Trumtram

Meh.

 

I'm sorry to disappoint people. People complain because I don't announce things I'm doing then when I do people complain anyway. Lose lose situation I guess...I guess it's better to just keep everything quiet.

 

First exclusive was this show in 2 cam mix DVD format with good audio over it. LP/JZ ftw. The guy that got it for me was RyanJ, who I met at Bonnaroo Music Festival the past year. After meeting such a sincere, nice guy, it's hard to believe someone like that would continually lie to you for months and fuck you over in the end. There's more ways to get it like Felipe said so we're still working on it. Just like with Mountain View 2004 in 2007, I'm not going to give up on getting the show - I am positive we will end up getting it someday. No, no Xero or Hybrid Theory shows, but a Grey Daze show is possible in 2010.

 

Second exclusive I'd like to keep quiet for now. If you liked our whole ordeal with QWERTY I don't think anyone will complain about it.

 

I just want you to know Felipe, Nick and I (the main 3 behind these huge exclusives) are not trying to fuck any of you over, we're just trying to provide as much cool stuff to the LP community as possible free of charge. I apologize the first big thing went wrong, but I guess that's what I get for running my mouth. Perhaps future exclusives will be kept quiet until the day of (like She Couldn't) unless someone else tries to spoil it (see: LPA).

thx for the info. sad what happened!

keeping quiet (or at least hyping when everything is ready to go) is always the best thing.

 

i don't complain about lplive or anything, just thought now would be a good point to actually reveal it.

 

keep up the great work!

now you could at least tell us what this BIG boohay was all about. seriously!

and it's in no way justified to add 10€ to the german shows.

i read an interview once with someone in charge at eventim.de and he clearly said that "artists" (whatever this means - managers, members themselves, etc) are the price setters.

hell yeah! i'll go to zurich, maybe alone .... awww i'm scared! no, not really maybe a little bit! can we make a meeting point or something like that?

you are 23 . if it wasn't for the distance i would guide you under my "wings"

considering about an hour of material (therefore an hour long setlist) the price is in no way justified.

what??? that's damn expensive! have to overthink my attendence...

Because of DBS?

haha, no! but i see how one might understand it that way .

 

the US is a much bigger country and while bands, that come over here to europe, normally tour around germany (mostly: berlin, hamburg, cologne/düsseldorf, munich) and cover all directions because germany is like 800km to 600km in size, americans get ditched all the time. even smaller american bands get anywhere near SOMETHING big in germany while smaller bands in the US often can't get over their state or tour their neighbour at max.

so, if schoecknlgdssd-guy (sorry, can't get it right right now ) complains about a 1 1/2 hour drive (or less than an hour train travel!!!) than he should rather be happy to not live in big america.

hope that clears the fog

no shows in frankfurt area fuck it!

oh come on! as if cologne would be THAT far away... should be lucky to not live in the US

 

i'll be at the cologne show for sure. prices won't be too high, so call me in.

i stopped collecting them after the 2007 summer shows. they all sound the same (except for minor differences) and it's more than enough to get hold of the different setlists. having them just for having them is stupid.

everyone who listens to all of them or needs them for reference should pick them up, sure.

so, these DSP news don't get me excited at all .

just to add something to the setlist talk.

they lost an attender in me because i'm not willing to pay money for the same songs over and over. i didn't go to a single show when they came here earlier this year. i'm not even hyped to see them again after the new album release.

 

and mark: the label has more power than you might think. another example for this is "enter shikari". they literally hate to play songs like "sorry, you're not a winner" and "mothership" but said something along the lines "but yeah, we have to play them, that's how the business runs". they were bored to hell and had almost no energy while playing these songs.

the big shows in arenas and stuff are planned for the largest amount of people possible. you can only achieve a good level of satisfaction within the crowd if you play the well known stuff.

 

if the band REALLY wanted to do what they want, they wouldn't play quite a few songs anymore (including "one step closer", "crawling" and "in the end" probably). i really don't think they still do them for fan pleasing, that's a shiny excuse.

thank you for elaborating on this.

 

my thought was that he, as 1/6 of the band, has to be around for all the decisions of what sounds good, what could be changed and so on during the process. wasn't aware that he gets that rare when it comes to the studio...

when Chester's only needed for maybe 5% of the recording process of a Linkin Park album.

which you can prove with facts than just pure assumption, right?

The exclusive is going to be a Xero/HT/really early LP show of some kind.

if it really is something around these kinds i'll die in endless amazement. seriously mark, i would be thankful forever and that would truly be one hell of an release.

im stoked now, damnit!!!!

look at Breaking the Habit, Mike had been trying to write that song since the HTEP days, but it had never come out the way he wanted it to, then one day he decided to put lyrics to the instrumental song Drawing and 2 hours later, he had BTH written.

sure thing, but BTH does not fall in this rewrite category im refering to. mike tried to write this song for 5 years, but what does that mean? did he want to write a song about this theme or did he have a melody in mind and couldn't form it right. either way does not fall in the endless rewriting scheme. having an IDEA and work on that one afterwards is a totally good thing. but linkin park talks about whole songs. rewriting whole songs might lead to good things but still won't specifically lead to a better song, just to another one. there is always a reason for the creation of a song in the first place and by constantly changing and reworking every aspect this reason gets lost.

but that still doesn't change how LP works in the studio.

i gave up caring about their way of working because i got too many much greater bands in my playlist that take up all my time right now .

my point was trying to show EVERYBODY the fact, that good things don't have to take long.

im so tired of reading "better they take more time and make the album better than rush it and make it bad".

best things come out under pressure.

 

and i agree with "untitled" and "in the end". this example came up when i was in bed .

LP always goes over their songs over and over again and changes them to be "perfect". If people keep saying "Hurry up, you guys are taking too long!" Then they're not going to work the same, but faster, they're going to do a half-assed job of rushing something together without even thinking about it.

 

If you've ever written an essay, which I'm sure you have, you may have noticed that the final draft is much better than the rough draft. The reason for this is because after completing the rough draft, you've looked over it and thought hard on how to improve it and how to make it "perfect". A lot of times, it can take a lot of time and patience.

songs have to be "perfect" to be great. so what is perfect? is it perfect when a song gets so much work done that it sounds dead? or is it perfect if you get the song the way it FEELS perfect?

you can write the greatest songs of all time in one day, yes you heard me. while searching for the so called "perfection" you will rewrite that song and this way its dozen of forms that would've have been as good as the final product if not better.

redoing everything is no guarentee to make a song better, that's a fact. you, as an artist, might like it better and that's all that counts in the end, sure. but, to repeat myself:

there is NO connection of the time you need to make an album and it's final "quality", ABSOLUTELY NO! you can sit down for an hour and write a song, listen to it and like it, maybe work a bit on it and absolutely love it. when you listen to it again, you might see that EVERY change you do (even replaying the riff because you made a MISTAKE) will kill the feel of the song.

 

linkin park rewrote "somewhere i belong" endless times, and even though we don't know the older versions, there is almost no way of them being any worse.

linkin park's rob bordon rehearsed the drum's for "the little things give you away" countless hours and they kept the demo drums. again, we don't know how the final song would sound if they've used the rerecorded version, but in the lp community this song is widely known as one of linkin park's absolutely best songs.

 

if every artist would use the definition of perfection in the sense of making it SOUND perfect, than there wouldn't be many many many too many amazing songs, classics.

a song has to FEEL perfect and therefore you don't have to rewrite it all the time. just making it SOUND better will never make it any more perfect. think about it.

I hope you guys realize that if you rush the band, the music will be crap.

there is by no means a positive correlation between duration of writing/recording process and quality of the final output. i really hope people would get this.

japan??? that is beyond amazing! i never ever thought that this song came far in the process and really wanted to hear this song the most judging from the dvd clip !

I agree with everything you said but this. Don't underestimate Mike / LPU. Who knows how long this has been in the works for. They downloaded RME on a fansite in 2006 before they played it live...I'm sure they did research on this to see what we have and don't have. I'm willing to put money on it that Sad is a version we don't have.

could be, sure. in the end it's one of mike's songs, so he truely could know about every version that got released on the internet.

 

let's rephrase: out of all these demos "sad" could most likely be a version of "by myself" that we already have. the others are unreleased for sure.

 

though, a papercut demo would be a dream. that's the only small complain but not worth a real mention .

can't remember any tracklist that got released before hand that was wrong. release dates are a different chapter. but as for the actual tracklist they were always right (as far as i know).

 

really love the tracklist btw. im not too positive about "by myself" being a demo that we don't already have (considering we have what? 4-5? haha) because i highly doubt mike knows of every version that is out there. but even without "sad" it's something to really look forward to!

 

thx LPU that you got it right after 3 years of irony.

How lame is that?!

how lame is it to even participate in the first place?

rob chat = epic fail (usually)

reason to join? really not at all.

 

sorry

 

i dont think we will get ONE useful information and im sure im not the only one who thinks that.

"hybrid theory" is one of the last few reasons to actually still follow linkin park. this album did too much for me that i never could reject the band.

 

for me it's still the best of their albums and i can't even decide whether the polished (overall) junk, called "meteora", or "minutes to boredom" follows on the second place.

 

not to mention the two pathetic live dvd attempts.

 

"collision course" was original, but FAR overpriced. still it's a good EP!

 

in the end the only thing nearly close to the greatness of "hybrid theory" might be the so titled EP. if they could create such dark musical and lyrical environments again, i would be more than pleased.

it cant be phoenix 2nd angle version, because that one isn't listed as confirmend in the live guide.

for god's sake, now im right in the guessing game. damn you all!