A quick visit to EmersonLakeandPalmer.com will reveal that a new website is on the way, however no date is included and no reason for the new site is stated. The last time keyboardist extraordinaire Keith Emerson was on the ROCKLINE radio program he stated that as soon as Greg Lake green-lighted an ELP reunion that he and venerable drummer Carl Palmer were ready for the challenge.

A visit to KeithEmerson.com will reveal spring and summer tour dates for his band have been scheduled; the same will happen should you give Palmer’s site a quick perusal. He too has spring and summer dates scheduled with Asia in tandem with Yes. Such speculation is fodder in the breeding ground for rumors. Tour dates for the two artists expiring before fall in tandem with plans for a new ELP website, a band that broke up for the second time in 1998, there is more to warrant the possibility of ELP reforming than there is to refute it. What other reason could exist for a new Internet home for ELP possibly coinciding with the simultaneous termination of concert dates for Emerson and Palmer?

Lake’s website hasn’t been updated for several years. Fans of the progressive rock trio have been hoping for a reunion and holding their collective breath for the possibility of a new album, which would add to the impressive total of 35 million albums the band has sold over the years. Their last effort was in 1994, far too long for those who savor the magic that happens when these three men grace the stage. My guess is that barring a fallout between now and then, we will see an ELP reunion tour this fall and next year to celebrate their 40th anniversary in 2010.

Doug Curran, Progression Magazine

CLIVE’S STATEMENT ABOUT ARENA
Many of you have been asking what’s the current Arena status. Clive gives a few hints about what’s happening with Arena:

After working hard with Arena for about ten years, both Mick and I felt it was time to take a break. We both had things we wanted to do, and while it was easier for other band members to go off and play with other projects, we were kind of ’strapped to the mast’. So, after ‘Pepper’s Ghost’, it was time to put things on ice for a while.

Naturally, when breaks like this happen, everyone fills the gaps with other things, so it becomes harder to gather everyone together again. However, we are all now ready to move forward with Arena.

So:
Has Arena split up? No, not at all!
Are there plans for Arena to do anything new? Yes
When will there be a new album? That is impossible to answer right now. It depends on how fast we write the album.

Mick and I had a short meeting before he went off on tour with the ‘Script’, and we agreed that we would meet again (after the Shadowland tour and some Caamora dates..;), and start writing this elusive seventh album!
We do have a few bits of material already, and I have a concept and a title, so things have already started. It’s just a matter of regaining the time we need.

I can tell you that the next album will be pretty dark (no surprises there!), and deals with some awkward themes.

You want something exclusive?…ok….. The next Arena album will be called….

The Tinder Box

I hope that answers a few questions,

Clive

Translation Loss Records signs CITY OF SHIPS and co-release new record

Translation Loss Records are extremely excited to announce the addition of Richmond, VA’s CITY OF SHIPS to their roster! CITY OF SHIPS has been touring relentlessly since its inception in 2005, promoting self-released EPs as well as CD and Vinyl releases from independent Richmond, VA labels Forcefield Records and the Perpetual Motion Machine. The trio will embark on an extensive European tour this summer, first with label mates Rosetta and later joining The End Records’ Braveyoung (previously named Giant, from NC). In addition, the band is currently booking a run of East Coast US dates with Liquid Limbs happening late May through mid-June.

Look What God Did to Us is CITY OF SHIPS’ first release with Translation Loss. The album will be co-released with indie label Sound Study Recordings from Gainesville, FL. Translation Loss will take charge of the CD release (expecting a mid-late summer release) while Sound Study will handle the vinyl and digital versions for this remarkable 10 song full-length debut. Both record labels are intensely passionate about the band’s music and look forward to helping present CITY OF SHIPS to the world. Drew Juergens from Translation Loss on the signing and co-release: “I could not be more excited about working with CITY OF SHIPS. Ever since I heard their tour EP and saw them live, I knew they were destined to create greatness. The new record is absolutely amazing and will take the world by surprise with its intrinsic groove and the jaw-dropping musicianship it presents.”

CITY OF SHIPS’ Translation Loss debut entitled Look What God Did to Us was tracked and mixed over two sessions in February and March of this year with producer Andrew Schneider at Translator Audio (Pelican, Made Out of Babies, Unsane) in Brooklyn, NY and will be mastered by Nick Zampiello at New Alliance East in Boston.

“Pounding bass lines and quirky rhythms and structures that almost have a math metal sort of vibe, but there’s also a constant flow of all kinds of incredibly tactful “post-” influences, from lush clean passages and swirling, spacey effects to noisier layers of intense guitar work. I’m really fuckin’ impressed by this material. Excellent.” – Aversionline.com

“The group’s frenetic energy and obvious emotional stake in the music which they play is simultaneously impressive and inspiring.” - Scenepointblank.com

“Amidst the ocean of droney post-rock, post-hardcore clones, there are only a couple bands that catch my attention. City of Ships had me hooked from beginning to end.” - Razorcake

“This takes me back to a time of discovering exciting new sounds in the underground scene that really blew minds, from Kerosene 454 to Ethel Meserve - bands unhindered by genre and expressing endless enthusiasm for just playing great music. City of Ships are hard to describe and easy to enjoy, both great things.” - Exclaim!

http://www.cityofships.com
http://www.myspace.com/cityofships
http://www.translationloss.com
http://www.myspace.com/translationlossrecords

Cyminology: “As Ney”

Cymin Samawatie: vocals
Benedikt Jahnel: piano
Ralf Schwarz: double-bass
Ketan Bhatti: drums, percussion

U.S. Release date: May 5, 2009

ECM CD: B0012831-02
UPC: 6025 178 0149 3

Cyminology is coming to the states for three concerts in NYC:
Thursday May 7th - Cornelia Street Café at 8:30 PM
Saturday May 9th - Alwan for the Arts at 9:00 PM
Monday May 12th - Puppetsjazz at 7:00 PM

and one concert in Fairfax, VA:
Friday May 15th - Fairfax Community Church at 7:30pm

As Ney is the ECM debut of an unique band. The subtle yet dynamic, softly-pulsating music of Cyminology (formed 2002) takes its cue from the sound of the Persian language. “This was the turning point for us,” says singer Cymin Samawatie. “When I began singing in Farsi, the music of the group started to become unified. There are still elements from different kinds of music” - including chamber jazz, open improvisation, modern composition, art songs, minimalism, even a distant hint of bossa - “but once we brought in the Persian poetry, it seemed to bring everything together. Farsi is a soft language and has a unique melody in itself, it already gives you a sense of direction. And the changing meters of the poetry influence the rhythm and the time signatures.”

Cymin Samawatie writes most of the band’s music, as well as song lyrics which, in the tradition of Persian verse, can be interpreted on several levels: are these love poems or do they hint at wider, spiritual, concerns? And she looks also at words from masters of the tradition including, on this recording, Rumi (1207-73) and Hafiz (c.1325-1389). Cymin incorporates, too, verse of Forough Farrokhzaad (1935-67), Iranian modernist poet and film director, a strong feminine voice, whose cry for personal freedom takes on a particular poignancy in the light of political developments of the last 30 years. Cymin would sooner celebrate positive aspects of Persian culture than dwell on present-day restrictions, but her very profession, lead singer of a band, is not one currently available to Iranian women in their homeland.

Born to Iranian parents in Braunschweig in 1976, Cymin was raised bilingually and bi-culturally, spending summers in Iran. In Germany, as a teenager, she raced through musical idioms in search of a mode of expression. At 13 she led a choir, at 17 had an acoustic-grunge duo with Ralf Schwarz on guitar, singing self-penned songs of alienation. She studied classical music in Hannover, specializing in percussion and piano, and jazz in Berlin where, at the Hoschschule der Künste, her teachers included American jazz veterans David Friedman and Jerry Granelli. She credits Granelli for encouraging her to improvise with Persian poetry, and to set it to ‘non-traditional’ music.

It’s not a coincidence that Samawatie begins the album with a setting of Jalaluddin Rumi’s “Song of the Reed-Flute”, from the compendious “Masnavi”: “Listen to the song of the reed-flute / Lamenting its banishment from its home / ‘Ever since they tore me from my reed bed / My plaintive notes have moved men and women to tears / I burst my breast, giving vent to sighs / To express the pangs of yearning / For everyone who is far from his home / Longs for the day he can return.” If Cyminology’s music is still, broadly, “contemporary jazz” - jazz experience being common to all members’ backgrounds - it also aspiring to regions beyond it.

It was in Berlin, where ‘multi-culturalism’ is an everyday reality, that the Cyminology group came together. Pianist Benedikt Jahnel, born 1980 in France , grew up near Munich, moving to Berlin in 2000. Amongst his teachers were John Taylor, Kenny Werner and Richie Beirach. Jahnel has already toured with international musicians including Charlie Mariano and Phil Woods, and is active with three other bands, his own Benedikt Jahnel Trio, and the groups max.bab and the Kaktus Sextett. Cyminology grew out of the collaboration between Samawatie and Jahnel, with both of them providing repertoire. “When Benedikt brings a piece to the band, it’s generally ‘composed’ in all its details,” Cymin says. “My approach to songwriting is more open and the work changes as we play it. Sometimes Benedikt will play what I write, and sometimes he’ll find something much more beautiful, which I welcome, of course. And Ketan, our drummer, I never tell him what to do. He’s got such great ears and is s o imaginatively responsive.”

Ketan Bhatti, born in New Delhi, India in 1981, grew up in Bielefeld. Playing piano from the age of 7, and touring as a drummer since he was 14 he has been active in projects from reggae and triphop to jazz as both musician and producer. Ketan recently produced music for Nuran Callis’s play “Home Stories” at the Schauspiel Essen and for Schiller’s “Die Räuber” at the Volkstheater in Vienna. He is the newest member of the band, replacing Cyminology’s original drummer Sebastian Schmidt in 2004. Ketan describes himself as a sound-oriented drummer, and he is as alert to the textural implications of the poems Cymin sings as to the concentrated interaction with his fellow musicians.

Like Cymin, bassist Ralf Schwarz, grew up in Braunschweig, where he was born in 1971, and played organ and guitar before switching to double-bass and electric bass a decade ago. Through lessons and workshops with players including Ron Carter, Steve Coleman, Mark Dresser, Mark Helias, Richie Beirach and Billy Hart he has had the opportunity to refine and develop his skills, and his discerning choice of notes is a key component of the total group sound.

But much of Cyminology’s learning has been done on the road. For a young band this is already a well-traveled one, and the group has clocked up thousands of road miles with concerts around the world. Their itinerary in the last year alone has taken them across the USA, and to Egypt, Jordan, Lebanon, the Sudan, Syria, and the United Arab Emirates. (Cymin’s liner photos document aspects of the Middle East tour).

Prior to As Ney, Cyminology released the privately-pressed Get Strong (2002) followed by Per Se (2005) and Bemun (2007) both on Double Moon Records.

The new album was recorded in Oslo’s Rainbow Studio in April/May 2008, with Manfred Eicher producing.

CD booklet includes 28-page two-language booklet with all lyrics in Farsi and English, plus photos by Arne Reiner and Cymin Samawatie.

ECM NEW SERIES

Ambrose Field / John Potter: “Being Dufay”

John Potter: tenor
Ambrose Field: composer, live and studio electronics
Music based on vocal fragments by Guillaume Dufay (1397-1474)

U.S. Release date: May 5, 2009

ECM New Series CD: B0012830-02
UPC: 0289 476 6948 7

British tenor John Potter and his fellow countryman Ambrose Field, a multiple prize-winning composer of electronic/digital music, offer a most unusual juxtaposition of Renaissance composition and present-day technology: In seven interconnected pieces, vocal fragments from the songs and sacred works by Guillaume Dufay (1397-1474) soar beautifully above Ambrose Field’s vast and multi-faceted soundscapes. “Then as now, music was not forever fixed but lived and breathed through the imaginations of former musicians and their listeners”, writes Field in his liner notes for Being Dufay.

John Potter, who was last heard on ECM alongside the musicians of his own “Dowland Project” on Romaria. (2008), has long been committed to conceptual approaches to early music and, as a former blues and rock singer, has always had a strong interest in uncharted musical fields. His clear, almost boyish voice immerses itself with great ease in the allusively processed sounds. Field: “The fragments of original Dufay are always presented entirely unaltered, and serve as a reference point or cantus firmus. within what is new. From that new perspective, I wanted to explore the limits of the electronic medium, produce a new set of musical colours and, perhaps above all, avoid the often mechanical aspects of working with technology.”

Being Dufay. started as a commission to Ambrose Field to write a piece for voice and electronics for a festival in the town of Vigevano, near Milan. Field: “After researching a little of the town’s history, it became clear that like so many places in Italy this was a town where the present day and the past are both alive at the same time. I wondered about how this might work musically - I didn’t want to make ‘an adaptation’ of the past, nor did I want to ‘update it’. So, a project was born which brings together Dufay’s music, which is centuries old, and some of today’s newest digital techniques. After completing the festival performances with John in Italy, the BBC broadcast the work in the UK to great public response. At the time, only the festival version existed, together with sketches for another seven pieces. Over the next three years, I developed these into Being Dufay..”

John Potter, whose beautiful voice seems to dominate the album at least emotionally, contributes no more than some eight minutes of phrases by Dufay - which of course were selected by the two musicians after lengthy discussions and experiments. Everything else, including the “female” choir, generated from Potter’s voice, is the result of editing, composition and computer processing. Field’s approach to technology, as imaginative as it might be, is a strictly musical one, focussing on formal concepts rather than pure sonic invention.

“My working process starts with recorded sound itself, a sketch pad, and a piano - all very simple. I’ll map out trajectories, lines and harmonies, whilst designing new sonic possibilities through technology. It doesn’t matter to me if the technology is old or new: I use what I like the sound of. In terms of the new, I built a detailed digital model of John Potter’s tenor voice: this enables many musical possibilities which would be otherwise impossible to realise. These have included generating an entire female backing chorus, in which each synthesised singer still retains the character of the original solo voice. Whilst being important for my work, I have a general dislike of computers, preferring to find the right sounds first instead of undertaking extensive processing later. This can be a lengthy activity, but has the result that the electronics here highlight the contributions of humans, rather than machines.”

***

Ambrose Field, electronic music composer and performer, uses recorded environmental sound sources and custom computer processes to generate a distinctive soundworld that is dense and uncompromisingly relentless. Winner of four international awards including two previous Ars Electronica Honorary Mentions, his music is available on Centaur Records (USA), the ORF (Austria), Mnemosyne Media (France) labels. Ambrose specialises in Surround Sound production, utilising formats ranging from 6.1 through to Ambisonics on installation, live music and film projects.

John Potter, for 17 years a singer with the Hilliard Ensemble and one of its prime conceptual thinkers, a vocalist of rare versatility and erudition, has written extensively on singing. His last ECM-album Romaria., which contained music from the Carmina Burana manuscript to Josquin Desprez, was released to great critical acclaim in 2008. Gramophone praised Potter’s “ethereal singing”, pointing out that “fresh ideas and ravishing music make this pilgrimage a fascinating journey.”

Arve Henriksen
Cartography

Arve Henriksen: trumpets, voice, field recordings
Jan Bang: live sampling, beats, dictaphone, programming
Audun Kleive: percussion
David Sylvian: voice, samples, programming
Helge Sunde: string arrangements, programming
Eivind Aarset: guitars
Lars Danielsson: double-bass
Erik Honoré: synthesizer, samples
Arnaud Mercier: treatments
Trio Mediaeval: voice sample
Vérène Andronikof: vocals
Vytas Sonndeckis: vocal arrangement (collective personnel)

U.S. Release date : May 5, 2009

ECM CD: B0012444-02
UPC: 6 025 178 0116 5

Arve Henriksen will be in the USA for concerts :
June 15th and 17th in Washington DC
June 19th in Rochester, NY
June 22nd - New York, NY
details tba

If you need a CD to preview any of the USA concerts or just review the new album please email: tina.pelikan@umusic.com

The uniquely lyrical, liquid and mellifluous sound of Arve Henriksen’s trumpet has had an important supportive role to play on a number of ECM recordings of the last decade. Amongst them - Christian Wallumrød’s No Birch, Sofienberg Variations, A Year from Easter and The Zoo is Far, Trygve Seim’s Different Rivers, The Source and Different Cikadas and Sangam, Jon Balke’s Kyanos, Sinikka Langeland’s Starflowers, Frode Haltli’s Passing Images, Arild Andersen’s Elektra … albums which between them represent a very broad range of musical possibilities. In each context, however, Henriksen has proven to be both a highly-distinctive and uncommonly adaptive player. This versatility provides a subtext for the present disc, which pools a shifting cast of creative musicians from diverse genres including jazz, electronica, ambient and classical music and the world of the remix. Ex-pop singer David Sylvian makes two appearances readin g his own texts, Ana Maria Friman sings fragments of William Brooks’s “Anima Mea” and the voices of the Trio Mediaeval emerge, sampled, on “recording Angel”. Guitarist Eivind Aarset, and drummer Audun Kleive loom out of the mix, and Ståle Storløkken, Arve’s colleague from the noise/rock/improv band Supersilent, has a cameo on “Famine’s Ghost”.

Cartography, the art of making maps, is an apt title. Recorded in the studio and in concert in Kristiansand, Oslo, Cologne and London it is almost a map of moods, of landscapes and soundscapes for Henriksen to explore. His trumpet floats and hovers over ever-changing territory.

“Over the last few years,” says Henriksen, “I’ve been trying to find ways of playing that feel right for me and areas of music that interest me enough to keep returning to them. And I’ve been feeling uncomfortable with the idea of ending up playing ‘improvised jazz’. This album is part of a process of going back to go further. For more than twenty years electronics have been part of what I do, and the collaboration with Jan Bang and Erik Honoré has been inspirational. I like very much their way of bringing together acoustic instrument and electronics, their way of building and combining elements, sometimes from different places and times.” He points out that Bang and Honoré draw inspiration from the work of Jon Hassell, who is also a primary influence on Arve’s ‘vocal’ trumpet sound. There is a sense of a cycle of history completing itself - especially with Hassell, Eno and others now contributing to the Punkt festival curated by Bang and Honoré, where ‘live remixing’ is a st andard part of the programming. In that sense, Cartography belongs to an alternative tradition of music making that includes improvisation and sound-sculpturing, dubs and remixing and awareness of ambience.

It’s also clearly in line with Arve’s own history. The early interest in far eastern sound, and the shakuhachi which triggered investigation into new means of tone-production is reflected once more in pieces like “From Birth”. The work methods employed also extend experiments Henriksen and Bang had begun on Chiaraoscuro issued by Rune Grammofon in 2004.

The association with David Sylvian has been percolating for a few years. Arve has contributed to some of the singer’s work, including his Nine Horses project, and Sylvian has utilised samples of Arve’s trumpet in a Japanese art museum installation piece, When Loud Weather Buffeted Naoshima. Material from this source was refashioned into “Before and Afterlife, Part 1″: “The first part of this piece is really David’s production: then Jan Bang began adding material.” (As Cartography’s associate wordsmith, Sylvian also provided titles for the tracks here).

Several of the pieces began life as improvisations, “but there were many ways of working. There are also layers of composed music… including sketches Jan Bang sent me as computer files back at the beginning of the project.” Being open to contingency was part of the plan; the work, Henriksen figured, should develop organically. “Recording Angel” is one such instance. Bang had been working with arranger Vytas Sondeckis on another project and began to develop it experimentally. Having recently recorded the Trio Mediaeval (the three singers are also part of a new quintet with Henriksen and Bang), he integrated the voices singing the mediaeval song “Oi me lasso” into his mix. “It fit perfectly into this new soundscape,” Henriksen says.

Arve Henriksen studied at the Trondheim Conservatory from 1987-1991, and has worked as a freelance musician since 1989. Cartography is his first recording as a leader for ECM.

OHMPHREY

Bio

Chris Poland and Robertino Pagliari of OHM have joined their musical ingenuity with the jam-band masters Jake Cinnger, Joel Cummins, and Kris Myer of Umphrey’s McGee to release their self-titled debut “OHMPHREY” on Magna Carta Records May 19, 2009.

MySpace

Check out their MySpace page for a sample version of the whole album. http://www.myspace.com/ohmphrey

Track Listing
1. Someone Said You Were Dead
2. The Girl From Chi Town
3. Denny’s By The Jail
4. Ice Cream
5. Lake Shore Drive
6. Not Afraid Of The Dark
7. Shrooms ‘n Cheese
8. What’s The Word, Thunderbird

Live Dates

Thursday May 14
The Roxy
9009 West Sunset, West Hollywood , California 90069
Doors 8 PM
Big Light 8:30 - 9:15 PM
OHMphrey 9:30-10:30 PM
NIAS 10:45-12:45 PM

Friday May 15
SOhO
1221 State Street, 205
Santa Barbara, CA 93101
Doors: 8:00 PM
TBA opener
OHMPhrey 10:15 - 11
NIAS 11:15 - 1:00

Saturday May 16
Winstons
1921 Bacon Street, San Diego , California 92107
Doors: 8 PM
OHMphrey: 9:00-10:00 PM
North Indiana All Stars: 10:30-12:30 PM

Fri 06/26/09 Indio, CA Fantasy Springs Resort Casino & Special Events Ctr.

Sat 06/27/09 Las Vegas, NV Thomas & Mack Center

Tue 06/30/09 Snoqualmie, WA Snoqualmie Casino

Thu 07/02/09 San Francisco, CA Warfield Theatre

Fri 07/03/09 Saratoga, CA The Mountain Winery

Tue 07/07/09 Universal City, CA Gibson Amph. At Univ. CityWalk

Wed 07/08/09 San Diego, CA Humphrey’s Concerts By The Bay

Thu 07/09/09 Phoenix, AZ Dodge Theatre

Sun 07/12/09 Denver, CO Paramount Theatre

Tue 07/14/09 Kansas City, MO Uptown Theater

Wed 07/15/09 Fort Worth, TX Bass Performance Hall

Thu 07/16/09 Muskogee, OK Muskogee Civic Center

Mon 07/20/09 Clarkston, MI DTE Energy Music Theatre

Tue 07/21/09 Pittsburgh, PA Station Square

Wed 07/22/09 Glen Allen, VA Innsbrook Pavilion

Thu 07/23/09 National Harbor, MD National Harbor

Sat 07/25/09 Cohasset, MA South Shore Music Circus

Sun 07/26/09 Jackson, NJ Six Flags Great Adv. Northern Star Arena

Tue 07/28/09 Upper Darby, PA Tower Theatre

Wed 07/29/09 Montclair, NJ Wellmont Theatre

Fri 07/31/09 Westbury, NY The Capital One Bank Theatre At Westbury

Sat 08/01/09 Jamestown, NY Jamestown Savings Bank Ice Arena

Hi to all friends of Galileo Records,

we are proud to announce our new signing:
JOLLY, a very promising band from USA

Forty Six Minutes, Twelve Minutes of Music
GR019
www.myspace.com/jollyband

Bio:
JOLLY is a band from New York City, composed of Anadale (guitar, vocals), Mike Rudin (bass), Joe Reilly (keyboard, backin vocals9; and Louis Abramson (drums). The band’s primary goal is to create unbelievable music that will intrigue the most avid listener without compromising accessibility.

Album Description:
JOLLY’s first full length release “Forty-Six Minutes, Twelve seconds of Music” is an aggressive, and eclectic blend of musical soundscapes both elegant and hard-hitting. JOLLY covers all auditory ground in this release, venturing from haunting ambience, to slicing guitar riffs, all interwoven with beautiful melodies. This album contains stunning originality while simultaneously striking a familiar chord with the listener.
Aside from the impressive musicianship, and refreshing writing styles, 46:12 also offers something new. Embeded throughout the album are various forms of brain wave stimulation known as Binaural Tones. These tones are scientifically proven to enrich feelings of happiness, focus, creativity,and relaxation through inaudible changes in audio frequencies. This phenomenon will greatly enhance the listening experience, drawing
listeners deeper into the world of JOLLY.
46:12 is an album for the ages that will not be forgotten.

From Mike Portnoy’s web site:
http://www.mikeportnoy.com/forum/default.aspx

TRANSATLANTIC FLIES AGAIN!

PROGRESSIVE ROCK SUPERGROUP
REUNITES FOR NEW STUDIO ALBUM.
POSSIBLE LATE 2009 RELEASE PLANNED.

TRANSATLANTIC, the progressive rock “supergroup” comprised of Mike Portnoy (Dream Theater), Pete Trewavas (Marillion), Roine Stolt (The Flower Kings) and Neal Morse (ex-Spock’s Beard), have reunited after a 7 year hiatus to begin work on a brand new studio album.

The band began work on the album in early April in Nashville and are expected to have it released by year’s end if all goes as planned.

TRANSATLANTIC have previously released two studio albums to tremendous critical and fan acclaim: 2000’s SMPTe and 2001’s Bridge Across Forever. The band toured on the heels of each release with an American Tour in 2000 and a European Tour in 2001 and released subsequent Live DVD’s/CD’s from both tours before going their separate ways for an indefinite hiatus which lasted almost the entire decade.