Trumtram

Kudos for posting a link

I still think it's an epic song with an atmospheric and intense vibe. The breakdown is Metallica-esque and it escalates further and further until it collapses. Love it.

Unless you are keen on having the LP family from certain countries cursing your name, of course

I don't get it, either. It's almost compulsive. Why does he feel the need to constantly put stuff on Genius? Especially after what happened during M20...

Just going by the working title I'd say it's pretty safe to say that "Harmonic Song" is PMA because its verses are literally build upon flagelatte harmonics (same guitar technique as in ITE).

I just went through this thread again and it's insane what you discovered about this song during that time. More so your cover is damn close to "Lost" which is amazing in hindsight considering what you had to work with.

Guys, it will be a lot of songs that we've known since forever and 1 (or MAYBE more) unreleased song(s). The hype level feels a bit over the top to be honest. Like, with M20 or HT20 we had at least a lot of possibilities. I don't quite get it. But that's ok of course because you all are getting so hyped up. Good for you!

Totally agree here. These two always get me pumped. The last part of KTTK is one of my favourite by them, probably. But @Subs Such a strong MTM hate? Don't let Geki see that If the release is only one CD that means there won't be room for anything exotic. At least one song from each album seems plausible (because there will be a "new" song, too).

I quite like the sound of THP. Guitars and drums sound really cool on stuff like GATS, KTTK or ALITS to me. I can see why people dislike Chester's vocal sound. Overall the album is rather good than bad IMO. It lacks identity and cohesion and does have weaker moments but also strong ones. But I agree that Mike's way of promoting the album was hella cocky and shitty with calling out all the "pop" artists only to come out with OML a couple years later. I'd probably rank it below average on LP's discography. Their first four albums had the most quality to them.

It goes both ways, though. People can enjoy what they want and just ignore those who don't? I mean there are 9(!) new versions of AO out now, so go and have fun with them. You now have 1 single version, 5 live versions and 15 remixes of one song to go crazy to. But just spelling that out should emphasize why some people (myself included) just can't anymore. It's the same as with BTH (live) and BID all these years ago (as Mark pointed out). Also, I find it funny that YouTube comments are now a thing to go by, apparently. Again, "THE CRIMSON CHAPTER" is cool and I loved the live sessions (although 5 is enough to my liking) because both have interesting concepts behind them. But I'm not ovulating just because an artist I like drops ANYTHING "new". Also also: Shoutout to JZLP: The nu metal hate from back in the days certainly connects us :D. I remember reading on pushmeaway what other artists thought about LP and there was so much bashing, it was hard for a 16 year old hardcore fan.

I'll add the following If they exist: Xero/Hybrid Theory shows (either of those is kind of likely to exist) "And One" studio version

Just hope englisch isn't your first language and you didn't know about the use of this word... Crazy session, so weird at times and also energetic. Got a bit chaotic for me at times but overall a great way to close out the AO sessions.

Just fyi, the show pages need to be switched on those two.

Just listened to it once but I'm pretty sure something entirely original.

Please, Felipe!

Yeah, I also think that the messed up audio is because of the raw recording. But especially during "Papercut" you can hear how things got adjusted during the performance. Brad also was a bit sloppy in the "Don't Stay" intro. There were a few places where things didn't feel connected or a bit sloppy. But you are right, they would have fixed most mistakes / technical hickups. Still, it wasn't the best showing for the band from what I could gather here. And concerning Chester, I mean, it's Smoke Out, so that feels like the theme of his day back then, too ;).

Wow, great stuff and also so unexpectedly bad. It's probably because of the mixing of this recording(?) but man, they were off at times. "Papercut" had terrible levels (never heard these string sounds Joe made at the end, especially not that loud), Chester messed up the first chorus of "Don't Stay", Mike's guitar went dead during "Somewhere I Belong" and overall Brad's guitar volume was waaaaay too high which didn't help the overall performance. Speaking of high, Chester was very likely far from sober that evening. Still he performed greatly! All in all, I can see why something in the sense of "just destroy the tapes" might have been said at some stage. I don't think the band wanted to go through this performance again immediately after it happened and then might have just forgotten about it (I mean, they forgot about "Lost" being ready and done, so...). Nonetheless having more of it is awesome and the changed setlist plus "Nobody's Listening" are much appreciated. Great mash-up, just terrible mixing.

The whole thing from start to finish. When "ETR came on I immediately had to comment here again, haha. Well done everyone, there are some fantastic songs on that one. Have to re-listen for more impressions. Thanks for your effort!

I retract my previous statement. Awesome!

Even the remix fan community has no love for "Easier To Run" :(. Looking forward to this. Amazing project! Thx to everyone involved.

Haha, yeah, same!

Again, no expert on the legalities and I haven't dug deep into the details of those songs like other people did. In the end his claims need to be proven by him / his legal team. I honestly have no idea what qualifies as performance or writing credits in these cases and I don't know what he got offered as compensation. My gut still tells me that he deserves money from it (with "it" being stuff he contributed to) how little it may be. Let's see how this progresses.

I'm not an expert in the legality of things concerning this distinction. I'm not saying that he should automatically get money for all his claimed contributions. But if he contributed bass lines for songs that got released (i.e. HT20) then it should be natural that he receives money for it IMO. As I understand it he should have writing credits for some of those songs (e.g. "Could Have Been") and therefore should be eligible for royalties from them. It needs to be clear what he contributed where and whether he in fact got "erased" from tracks he performed on (e.g. HTEP). Time will tell. It seems a bit far-fetched to me, though, that he "will come back for more" because he can't claim anything more than what he in fact contributed (if so, of course). Why it took him 20+ years for this, I don't know. Still it needs to be evaluated.

After seeming much more level-headed a couple months back, Geki regressed to his former self. How sad and unfortunate. Wish you the best, still! On topic: I'm with the majority here, compensate Kyle for his contributions.

Feels so unnecessary. Ok, have like 3 versions of AO on it as bonus tracks or whatever, but at least put out some more new stuff. Not caring much at this point.