All posts by Luke Morrison

Artist To Watch: PVMNTS 

So who are PVMNTS? The three-piece pop-punk outfit hail from Los Angeles and are made up of Tyler Posey, Freddy Ramirez and Nick Guzman. Posey and Ramirez previously played with Lost in Kostko, a now defunct punk band which made waves on the Southern California music scene amassing a reasonably large following. With Posey’s acting commitments having elevated to new levels, the band was eventually put on the back burner and fizzled out ultimately disbanding in 2013. It seems there was an air of unfinished business however as five years later PVMNTS look ready to take the pop-punk scene by storm.

The band are putting the finishing touches on their debut EP, working with acclaimed producer Kyle Black. With a UK tour already announced, featuring stops at festivals such as Slam Dunk and Great Escape, the band look to have a bright future and are certainly worth looking out for.

Luke Morrison of Altwire caught up with the guys to get an insight in to the early stages of the band and how it all came about.

AW: Stylistically, what would you say your biggest influences are?

Freddy: Stylistically, I would have to say new Pop Punk meets old. One day, you’ll get a song that has a Blink 182/Neck Deep vibe, the next, you’ll get something a little more like Citizen.

Nick: I’d like to think that our style and sound is shaped just as much by our differences. When it all comes down to it though, I think we’re just 3 dudes who wanna make music that we ourselves wanna listen to. And it’s cool if that resonates with others.

AW: Two of the three members of PVMNTS were previously in the band Lost in Kostko which had immersed a decent-sized fan base. Tell us about how that band dissolved and how this band was formed.

Tyler: The peak of Lost in Kostko was also the height of my acting schedule. As sad as it was, it was decided that I spend the time to finish out the project I was doing, putting Lost in Kostko on an indefinite hiatus. All the while Freddy and I kept in touch and wrote music together. As soon as I was freed up, the two of us began taking the writing process seriously again, bringing on our friend and like minded musician, Nick to the band.

AW: You’re currently in the process of writing your first EP Tell us about some of the challenges you’ve faced so far. When can we expect to hear it?

Tyler: In the process of writing our first debut EP! Fuck yeah! Challenges we have hit so far have been few but there are some. We have a shit load of songs we want to show everyone but since this is our debut and only have 6 songs to show everyone what we’re about, we want to make sure they’re the best ones. We’re finishing up recording early April, gonna try to get it out as soon as possible after that so hopefully you can expect it sometime in the spring.

Nick: Challenges? Let’s start with the fact these are the worst dudes ever. Just terrible, awful people…nah, I love ‘em!

AW: You’re going to be working with Kyle Black (previous credits include working with Paramore, New Found Glory and Comeback Kid). Tell us your thoughts about working with him.

Tyler: The cool thing about Kyle Black is that Tyler and Freddy recorded a couple songs with him almost 10 years ago in the first band that the two met in, and that he’s Kyle Black, one of the raddest producers in this scene right now. His ear for this scene and style of music is fucking perfect.

Nick: I can’t wait to get my proverbial ass kicked by that guy. That’s gonna be a gruelling/fun time. He may even literally kick me in the ass, I’m kind of annoying. But we’ll see! To me, every piece of music he has been involved with is great because he was a part of it.

AW: Your first headline tour is occurring outside of the US in the UK this May, what was the reaction to finding out you’d be beginning your journey in this band abroad?

Tyler: Our reaction was fucking disbelief. And extremely stoked and thankful. Especially when the tickets started to sell so well. Eternally thankful. The crowd response in the UK is absolutely fucking nuts in the best way so we’re looking real forward to that. But we also felt a little strange because we hadn’t released any music yet and people started to ask. So we recorded tirelessly in Freddy’s bedroom to lay down the “best” version we could record on our own with the “non-Kyle-black-equipment” we were working with. But we made do. And having our good buddy master the song for us helped make the tracks we recorded clearer and louder for everyone to mosh to.

AW: With this band in its infancy, what are your goals for 2018?

Nick: Play music everywhere with my friends. Work hard. Travel. Have unforgettable experiences. Be a part of something that somebody can connect with. Music saved me, and it still does now. So if there’s even a possibility that I can pay that forward, I’m doing it. I think that pretty much goes for 2018 and beyond.

Tyler: Goals for 2018 have already been exceeded with everything that’s gone down so far. We still plan to play shows here in the US before we take off to the UK. We want to put out our debut EP. A music video for “Jumping Stairsets” is on the horizon. We want to merge our experience with film making and music in a unique way that were excited to explore. MORE SHOWS. MORE TOURS.

AW: Up until this point, what has been the highlight of your music career?

Freddy: Honestly, the highlight of our career would be meeting and playing music with these dudes. Without them, we wouldn’t be doing crazy things like going to the UK to play music!

Tyler: As the band PVMNTS, I think the highlight for us so far is being able to play Slam Dunk with so many of our favorite bands. And also hearing the rad response and excitement from our friends and fans about the song we released. More to come!

Check out PVMNTS on Spotify here. UK Fans can check out PVMNTS on their first tour this May:

[Album Review] Stone Temple Pilots – Self Titled (2018)

Stone Temple Pilots commence a new era with a familiar feel as Jeff Gutt takes center stage on his debut. The band’s seventh album, which has been self-titled, is out this Friday (03/16/18) and we’re pleased to say it’s rather good.

The first item to address when we talk about Stone Temple Pilots is Jeff Gutt. The third permanent front man for STP already has a long standing link to the band having had former vocalist Chester Bennington present during the recording of the only album from Gutt’s first band of note, Dry Cell. Suitably titled Disconnected, the album was blighted with management and distribution issues, resulting in its release being shelved until 2009, seven years after the completion of recording. His talent was the obvious focal point for the nu-metal outfit, whose only significant career highlight was a spot on the soundtrack to 2002’s Queen of the Damned. Gutt would go on feature as a prominent contestant on X-Factor, receiving plaudits for his covers of Leonard Cohen’s ‘Hallelujah’ and ‘Creep’ by Radiohead among others. It would appear that he has a functional band to call his own now, giving him a solid foundation where he can really exercise his abilities as a vocalist consistently. With a rejuvenated STP eager to move on from the loss of two virtuoso rock singers, it’s pleasing to say that the two parties have found each other both in great form.

The album begins with ‘Middle of Nowhere’, an up-tempo number that rolls back the years inspiring sympathy for the three ever-present band members who after many pitfalls over the years, definitely deserve a lengthy unimpeded spell of just being in a rock n roll band together. Immediately, the listener can identify that Gutt has chosen emulation rather than innovation, as his raspy vocals on this track sound very similar to Scott Weiland’s. It’s a good re-introduction to a band that now seemingly has the freedom to finally move forward. ‘Guilty’ follows a short but sweet continuation of the strong start to the album with the typical hooks we’ve been accustomed to hearing from one of the most influential rock bands of the past 25 years.

‘Meadow’ and ‘Just a Little Lie’ takes the band down new territory, incorporating a more indie-rock feel than the bluesy grunge-esque style synonymous with STP. It’s a refreshing change and adds a different dynamic to the record. ‘Six Eight’ follows, with Gutt on great form, absolutely belting the chorus. His lead vocals and harmonies sound eerily like his two predecessors singing a duet, paying homage to the icons that held this position before him and proving he’s the right man to replace them. The rhythm section of this track is spot on, with Eric Kretz and Robert DeLeo throwing the listener in all manner of different directions at once.

‘Thought She’d be Mine’ slows the pace down for the first time on the record. This is a track that sounds like it was dug out of the archives of the Vol. 4 recording sessions. It’s a very easy listen, showing that this band is capable of showing many different sides to themselves. There’s a very sweet and delicate solo toward the end by Dean DeLeo, giving the track the additional seasoning required to take it from being a decent song to one of the highlights on the album.

The trip down memory lane continues with ‘Roll Me Under’, a track which would have felt right at home on Core or Purple. It is heavy, groovy and everything good that encapsulates the STP signature sound, and it’s an excellent way of bringing that into 2018. ‘Never Enough‘ is a straightforward modern blues rock track with chugging verses and a nice solo in the bridge. It’s decent, but nothing special. The creativity is cranked back up with ‘The Art of Letting Go’, a beautiful four and a half-minute ballad serenading the listener about letting go of someone special. It is perhaps a delicate dedication to Scott Weiland and Chester Bennington, who would certainly appreciate the band being in such fantastic shape. Melancholy themes of departure are expertly captured by the four-piece, ensuring that the track is not just a highlight on this album but up there with the very best in STP’s repertoire. The slower tempo continues on ‘Finest Hour’, with the band once again showing how their softer music holds its own against their older more traditional hard rock style.

There’s a return to the initial rock ‘n’ roll vibe set by the first couple of tracks with ‘Good Shoes’. The guitar work is worth noting in this track, with Dean DeLeo not letting up for one second and showing why he’s one of the most underrated guitarists in the world. The album closes with the slower ‘Reds and Blues’ providing another easy listen and capping off what is a very good album. It’s a great end to this reintroduction to an immensely talented band, leaving the listener hoping that this newly formed marriage continues for years to come.

In conclusion, this album sounds like a band who has found a new life and energy. This is thanks in part to appointing a phenomenal vocalist in Jeff Gutt, who has made the position of front man of Stone Temple Pilots his own. Considering the magnitude of the talent and enigma of his predecessors, only the best available option was going to do for the the DeLeo brothers and Eric Kretz. One feels that the decision to self-title this album is a nod to new beginnings; something attempted eight years ago with the bands previous album (also self-titled) but instead ended in disappointment and tragedy. There’s a variation of different styles on the record, and this versatility has served the band well as they showcase each dynamic of who they are as exceptionally talented musicians. There are some moments on the album which are moving and others that offer the STP brand of pure rock ferociousness. There is quality on each end of the scale, with a keen attention to detail paying off in a big way. Each band member is given their opportunity to shine and together they’ve been able to reignite some of the magic that in recent years has evaded STP.

That said, the album does feel slightly long. There were a few tracks that, while being decent, could have been left as B-Sides. However, it is nice to get a full twelve tracks in an era of music where it’s not uncommon for albums to have single-digit track listings. If this band can continue forward producing albums of this caliber, Stone Temple Pilots will recapture the momentum they once had as a driving force in alternative music.

[Album Review] Mike Shinoda – Post Traumatic [EP]

We here at Altwire don’t really talk about ourselves much when we post articles on this site. It’s an interesting thought because when we write anything which we deem worthy of posting, really we’re just giving an insight into how we perceive other artist’s work. In a way this gives a sort of inadvertent perspective as to who we are as writers. We critique this work based on how it makes us feel, the tone in which it speaks to us and its message is all according to our interpretation. A vital component to any credible writer is the ability to separate your work from your biases and any pre-conceived notions. It’s a difficult skill particularly when what you’re writing about has indirectly been a part of your life for over half of your existence.

So where am I going with this? First off, Hybrid Theory by Linkin Park was the first ever album I ever owned. I was eleven years old and really had no palette for musical taste yet. My brother had turned me on to Hip-Hop artists like Jay-Z, Eminem, Tupac and Wu-Tang Clan which he would let me listen to. Yet I had no frame of reference for what sort of music was for me. So when a school friend showed me bands like Linkin Park, Limp Bizkit, Papa Roach and other bands who incorporated both Hip-Hop and Rock elements, the bridge between my tastes in genres had been built. I soon found myself hanging out with kids at my school who listened to Rock, Punk and Metal. Kids who emulated their favorite artists in style and look. One friend dressed exactly like Travis Barker and had a mohawk as such and played the drums. Another had hair exactly like Jack White and spent their days covering White Stripes songs on their guitar. Me? I wanted to be Mike Shinoda. Yes, I had Spikey blue hair and black fingernails. Yes, I routinely ‘rapped’ verses of In The End.

When I found out yesterday that Mike Shinoda was releasing music under his own name, it occurred to me that as the individual responsible for the review I would have to put aside my personal feelings and be ready to deliver criticism. This is despite the fact that there was obviously going to be a ton of emotions attached to these songs that some way or another I was going to have to separate myself from. This is after all an EP titled Post Traumatic written in the months following the tragic suicide of Shinoda’s band mate Chester Bennington – the event which is the primary focus and inspiration for this release.  I am pleased and slightly relieved to say that Post Traumatic provides a great example of how to channel human experience into a creative force.

The first of the three tracks is Place To Start. The shortest of the three songs, this track captures the barrage of uncertainty Shinoda has faced over the past six months. It is when you listen to the questions asked in this track you begin to understand the depth of his loss. Chester was not just his friend but his colleague whose talent and charisma were vital to the success of Linkin Park and acted as a focal point for the bands endeavors. When such an enigmatic force is taken away, you find yourself in total limbo with seemingly no idea how to begin to move forward. You can hear the draining nature of these questions in Shinoda’s vocals which are sung over a sombre minimalistic production. As the track progresses his vocals increase in tempo to a rap before slowing back down again almost to convey a conflict of mind sets. The track concludes with the repeated sentence “I don’t want to know the end, all I want is a place to start” suggesting the refusal to concede that this is the end of the journey but frustration at not knowing how to continue. This is followed by audio recordings of messages of condolences and well wishes left on Shinoda’s phone, a very tasteful tribute to the outpouring of support during such a horrendous time.

Over Again touches upon the wearisome nature of having to say goodbye to someone whilst living in the public eye. One gets a taste of the burden Shinoda felt trying to keep a sound mind whilst shouldering a weight of responsibility to the fan base he had helped build up over twenty years. The principle subject in this track is the Linkin Park and Friends Show which took place this past October at the Hollywood Bowl. It is a clear reflection of having to suppress so many feelings for the sake of the show and being professional. Musically the song is very much in the alternative hip-hop style akin to Twenty One Pilots. The verses bring a welcome return to the rapping which for the most part was absent from Linkin Park’s most recent effort One More Light. The second verse in particular is worth mentioning for the level of aggression that Shinoda, until now has seldom shown. He goes all out with his disdain for the environment he finds himself and embraces that anger as the track builds in intensity: “And everybody that I talk to is like, wow must be really hard to figure out what to do now. Well thank you genius you think it’ll be a challenge, only my life’s work hanging in the fucking balance!”

The EP concludes with Watching As I Fall, a track which really leaves the listener wanting more than just three tracks as Shinoda broadcasts his immense talent through wonderful production work and superb tongue-in-cheek lyricism. It’s a bass heavy track with a great beat to accompany, and the use of a whammy pedal in the bridge is well-placed and gives the track an extra dimension. Lyrically it is a middle finger in the face of anyone who dare write off an artist with such a catalogue of tools ready to use as ammunition. This is a pissed-off and cynical Mike Shinoda with a chip on his shoulder. His flow in this song is unlike anything else he’s done previously and shows that after all these years and after all the adversity he has faced, criticism fair or not, he’s still got a desire to prove doubters wrong. It’s an exciting look in to a potential direction Linkin Park could go.

In many ways I’m still coming to terms with the fact that the lead singer of the band who essentially introduced me to alternative music took his own life six months ago. I can’t begin to imagine what his family, friends and band mates went through and continue to go through. So I don’t. I don’t assume anything because everyone grieves in different ways. I do believe Post Traumatic was a part of Mike Shinoda’s grieving process. I also believe that’s ultimately why he chose to release it under his own name and not under the Linkin Park or Fort Minor banner. This was his journey. An outlet for that pent up raw emotion that you feel when dealing with a loss of such magnitude. The sadness, the anger, the confusion…it’s all there on these tracks. It’s his way of coping with the trauma of losing a loved one. He’s truly wearing his heart on his sleeve which in turn has produced some of the best tracks in his career. The production is magnificent throughout. Each hook feels fresh and natural and nothing feels labored other than where that is the intention. The one and only drawback for this EP is its incredibly short length. I would have liked to have heard at least a few more tracks, but really I don’t feel much disappointment from that at all. The release of the EP was almost a total surprise, so really just hearing new music from an incredibly talented artist is good enough for me. It’s a good example of how adversity can ultimately be a valuable source of inspiration. When you combine that with the tools at his disposal, the sky really is the limit for Mike Shinoda. While there are indications that Linkin Park will continue, you can be sure that whatever happens he will be creating art of a very high quality.

Artist To Watch: Waterdrop

An interview with exciting young four-piece band hailing from Italy

Who are Waterdrop and why should you know about them? Well simply put, they’re an exciting young alternative rock band with all the ingredients to have very successful careers in music. Hailing from Brescia in Italy, the band has come on leaps and bounds since their formation in 2015.

Waterdrop are:

Claudio Trinca – Vocals
Alessandro Bussi – Guitars
Nicolas Pelleri – Bass
Francesco Bassi – Drums

These four have grown out of a less than nurturing local music scene and withstood line-up changes to forge a promising path in alternative music. This shows a determined attitude where others may have faltered. With a well-received EP under their belts, as well as an awesome 360-shot music video to boot, Waterdrop are definitely a band to watch out for as in 2018 they look to build on their achievements thus far. Altwire had the opportunity to sit down and reflect with them on their formation and background:

Altwire: How did you guys form Waterdrop?

Francesco: It all started back in Summer of 2015, we all knew each other by name, in the context of the bands we were in at the time. Alessandro and I know each other since childhood and we always tried to bring a project to life, but we could never find the right musicians. Fate has a funny way to bring people together, and from the ashes of another local band, the perfect for singer arrived, Nicola. And let’s not forget we got the best bass player in the old republic! And from then the four of us constantly worked on our sound, always improving and always being sure that we were up to our strict live standards. We are really hard on ourselves when we are talking about our performance. The first phase culminated in our debut EP “Waterdrop” that we just released in September 2017.

Unfortunately due to different artistic visions, Nicola decided to leave the group. But that did not stop us and we already knew the perfect fit for the job. Claudio joined us shortly after and has brought us a tremendous amount of new influences to play with. And this is what we are doing right now, creating the sound that we feel to play next.

Altwire: What inspired the band name?

Alessandro: That’s a tough question that we’ve always tried to avoid because there is no real answer. Between all the dozens of possible names, it is the only one that stuck, the only one that felt neutral enough to not give any preconceived impression about the sound of the group. We are not huge fans of the name, but we will leave the music to define it. Fun fact: we really wanted to call ourselves Karmacoma, from the Massive Attack song. But oh well, democracy!

Altwire: What would you say your musical influences are?

Nicolas: We all come from different backgrounds, metal and punk is what influenced us all to take up instruments. Alessandro is the fire-starter when it comes to song writing. He always brings to the table the influences of groups that evolve… that mature over time and always set their sight on something beyond what they are known for. And this is what we are always looking for. That Massive Attack atmosphere or the way Chino Moreno [Deftones] plays around with his voice. Mike Shinoda [Linkin Park] and Trent Reznor [NIN] as producers are other great sources of inspiration for us. There are a lot of different pieces in the puzzle, we like to play with a lot of tools. Recently we got in love with Clipping and Circa Waves. The latest Queen of the Stone Age record is amazing too, and the new single by Justin TimberlakeFilthy” has a crazy beat. But we always keep a scrupulous ear on heavier stuff. We really like While She Sleeps, Architects and Norma Jean’s latest works.

Altwire: Your EP is well regarded by us here at Altwire, tell us about the process of writing the tracks.

Alessandro: It usually starts with me demoing track over tracks and when I feel like something has worth I ask the others for feedback. It is all about the mood for us. We want our song to take you through a little journey and as the structure evolves, as the part are defined and as the lyrics are set, all those changes have to take you inside our minds, our little shared universe, in which we want to communicate that specific story or emotion. We are not scared to get out of our comfort zone, so we don’t have a specific writing process, it can start from a beat, a melody, a lyric, but it has to turn everybody’s heads and make us say “okay, that’s interesting”.

Altwire: What are your long-term goals for Waterdrop and when might we see a full-length release?

Francesco: Right now we are focused on our live shows around Northern Italy and mastering our performance with every show. The goal right now is to build a fan base and to share our music and videos and get people to discover us. As far as the number of tracks we’ve made, we have enough material for a double release at this point. We’ve accumulated lots of good ideas over the years and Claudio is giving them a fresh new take. But we feel like we need the right support to produce, promote and distribute a full-length release, so while we are making our way into the underground local scene we are looking for a way expand our possibilities, soon hopefully.

Altwire: Tell us about the music scene in Brescia.

Francesco: The music scene in Brescia is really odd, you can feel a lot of repressed creativity among the young generations. Live shows with original bands are not promoted and cover bands are the ones that make the most money. It’s full of great musicians with fresh ideas, but it doesn’t have the right infrastructure to support it.

Altwire: If you could meet one artist, dead or alive, who would it be?

Alessandro: I would meet the first genius who put color on a wall, in a cave, you know, the first act! But if we are talking music, I would have a really interesting conversation with Dave Grohl, another artist who always wanted to pushed his limits, and that, in my opinion, did with the latest Foo Fighter records, which I think is their finest work, I would certainly ask him to play something together, to jam along.

Altwire: What do you guys do outside of Waterdrop? What are your hobbies and interests?

Claudio: We all work various jobs to sustain our passion; two of us are undertaking studies in Engineering at University. Francesco is pursuing a degree in music (specifically drumming) and Alessandro is making his way into the independent movie scene and digital arts. Other than that we are all great movie lovers, we watch movie after movie. I think between the four of us we have seen every movie out in the cinema at the moment. Cinema and series are great influences on the way we absorb music, and on the contexts it can serve. We are a little outdated with video games, but we all grew up with Prince of Persia, Halo, Metal Gear Solid and all those great games. Again, it was the music that drew us in, the scores, the atmosphere, we still play those old star menu tunes after tuning the instruments.

Dolores O’Riordan, Vocalist of The Cranberries – Dead At 46

Dolores O’Riordan, singer and songwriter of Irish rock band The Cranberries, has passed away. She was 46 years old. Whilst an official cause of death has yet to be released, the surviving band members released a brief statement on their official Facebook Page confirming this tragic news:

“We are devastated on the passing of our friend Dolores. She was an extraordinary talent and we feel very privileged to have been part of her life from 1989 when we started the Cranberries. The world has lost a true artist today.

Noel, Mike and Fergal”

Her work with The Cranberries helped the band reach recognition from around the globe with the band going on to sell over 40 million records with hits such as ‘Linger’ and ‘Zombie’ achieving critical acclaim. Noted for her strong Limerick accent, unique yodeling-style vocals and willingness to address controversial issues such as ‘The Troubles’ in her music, Dolores O’Riordan was also a successful solo artist releasing two albums under her own name.

The Cranberries had been scheduled to embark on the second stint of a European tour back in May 2017 but however cancelled due to Dolores O’Riordan sustaining what was described as a ‘back injury’. It would now appear that this tour will no longer be rescheduled as planned.

Our thoughts go out to her family and friends during this time.


[AltWire Interview] Jimmy Hayward of Legend of the Seagullmen

An interview with Jimmy Hayward: One of the creative forces behind Legend of the Seagullmen – band featuring members of Tool, Mastodon, Dethklok and more.

What happens when an accomplished animator and film director steps into music and links up with members of Tool, Mastodon and Dethklok (just to name a few)? You get Legend of the Seagullmen: a seven-piece band bursting with creativity and talent. And quite frankly, their self-titled debut album, to be released on February 9th, 2018, should be one of the most highly anticipated releases this year. Yet it’s quite likely that you may never have heard of them as they have quietly (oh the irony…) been making waves for the past four years. This is despite their monster and borderline surreal line-up:

Jimmy Hayward (Animator of such films as Toy Story, Monsters Inc, Finding Nemo and Director of Horton Hears a Who!, Jonah Hex and Free Birds) – Director and Guitar
Brent Hinds (Mastodon, Giraffe Tonge Orchestra) – Guitar
Danny Carey (Tool) – Drums
Pete Griffin (Zappa Plays Zappa, Dethklok) – Bass
Tim Dawson – Guitar
Chris DiGiovanni – Synth
David ‘The Doctor’ Dreyer – Vocals

When you consider the collection of such talent, this entire endeavor oozes imagination. This is a group that is not afraid to be bold, something much needed in the heavy rock scene with the constant air of seriousness rife. There’s a feel that this band offers a fun creative outlet for each member, and that they’re not taking themselves too seriously.

AltWire had the chance to pick the brain of Jimmy Hayward, one of the creative directors of this very unique outfit (and a successful film director in his own right) to get a sense of the who, what, why, when and how of Legend of the Seagullmen.

Luke Morrison/AltWire: How exactly did this band come about?

Jimmy Hayward: Our singer Doctor came up with the original concept and then together he and I set about developing it to where it is. It started with a different tone and a lot of other details and together we honed it and created new elements and brought it to its current place. Along the way the different band members influenced it in their respective ways but it’s mostly Doctor and I shaping the concept.

AltWire: With everyone on very different schedules, how did you all find time to form a new band?

Jimmy Hayward: When we aren’t doing our other stuff this is what we are doing. Danny and I spend a lot of time together in the studio and Pete, Tim, Maddog, and the Doctor are frequently around too. Whenever Brent is in LA he is usually working with us. The truth is we make time for it because we love it. Maddog and I are very busy doing movie stuff we just make it happen.

AltWire: Where has the very unique name of the band come from?

Jimmy Hayward: The Doctor created the name.

AltWire: There’s an overarching nautical theme running through your image. Where has that come from?

Jimmy Hayward: The nautical theme has been coursing through this from the beginning. The Doctor is from Cocoa Beach on the East Coast and I’ve lived right on the ocean on the west coast my whole life. I’ve had the nickname “The Admiral” since I was a teenager. This isn’t new stuff. We are nautical dudes. Danny grew up in Kansas but he’s so naturally nautical he moved his lady Rynne (she’s even an accomplished scuba photographer) and their son Zola to Malibu!

AltWire: An album from you guys has been mooted since 2015, what was the delay in releasing material?

Jimmy Hayward: The information was from a Rolling Stone magazine leak and story they ran. We didn’t intend for that to happen and we were taking our time. The album has been done for a while – we just recorded and snuck another song on.

AltWire: You describe yourselves as “genre destroying”, so what can we expect on your debut album?

Jimmy Hayward: I don’t know if we really describe ourselves as anything. I think when our press releases say stuff like “genre destroying super group,” we are kind of making fun of the whole need to categorize us as anything and determine we are a super group, etc. Now that Gary Holt is in Slayer, are they a super group? No, they’re Slayer. Just like they were before. We’re just having a laugh and not taking that stuff too seriously. We make stuff we love and hope the people out there love it too. We’ll leave the labelling to someone else. In the meantime, if we just own it with a sense of humor, it loses its power and I don’t think anybody reading about us actually thinks we consider ourselves a super group. And if they do, then that’s funny too.

AltWire: With so many different styles represented from each band member, was it challenging at all to agree on a sound you were all comfortable with?

Jimmy Hayward: Not at all. I write most of the music in demos then bring them to the guys. Then Doctor and I will do lyrics and then we properly record the songs and all the others augment and reshape their parts and away we go. It simultaneously becomes “us” along the way. It’s a fantastic process and we are stoked on it. We already have most of a second album written and a lot of it in demos. Hopefully this time we can keep them for ourselves until the proper album comes out.

AltWire: Any plans for a full tour?

Jimmy Hayward: We are working on it. We are definitely planning some short runs and festival stuff right now. We just played our live debut on New Year’s Eve with Primus at the Fox Theatre in Oakland and it was awesome for us. We loved it.

AltWire: Do you see this band as a one album/one time deal or is it something you see as more of a long-term project?

Jimmy Hayward: Long term absolutely.

So there you have it. Much like a mad scientist screaming “it’s alive,” the Legend of the Seagullmen will release their debut album on February 9th, 2018. You can pre-order the album here. Go check it out. You’re not going to want to miss this!

AltWire Top Ten Albums Of 2017: Luke’s Picks

AltWire Contributor Luke Morrison Discusses His Top Ten Albums of 2017

10. Paramore – After Laughter

Haley Williams and co reinvent themselves on this album presenting a more pop-based incarnation of themselves with 80s New Wave influences present.


9. Roger Waters – Is This the Life We Really Want?

Former Pink Floyd leader Roger Waters takes up arms against the current political climate across the world with this typically thought provoking solo effort.



8. Kasabian – For Crying Out Loud

It’s nothing particularly ground breaking from the Leicester-based experimental rockers, but what it is is a very enjoyable album adding to their already impressive repertoire.


7. Linkin Park – One More Light

An album which polarized fans across the world with the band moving in to full on pop territory. The album takes on whole new significance following the tragic passing of iconic front man Chester Bennington.


6. Ho99o9 – United States of Horror

New Jersey-based hardcore Hip-Hop duo Ho99o9 finally unleash their debut album after years of building up a cult following. A highly impressive effort to accompany an extremely energetic live show.


5. Horseneck – Heavy Trip

It is what it says it is, a heavy trip showcasing brutality, sweetness and groove. Full of catchy anthems and good time heavy rock, this is a band to look out for in the coming years for sure.


4. Liam Gallagher – As You Were

Taking a back seat to brother Noel must have been agonizing at times, but Liam has bided his time well and released what is surely some of the strongest material either Gallagher brother has produced since the Oasis days.


3. Queens of the Stone Age – Villains

A few eyebrows were raised when it was announced Mark Ronson was producing the latest Queens effort. However this more dance-oriented effort is still full of grooves and overdriven guitars showing that there is no letting up from Josh Homme and co.


2. Foo Fighters – Concrete and Gold 

Easily their darkest and heaviest album in ten years, this latest album by the Foos is definitely one which has breathed new life in to the band. Showcasing the bands expansive index of influences, this is an excellent addition to their back catalogue.

1. Trivium – The Sin and the Sentence

A near-perfect amalgamation of all their previous work, the Sin and The Sentence captures the crème de la crème of all of the elements which draw superlatives to each of Trivium’s eight albums. This eclectic mix of styles has made for one of the best metal albums released in years and will certainly be referred to as one of their very best efforts.

[Album Review] Asking Alexandria – Asking Alexandria

It’s safe to say that it’s been a turbulent few years for the Asking Alexandria boys. When long-time lead vocalist Danny Worsnop departed in 2015 it seemed like his days singing for the Yorkshire five-piece were over for good. A very public falling out lead to Denis Stoff of Make Me Famous taking over lead vocals, while Worsnop trod along down a new avenue of more straightforward hard rock in the form of We Are Harlot and later went solo with his solo folk project.

While this inspired some pretty good music from both camps, it was clear from the beginning that these guys belong together making music. Stoff only lasted one album and while Worsnop’s ventures outside of Asking Alexandria showed his diversity as an artist, the demand for a reunion by a dedicated fan base was overwhelming. When it became public knowledge that the two parties were once again on amicable terms, it seemed a formality that the band as we all knew them before would once again exist. It’s a good thing too because their self-titled album, due out December 15th 2017 is some of their most accomplished work.

Straight off the bat you can tell the band have realigned their focus and paid attention to the modern rock scene they find themselves in as this album borrows extensively from some of the leaders of the current crop such as Bring Me The Horizon and PVRIS. Alone in a room is exemplary of this, with atmospheric synths complimenting heavy chugging guitars. Lead single Into The Fire, co-produced by Korn’s Jonathan Davis, presents a reintroduction of sorts to a band looking to reinvent itself and not be seen as a one-trick pony. The results are surprisingly good.

Hopelessly Hopeful solidifies the drastic change the band have undertaken, at times reminiscent of Don Broco. It’s safe to say anyone expecting a return to the Reckless and Relentless era sound is going to be in for a shock. Rise Up throws a bone, but really the band have sought to make a statement that those days are behind them with Where Did It Go? resuming the new sound Asking Alexandria are carving out for themselves.

When the Lights Come On features the recording of an actual live crowd and will certainly be one for crowds to howl along to as it is catchy as it bold. Its glitch-like samples further showcase some stellar production work and complement the musicianship. Under Denver and the acoustic-driven Vultures showcase Danny Worsnop’s range as a vocalist, often hitting complex high notes and bringing a taste of his solo work in to the band, giving the music a very refreshed feel. And in what is really the only trip down memory lane, and the only song which would have fit on one of their previous albums, Eve, he shows he can still scream his lungs out too.

I Am One is the latest anthem containing a chorus with punk rock drive and thumping drums accompanied with orchestral synths. Definitely one that will go down great live. Then in an album full of surprises, undoubtedly the biggest one appears on the penultimate track Empire which features Seattle-based Hip-Hop artist Bingx in a very Linkin Park-inspired track. By this point the listener is wondering who these guys are and if the real Asking Alexandria are locked in a dungeon somewhere. Room 138 closes the album in suitable fashion, clashing all the styles they’ve experimented with during the duration of the record and serving up a nice epilogue to leave us keen for more.

Really this sounds like an album written by a band who are thrilled to be back making music together. That said, this is not the same band we have become accustomed to. The harsh Metalcore style scream-driven sound of old has taken a backseat to a more refined, mature brand of wonderfully produced heavy rock. It’s an album of anthem after anthem. Each one more epic than the last. I have to say I was astonished by this album and by just how daring the band have been. They say that fortune favors the bold and I firmly believe Asking Alexandria’s latest album is the epitome of such sentiment. They are completely redefining themselves and taking their careers in a whole new direction and while old school fans may disagree, I firmly believe they are on to a winner here.

[Concert Review] Stone Sour W/ The Pretty Reckless at Brixton Academy, London 12/05/17

Good old Brixton Academy, a stalwart in the London music scene. A venue that has withstood the test of time when so many others have fallen to demolition or repurpose. Some of the greatest musicians of all time will tell you that Brixton is their favourite place to play. Typing in ‘Live at Brixton Academy’ will bring up dozens of live albums cut by some of the best. It’s a theatre beloved by Londoners, concert goers and artists alike. Jacoby Shaddix of Papa Roach even named his son after it! It’s also where I saw my very first concert and was totally bedazzled by Green Day and New Found Glory at aged 14. It’s really like a second home and I know there’s plenty of people who would agree.

As I join the back of the queue, which with only ten minutes until doors open is now well round the side of the building and into the next street, I begin to reminisce about my first time seeing Stone Sour live. It was at the old Astoria theatre, a place in equal measure gross and charming, but a venue for some of the greatest gigs London has ever hosted. I’m reminded that two of the members of the band have departed since then, creating a shift in the direction of the music along the way. I’m interested to hear how the band sound these days. Have they retained their intensity? Can Christian Martucci and Johnny Chow impress me like Jim Root and Shawn Economaki did all those years ago? Is this version of Stone Sour a hit or a miss? I ponder these things as I enter through the hustle and bustle of people being screened for security. There’s a lot of shouting going on but really I’m just happy to be out of the December cold.

I had almost forgotten that The Pretty Reckless were the opening act. I’m pretty stoked to see them as well as I have been a fan of theirs since Light Me Up hit shelves over seven years ago. When they hit the stage it’s obvious which song they’re opening with as that sample provided by adult actress Jenna Haze is played through the PA leading in to Follow Me Down. As it’s Christmas time I’m reminded of the fact that the badass rock n roll jezebel image that Taylor Momsen graces as she takes to the stage is the same adorable little Cindy Lou Who from the Grinch Who Stole Christmas. This disturbs me somewhat. In any case I brush it off and get on with enjoying what I believe is a very under rated band.

They’re loud as hell and their sound is crisp with an epic light show to boot (which on occasion temporarily blinded myself and my friends). They pile drive through Since You’re Gone before introducing three songs of their most recent effort, 2016’s Who You Selling For. It’s clear to see and hear that Guitarist Ben Phillips has gone from strength to strength as his shredding leads the path of this monolith performance, perfectly complimenting Momsen’s rasping wail-like vocals. Really the band have brought their A-game tonight. They smash past breakout single Make Me Wanna Die before playing fan favourites Heaven Knows and Going to Hell. They finish their ten-song set with Take Me Down leaving a lasting impression and setting the bar pretty damn high for the headline act to follow.

But if there’s one thing I’ve learned over the years Corey Taylor will always make it his business to bring the party. The man isn’t known as the great big mouth for nothing. Stone Sour take to the stage amongst sparklers as they roar in to Taipei Person/Allah Tea off their critically acclaimed most recent album Hydrograd. Knieval Has Landed follows before the band sends me back in time to my first Stone Sour concert at the height of the Come What(Ever) May tour back in 2006 with Made of Scars and Reborn.

I note how there’s a ferocity to the band’s sound these days. An intensity representative of both chaos and control. It’s clear the band are having a lot of fun as a unit as the exchanges on stage are all smiles and Taylor every so often mid song firing confetti in to the crowd.  It looks like a band thrilled to be spending their time with one and other which is only improving their sound. Perhaps a change of line-up was needed to refresh them and get them to this point? Jim Root is a fine guitar player no doubt and certainly more technically-inclined than Christian Martucci, however there’s a playful energy that the latter brings to the table which perfectly complements Taylor and co and allows them to shine through as a more straight-forward hard rock band.

A few songs in and I’m surprised to hear Say You’ll Haunt Me and Hesitate off of Audio Secrecy, widely regarded as the band’s black sheep album. While I actually love that album, I can understand that it’s certainly not as aggressive as their other efforts, which is perhaps why during these songs the crowd dampens slightly and why they chose to throw in the all-action 30/30-150 between these tracks. I’m enjoying the variety in the set list as satisfying portions of each of their six albums are delivered. The surprise of the night comes in the form of Cold Reader, a song from their self-titled first album which I certainly was not expecting. The biggest surprise was yet to come as after Taylor delivered a speech on his love for the British Isles, the band would solidify that praise by breaking in to a pulsating cover of Children of the Grave by Black Sabbath. After a brief intermission, the band take the stage to finish with Gone Sovereign and the audience-backed Absolute Zero before ending with Fabuless with some assistance from some help from some wacky waving inflatable arm flailing tube men!

Overall this incarnation of Stone Sour is different but no less great live. They seem refreshed by the changes they’ve had to make over the years. Corey Taylor is as entertaining and enthralling as ever and the band sound tight as a unit. I was very pleased to see and hear that after all these years and all the adversity the band has faced both inside and outside the collective that they are still trucking onwards and churning out some great tunes and performances along the way. I’m equally happy to see The Pretty Reckless absolutely killing it and their performance as the opening act left me eager to hear more from them. I’m anxious to see what awaits in the future of both bands.