Interview:2026/09/10 Tyler Bates Discusses Working with Marilyn Manson

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Tyler Bates Discusses Working with Marilyn Manson
Interview with Tyler Bates
Date	September 10, 2026
Source	Loudwire Loudwire Nights: On Demand
Interviewer	Chuck Armstrong

This page or section contains speech recognition generated transcription and may be incorrect.

Transcription

The transcription below is a WebVTT file generated using OpenAI Whisper.

WEBVTT

00:00.000 --> 00:11.800 hey it's chuck armstrong with loud wire nights and this is loud wire nights on demand we had

00:11.800 --> 00:17.360 the immense privilege of hanging out with tyler bates talking about his incredible journey as a

00:17.360 --> 00:23.200 producer musician artist songwriter you name it this interview aired on wednesday september 9th

00:23.200 --> 00:29.880 here we go well hanging with us tonight is a guy who has uh been involved in a whole lot of bands

00:29.880 --> 00:37.340 i don't even know uh where to start but i'll try as we welcome him jerry cantrell bush macedon amy lee

00:37.340 --> 00:44.020 in this moment marilyn manson he's in part of some of the best movies around like the john wick series

00:44.020 --> 00:50.260 and the devil's rejects and 300 and dawn of the dead uh and one of my all-time favorites killer joe

00:50.260 --> 00:55.980 uh you've heard his work on tv shows uh you've played video game soundtracked by his work he has

00:55.980 --> 01:01.760 his own record label and i'm just scratching the surface joining us tonight is mr tyler bates tyler

01:01.760 --> 01:05.880 man thank you so much for hanging chuck good to talk to you man how you doing today i'm good brother

01:05.880 --> 01:11.560 it's good to uh good to have you on the show and uh i know that's a very brief uh introduction for

01:11.560 --> 01:15.800 everything that you've been part of but i'm curious you know just what runs through your head when you

01:15.800 --> 01:21.400 hear or read lists like that when you sit back and think about everything that you've uh you've been

01:21.400 --> 01:26.780 part of like entertainment music all of this for so many years what what runs through your head um

01:26.780 --> 01:33.260 i i've really been on a one thing leads to another trajectory i mean for me i started out you know

01:33.260 --> 01:40.340 uh playing guitar and being in bands and always writing songs for the bands producing our demos and

01:40.340 --> 01:47.320 promoting shows and all that i just love it and then uh honestly i never even expected to be in the

01:47.320 --> 01:53.200 film business uh when i moved back to la this is where i'm originally from i moved back to la uh

01:53.200 --> 01:59.520 in the 90s and uh people started asking me to score their movies and you know i confess that i had no

01:59.520 --> 02:07.220 clue what i was doing but they you know they were really cool about uh sharing their insights with me

02:07.220 --> 02:13.880 and i learned from producers directors you know re-recording mixers editors anybody who would share

02:13.880 --> 02:18.600 their experience with me so i could understand you know their perspective and and their discipline

02:18.600 --> 02:27.680 and i i had some chops from songwriting and being in the studio and i applied that to uh to that craft

02:27.680 --> 02:34.840 and took me about 15 movies before i did one that i wasn't entirely embarrassed by but this has been a

02:34.840 --> 02:43.740 an insane journey so i had a band in the 90s called pet that was signed to atlantic and um eventually that

02:43.740 --> 02:51.160 fell apart and i figured okay i'm gonna front my own band before it's all said and done i want to

02:51.160 --> 02:56.760 see what that's like i had never done it so i did that and then things started happening you know in

02:56.760 --> 03:04.700 the industry with that little band and i decided i wanted to to not be pushing another band and touring

03:04.700 --> 03:12.580 and um my movie stuff started taking off that side of my career so i thought i would stay with that

03:12.580 --> 03:19.680 for a while and see what could happen you know because i felt that i was growing a lot as an artist

03:19.680 --> 03:26.120 and it was just an entirely different type of collaboration than just me and basically the

03:26.120 --> 03:32.880 singer of our band at the time whoever that might be depending what band and then you know also i wanted

03:32.880 --> 03:38.860 to have you know my personal life develop because that doesn't develop when you're on the road and um

03:38.860 --> 03:44.440 one thing led to the next but it was always you know in between painting houses i was doing movies

03:44.440 --> 03:53.780 even uh leading right up to dawn of the dead as you mentioned that was my 33rd movie wow and um

03:53.780 --> 04:00.760 i never expected to do one movie or 10 and then dawn of the dead was technically my second number one

04:00.760 --> 04:05.920 movie i had like a dance movie that happened a couple weeks before that and i had two number ones

04:05.920 --> 04:12.280 in the beginning of 2004 and then i couldn't even get a job for a few months after that like not even

04:12.280 --> 04:17.680 an interview so the next thing i did was like a brook shields lou diamond phillips miniseries because i

04:17.680 --> 04:24.240 had bills to pay you know so it was that and uh but the funny thing was during that time um i started

04:24.240 --> 04:30.860 talking to uh you know james gunn about slither and dawn of the dead or uh rob zombie had been at the

04:30.860 --> 04:35.900 dawn of the dead premiere and so he was talking to me about something and i that led to devil's rejects

04:35.900 --> 04:46.220 and uh you know slither of course and and then 300 and so again it it was such an intense

04:46.220 --> 04:53.540 work focus i didn't have time to process it i i didn't sit back and go oh damn i'm amazing i never

04:53.540 --> 05:01.340 do that i'm always vlogging myself i can't i have a difficult time really um celebrating too much so

05:01.340 --> 05:05.800 it's really about on to the next i finish one thing i'm like all right cool that turned out great

05:05.800 --> 05:13.960 on to the next i i think about the things i learn along the way and every movie i'm involved in there's

05:13.960 --> 05:21.040 there's geniuses in the room that i need to hang with and so i've started to recognize through the

05:21.040 --> 05:26.760 years you know where i've become a stronger person more insightful uh just through listening

05:26.760 --> 05:34.680 and much more capable of understanding the story that the director wants to tell and also

05:34.680 --> 05:41.020 understanding the movie the studio wants to release so without subjugating the director

05:41.020 --> 05:47.040 i understood that and so there's no you know there is some regard for i don't want to call it

05:47.040 --> 05:53.080 commerciality but what's an appropriate product at the end of the day yeah that's an expression of me

05:53.080 --> 05:57.780 that serves the director's story but is also something the producers identify with because

05:57.780 --> 06:03.800 they're paying for it you know and i was not really thinking about making records but it was really when

06:03.800 --> 06:12.040 i was doing californication and manson was on the show um we had to perform together because there was

06:12.040 --> 06:20.380 an episode uh concluding the season sixth season and that was the season he was on and many of the cast

06:20.380 --> 06:28.020 members are notable artists who've had big careers so everybody seemed to want to perform on this show

06:28.020 --> 06:34.460 that was being shot at the greek theater manson being one of them and that's where i met him and i

06:34.460 --> 06:43.420 didn't really you know i think we had an auspicious beginning um yeah he i was a bit irritated at the

06:43.420 --> 06:50.120 agitated at the time i met him because it's at the end of a 10-hour day 100 degree 100 degrees in the

06:50.120 --> 06:56.420 rehearsal studio he was the last one to show up of course and uh we were ready to get out of there

06:56.420 --> 07:01.560 and so it took a minute i never expected that i would work with him i thought okay we're gonna play

07:01.560 --> 07:11.260 your songs which we only did two i think and then uh we started talking um we did two shows there was

07:11.260 --> 07:15.880 like a californication rap party afterwards which was like a full-on concert and there's a thousand

07:15.880 --> 07:23.240 people there amazing atmosphere and that's when we first spoke about sort of a reinvention and it

07:23.240 --> 07:29.060 took a while before we actually ever did get into the studio and that led to the pale emperor and

07:29.060 --> 07:37.460 again i never even intended to or plan on playing in his band or any of that it just sort of led to the

07:37.460 --> 07:45.020 next thing and the interesting thing is so as we were writing uh the pale emperor a colleague of mine

07:45.020 --> 07:51.900 called me and said hey um i've been told that i need to speak to you about an original maryland

07:51.900 --> 07:58.360 manson song for a movie i'm like oh yeah and i said yeah i said there they said you're the one who is

07:58.360 --> 08:05.540 uh is in charge of all that i said okay and so this guy happens to live in my neighborhood so

08:05.540 --> 08:09.920 he came over and he listened to a few of the songs and as soon as he heard killing strangers

08:09.920 --> 08:15.400 he's like that's it i'm like what he says that's the song for this movie i'm like what's that called

08:15.400 --> 08:21.500 again he says it's just a little movie it's called john wick i'm like okay and he said would it be cool

08:21.500 --> 08:25.980 like to have a meeting here in a couple days in your studio so at the time i was scoring guardians of

08:25.980 --> 08:32.520 the galaxy the first one and you know mind you when i wake up in the morning and i'm brushing my

08:32.520 --> 08:39.820 teeth i still see a guitar player you know no matter what like title film composer is pretty

08:39.820 --> 08:47.940 hefty to to accept considering all the the greats that have have been in the business so anyway um

08:47.940 --> 08:53.160 we had a meeting a couple days later and you know i'm in just slammed with this movie and i'm up

08:53.160 --> 08:57.120 against deadlines so i'm kind of like all right let's get into this and get it over with but

08:57.120 --> 09:03.320 you know dave leach and chad stahelski the directors came over and coincidentally they um

09:03.320 --> 09:10.120 i recognized them because they were the stunt guys in 300 and i saw them in the movie because that movie

09:10.120 --> 09:16.040 took a long time to score so for for months and months i was working with like a green screen and

09:16.040 --> 09:23.580 a wheat field and these guys were among the spartans yeah and then keanu uh came over and and i had done

09:23.580 --> 09:31.420 um i think at that point i'd only done well i did a couple movies with keanu so i got to know him a bit

09:31.420 --> 09:37.040 prior to then and then uh of course you know manson was here and turned out to be a hell of a tuesday

09:37.040 --> 09:45.100 afternoon let's just put it that way we blasted the record like it was a concert and uh everybody

09:45.100 --> 09:51.280 responded to killing strangers they're like that's john wick i'm like all right cool and then it was

09:51.280 --> 09:56.480 really the next day that the music supervisor john houlihan you know called me and asked me if i'd

09:56.480 --> 10:02.400 score the movie and i was still busy with guardians so i suggested my friend joel richard and i do it

10:02.400 --> 10:08.720 together because joel is somebody i'm close with and shares a similar aesthetic to me so it worked out

10:08.720 --> 10:17.180 and we did four movies and that was a real i think that was a tremendous launch pad for manson's

10:17.180 --> 10:24.700 next chapter of his career which obviously was uh the pale emperor yeah absolutely man and i mean

10:24.700 --> 10:30.340 there's so many moments in there that i know we could spend hours talking about but you know i i the

10:30.340 --> 10:35.840 first time you you really met manson you said it was you know a little auspicious uh but it sounds like

10:35.840 --> 10:41.480 pretty quickly you got over that you guys got over that and started talking about this reinvention

10:41.480 --> 10:47.320 yeah yeah i mean look i'm i'm straight with everybody so i'm not gonna you know and i think

10:47.320 --> 10:54.680 he recognized that because i said well this kind of this was like um when was this this must have been in

10:54.680 --> 11:03.560 august of 2012 and i asked him at the party i'm so i said so um when did you put out your last record

11:03.560 --> 11:11.540 i guess it was not long before that party a few months or something i said well i think it's time

11:11.540 --> 11:18.000 to reinvent no and he said yeah and i said okay i said well if that's something you're interested in

11:18.000 --> 11:23.980 let's talk um you know i'm not you know the interesting thing about working with him is you

11:23.980 --> 11:30.900 know there's only one manson's like a one of one you know and what i recognized when i familiarized

11:30.900 --> 11:36.260 myself with some of his music it sounded like people whoever was collaborating with him were

11:36.260 --> 11:42.480 introducing ideas that they thought would be mass and ask that he would like i have no interest in

11:42.480 --> 11:51.840 that you know and i'm through music i'm a storyteller look i love to slam hard and smash guitars and

11:51.840 --> 11:59.340 whatever you know i i definitely have that kind of fire but there needs to be a point right and he had

11:59.340 --> 12:06.360 a story he needed to start telling because he was rudderless in that so how much of this

12:06.360 --> 12:14.280 bullshit can you make up over time and have it stick the way his music did his lyrics did earlier on in

12:14.280 --> 12:19.240 his career i'm not saying it was all not good i'm saying it was just kind of rudderless so you might

12:19.240 --> 12:26.060 have a good song a couple like what was going on in their songs yeah and it was just a matter of

12:26.060 --> 12:35.800 focusing and having a strong collaborator who didn't really need him like i don't need that i loved it

12:35.800 --> 12:42.660 and that's why if you really listen to the pale emperor and set aside preconceived notions about

12:42.660 --> 12:51.740 what you love most about manson's catalog or whatever there's so much passion and fun

12:51.740 --> 12:59.320 in that music it's pretty dark too if you really allow yourself to to get into it but there's some

12:59.320 --> 13:07.040 confessions in that record that i think are pretty powerful um third day of a seven day binge it's

13:07.040 --> 13:12.960 amazing i remember the recording of every song because i wrote all those songs on the spot with

13:12.960 --> 13:20.160 him in the studio so he would now our process changed a little bit in these you know uh chapter one

13:20.160 --> 13:26.440 chapter two albums but yeah he he would come over and you know mind you i'd already done 12 hours

13:26.440 --> 13:35.520 working on guardians of the galaxy or you know john wickman and he would come over and um and so i would

13:35.520 --> 13:44.220 just listen to him talk because he used to talk a lot before he became sober like he talked a lot so i

13:44.220 --> 13:50.380 would just listen and okay today it's girl problems you know so i would write a song that

13:50.380 --> 13:57.680 would you know i would be writing the music as he's talking to me and develop a sketch that i think

13:57.680 --> 14:03.980 would contextualize what he had to say that day uh to the best of my ability and all those songs were

14:03.980 --> 14:10.000 created like that uh except the first one birds of hell is the first song that we ever did together

14:10.000 --> 14:15.200 and i knew he was coming over and it was about an hour beforehand i'm like oh you know marilyn

14:15.200 --> 14:20.420 manson's come over and i should write a track you know just something for us to talk about when he

14:20.420 --> 14:27.780 gets here so i did that one in about 40 minutes and i sent him a sketch and he was you know as i think

14:27.780 --> 14:33.060 fred sablon was driving him over here so that is i say his name anyway he's driving over here and so

14:33.060 --> 14:38.520 manson texted me says can we work on this tonight and i'm like yeah we can record it so he came over and

14:38.520 --> 14:44.880 just two takes and that was the song and of course i developed it a little bit further after that but

14:44.880 --> 14:50.760 you know it felt really good and you know the next record was a little bit more of a challenge to

14:50.760 --> 15:00.120 get get the focus you know and then after that i would say uh these two records were a whole different

15:00.120 --> 15:09.500 experience different approach and yeah i wasn't interested in working with manson um you know

15:09.500 --> 15:17.740 anyone who knows our relationship our history knows that it's been volatile never in the studio the

15:17.740 --> 15:24.700 studio is always amazing um but there's always the desire for me to come out and play then i come out

15:24.700 --> 15:30.880 and play and then after a little while you know it's time that you know we kind of go our own ways

15:30.880 --> 15:41.340 and um so i wasn't totally uh interested but then after speaking to him because he contacted me once

15:41.340 --> 15:48.800 you know he started this new journey that he's on and you know gil sharon was like pushing me really

15:48.800 --> 15:57.100 hard to consider it and so after a while um manson and i got together and i was still uh touring with

15:57.100 --> 16:03.080 jerry cantrell and doing all my other stuff that i do with movies and television and whatnot and um so

16:03.080 --> 16:08.540 i got together with manson and i said look man i said if you're really serious about doing the best

16:08.540 --> 16:14.060 work of your life i will i will do that with you anything less than that isn't going to work for you

16:14.060 --> 16:19.240 anymore you're in a place in life where you have one chance to show people that you're a serious

16:19.240 --> 16:25.480 person and that you're a great artist like a great artist i'm not talking about the stuff you used to

16:25.480 --> 16:30.840 do isn't going to be good enough i'm like you have to be open and honest with people in this music

16:30.840 --> 16:37.660 and i said so if you're if you're interested in doing that kind of work then i'm into it and so i i

16:37.660 --> 16:42.360 told him i said all right i'll write you 10 tracks just for inspiration before i leave i was leaving in

16:42.360 --> 16:49.340 about a week with jerry to finish up touring with him and uh i said these aren't the songs okay these

16:49.340 --> 16:54.360 aren't the songs but i came back about two and a half months later and we got together and um

16:54.360 --> 17:03.860 you know we it took us a few days but sacrilegious was the first song and um and then it just started

17:03.860 --> 17:11.400 this whole thing as though we were authoring a novel i knew he had a story to tell and the thing is

17:11.400 --> 17:19.900 like it would be easy just to do a hard industrial or punk rock album with these venomous lyrics but it

17:19.900 --> 17:27.880 wasn't there was more to say and there's more depth in his story than just that and frankly i didn't want

17:27.880 --> 17:34.900 to do a bench or bitch rant album with him if what he had to say was something he thought about very

17:34.900 --> 17:41.900 long and hard and i wanted the music to contextualize it in a way that allowed us to experience it more

17:41.900 --> 17:47.460 like a movie and so when you listen to the music yeah you're clearly hearing a very cinematic dimension

17:47.460 --> 17:54.180 to it but some of these songs are still pretty hard at the same time yeah i'm really proud of it

17:54.180 --> 17:59.400 well you said uh early on you know you always shoot straight and clearly that conversation with

17:59.400 --> 18:04.980 manson was shooting straight you know that if this isn't if you don't want to do the best work

18:04.980 --> 18:10.600 you've ever done you know i don't want to be part of it at that time you know a lot's going on in his

18:10.600 --> 18:17.040 life and a lot's going on in the world for you to hit him with that could have gone you know one of

18:17.040 --> 18:21.980 two ways and it sounds like though he really received it like that was something he needed to hear

18:21.980 --> 18:28.400 he needed someone in his life to say you got to set like this is it yeah well i at the time

18:28.400 --> 18:37.360 uh it wasn't as though there were opportunities available to him i mean it could have been that

18:37.360 --> 18:46.780 could have been it you know um but you know he was up for the task and you know we've always had a

18:46.780 --> 18:55.920 great time in the studio um i love writing music that he writes to that he sings to you know and

18:55.920 --> 19:02.180 the way it's done is there's no one else around it's just he and i i play everything i record everything

19:02.180 --> 19:10.720 i record him that's it just the two of us when we make these records um and so it is very a very

19:10.720 --> 19:18.480 intimate conversation and music and because we've worked this way i know him probably better than

19:18.480 --> 19:26.620 anybody on this earth besides perhaps his his wife lindsey you know um so it's it's a really

19:26.620 --> 19:32.520 heavy interesting thing and i also take it very seriously like you know i knew he had one chance

19:32.520 --> 19:41.580 to come back and be great and i wanted to make sure that was the case so um and he probably won't

19:41.580 --> 19:47.200 be thrilled that i said this but you know i i saw some comments i don't really look at comments from

19:47.200 --> 19:55.480 people but when chapter one came out some people were suggesting that i pro tools his voice on songs

19:55.480 --> 20:03.720 right insinuating i created his performances yeah he he wrote and sang melodies that he never sang

20:03.720 --> 20:09.320 before because before we got together i said while i'm on the road i want you to go to this vocal coach

20:09.320 --> 20:14.880 and work with her while i'm gone because when you get on the mic i want you to be ready you haven't been

20:14.880 --> 20:24.980 singing for a long time and he did do that and the results are amazing and he's i think written

20:24.980 --> 20:32.400 melodies and sung things that he's never done uh none of the sons on the new record come on he would

20:32.400 --> 20:37.920 never have sung a chorus like that in his life he did it because it just came out of him you know it

20:37.920 --> 20:45.160 was just there for him uh and anti-amorph is another great song off the new record that really showcases

20:45.160 --> 20:52.140 a type of singing that i haven't heard a lot of him do in the past but point being is you know my

20:52.140 --> 20:57.700 interest is the well-being of everybody that i work with i take great responsibility in my role

20:57.700 --> 21:06.280 um even with the film director if i tank on them you know maybe that's the difference that makes

21:06.280 --> 21:11.780 their movie not work and then they don't get another job i'll probably get another job i'm lower on the

21:11.780 --> 21:17.560 food chain but i'll probably get another job because i've had i've done so many things you know i don't

21:17.560 --> 21:23.600 take it for granted but that's probably likely so i'll go to the end of the earth to make sure that

21:23.600 --> 21:30.440 in a collaboration i serve the artists to my greatest extent well and that's like you know i

21:30.440 --> 21:35.520 think about great producers and great collaborators like that's the difference right you say that to

21:35.520 --> 21:40.440 manson or you say it's something similar to a film director you're not just saying it to them

21:40.440 --> 21:45.880 but you're putting that responsibility on yourself too like manson if you know you got to make the best

21:45.880 --> 21:51.340 music of your life you saying that then puts the onus on you to be part of that too and look this

21:51.340 --> 21:58.500 isn't a one-way street once we get in the studio i'm like manson i don't even know why this is the

21:58.500 --> 22:04.100 case that we have this chemistry because we really do i was not like a super manson fan not that i didn't

22:04.100 --> 22:10.460 like what he did i just wasn't totally tuned into all of his music you know before we started working

22:10.460 --> 22:18.960 together but when we get into the studio together it just there's so much energy it's a we don't talk

22:18.960 --> 22:26.500 much in the studio at all it's just it's the most bizarre thing it's almost like reading each other's

22:26.500 --> 22:35.360 minds yeah and the songs flow you know there's always riffs there's always whatever needs is required

22:35.360 --> 22:42.600 to tell the story and so because of that chemistry he certainly has brought things out of me that were

22:42.600 --> 22:51.160 not part of my vocabulary prior to our working together and i love what we do and it wouldn't be that

22:51.160 --> 22:57.800 if it weren't a collaboration with him so it's not just like yeah i write these tracks you know and i tell

22:57.800 --> 23:06.720 him what to do it is not that it's it's it's more like a conversation because him being in the room

23:06.720 --> 23:13.760 affects the way i play he doesn't say anything necessarily or sometimes if i'm doing something he'll

23:13.760 --> 23:20.060 get excited and he'll start recording me like on his phone or something or you know he's he can be

23:20.060 --> 23:25.620 very uh exuberant in that way you know and celebrating something that he feels is exciting

23:25.620 --> 23:33.380 and in turn i do the same you know i'm generally more you know the monotone one because that's kind

23:33.380 --> 23:43.180 of my role over time my voice has really become that but at any rate um i don't want to suggest that

23:43.180 --> 23:53.140 that what these records are is like a me thing i mean they start with me but but it's it's just like

23:53.140 --> 24:02.280 you know when you're in the presence of someone that you're working with they they affect the air

24:02.280 --> 24:09.900 in the room they affect the the way you think and the way you consider what your your options and

24:09.900 --> 24:18.100 your objectives are and um you know when we started chapter one manson uh manson made a mood board

24:18.100 --> 24:27.000 of images that was a really interesting point of reference for me to draw from when i was

24:27.000 --> 24:35.920 considering each song and we just kept it and so chapter two is not side three and four of chapter one

24:35.920 --> 24:47.460 it's not a concept album but it's it's the next phase of process or processing if you will

24:47.460 --> 24:56.740 okay chapter one was about manson really saying some things that he wanted to say after a dark period of

24:56.740 --> 25:04.680 a few years and chapter two is after having said that now i have a different a new perspective on

25:04.680 --> 25:12.800 things and i want to i want to state that and then toward the end um finally some of the

25:12.800 --> 25:19.320 opportunities started happening you know we had meetings in my studio and so a record deal happened

25:19.320 --> 25:25.920 with nuclear blast which was phenomenal promoters or rather agents came into the studio and

25:25.920 --> 25:36.580 and uh so we had opportunities coming up and touring and we were in deep into chapter two and um

25:36.580 --> 25:43.980 oh i wanted to introduce some different emotional opportunities for manson and that's where songs

25:43.980 --> 25:51.240 like all the byless things and don't answer the door uh happened um and then i felt we needed one good

25:51.240 --> 25:59.300 mid-tempo banger and that's what exit wound is yeah um so those were the last three songs that we did

25:59.300 --> 26:05.180 for chapter two so and i appreciate you saying this isn't like side three and four uh you know

26:05.180 --> 26:09.800 like a direct continuation of that but as you finish this and i know it's only been out you know

26:09.800 --> 26:17.480 uh not long but do you have a sense of like is there more to say kind of under this umbrella of one

26:17.480 --> 26:24.340 assassination under god or is the book kind of finished well i think i think this is probably

26:24.340 --> 26:32.200 it's i think whatever manson does next will be just a new thing and the reason being is like when we

26:32.200 --> 26:39.060 made this music i mean let's be real he wasn't sure he wasn't sure he'd be out performing right he

26:39.060 --> 26:47.820 wasn't sure if his fans were there for him and they really have shown up big time you know he's very

26:47.820 --> 26:53.920 fortunate to have such a dedicated fan base um who stuck with him through so much in his life and

26:53.920 --> 26:59.840 you know he's had his his ups and his downs throughout his entire career so i think going

26:59.840 --> 27:07.560 out and touring and you know performing some of this music his uh sort of exercise whatever he's

27:07.560 --> 27:15.560 needed to um to do to say to feel to experience to move on with his life and i don't want to see him

27:15.560 --> 27:22.560 sit in the same place either i think he needs to uh go on to the next thing but one thing i think is

27:22.560 --> 27:28.500 you know i know i'm biased because i love these records but one thing that i found to be really

27:28.500 --> 27:33.400 really interesting is like if you think of all the rock artists in the history of rock music

27:33.400 --> 27:40.660 how many have made two consecutive records that i think are his best records in his mid-50s i mean as

27:40.660 --> 27:49.880 far as complete records of songwriting with full a full dynamic scope which he has and um such amazing

27:49.880 --> 27:55.200 vocal performances i mean i love his early stuff but you can't put that lightning back in the bottle

27:55.200 --> 28:02.120 you know you can't roll back to 97 and him be 27 or whatever years old he was and doing all the

28:02.120 --> 28:06.820 things they were doing on stage you know lighting their gear on fire and all this you know it was a

28:06.820 --> 28:12.420 different time you know the lyrics impacted people differently back then so now it's more about who are

28:12.420 --> 28:17.260 you where are you at in your life right now what do you have to say i think he brought that 100

28:17.260 --> 28:25.740 um on these records and i'm really proud of my contribution to it my work on it and i'm really

28:25.740 --> 28:33.440 happy that um i was able to help him focus his thoughts and emotions and channel them into

28:33.440 --> 28:41.200 great songs you know i personally love every song on both records i think they're all really special

28:41.200 --> 28:46.220 well tyler man thank you for all this and i think yeah we could talk for a few more hours but i i do want

28:46.220 --> 28:51.880 to ask you so on top of all this i mean you know still celebrating chapter two being released you

28:51.880 --> 28:59.180 are working on a solo album right yeah and is this your is this i mean officially your first ever solo

28:59.180 --> 29:04.700 album yeah it's kind of funny you know i probably have like 40 soundtrack albums right yeah none of them

29:04.700 --> 29:12.260 are my solo album um look this is just for me just to get some uh just some stuff out of my mind

29:12.260 --> 29:19.860 it's instrumental it is kind of a guitar forward album this is pretty weird i guess it's sort of

29:19.860 --> 29:27.840 like a you know heavy pink floyd kind of thing but it's a guitar forward thing and and many of my

29:27.840 --> 29:33.900 favorite drummers are playing on the record um which has been really cool that everybody's just wanted

29:33.900 --> 29:40.920 to step in and play on it um so we're gonna put that out uh and probably beginning of march

29:40.920 --> 29:48.300 late february it just uh i'm working with some visual artists on an aspect of it and in the meantime

29:48.300 --> 29:56.580 besides you know doing my label which is gravel and echo recordings and we're really excited about our

29:56.580 --> 30:02.040 slate of albums we've so far put out the soundtrack to one spoon of chocolate which is a little movie i did

30:02.040 --> 30:09.360 with the riza from wu-tang clan and also uh lola bates her record is awesome love and power um we have

30:09.360 --> 30:19.600 a series of singles that i'm doing so i did a song uh with gunship revolution exe and i'm finishing up a

30:19.600 --> 30:26.560 song today that i did with band health um we have a long history together and those guys are my good

30:26.560 --> 30:34.440 friends and so i will be dropping singles through our label uh pretty much every month for quite a

30:34.440 --> 30:40.280 while and it's you know so i do this stuff in the morning and i'm doing criminal minds in the afternoon

30:40.280 --> 30:48.900 and tracker and you know just got back from london two nights ago recording a new movie um so that'll be

30:48.900 --> 30:55.780 out november and uh that's amazing so there's just a lot of things happening and i'm really fortunate to

30:55.780 --> 31:03.660 to uh have so many avenues to express myself as an artist and you know pay the rent tyler bates man

31:03.660 --> 31:08.300 thank you so much for hanging tonight congrats on congrats on this new manson album everything you're

31:08.300 --> 31:13.600 working on i can't wait to hear uh this solo album and and uh yeah everything else that's that's

31:13.600 --> 31:17.880 coming out listeners stay caught up at tylerbates.com we'll keep you posted here too but

31:17.880 --> 31:21.920 i know we're just getting started man so uh hopefully we can have you back anytime you

31:21.920 --> 31:25.720 want to come back the door is uh wide open i appreciate it chuck it's been a pleasure

31:25.720 --> 31:28.220 talking with you and i hope you have a great night

31:28.220 --> 31:38.100 that wraps up this episode of loudwire nights on demand stay caught up with everything happening

31:38.100 --> 31:42.180 in the world of rock and metal on the loudwire app and at loudwire.com