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  1. Today
  2. There's just no way he knows what that song is this far from it. Did you see him try to answer the Reading My Eyes question yesterday? lol
  3. I guess this isn’t offical song name so he probably doesn’t know
  4. Please someone ask Mike about Thoughts That Take Away My Pride!
  5. Nevere heard the song before, but we definitely need more albums after Amends gets released in a month
  6. Halfway Right and Sharp Edges released Halfway Right(560MB) 29 tracks Sharp Edges (400MB) 31 tracks
  7. Yesterday
  8. I'm still baffled by how bad OML was. The direction they took was weird, basically a sound that left the charts 3 years prior, but that's fine if that's what you want to do. The main problem is the output was generic and bland with some of the worst features I've heard in a long time. Those Stormzy bars sounded like something he pulled out of his ass 5 mins before recording and were so out of place. Even though there are a few bright spots, I have not listened to most this album since release and I won't ever again. If you are going to change direction, do so boldly, don't make some generic forgettable excuse of an album.
  9. Yeah that song could have basically been on LT or ATS, it’s a LP song definitely
  10. This confirmes what most people tought already, that Promises i can’t keep was more a Linkin Park esque kind of song.
  11. Here we go again! Mike answered some cool stuff on the 22nd, and here's the recap. - "How did you start making music when you were young?" -> "I started with classical piano for about ten years. After that I went to basically sequencing and samplers. Back then, keep in mind, we didn't have the technology that we have today. So it was different. So I couldn't make stuff on a laptop, I was literally making stuff with like a cassette tape recorder. And like really shitty samplers and stuff like that. Specifically I did Akai S900 which I loved. I was programming it using a drum machine called the HR16, you'd have to literally... there was a little box and it was supposed to be a drum machine with its own drum sound but you could turn the volume off on that and instead of it playing its own sound, you could have it play triggered sounds off the other thing. So I'd have that, trigger my sampler, run the sampler into the cassette four track, and then rap over the beats. And I was using a $100 microphone. Microphone straight into the four track, nothing else. Sounded like shit." - "You and Chester wrote QWERTY on the plane?" -> "The lyrics were written on the plane, but the music was not. So we did the music beforehand and then Chester and I wrote... like we had already started on the lyrics before we flew, and then we were running and forth in the plane to each other. We weren't far, like we were a few seats from each other. And we'd come over and be like "hey what do you think of this?" He wrote it, I usually write lyrics on my phone and he would write it on paper, he would usually write. He was slow typing and paper was faster and he was writing it and it was back and forth." - "Can you talk about the making of "Promises I Can't Keep?" -> "There isn't anything really unique in terms of that, it wasn't different making that one versus making the other ones. The Post Traumatic record, everything was just capturing what was going on at the time when each song was made. And make the whole song as quickly as possible, at least get all the lyrics and vocal recordings as quickly as possible so I could capture that day and that moment in time. So, the same thing for that one. I think the lyrics are very self explanatory. The music was a track that I already had that I didn't use. And I heard it... I was like picking through folders of things, "oh I really like this one." And I feel like it filled a role on the album, because I wanted something on there that felt a little more like a Linkin Park song, like my version of what that would be if that would be, if that makes sense. It dipped its toes in the water of like a Linkin Park. So I thought that was important to have on the record."
  12. Last week
  13. tl:dw and there's the scream, kinda full but i'm not sure if one take though. Nice cover in foreign language!
  14. does anyone know the painted lyrics of Gray Daze?https://youtu.be/KpM0wVTDR74
  15. This, and then the actual writers would probably get lesser royalties because of the division, which would also be unfair.
  16. True! Its always a win or fail with experiments.
  17. Yeah buddy, without experimentation we'd never have The Catalyst, Waiting for the End and another beloved songs. The best thing about this band is, if you didn't like their newest output, you only have to wait 'till the next one.
  18. THIS. THIS. AGAIN, THIS. They tried something new, they did the writing process backwards and had collaborations with songwriters, and regardless about the opinion on the final result (I love it, you think it’s mediocre) you have to give credit to the band that could have just phoned in another LT-style album (I like LT but it’s safe) and instead decided to take a big risk
  19. That's it, there's nothing wrong with changing your way of making an album, It could have been something good or mediocre. For me, OML was the second. But I prefer to fail doing something different that screwing up with the same old shit.
  20. I mean, they just wanted to try something new. I don't really understand the sentiment that "outside collaborators = bad". There's a purist argument to having everything done solely by you/your band, but I've always thought bringing in third-parties to work with brings new ideas to the table and can take songs in new directions that they might not have gone in otherwise. They basically had the exact same songwriting process for 20 years or so. Why not flip it up for an album and start with lyrics and bring in outside collaborators. Like you said, it's not like the band just performed songs other people wrote for them. The usual songwriters in the band were still in the room for the entire album. It's also not like they replaced Joe or Phoenix with Jon Green or Ilsey Juber. They probably wouldn't have been helping with that part of the process anyway. They did get credit on BMI, so they probably are getting songwriting royalties. But again, it'd be in poor taste to have all these outside songwriters bundled in with 3-5 other people who didn't actually help write the songs. Like, "Why do these guys get the same credit I do when I actually did the work", ya know?
  21. Lmao was he really? He probably was like “So we put out this album, and the song up for an award is the only song with no vocals.... nice.”
  22. It just seems so weird, if that was the case (I’m not saying it ISN’T; it likely is), that Chester / all of the band wouldn’t just get a writing credit on every song like every other album. I mean Chester has a writing credit on Session lmao. He was heated it got nominated for an award.
  23. Astat, it’s different. I’m not at my home computer to compare the guitar at the end to the album version, but the newer rip has the vocals completely separated from all background instruments, and the “song” file is actually the studio party sounds and the piano mixed together.
  24. I would think that’s correct. He and Mike have done that since HT days, where they just talk openly about their issues and come up with ideas from there. Chester may very well have provided the concept and Mike turned it into song lyrics.
  25. During one of the latest livestreams there was a part of the desktop "exposed" and people freaked out in the chat saying: "Mike, the files, we can see the files" and stuff. Maybe he just noticed that and he still doesn't know about this thread, but yeah, it was so funny 🤣
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