Trumtram

6 minutes ago, xxHybridXeroxx said:

My rant wasn’t directed towards you, it was more so towards the situation in general. It’s becoming extremely frustrating to read all the comments on socials and shit, to the point where I lashed out. Do I find it odd that they don’t mention Chester and try to distance themselves from that era? Of course I do. Do I blame them? Not really. Because the way I see it, they probably don’t want to be accused of milking him, because his toxic ass family has already said that. Do I wish they would mention him? Of course! It’s just so exhausting to me to see all the discourse about the band and the fighting between people over it all over the internet. It’s like, over the past few days I’ve thought once or twice “I wish they hadn’t come back” because of how exhausting it’s all been. It’s gotten to the point now where I can’t even listen to LP without thinking about everything. I really just wish the press would quit fanning the flames and that the people attacking the band would move on. 

No worries, I didn't take it personal. And I agree with Fleur, that Chester's ex-wife and his son are probably a big reason on why they handle it the way they do. I understand that and hate the fact aswell. But no one in this thread is blaming the band or anything. We are a good community generally, fortunately, and far away from social media outbursts of these lunatics out there.

To me, having LYF as the last bonus track on the album being a final nod to Chester (without naming him or anything) would have been the perfect send-off to this whole topic. A final goodbye and off to a totally Chester-unrelated future. That's it. No blame or anything. And it sucks that you have to "feel bad" about that according to some.

Yeah, some of you are becoming quite unhinged. Wow. Quit acting like this is some Facebook comment section where people are shouting "Chester Forever!!!". No one in this thread came forward with anything super extraordinary or urgent "demands" or even HATE towards the band. We are talking about a nod, a mention, something like that here and there and it gets perceived as if people are trashing the band and their decisions. You know what? If you can't deal with different opinions or feelings from fans then that is your problem. It's always the same people who become the bands lawyers if you even dare to "criticize" (for lack of a better word, don't get worked up again, please...) or point out something that you find odd. Talk about a parasocial relationship.

11 minutes ago, Soeffingnaive92 said:

There's no blame on the band, just notice that done this way feels a bit dry, like, imagine just Mike go "This was Chester's fav song so make some noise for him" before Papercut, that would be nice without being "too much". 

Stop being so selfish and blaming, dude!

/s

36 minutes ago, LPLStaff said:

That's what Looking For An Answer is, from the Hollywood Bowl. And they originally intended to finish and release it, but it just didn't happen.

I disagree. The song is more or less the same kind of thing that PT became: Mike coping with the situation. It references what happened, but I wouldn't call that a tribute song. LYF would have been pretty much perfect. Not too sentimental and acknowledging. It is what it is and that is ok.

5 minutes ago, Stranger said:

I'm so glad Mike and the band not riding on Chester name on their new music. unlike those imposter so-called tribute band and also the other band who touring with the imposter band. plus, we dont know if the band are allowed to mentioned Chester name in their new music, they're possible to get a lawsuit from the Chester's ex-wife, family, etc.

Just to be clear: I don't want the band to "ride" on Chester's name or anything. Absolutely not. I think they did it brilliantly with FZ and how they handled their return. Plus he was "part" of HT20 and M20 in a way, which was really cool.

That being said: A kind of tribute song to him is nothing that would be viable for a lawsuit. They don't even have to name him or anything. That's why LYF felt so perfect in that regard because it worked well as a nod and would've been more than enough to me.

3 minutes ago, Soeffingnaive92 said:

Mike always pointing out tha something is not dedicated/related to Chester feels a bit weird to me. Nothing against it, I have a lot of respect for Mike and the band and what they did to celebrate Chester, classy and well thought... But this urgency to push back any connection to Chester is a bit strange IMO. By the way, totally agree/understand about not playing OML now 

I have always felt the same. Glad I'm not the only one.

But it's ok, it's just the way he is.

It's a shame, though, that we never got a tribute song to Chester from the band. I understand why they didn't do it. But personally, I craved something like this since 2017. LYF would've been exactly that, but it wasn't meant to be. I know I'm in the minority on here concerning this. But it is what it is.

Awesome, thank you. I actually was lucky enough to see them perform this song with Chester. Unfortunately, though, Cyclefly sucked badly live and were booed heavily.

2 hours ago, xxHybridXeroxx said:

They’ve literally always had haters / naysayers haven’t they? 

Always. It's crazy.

4 hours ago, Astat said:

These days, they'd probably talk more openly about stuff like this, but during the HT/Meteora period they were fighting for every shred of credibility they could obtain while the "manufactured/boy band nu metal" accusations were going around. I feel like if it had gotten out back then that a hit single like Faint was built around a string loop lifted from a Bond film, the press never would have let us hear the end of the "ripoff" claims.

That is so true. The press would've ate them alive back then. Some newer fans never experienced the whole "LP is manufactured" era of the band. That was annoying as hell back then.

It's just around an hour of travelling by train, what gives

"Ruhr Area"

1 hour ago, Cesar656 said:

People try so hard to find ways to hate Mike its crazy lmao get over it.

He literally said stuff that he needed to say for marketing reasons. Sometimes people like it, sometimes they dont, but seeing this topic come out so often on a forum that should be of real LP fans is quite tiring lol

Well, first off, just because we are on a LP message board and fans, doesn't mean we can't be critical of stuff.

Secondly, I highly doubt the marketing "strategy" involved trashing other artists. If that was part of the marketing, then what the fuck? That's just poor.

Thirdly, I have no reason to "hate Mike", that's just a bullshit take. He is amazing.

And last, but not least: Calling out all the pop on the radio only to produce the poppiest pop a few years later was super... let's say weird, for your sake.

So, yeah, the point came up and I felt the need to underline this sentiment. On a LP message board nonetheless.

Let's not pretend the band is without blunders. Everyone has those. And if the matter of the fact is so tiring for you, you need to find ways to deal with it.

2014 Mike is one of LP's biggest blunders, for sure. That was embarrasing.

8 minutes ago, LPLStaff said:

But they had all of 2016 off and took their very slow/sweet time with OML. It was the first year they didn't play shows.

 

But Chester had some internal stuff going on in 2016 too, stemming from 2015 incidents (not just him breaking his leg). Maybe they did need more time off. Hindsight is 20/20 on that stuff. They probably felt they had an entire year down and were excited to do a new era.

But it wasn't like they were sitting around doing nothing in 2016. They started work on OML then. It's unlike the time span between Meteora and MTM, where, with the exception of Mike (Fort Minor), they took a long time off.

Or stop supporting this stupid system and get normal tickets for the pit? 

4 minutes ago, YRQRM0 said:

oh I agree, I just think it’s a little funny to hear them praise him in this light when the big comeback album feels pretty far from hip hop compared to a lot of the other albums. Like the opening would have felt a lot more natural to me if he had a Wretches and Kings type track on FZ rather than the reality of there not being a ton of hip hop beats on the album 

My post wasn't intended to provide a counterpoint to your post. It rather got me thinking on why he gets the respect that he is getting (aside from being a super successful musician/artist), haha. 

13 minutes ago, YRQRM0 said:

I felt a little awkward about this at the beginning of the interview lol. No doubt Mike’s a legend, but his rhymes are pretty simple and poppy on FZ, with the only big Hip Hop type moments imo being the verses of Two Faced and GTG 

 

I hope the hosts peeped Ziggurats, that thing is so underrated

Knowing Mike he was probably sitting there thinking “damn yeah I need to go make something for these guys to show I’m still connected to this side” and wrote 10 new hip hop demos in the hotel 

Mike is recognized because he carried the Hip-Hop aspect with the utmost respect since day 1. I think people with a strong Hip-Hop background can acknowledge him because he always showed that he knows what Hip-Hop is about. Unlike many other "rappers" in rock bands back then, he "lived" and respected the culture (plus, you know, wrote some killer rap parts and produced a LOT of amazing beats).

I doubt many people from the genre would call him one of the best to ever do it, but they most certainly respect him for being "real" in a way. At least that's my feeling.

There were some interesting tidbits. Like Jay-Z not wanting to collab with them at the Grammy's or Rakim driving from New York to LA. But man, the host got so hammered, I laughed my ass off. And Mike had a buzz going for sure in the end, you could sense it.

48 minutes ago, KeysToTheLinkinPark said:

That interview is so chaotic that I had to stop at times lol

It didn't help that the host got progressively more stoned

Wild interview, haha.

28 minutes ago, fraamb said:

#LetYouFade

What if it was an old OML demo?

 

As soon as I had the chance to listen to it, from the harmonic progression a melody immediately came to mind, a primordial demo shared by the band in 2015 in the OML pre-sessions - LINK BELOW

 

I don't know if it's a pure coincidence (harmonic progression, notes and tempo) or if the piece has actually been reworked.

 

The fact is that we are faced with the first piece of this new era that, in the metrics, presents "cut" bars just like it happens with almost all the pieces of that period.

Perhaps it could be a track recorded as a demo at the time and revised over the years.

 

The demo is District 108.

Obviously it's just food for thought.

 

LINK: https://www.facebook.com/share/v/16EEqvAWXn/

Wow, nice catch.

14 minutes ago, leftshoe18 said:

Now that we have some outtakes and new tracks from the era, is anybody making any alternate tracklists that incorporate things?

 

Here's mine:

 

From Zero (Expanded Edition)

1. Heavy Is the Crown [Prelude] (Arcane soundtrack version with the talking from the end of From Zero (Intro))

2. The Emptiness Machine (with transition into...)

3. Up From The Bottom (with transition into...)

4. Cut the Bridge (with transition using part of the HITC music video into...)

5. Heavy Is the Crown

6. Over Each Other

7. Casualty (with transition into...)

8. Nothing's There (this is the Already Over remix from The Crimson Chapter; with crossfade transition into...)

9. Overflow (with tape deck sample removed from the ending)

10. Unshatter (with transition into...)

11. Already Over (with tape deck sample added from the end of Overflow)

12. Two-Faced

13. Stained

14. IGYEIH (transition into GTG cut)

15. Let You Fade (opening piano notes cut; transition into...)

16. Good Things Go (wraparound to From Zero (Intro) cut)

 

I felt like Already Over fit as part of this era sonically and thematically so I wanted to include it. The Nothing's There remix also served as a great choice for an instrumental track and let me extend the "vibey" portion of the album when paired with Overflow. The only omission here is From Zero (Intro) because I really liked the Arcane version of HITC as a potential intro and I think it sounds great in that role.

That is something I would like to listen to

9 minutes ago, KeysToTheLinkinPark said:

That is true. Same goes for the verses. Apart from the palm muting technique, Alex plays the second verse plam muted like the album version. Brad played around way more. You can hear that in a show from 2017 where Brad doesn't really stop between any of those palm mutes.

 

It's played liked this in the 2nd verse: 

C# |1-----1-----3-----0-----0-----0-----------------8-----------8--8--8-----7-----7-----------------------------------|

Between the last 0 and the first 8 is a clear stop on the record and here Brad just runs it through and creates way more guitar sound with it. He barly palm mutes the lowest string either. It's a stylistic choice tbh. I play around with the 2nd verse as well when I play guitar. Sometimes I like it a bit more open, sometimes a bit darker with more palm muting.

 

 

Bridge on the record: you hear some strumming,

Bridge 2004: You hear like zero strumming
Bridge 2025: Clear strumming pattern

Bridge 2017:  strumming pattern is the closest to record in the beginning of the bridge but Brad runs it through towards the middle/end

 

I would say that Alex may put a bit too much energy into the strumming which leads to almost a full stop of the notes. On the other hand, Brad just never really played it like the record as well and created way more guitar sound.

 

Great stuff, man! Thanks for that. The RAR version sounds so sloppy, holy shit. Never realized that.

41 minutes ago, LPLStaff said:

Not to keep harping on it since we aren't able to change it, but this doesn't sound completely off to you? https://youtu.be/miQ9Y5UW08g?si=5mx-PqIcJ0b6m281&t=233

It sounds... "chunky" or something, like the rhythm is off. Like... "chunka, chunka" and not smooth or something. I don't play guitar. But I can immediately notice at the show that Papercut, LFY, POA, APFMH are really sounding different on guitar. Thats just how it is now. Listen to that and compare it to like Rock am Ring 04 and you can hear a night and day difference. What exactly it IS, I am not sure, because I don't play or speak in guitar terms - but I can hear it audibly very easily at the show.

 

 

Regarding "Papercut": Alex seems to follow the album version which has this kind of stop/go rhythm (might be more bass related, can't say for sure). So if anything, he keeps it close to the source material, I guess?

2 hours ago, Fleur de Lys said:

 Hm? Can you point to specific parts? I would say the only difference between Brad and Alex on Papercut (and APFMH) is that he palm mutes more than Brad.

Mark has been pointing out the flaws in Alex's playing (at least how he perceives them) for quite some time now. I haven't seen them live, so some of the points he made might be more audible then. But I also checked different recordings here and there and can't agree on that basis. Also, it has become a running gag sort of thing because Mark is usually a super chill dude about everything LP related, but his criticism of Alex has turned a bit comedical at this point.

I agree with you, though, that Brad (aside from his way of playing and thus "sounding" on stage) was notorious for being sloppy since forever. Overall, Alex seems much more on point from the small sample size I checked.