous have conjured the successor to Bilateral, and it’s called Coal. Usually, when bands release an album after their magnum opus, the result is either a “version 2.0″ of the previous album, or it’s a return back to the normal style of the band. Leprous have taken a bold turn instead, and they have reinvented themselves. Coal is clearly a Leprous album, carrying all their trademark touches, but it’s also very fresh and unique.With Bilateral, the band were clearly rooted in a sound that has been defined by the big names of progressive metal. By applying their characteristic syncopation, moody riffs and singer Einar Solberg’s haunting and powerful vocals, they were able to perfect an already existing sound. With Coal, the band have taken a different direction. The album is very dense, emotional, and quite avant-garde at times. While there are some more traditional songs similar to Bilateral, there’s also an air of neo-80s on some songs, while others carry some characteristics of modern Scandinavian indie bands. Longtime fans of Leprous will definitely see the direction that has been present since the band’s inception, but listeners who know of them only via Bilateral might be slightly confused. In the end, Leprous have always been about mood, and Coal is oozing with it.In terms of structure, Coal is more similar to Tall Poppy Syndrome than Bilateral (but not too similar to either in the end). The songs are slow burners, setting up a mood, then deliberately building on it until overwhelming the listener with the climax. Everything is very subtle, the production making every hit of every instrument matter. Each song is an exercise in building an atmosphere by slowly adding layers to form a very powerful sound. Einar Solberg is at his best here, he has taken his voice to the next level. He was already an amazing vocalist, but Coal sees him becoming a master of expression. There are many progressive metal bands nowadays with clean singers who can hit insanely high notes and execute amazing melodies. But what is often lost is the soft touch, the control over timbre that makes one’s voice special. Einar is a master of timbre, and he uses his abilities to their full extent in Coal. While this is an album about the big picture and constructing an ambiance with the convergence of all instruments, his unparalleled vocal skills definitely deserve a special mention, because he is what hammers down the emotions and makes this album so special.As mentioned before, Coal is a deliberate album, where attention is paid to every instrument. And the production, by Ihsahn (who also has a stellar guest appearance on the closing track), is perfect for this. Especially of note are the drums, they sound very real and quaint. The intimate feeling of some of the songs can directly be attributed to the unconventional drum sound. The drumming has also taken a turn for the more subtle, with small flourishes and cymbal runs building tension in the more atmospheric sections of some songs. The bass is also clearly audible and adds to the sound. The guitar work isn’t as flashy as Bilateral for the most part, but it also has more character because of that. It should come as no surprise to longtime followers of the band, but Leprous are masters of doing more with less, and all of the instruments reflect this. Another production detail worth noting is the presence of keyboards. The keyboard work is more prominent now. In Bilateral it was used mostly to add some extra layers to parts driven by the guitars, but here the keyboards form the building blocks of the sound. This is perhaps what sets the album apart from Leprous’s previous work, the heavier focus on atmosphere and a dense aural landscape. This might be disappointing to some who preferred the more direct approach of Bilateral, as Coal is less “metal”, but the more developed sound suits the band.In terms of songs, Coal is a very diverse album. The first three songs and the closer can be interpreted as a direct evolution of the band’s sound from their previous work, then there is the extremely moody and emotional masterpiece “The Cloak”. This is where the album takes a turn for the introspective, as the rest of the songs are quite experimental and ethereal. Overall, the album has a very clear journey with a defined start and end, and it works quite well. Some of the later songs can feel like they last half a minute too long, but the deliberate pacing of the album makes more sense as is.In the end, it’s hard to deny that Coal is yet another masterpiece by Leprous. The songs ooze character and deliberation. Coal is expressive, emotional and brave. It might not be what everyone expected after Bilateral, but Leprous have defied expectations and raised the bar again." - Heavy Blog Is Heavy
    $14.00
  • French female fronted band with an extreme metalcore sound similar to compatriots Kells. Vocalist Candice Clots mixes up the clean and harsh vocals with the former dominating. Produced by Fredrik Nordstrom (Arch Enemy, In Flames). This is the international English vocal version.
    $15.00
  • "From December 1971 to April 1972, Carlos Santana and several other members of Santana toured with drummer/vocalist Buddy Miles, a former member of the Electric Flag, and Jimi Hendrix's Band of Gypsys. The resulting live album contained both Santana hits ("Evil Ways") and Buddy Miles hits ("Changes"), plus a 25-minute, side-long jam. It was not, perhaps, the live album Santana fans had been waiting for, but at this point in its career, the band could do no wrong. The album went into the Top Ten and sold a million copies." - All Music Guide
    $7.00
  • Lots of changes in the Mangala Vallis camp with this new release.  Bernardo Lanzetti is out, replaced by the great Rob Tiranti aka Rob Tyrant.  Many of you know Rob from his work in the metal world with Labyrinth but he has alway worked with New Trolls so he knows how to dial it back.  Great, great set of pipes.  The music has changed a bit too.  Its not as overtly retro although at times the keyboard sounds harken back to the 70s.  Definitely more of a contemporary neo feel.  Its a concept album about a hacker who infects the world with a virus that will destroy all the digital files on the planet.  Good times!
    $16.00
  • Withem is an up and coming Norwegian progressive metal band, inspired by the likes of Symphony X, Pagan’s Mind, Dream Theater and Circus Maximus.The band started to take shape in 2011 when Øyvind Voldmo Larsen (guitars) and Ketil Ronold (keyboards) met the gifted drummer Frank Nordeng Røe. Soon they were joined by the vocal talents of Ole Aleksander Wagenius and bass duties were taken care of by the special guest Andreas Blomqvist from Seventh Wonder.Withem’s debut offers varied sonic landscapes for the listener to explore, ranging from guilty-pleasure choruses permeated with memorable vocal hooks, to symphonic epic themes.  The unique vocal range of Ole Aleksander Wagenius gives the band a distinctive touch to tackle the overcrowded progressive metal scene.The passion and dedication put into the album is emphasized by the countless hours spent in studio perfecting each individual performance and making sure that the end result is a world class blend of progressive, symphonic and power metal.The Point Of You was mastered by Markus Teske (Vanden Plas, Saga, Spock's Beard)
    $6.00