New Kurt Cobain Beatles Cover To Be Released As Single

A new Kurt Cobain single will be released on November 20th, featuring Cobain’s cover of The Beatles’ “And I Love Her” with a B-side of the 4-track demo of “Sappy” from 1988. You can pre-order the 7 inch vinyl by clicking here.

After reports of a tentative September release, Kurt Cobain: Montage of Heck director Brett Morgen has revealed to Deadline that the new Kurt Cobain solo album will be released on the same day as the DVD of the film

“It will come out November 6th, the same day as the DVD release.”

While digging into Cobain’s archives, Morgen expected to find some undiscovered gems, but not only did he discover spoken word audio of Kurt recounting his own teenage suicide attempt, but “hours upon hours of never before heard Cobain music.”

How did it feel to hold the objects of such worldwide fanatical interest in his hands? “I could not possibly understand how this existed and nobody had encountered it before,” Morgen said.

Billboard recently reported that a previously unreleased Kurt Cobain demo would be added to the August 7th theatrical release of Kurt Cobain: Montage of Heck. Director Brett Morgen refused to reveal when in the film the track would appear due to fear of fans filming it with their cell phones, but he did reveal that Cobain sings in a Beach Boysesque falsetto. The song doesn’t have a name, but was likely recorded in 1991 because it appears on a tape “on which he was also working on ‘Old Age,'” which was written during the Nevermind sessions and later rewritten and recorded by Courtney Love and her band Hole.

The lyrics in the track are unclear but it sounds like Cobain sings “Wonder how I breathe” and “I’m a bad man.” There are 30 to 50 demos from 107 cassette tapes featuring 200 hours of audio that Morgen had to work with.

“Kurt played around with sound collage, particularly with panning effects,” in which the record appears to move from one speaker to another, Morgen says. “And it’s a sensory experience that really envelops you.”

Chris Cornell On Mad Season: ‘I Had To Confront That Layne Staley Is Dead & Is Not Coming Back’

Soundgarden frontman Chris Cornell discussed the tragic deaths of Layne Staley and Andrew Wood in a new interview with Rolling Stone Australia, how Eddie Vedder helped Seattle’s rock scene heal after Wood’s death, and the emotion he felt when revisiting Mad Season’s Above when he was preparing for January’s Sonic Evolution performance.

“I had a similar sentiment that was actually based more around the Mad Season songs. I think there’s something about the Temple songs that always feels triumphant to me, and the reason I say that is because we were all really young, and as far as I know, none of us had had anything like that happen to us – where someone young and really close to us, and who had such promise and was so inspiring as a songwriter and as a person, dies, needlessly, unexpectedly, and there’s no way to characterise it in a positive way. There was no silver fucking lining to that happening ever. And yet, Temple kind of became this moment where we came together as friends in mourning and we created something that became timeless. And the experience of doing it was really great. There was no tension, there were no expectations for it commercially or otherwise, we were all enjoying each other’s company as well as enjoying making the album together. I was having this great moment of taking songs I had written and seeing a completely different group of people approach them, and see what that could turn into, and it turned into an amazing thing.

And also Pearl Jam was forming [out of the ashes of Andrew Wood’s band, Mother Love Bone] right around the time we were making the record, and it felt like that was a very big healing thing; to have Eddie [Vedder] come into the fold of this small group of friends and just somehow know that he was going to bring something creative into their lives. And that [band] that seemed like it was going to die and wither away suddenly had this huge spark, and our scene as friends and our scene as Seattle musicians went from one moment of mourning and this horrible, dour depression to hopefulness again. I think of that as a really triumphant moment that remembers a friend in the best possible way.

Having said that, doing the Mad Season songs and singing them was really difficult for me, ’cause I didn’t know them. That wasn’t an album I’d performed, I didn’t know all the words. I’d heard the songs but I had to listen to the ones that I sang and learn them and then learn the lyrics. And what ended up happening was, I’m listening to Layne [Staley] singing them over and over and over, and it was so sad. It was so sad to hear his performances and hear his expression and kind of know where he was during that period, which wasn’t great, and you hear this kind of vibrant talent, the character of who he really is coming through in the song, ’cause he was able to do that, he was able to convey that. It might have been the first time I really had to confront the fact that he’s dead and he’s not coming back.”

Josh Homme, Mark Lanegan & Iggy Pop Are In A New Silent Film

Gutterdämmerung seems to be a portmanteau of the English “gutter” and the German “götterdämmerung” (or just an Anglicization of the word), which means roughly means “a collapse (as of a society or regime) marked by catastrophic violence and disorder.” The word is a German translation of the Old Norse ” Ragnarök” a prophetic concept in Norse mythology which foretells a large and all-consuming battle between deities which would to extravagent chaos and disarray, as dramatized in Richard Wagner’s opera series, also entitled “Götterdämmerung.” Enough background.

Importantly, there is a spooky awesome independent film in the works from the Belgian-Swedish visual artist Bjorn Tagemose, entitled “Gutterdämmerung.” A tribute to 1920’s Hollywood (the era’s horror genre to be specific), the tagline is the “loudest silent movie on Earth.” This may not be a complete exaggeration. The film will be “silent”, if you exclude the dark, heavy soundtrack that will be accommodate the film at all points. Instead of the ragtime piano or organs prevalent in old-timey film, the website says the soundtrack is performed by  “a live rock band of rock express the emotions and action whilst special effects from the film explode to life all around the audience.” Though exact artistic details of the soundtrack have not been released, several figures from alternative rock, metal and punk are starring in the film – which may give some hints to what the soundtrack will sound like. So far, the film’s cast has been announced as Queens of the Stone Age’s frontman Josh Homme (listed as Joshua Homme), Motorhead’s Lemmy, solo artist and ex-Screaming Trees frontman Mark Lanegen, famed Black Flag singer and inspiration speaker/comedian combo Henry Rollins, Eagles of Death Metal frontman Jesse Hughes, Slayer’s Tom Araya, solo artist Grace Jones and the one and only Iggy Pop.

The website is hosting a contest for tickets and merchandise to guess the two remaining co-stars. The film is expected to be released sometime in 2016. The film’s Facebook page lists the project as a “concert tour”…perhaps all the collaborating musicians will go on tour together to promote the project? We’ll have to see.

Watch a promotional trailer for the film below:

 

Italian Grunge Band Shame Hits Seattle

Shame, the well loved grunge band from Milan, Italy, came to Seattle, WA a couple of weeks ago to play some of their original music. Alternative Nation was able to check them out as they performed at one of their scheduled venues in town.

The music was fresh, engaging, and hair thrashing and still had the sound of the grunge era, we all miss. This music was something Seattle craved to have back and never let out of its grips again. When they started playing, I could see why they are popular in Milan. As from the get-go, my head from bobbing up and down, back and forth to the beat of the drums, and the screams of the guitar. I was now hooked.

After they played, I was able to speak to Shame’s front man Andrea Paglione, asking him just a few questions.

When did Shame start out?

We started in 1996 as a teenage power-trio mostly influenced by the Seattle Sound.

You guys have had some experience in Seattle, why is it that you keep coming back?

We feel at home in Seattle, and Seattle has opened their arms to us and we feel loved. We want to stay here, we have friends here, which is now our family too.

Do you have a discography list?    

Yes we absolutely do!

SAD – EP released in 2002

Gone-LP released in 2008

Induction of Penitence-EP released in 2009 and

Entropia- LP released in 2014    

 

Andrea also told me that they are working on their next album, hopefully to be out not too far into the future. To answer that one question you might have, yes, their music is recorded in the English language.

Band members are as follows; Andrea Paglione, lead vocals/guitar, Pino Foderaro, guitar, Marco Riboldi, backing vocals/bass guitar and Claudio Ciaccia, drums.            

Check out their latest LP Entropia, which is available on iTunes and Amazon You can also find out more about their band through their Facebook page: https://www.facebook.com/shametheband

From their latest LP, enjoy Apocalypto

shameband2

Top 5 Rock & Roll Casino Venues

At some venues, rock and roll and gambling go hand in hand. You can go to an amazing concert, and then play slot games and gamble. You can get the same experience by going to casino.netbet.co.uk, and cranking your favorite rock music.

5. Pechanga Resort & Casino Theater

Pechanga Resort and Casino is an Indian Casino on the Pechanga Indian Reservation in Temecula, California. Pechanga Resort and Casino is the largest casino in the state of California, with 3,400 slot machines and approximately 188,000 sq ft (17,500 m2) of gaming space. Many rockers perform at the venue, including Slash in 2015.

4. The Borgata

Borgata Hotel Casino and Spa is a hotel, casino, and spa in Atlantic City, New Jersey, United States. It is owned by Marina District Development, a joint venture between Boyd Gaming and a MGM Resorts International. The casino hotel features 2,002 rooms and is the largest hotel in New Jersey. The venue features many rock concerts and comedy shows.

3. The Cosmopolitan of Las Vegas

The Cosmopolitan is a luxury resort casino and hotel on the Las Vegas Strip. The resort opened on December 15, 2010, and is located just south of the Bellagio on the west side of Las Vegas Boulevard, and consists of two highrise towers.

2. Pearl Concert Theater

he Pearl Concert Theater is a 3 level concert venue, located within the Palms Resort. Depending on the configuration the venue can seat between 1,000 and 2,500 people. The Palms includes a recording studio that has been used by many artists including, but not limited to – JAY Z, Beyoncé Knowles, Madonna, Lady Gaga, Katy Perry, Carlos Santana, T-Pain, Imagine Dragons, Panic at the Disco, The Killers, Dr. Dre, Eminem, 50 Cent, Maroon 5, Joe Bonamassa, and Wayne Newton.

1. The Joint at the Hard Rock Hotel & Casino

The Hard Rock Hotel & Casino was built in 1995 by Peter Morton, co-founder of the Hard Rock Cafe. It was expanded in 1999, and began another expansion in 2007. In June 2002 influential rock bassist John Entwistle of The Who died in one of the hotel’s rooms. Guns N’ Roses also performed a residency at the venue in 2014. Thanks to Wikipedia for some of the information provided on this list!

Foo Fighters Kicked Off Emmys By FOX

Dave Grohl told TMZ last night that Foo Fighters were kicked off of the Emmy Awards by FOX.

“We were supposed to play on the Emmys, and we were going to play on the Emmys, and then we got kicked off.”

A rep for Grohl tells TMZ that the band was all set to perform, and would have been the first ever rock band to play the Emmys. But the rep says, “FOX then refused to allow the band to play a full song from the Emmy-winning Sonic Highways.”

TMZ sources are reporting that FOX wanted the band to play half of their winning song and then play part of their hit song “Learn to Fly.” Grohl and company weren’t having it, and refused to play after originally being under the impression that they would play a Sonic Highways song.

Congratulations to the Foo Fighters. Dave Grohl and company have won two Emmy Awards for their HBO series Sonic Highways. The announcement was made at last night’s Creative Arts Emmys in Los Angeles. Basically, the opening act before the main show on September 20th.

Sonic Highways was recognized for its Seattle episode in two categories:
outstanding sound mixing for nonfiction programming and outstanding sound editing for nonfiction programming.

In an interview with Billboard Magazine back in August, Dave Grohl had this to say about the series Seattle feature:
“There’s a lot of ghosts in Seattle,” he said. “Whenever I go back to Seattle I feel the good and I feel the bad and it’s one of the most beautiful places on earth. When we were deciding on cities to focus on, one of the big criteria was to find cities that we had a personal connection to. Sometimes those cities were the most difficult to direct or to edit because it was hard to take myself out of the middle of it.”

Review: Chris Cornell Plays It Safe On ‘Higher Truth’

I’m a Chris Cornell fan. I have a framed signed copy of Scream. I paid 28 bucks to buy a case to get it framed. So please don’t revoke my fan card for this review, or take my opinion as being anything more than any other guy who has a Down on the Upside poster hanging up in his room shooting the shit on a new record. To me Chris Cornell had a run from Temple of the Dog’s album to Audioslave’s first album in 2002 of six great albums. Since then I haven’t been a huge fan of his material, but there have been a smattering of solid additions to his catalog like “Doesn’t Remind Me,” “You Know My Name,” “The Keeper,” and “A Thousand Days Before” over the years. Even the title track of Scream was a pretty good song. Cornell’s Songbook shows have also been incredible, even better than some recent Soundgarden shows I have attended.

Cornell’s new album Higher Truth is the epitome of playing it safe. Cornell sounds fantastic, quite possibly the best he has since Euphoria Morning. Brendan O’Brien nailed the production, whereas Steve Lillywhite completely failed with Carry On. The problem is the songs aren’t half as good as they were on Euphoria Morning. There aren’t any soaring memorable choruses here, many songs like “Nearly Forgot My Broken Heart” and “Worried Moon” show a lot of promise, but never reach that next level. Especially with the amount of adult contemporary geared songs on this album, the hooks just aren’t there. The title track “Higher Truth” is a perfect example; the song meanders and repeatedly hits a forgettable chorus. “Before We Disappear” seems to pick up where “Halfway There” off of Soundgarden’s King Animal left off.

Album highlight “Dead Wishes” tells the story of homeless people Cornell observed in Florida, and has some of the most inspired lyrics of the album, especially compared to many which lean generic, like “Before We Disappear.” Cornell’s biggest strength in recent years when it comes to songwriting has been when he takes on the role of storyteller, much like he did on “The Keeper” a few years ago. The tragically nostalgic “Through The Window” also has solid lyrics.

Marriage ballad “Josephine” is enjoyable; its strength is its simplicity, like “Sweet Euphoria” off of Euphoria Morning. Cornell sings in the final chorus: ‘My sweet Josephine/won’t you come and marry me/I’ve got every single kind of love that you will ever need/dying here on bended knees.’

“Murderer of Blue Skies” experiments with the arrangement and features some vintage Cornell wailing, and some of the best melodies on the album. While other songs tend to fall into a rut, it sounds like some experimentation was going on here. After this track the album just starts to run together and has me checking how many songs are left each time I listen. “Let Your Eyes Wander” and “Circling” sound like some of the weaker songs off of Eddie Vedder’s ukulele record.

I don’t expect the same unbridled passion Cornell brought in his prime (or many of his contemporaries), and to be honest this album is exactly what I expected. There are a few solid songs I’ll go back to, but no tracks that stand up with Cornell’s best work. I hope Alternative Nation readers and fellow Cornell die hards are getting more out of this album than I am.

Key tracks:
Dead Wishes, Through the Window, and Murderer Of Blue Skies

Score:
2.5/5

$100 Million Guns N’ Roses Reunion In The Works

Universal Studios theme park boss, and Slash’s friend, John Murdy, recently told The Daily Mirror that Guns N’ Roses members Axl Rose and Slash have indeed been talking.

He said: “I know that Slash and Axl talking again is a really good sign.”

Promoters also told The Daily Mirror that a Guns N’ Roses reunion tour could make band members an estimated $100 million (£65 million pounds).

Speaking of a possible tour, Los Angeles-based marketing expert Alex Villa said: “Demand for tickets and interest in the USA alone would earn the group tens of millions of dollars.

“A world tour, re-issued CDs and new material rockets that figure easily.

“Guns N’ Roses were a powerhouse in rock in the nineties and a reunion will be a huge deal.

“The band only need to do a year on the road and would never have to worry about money again in their lives.”

Reading and Leeds Festival promoter Melvin Benn said he would be interested in bringing the original GNR back to his festivals, despite the fiasco that took place in 2010 when the Chinese Democracy GNR lineup performed and Axl Rose was late, leading to the plug being pulled early and Rose to go rant against promoters.

Scott Weiland ‘Mailed’ In Performances On Last STP Album: ‘It Was Grueling’

Bassist Robert DeLeo discussed the downfall of Stone Temple Pilots’ relationship with Scott Weiland in a new interview with Macomb Daily.

“After the last record we all made together (2010’s ‘Stone Temple Pilots’) it was very clear to me and Dean and Eric that was probably the last bit of music we were going to make,” DeLeo says. “I don’t think there was any more music to be made there. I think Scott made that clear. When you’re making a record and your singer’s somewhere else doing his performance and mailing them over to you, it’s not a band at that point, y’know? It was a grueling experience.

“We tried to make this work, but it just wasn’t there anymore, man.”

DeLeo also discussed Stone Temple Pilots’ future with Chester Bennington.

“When he’s out with Linkin Park we’re back home writing and sending him ideas, and when the schedule allows we get together,” DeLeo says. “We just want to move forward and produce, any way we can.”

And, he adds, STP wants to prove its current incarnation can be as potent musically and commercially as its predecessor.

“We have a lot to prove. We know that,” DeLeo acknowledges. “There are a lot of people out there who are writing us off, but there’s other people who come up to me and go, ‘I get it, man. Great choice and move on and I want to see all you guys happy.’

“I understand how people feel about being fans of Scott and fans of STP with Scott. I get that, too. But the thing I say to them is, ‘You weren’t there,’ and we did all we could to make that work for many, many years. So let’s move on and move ahead and do good work with Chester.”

Foo Fighters & Yes Singer Cover Rush’s “Tom Sawyer”

Foo Fighters covered Rush’s “Tom Sawyer” with current Yes lead singer Jon Davison at the Honda Center over the weekend in Anaheim. Drummer Taylor Hawkins introduced him.

“I have a bunch of Laguna friends here tonight, some old, old friends I’ve known forever. One of my oldest, oldest friends in the world, we started playing music together one night, we made almost a blood brother bond: ‘We’re going to play music forever! That’s what we’re going to do!’ And then we went to high school, and we had bands, and they sucked, but we still had fun. Then he moved to Seattle, then I stayed down here, and our paths changed and crossed, etc. Then it turns out now that he now is the singer for Yes. Does anyone know who Yes is? I do, and Pat [Smear] does. He’s one of my best friends of all time, I’ve known him since I was in 2nd grade, and he’s here tonight, and he’s going to play a song with us.”

Hawkins said they tried to learn a Yes song, but didn’t have time. Dave Grohl added, “They’re too fucking hard.”

Setlist:
All My Life
Times Like These
Learn to Fly
Something From Nothing
The Pretender
Big Me (slow version)
Congregation
Walk
MTV Theme Song
Cold Day in the Sun (Preceded by snippets during band intro)
My Hero
White Limo
Arlandria
Outside
Breakout
Tom Sawyer (Rush cover)
This Is a Call
In the Flesh? (Pink Floyd cover)
Under Pressure (Queen cover)
Ain’t Talkin’ ‘Bout Love (Van Halen cover)
Best of You
Monkey Wrench
These Days
Skin and Bones
Everlong

Was ‘Lost’ Green Day Documentary Ever Really Lost?

Earlier this week Green Day released the news that ”Heart Like a Hand Grenade”, a documentary that is said to have been ‘lost’ for 11 years, will finally be screened in a few selected movie theaters in October this year. The film was made by John Roecker who spent nine months in the studio filming Green Day during the recording of their award winning and highly praised punk rock opera concept album American Idiot. That was in 2004.

The story was picked up by Rolling Stone and a few other sites who used phrases such as ‘lost’ and ‘mythic status’. The director himself in a statement on Green Day’s official webpage calls it an ‘urban legend’ and claims that some fans thought ‘it was some sort of prank’. This caught my interest, so rather than just report the news I decided to dig a little deeper into the mystery.

Green Day Authority proved to be a good source. They first mention ”Heart Like a Hand Grenade” in 2006, with a comment from director Roecker who told them the movie was almost ready and would be released early in 2007. The reason for the delay was ”timing issues for it’s release”.

Obviously that release never took place, because next post is from 2008. Again, GDA has spoken to Roecker, who this time says ”the entire documentary is now complete”.

Almost a year later, the film is actually shown, but only once. In a movie theater in Hollywood a lucky 500 people get to view “Heart Like a Hand Grenade” in March 2009. The people from Green Day Authority were there and give it an overwhelming review. It is also in that review the answer to the mystery comes. ”Our only complaint is that we understand we may never have the pleasure of viewing this movie again, as Warner has no plans to authorize its release.”, the reviewers write.

So no, “Heart Like a Hand Grenade” wasn’t ever lost. It was a question of rights. Since the documentary contains the whole American Idiot album it makes sense for the record company to stop it.

Now the next question is: why now? I have no answer to this. Obviously the record label changed their mind for some reason. DIY says it’s a way to celebrate American Idiot‘s 10th anniversary later this year. That could have been a good reason, had it not been for the fact that American Idiot turned 10 in 2014.

I am left with my own guesses. It might be a question of money, some kind of agreement between Warner and John Roecker. Maybe the record company feels it’s time to put Green Day in the spotlight again. It’s been three years now since their last release, the ¡Uno!, ¡Dos!, ¡Tré! trilogy, and the next album doesn’t seem to come anytime soon. Or it might be a celebration of the Rock and Roll Hall of Fame induction earlier this year. But surely that would have been mentioned? The director’s statement ends with the line ”And finally the little film that could is being released.” But why? That question is not answered anywhere.

Another little mystery remains. Why does the movie poster say ”In theaters October 15th” when the first screening according to the schedule is actually on October 8th?

I have no information about any other showings or a possible DVD release. As a Green Day fan overseas I very much hope it will be available here at some point. A film that shows the whole recording process of American Idiot and also contains a rare concert where they perform the album in its entirety is just too good to miss. If it doesn’t get ‘lost’ again.

greenday_hlahg-15_09_03

Ex-Jane’s Addiction Bassist Eric Avery Returns As Garbage’s Bassist

Eric Avery, co-founder and ex-bassist of Los Angeles rock band Jane’s Addiction (whose frontman coined the phrase “Alternative Nation”), reported on his Facebook page earlier this week that he “is a bass player again” on the account of he was “heading out for rehearsals with my friends in Garbage.” Eric Avery has acted as touring member of Garbage before for the Bleed Like Me and Not Your Kind of People tours, in 2005 and 2012 through 2013 respectively. He maintains a close relationship with the band and featured lead singer Shirley Manson on his first solo album back in 2008, Help Wanted. The track in mention, “Maybe”, is featured below:

It is unclear whether Eric Avery is joining the band on a permanent basis or not, though Garbage is conducting a small tour throughout North America and Europe through the fall of 2015 for the 20th anniversary of their first album, Garbage. The tour dates can be seen below, tickets available here:

North America

Oct 06 – Humphreys Concerts By the Bay San Diego, CA
Oct 07 – Fox Theater Oakland, CA Oct 08 – The Greek Theatre Los Angeles, CA
Oct 10 – Boulevard Pool at The Cosmopolitan of Las Vegas Las Vegas, NV
Oct 13 – Bayou Music Center Houston, TX
Oct 14 – Stubb’s Austin, TX
Oct 15 – South Side Ballroom Dallas, TX
Oct 17 – Riviera Theatre Chicago, IL
Oct 18 – Orpheum Theatre Madison, WI
Oct 19 – Royal Oak Music Theatre Royal Oak, MI
Oct 21 – Orpheum Theatre Boston, MA
Oct 23 – The Space at Westbury Westbury, NY
Oct 24 – Kings Theatre Brooklyn, NY
Oct 26 – The Phoenix Concert Theatre Toronto, Canada
Oct 28 9:30 – Club Washington, DC
Oct 29 9:30 – Club Washington, DC

Europe

Oct 31 – Palladium Koln, Germany
Nov 01 – Train Aarhus, Denmark
Nov 02 – Store Vega Copenhagen, Denmark
Nov 04 – 013 Tilburg, Netherlands
Nov 05 – Vorst Nationaal Brussels, Belgium
Nov 07 – Zenith Paris Paris, France
Nov 08 – O2 Academy Brixton London, United Kingdom
Nov 09 – O2 Academy Brixton London, United Kingdom
Nov 11 – Crocus City Hall Moscow, Russian Federation
Nov 13 – Academy Manchester, United Kingdom
Nov 14 – Usher Hall Edinburgh, United Kingdom

 

 

Insomnium Drummer Talks New Album Plans and Increase in Popularity

Ever since the mid-2000’s, Insomnium has been a well acclaimed band in Finland’s melodeath scene. Their doom metal influenced music, dreamy atmospheres and depressing lyrics land the band a distinct sound from their scene mates. When a US tour featuring them and Omnium Gatherium was announced, the band’s American fan base jumped for joy. Though I wasn’t able to make this tour I was able to speak to the band’s drummer, Markus Hirvonen, via phone. He was quite the character.

On touring this year: Our tour is going well. This is our first time headlining in the states and people love it. Our guitarist, the other Marcus, is playing in both bands and he’s going a really good job. Sure he loves to party and gets hungover, but his performances are still really well done.

On writing process of previous album: The writing process was a lot different on this one. Our guitarist Ville now lives in the UK. We have to practice through the internet because of this. It is a lot less stressful than trying to get everyone in the room at the same time. I feel the album was very good, one of our best. It is often compared Omnium Gatherium because we both now have the same guitarist. While there were some elements from Omnium Gatherium on the last album, it is different in feeling. Insomnium is more depressing while Omnium is more upbeat.

On connection between name and music: Yes, the music and lyrics give off the same feel as the name. Insomnium is a word meaning dreams with various interpretations and that is how I feel our music is. Glad you were able to notice this!

On future plans: After this tour we plan on working on our next album. We do not have studio time scheduled but we do have many ideas for songs. We will not do another large tour anytime soon. We are waiting till we finish the next album; we see the last album and tour as the end of a lifespan.

On playing with bigger bands: I am proud that we are getting to play all these huge name metal bands. I grew up listening to Dark Tranquility and am very honored to have toured with them. My goal is to one day tour with In Flames and Opeth. Those are two of my favorite bands and have always been a big part of me.

Chester Bennington Falls On Drums At Stone Temple Pilots Show

Stone Temple Pilots frontman Chester Bennington fell onto Eric Kretz’s drumset at an STP show at the Fillmore in Detroit earlier this week. As Bennington was channeling Scott Weiland and running around the stage like a madman during “Down,” he fell into Kretz’s drumset. Bennington wasn’t the first STP frontman to fall into Kretz’s drum kit, as Scott Weiland collapsed into it at an August 2008 STP concert in Phoenix.

Bennington later had to re-start “Trippin’ on a Hole in a Paper Heart.” He said, “My brain is somewhere else right now. I can’t feel my fucking left hand. I really fucked myself up over there.” You can watch video of Bennington trippin’ on the drum kit below, followed by a side by side look at Bennington and Weiland’s falls.

stpfalling

A drunk fan named Johnny jumped on stage during Stone Temple Pilots’ performance at the Weenie Roast in Charlotte, North Carolina over the weekend while the band was performing “Interstate Love Song.” He attempted to sing with frontman Chester Bennington, danced, and then collapsed. He quickly picked himself back up. Bennington said, “This is a crazy motherfucker right here.” He added, “I’ve never seen a motherfucker jump on stage and hang out, sing, fall backwards, and still be standing here. Congratulations brother!”

Chester Bennington discussed taking over for Scott Weiland as Stone Temple Pilots’ lead singer in a May 2015 A-Sides interview.

“We did talk about maybe changing the name of the band, and just doing something new. Honestly, my thing was like, why give up what you guys have worked so hard on? This is your legacy, you don’t have to give it up just because one person didn’t do things the way that everybody wanted them to go, didn’t do things everybody planned. We should be able to move forward.”

He added, “I mean, where is the music coming from in the first place? There’s no question when you hear the new music that it’s Stone Temple Pilots. Why? Because it’s coming from the guys who write the music. It’s coming from the source. So, when the source is there, then it’s still pure. It can still go on in a way that, when people come to see us live, they know: ‘This is the band I wanted to come see.’ They can feel that we genuinely care about what we’re doing.”

Another Guns N’ Roses Member May Be Out

On the latest Talking Metal Digital, Mark Strigl discussed a recent e-mail correspondence he had with a current member of Guns N’ Roses who has not yet officially left the band, in which the member appeared to hint at leaving.

“The other thing that I found interesting recently was that recently, DJ is out, we don’t really seem to know the status of a lot of the other guys. I will tell you that I do correspond with one of the other members from time to time, and he told me in early July: ‘Hey I’m going to have a big announcement and,’ he didn’t say that, he said: ‘I’m going to have something to talk about in mid-August.’ This is exactly what he said, ‘Let’s do an interview in mid-August, cool?’ I was like absolutely, because I had reached out to him in early July, and he had said: ‘I don’t want to do it now, but I’m going to have something to talk about in mid August.’ (Sighs) I’ve since reached back out to him, at one point, I think it was early August, he said hit me back in two weeks, which I did, and I’ve been hitting him back every week since then, and crickets, no response to the e-mail.”

While a name wasn’t revealed, it was hinted at being Chris Pitman or Richard Fortus.

Morrissey Announces “Likely To Be Our Final Ever UK Shows”

Within the hour, Morrissey fansite and more or less official mouthpiece true-to-you has published a statement from the Mozfather himself, entitled the “Hammersmith Statement”:

“Morrissey has commented:

There is absolutely no way that we can generate any interest from record labels in the United Kingdom, therefore the imminent two nights at Hammersmith are likely to be our final ever UK shows. We are obsessively grateful for all interest and loyalty from our audience … throughout 28 years … but without new releases, there is no point in any additional touring. Thank you for so many absolutely incredible times. The pleasure and privilege is mine … ‘

This weekend, Morrissey and his band will take to the stage at the Eventim Apollo, in west London’s Hammersmith district. With very few cancellations and rescheduling, Morrissey has toured much of the world this year and steadily continues with dates in France, Belgium, Germany, Switzerland, Italy, Slovenia, Hungary, Macedonia, Romania, Brazil, Ecuador, Chile, Paraguay, Uruguay, Argentina and Peru as he did with the Netherlands, Spain, the United States, Australia and the United Kingdom. Morrissey at this time has allegedly no interest from any record labels, after his infamous debacle with Harvest Records, who briefly released his latest album, World Peace is None of Your Business before dropping him.

AlternativeNation earlier this summer had the pleasure of interviewing Morrissey, where he talked extensively about politics, animals rights and music. Earlier in the year, he managed to release “Kiss Me a Lot” as a single from his friends at Atom Factory records and he addressed his relationship with the label in our exclusive interview:

“With your departure from Harvest Records, you’ve released ‘Kiss Me a Lot’ as a single on Atom Factory. How has Atom Factory been treating you? Was this a one off deal or do you have any plans to sign a longer contract with them?

​I haven’t signed with Atom Factory. They have been good friends and were very supportive with the iTunes release of “Kiss Me a Lot’, but where it goes from here I have no idea. “

If interested in seeing more details about Morrissey’s remaining 2015 dates, please visit the Facebook page regarding dates here.

 

 

Interview: 311 Reflect On 25 Years As A Band

311: 25 Years Strong

How 311 became a way of life

“Reside west coast from the Midwest, take what ya like and fuck all the rest man. We only enter in one contest that we made up ourselves that’s to be the 311-est.”

Those two lines, a nine second clip towards the end of a song entitled “Jackpot,” perhaps perfectly summarizes and serves as the powerful mission statement of 311. A statement they built 25 years ago and have stuck to at every turn along the way. The lyrics still give front-man Nick Hexum the chills.

This past June, 311 released a very special box set entitled 311-ARCHIVE – to honor their silver anniversary. The career-spanning box set commemorates the journey of the past 25 years through demos, b-sides, bonus tracks, pre-production tracks along with a book of old photos and memorabilia.

The history of 311 is simply a remarkable, unparalleled story. One that is still being written. In fact, it feels like there are a ton of blank pages that will house new unique chapters in the years to come. 311 naturally blends rock music, with reggae, hip-hop and funk. Their approach has always been to stay true to themselves, true to their music and true to their faithful fans. Speaking of their fans, they too are in a league of their own. They come from all corners of the globe and along with the five individuals rocking on stage before them, have created a larger than life movement. Though lead singer/guitarist Nick Hexum, singer/DJ SA Martinez, bassist Aaron “P-Nut” Wills, guitarist Tim Mahoney and drummer Chad Sexton are physically elevated a few feet higher than the crowd and facing a different direction, they are really just an extension of the community that they have built through music and unity.

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Grassroots:

311’s first show was on June 10, 1990 opening for Fugazi at the Sokol Auditorium in their hometown of Omaha, Nebraska. That lineup consisted of Hexum on vocals, Sexton on drums, 15 year old P-Nut on bass and a lead guitarist named Jim Watson. “I remember we bumped into the guys from Fugazi the next day at a Denny’s,” recalls Hexum. “They very energetically asked us where we are from. We told them we’re from here, Omaha. They could obviously see there was a ton of energy. It was a perfect launch for us because it was a sold out, 1,000 people show who were ready to rock.”

Bassist, P-Nut saw some symbolism in that show. “Cellophane Ceiling played the slot before us. They were an Omaha mainstay and a legendary mainstay in our eyes,” he says. “It felt like it was a passing of the torch and we took that thing and ran with it.”

Though that date is considered the starting point, the history actually dates back to high school. At the time, Hexum and Mahoney had a rock band together called “The Ed’s.” Hexum also played in the high school jazz band where Sexton was drummer. This is where things got really interesting. Hexum graduated from high school early and immediately moved to Los Angeles to follow his dreams of a career in music. “I moved out there by myself at 17 and worked at Guitar Center on Sunset Boulevard so I can make connections and meet players,” says Hexum. “There was a lot of hair metal at the time, but there was also a lot of cool stuff going on like getting to see the Chili Peppers, Jane’s Addiction and Fishbone.” He remained close with Sexton and Mahoney however, partaking in occasional jam sessions on visits home. Soon enough, Sexton and recently added keyboardist, Ward Bones, would join Hexum in L.A. They would take on the city under the moniker “Unity.”

After a short stint on the west coast, Sexton moved back to Omaha where he would frequently play music with old friend, P-Nut. There was a comfort level playing in Omaha that could not be found anywhere else. There was just one thing missing. That would all be remedied by a simple phone call. “I’ll never forget that call,” Sexton explains. “Nick asked if I’d been playing and had any plans. I told him I had small band and we got an opening gig for Fugazi. There was then complete silence on the other line. No response whatsoever. I could basically hear the wheels turning in his head. He formed a plan in about 30 seconds that included him moving back and playing some old originals from Unity to make us a stronger band, not just playing covers. I said the others would be cool with it, let’s just go for it. If that conversation doesn’t happen this is definitely going a different way.”

After spending time in a lot of different areas including L.A., San Francisco and Germany, Hexum realized it was his hometown of Omaha that had exactly what he was out searching for. “I had been playing bass at the time. Bass was more of lead instrument within the music I was into then. Flea was really a pioneer with that,” he says. Thinking about what lies ahead Hexum knew, “I need to focus more on singing now.” Weeks later, there it was, the old friends were back with a new band. They’d call themselves 311.

The first two years back in Omaha would be incredibly formative. They played tons of shows at many infamous Omaha venues, opening for some big-name bands including the Smashing Pumpkins in 1991, as the alternative rock scene was starting to make its impact. “The thing that was so great about Omaha was that they were ready to accept us as a major band. We weren’t just some local guys that would get thrown on a bill. It was an event,’’ says Hexum who would take on the bands label and managerial duties at the time. “We would hold these Music Monday’s, which were all ages shows for $5. Each one would sell out.”

New guitarist and longtime friend, Tim Mahoney would ultimately replace Jim Watson. The last piece of the puzzle was turning a special guest, part-time performer S.A. Martinez, into a fulltime band member; an addition that would prove to be a key element in the band finding their dynamic and unique sound. Although P-Nut and Martinez were from the same high school, it was by total coincidence that Martinez and Sexton ended up being college roommates a few years later.

Over the course of 1990 and 1991, 311 released the EP’s Dammit, Hydroponic and Unity on their own label, What Have You Records. For independent releases they sold quite well. “Back in that day we were one of the first local bands to make a record and put it out on CD as most demos available in stores were on cassette tape at that time,” says Sexton. “A lot of those songs that we had written back in Omaha made it to our first record.”

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Though Omaha was the breeding ground for 311, it was Los Angeles where they would harvest. They soon took off for the west coast where they would all live together in a small house in Van Nuys, California. “Omaha was a great jump off spot,” says P-Nut. “Chances are no one’s going to be knocking on your door in Omaha, Nebraska. And you can’t knock on their door. All you can do is wait for someone to maybe knock on your door and that’s bullshit in this industry, you have to do the door knocking.”

I asked Sexton if he was reluctant to move back to L.A. given his first experience. “Well I was certainly anxious, but we had already played every place in Omaha and the surrounding area. We were repeating ourselves,” he said. “We would make a demo, then release it and play shows and then we’d finish. Not knowing what to do next, we’d start the cycle all over again. We knew we needed more than that and we knew if we wanted to make a career out of this we had to go.”

The time the five of them spent living together in that one house seems to really strike a sentimental chord with each member. Hexum lightheartedly tells me a story about how they grew their own marijuana, “There was no internet then so we really didn’t know what we were doing. We’d say ‘I think we’re supposed to cut these leaves off’ and we ended up with just a giant stem. Then somebody stole it! We came outside one morning and it was gone,” he says humorously.

Southern California offered them the opportunity to be in front of record labels. “We had very limited budgets eating Top Ramen and surviving off the care packages of food some of our parents would send,” says Hexum. “None of us worked other jobs so there was a lot comradery. We spent most of our time jamming, rehearsing in the living room and swimming in the small pool that our house had.” The difference this time was they had gone back to the lab, found their magic formula and developed a significant fan base out of the Midwest that would stand by their every move. “There’s a whole different skill set of how to get a crowd going crazy that you can’t teach in any class,” explains Hexum. “We were putting in our 10,000 hours by playing every show we could get all around the Midwest during those first two years, so once we got out to L.A. we had a confidence this time that definitely wasn’t there on our earlier L.A. incarnation.”

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Strong All Along:

The first shows back in California did not feel the same as the Midwest gigs however. The band then developed a plan to focus mainly on landing a record deal. What felt like moments before complete poverty struck, they were contacted by Eddy Offord (acclaimed producer who had worked with John Lennon and Yes to name a few) and 311 officially signed to Capricorn Records in 1992.

Sexton looks back at that time with the fondest of memories. The tone of his voice rings with pride as he reminisces, “The biggest highlight for me besides meeting Eddy was recording our first record at Ocean Studios, just a beautiful studio. It was an open and free period, where we could just completely submerge ourselves in the music. It was really a perfect summer. There was a Mexican food stand right across the street that we ate at almost every single day. It’s one of my favorite time periods of our career making that first record.”

The finished product, their major label debut, Music, was released February 1993. The band toured non-stop. It was at this point where they faced one of the more challenging scenarios imaginable. While driving westbound on Interstate 44 near Springfield, Missouri, their RV caught fire and eventually exploded on the side of the road, destroying the RV, their trailer and all of their equipment. The four band members, who were traveling in the RV, escaped the flames just in time. “I was actually driving to the gig separately with our producer in a Honda having a great time listening to the Cure,” recalls P-Nut. “I got to the gig and heard that it was cancelled. I thought everyone was tired and just didn’t want to do the show, as we were keeping such a rigorous tour schedule. Then I heard the news. What some people don’t realize is that Nick was driving the RV and he barely got out. His hair was all burned up.” Thanks to their already loyal fan base donating instruments, the band charged on. “It was a real put up or shut up type of moment for us,” P-Nut said. “The chips were down and we were broke. We realized more than ever what we had to do was work really hard and that’s exactly what we did. We bring that RV fire with us to the stage every night.”

Record number two, a groovier, more funk-infused rock piece, entitled Grassroots, followed in 1994, a year the band would play 130 shows. It was 1995 and 1996 however, where things really took off thanks in-part to the opening track on their self-titled third album. “Down” was # 1 on the charts (“All Mixed Up” went to #2) and burning up alternative radio stations everywhere. “I remember listening to the year-end countdown on KROQ out here in L.A. that year. It’s a station we all listen to. They get to #1 and it was us with “Down,” says Hexum. “It was five minutes before midnight so that was a very fun New Year’s party.” The band performed the hit live on the David Letterman show and on Conan O’Brien. Things were changing. A new collection of fans were jumping on board, joining the existing sea of dedicated followers. The self-titled record was their mainstream breakthrough as it went triple platinum.

Eight more records have been released since then. Each one unique in their own regard. To date, 311 has sold close to nine million records worldwide. Nine of their last ten albums debuted in the Top 10 on the Billboard Album Chart. They work mostly out of their own studio called “The Hive” (also the name of their fan club). “We keep everything in house. It’s not huge, but it’s ours,” Hexum says. “When we put a record out its how we wanted it and it’s going to be an honest representation of where we are as artists.”

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Come Original:

By the end of 2015, 311 will have played almost 1,700 shows the past 25 years. That would be 1,700 different setlists. 1,700 different experiences. While it seems like such a simple concept, it’s rare to find a live act that mixes up their setlist every single night. “For a rock band, we are very well-versed in techniques and manuscripts of music,” Sexton explains. “It’s a lot easier to play the same 20 songs over and over, but we have so many types of fans. The hardcore fans are probably not going to want to hear our radio hits, but then we’ll go play a radio festival where there are people who don’t really know us so we want to remind these people that maybe they do know who we are.” 311 have developed a reputation as one of the most energetic and entertaining live bands out there today. At some point around mid-set of almost every show you will find perhaps the only staple in the set. It’s for good reason. This would be the drum interlude in the middle of “Applied Science” where all five members of the band play the drums with Sexton leading the march. It’s utterly mesmerizing. “Music can only hold people’s attention for so long,” said Sexton. “We’ve always talked about; if we want to survive and we want people to come see us then we have to be exciting to see. We’ve always made it a point to be visually entertaining as well.”

As opposed to settling into a routine act, the band has made a conscious effort to continuously evolve. They insist upon constantly innovating and trying new things for themselves as musicians in addition to providing new experiences for their fans.

This summer was their 17th consecutive summer headlining a U.S. tour (1998 is the only summer the band has not toured). Every two years since 2000, they hold a massive 311 Day concert on March 11th where fans from all over the world come together for an epic night of 311 music – often exceeding five hours, 60+ songs and many performance surprises. This year the 311 Day experience returns to New Orleans, and this time it’s two nights (Friday March 11th and Saturday March 12th – both at the Smoothie King Center). All 311 Day info can be found at www.311.com/311Day2016 with the pre-sale on 9/22 and public sale on 9/25.

Additionally, 311 have played special destination shows in numerous countries, created and headlined their own Pow Wow Festival (a three day music and camping event) and have hosted four cruises. “Part of the reason we have these events is to go deep into the catalog for our hardcore fans,” Sexton tells me with sincere passion in his voice. “We want to give our fans as much music as we can. That’s the reason we got into the band. It’s because we’re musicians and we’re fans of music. Anything else that might come with it is just an awesome side note.”

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311 even have their own beer Amber Ale coming out (a nod to one of 311’s biggest hits “Amber”) and were heavily involved crafting the recipe. “We’re excited about diversifying the whole 311 experience with the beer coming out and some of the other stuff we have planned,” says Hexum. “Since we are grassroots and since we’ve always been involved in the business side of things, it’s fun to think of ways and then see those ways come true to expand the 311 experience in addition to just concerts.”

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Unity:

Having played live in all 50 states and almost 20 different countries, 311 has attracted fans from all walks of life. Their music has introduced deep friendships and even marriages. The themes come full circle. To celebrate, fans are being treated with the new 311- ARCHIVE box set, which contains 81 songs over fours discs and a 60 page book. Sexton is the archivist of the group. He explains this is essentially what they found the fans wanted. “I went out and simply asked our fans at our shows over the past couple years what they would want? Would they want another album of greatest hits? Every fan said no,” Sexton said. “When we made the box set, we took deep cuts and anything a 311 fan would just love to hear. It’s a very intimate thing.”

Upon completing the last tour, work on album # 12 will commence. “I listen to Nick’s new demos and I’m just floored,” P-Nut says almost with a chuckle. “He does not need us. (laughs) He’s so talented and so good at letting you know where he wants the song to go. These four or five new songs, there’s nothing to do with them. They’re just perfect.”

Hexum giving insight into what’s next tells me, “The new songs we are working on right now are among the best. There’s a real excitement and open-mindedness within 311 to bring in new styles and new arrangements that really make it sound fresh. Everybody is on the same page with that so morale is high.”

The band has tapped longtime friend and producer Scotch Ralston to produce the record. “The balance Scotch brings to the table is incredible. When we sit down to write lyrics with S.A. and Nick we can bring in a little more conflict and topics that show its tough out there,” P-Nut explains with enthusiasm. “We think about the crowd when we write, maybe sometimes too much. There has to be a balance between rocking the songs with the crowd and rocking the songs in your arms. Scotch really has this cool stature about him that I really like supporting. He allows us to make mistakes. If we’re going to be depressed for a certain song, that’s OK. He’s a part of the family that we could’ve never seen. I want people to know just how important he is to our sound and how much we appreciate him.”

25 years of anything is commendable. Taking a moment to recognize what 311 has done over the past 25 years leaves you feeling proud. In part because it encapsulates the so-called American Dream, but also if you have been fortunate enough to be a part of the journey in even the smallest way, you can’t help but feel appreciative. The feeling is mutual. There’s a song on almost every 311 album that expresses gratitude for music in general and what it has to offer. “Hey You,” the first single from 2009’s Uplifter, is just one example with lines like – “you’re my constant companion, you always let me explain just what I’m sayin’ and we’ve just begun.”

Sexton remembering how he felt holding the box set for the first time the day before tells me, “It’s an accomplishment to be in a band 25 years and have every record be the same members. We have reggae hits, rock hits, longer songs and even creative interludes. What I’ve noticed now, what I’m most proud of is being able to take our time with our fans. We have different styles of music without trying to recreate hits so it feels more like a musical entity,” he said. “We’ve been so lucky and fortunate to come from our own hearts and minds. For me, that’s where I come from right now when I write any rock music. I want to make the fans feel a certain way. The inspiration behind all of my rock music is them. I doubt any of them know that, but it’s such a cool synergistic element to this band that is totally invisible.”

It’s the love of music that brought these five friends from Omaha together and kept them together 25 years strong. Their mission statement is lived every day. They practice what they preach with extraordinary gratitude along the way. “I don’t know what we did to deserve this. People thank us for doing what we love,” P-Nut said. “Of course troubles will come, but you have to be better because of it. Such simple things that we all learned when we were kids, to pick yourself up. It’s that positive struggle. I know I’m going to go that extra distance. I’m going to do that for you and you are going to do that for me and together we are going to bring a whole fucking bunch of people with us.”

“I would hope that 311’s legacy will be that we were not just a band, but a movement to our fans,” said Hexum. “It all starts with the music, but I think we have become a lifestyle and a positive way of looking at things as well.” When you attend a 311 show, absolutely nothing else in the world matters or comes to mind for at least those two and half hours. You can’t help but have a great time. You’re truly creatures for a while. “We realize we’ve got our thing,” Hexum says. “Because of our awesome fan base we’ll always be OK for touring and we are just going to compete against ourselves to be the most true to our unique vibe that we can be. It gives us a quiet confidence to know that we are going to be alright and lets us just keep doing our own thing.”

The best part? 311 fans have every reason to be overly excited as they know the best is yet to come. Cheers to the past, present and future. As Hexum often states at the conclusion of each show, “Stay positive and love your life.”

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Temple of the Dog’s “Hunger Strike” Was Completed Before Pearl Jam’s First Rehearsal

Chris Cornell discussed Temple of the Dog’s “Hunger Strike” in a new AV Club article.

“I don’t really remember it. [Laughs.] I kind of remember the basics but singing on that album happened so quickly. The song itself, it really wasn’t much of a song. It was a verse with just a kind of repeating chorus. It was just where we needed one more song for the album, and I had that down, but I hadn’t played it for anybody yet because I didn’t feel it was a complete song. But I knew we had nine songs, and I thought 10 would be a nice, even round number. I just figured that this would be the 10th song that would wrap up the album, and it would just be what it was, verse for verse and then repeating chorus sort of like a coda for the album listening experience. In rehearsing it, and I think we only rehearsed for two days for that album, but I was singing both parts of the song. I sang the high verse part and then the low chorus part and then the high chorus part and so on.

Eddie and the rest of them were waiting for us to finish because they were about to have one of their first rehearsals as Pearl Jam, and he saw me sort of struggling with it, so he just walked up to the mic and started singing the low part, and I started singing the high part. I immediately got this idea that his voice sounded so rich in that low register that it would become more of a song if I sang the first verse, then the whole band kicks in, and then he sings that verse again, but in effect it becomes a different verse. It’s a different person. It’s a different voice and a different everything. And I think I had that idea right there on the spot; we did it that way, and suddenly it was a real song. I hate to use that term “real song” but to me it was like: Okay, in just a moment this has become an arrangement that changes everything.

I never thought about it as being singular or anything because there were a lot of really well written songs that lent themselves to the notion of a single, but once we played it for other people, that was the choice that was made. But my memory of us singing it together is I just went in and sang my part, he went in and sang his part, and it took probably 40 minutes, and that was it. That was back in the day where you had no record budget, and that album in particular was recorded and mixed in a total of 14 days, not in a row.”

Chris Cornell Burned On Set Of Music Video

TMZ is reporting that Chris Cornell suffered severe burns on the set of his “Nearly Forgot My Broken Heart” music video. Cornell was doing a stunt where he was taking part in a mock hanging and had a liquid chemical singeing a noose tied around his neck. The stunt didn’t go to plan and had to be shot multiple times. The chemicals eventually rubbed off on Cornell’s neck and left the Soundgarden frontman with 2nd degree burns. Cornell’s face was not burned in the accident.

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Pearl Jam guitarist Mike McCready recently talked to Alternative Nation about playing with Chris Cornell at Mad Season’s Sonic Evolution show.

“I’m very proud of the whole Mad Season Benayora Hall album that just came out. We got on the classical charts, we’re number 5 on the classical charts, which is bizarre to me, and amazing. That was an incredible journey that I started 2 and a half years ago talking to Ludovic Morlot, who is the head of our Seattle Symphony. When he said yes I would like to do this, and do these Mad Season songs, that’s when I gave him the CD, and he came back about a year later. Then Chris got involved, and it turned into something bigger and more magical than I could have ever imagined. Jeff and Stone came, we did some Temple [of the Dog] stuff, I know I’m going back in time right now, but I’m very proud of that moment and that release, that we recorded it. Maybe we’ll do something else, we filmed some stuff from that show, so maybe we’ll do something with that someday.

I’d like to do something else with the Symphony someday, but I kind of need to figure out what that is, and if they’d even like to do that again. I’d love to do any kind of cool independent movies that touch me, that come my way. I’m sure we’ll end up doing some Pearl Jam stuff next year. Like I said opportunities arise if you are aware of them, if you keep your ear to the ground. I don’t know, I’d love to do something with Cornell again, he’s very busy, but that would be an amazing thing too.”

Rapper Waka Flocka: ‘Kurt Cobain Paved Way For Wild Motherf**kers’

Rapper Waka Flocka Flame (also known as just Waka Flocka) recently shared his opinion on late Nirvana frontman Kurt Cobain in an interview with Pitchfork. Pitchfork asked Waka Flocka if he believed that Kurt Cobain was underrated or overrated. Waka Flocka had a look of amazement and nostalgia on his face when Cobain’s name was brought up, and it was clear he held the Grunge rocker in high regard.

Waka said, “Wow, when you talk about Kurt Cobain, it’s like fuckin’ with James Dean. Kurt Cobain, he’s the reason I’m Waka Flocka. He paved the way for people like me, wild motherfuckers. Kurt Cobain’s that guy man, he’s underrated.”

Krist Novoselic recently discussed Kurt Cobain’s suicide and Nirvana with SPIN.

“He should have never done that, he should have never done that, what he did. I don’t know, I mean it happens all the time, it happens every day. I think he was out of his mind on heroin, I remember seeing him on those last days, and he was loaded, so he wasn’t thinking clearly when he did that. And after Rome, he tried to kill himself in Rome, and he was really weird after that. He was quiet, he should have never done that, but he did it, and it’s terrible, people do it, I was heartbroken when he did that.”

He also discussed where Nirvana would be today if Kurt Cobain was alive. “You never know, maybe we would suck. Look at Foo Fighters, Dave Grohl and Foo Fighters are on top of the world. So he kept the flag going for rock and roll, he’s just like the leading act in the world. It’s just hard to speculate. I wish Kurt had lived, and was a monk somewhere, he would have been a great monk, he could have been a great painter, he could have been a great sculptor. He was such a talented artist, that he could have done whatever he wanted to do, and he didn’t have to do what he did.”