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  1. This isn't something you see often - Rick Rubin interviewing Mike Shinoda!


    "Since forming in 1996, Linkin Park has sold over 100 million records worldwide. Their enormous success mixing genres like hip-hop, metal and anthemic pop was spearheaded by the band’s ultra-talented founder, Mike Shinoda. In this episode Rick Rubin talks to Mike about the albums he produced with Linkin Park that helped redefine the band’s sound. Mike also reminisces about the band’s early inner-personal dynamics. And Mike talks about the community of thousands of followers he's amassed on Twitch who watch him make beats live five days a week."

    Check the full interview out here.



    - Mike explains #ShinodaProduceMe on Twitch to Rick about how the process works and what the artists actually send him.
    - Rick and Mike talk about 'A Thousand Suns'. Rick: "A Thousand Suns is my favorite of the things we worked on together. It felt like something new and REALLY good.", "If you had done ATS after Meteora, everyone would have been like, "FUCK these guys!", you had to do Minutes to Midnight first.", "The dream is to make an album that gets either 1 or 5 stars. Polarizing music. And that's what A Thousand Suns is for you guys. I love it."

    - Mike tells the story of putting NoBraiN on 'When They Come For Me' and how it came together from the contest for 'The Catalyst'.

    - They discuss Mike's first introduction to music; the first album he became obsessed with was 'Licensed to Ill' by Beastie Boys. He tried to ask for the Cypress Hill debut album for Christmas and he didn't get it. So he asked his mom and she said she didn't get it because of the names of the songs being so extreme - 'Pigs', 'How I Could Just Kill A Man', 'Hand On The Pump', 'Hole In The Head', etc, so Mike found a way to get the album the very next day after that conversation. 

    - Rick asks Mike how he became a musician after this period of time - did he want to make beats, did he want to rap, etc. Mike explained he was taught piano from an early age but loved rap. He won a songwriting contest his piano teacher did so he told his teacher he wanted to write more like rap songs, so he wanted to write blues & jazz in her class. 

    - Mike discussed how he learned how to use gear when songwriting and discussed his little group 'North Coast Killaz'. The idea was to just make his friends laugh.

    - Songwriting for early Linkin Park sessions is discussed. Rick asked Mike around 'Minutes To Midnight' if he had ever written a song with just an instrument (like piano) and vocals as the band usually didn't write that way. Mike said actually yeah, some of our biggest songs like 'In The End' and 'Breaking The Habit', but usually no, we don't write that way at all. The band was much more comfortable writing the instrumentals first and then the vocals, but the entire songwriting process changed with Rick and MTM. Mike learned to make songs without having a fully produced instrumental before he wrote vocals.

    - Mike talked about writing with Tom Morello. The band didn't end up with much material from the sessions with him but Mike's main takeaway was picking Tom's brain about songwriting and how he used gear - they had some great conversations about writing tracks. Tom explained specifically how he uses gear he's super familiar with to achieve new sounds.

    - Mike talks about how he learned how to play guitar. He had a friend that taught him some Led Zeppelin riffs but Mike's main reason for learning guitar was just because Linkin Park needed a second guitar player on stage and the riffs for LP weren't hard to play.

    - Rick asks Mike how Linkin Park started. Mike explains Mark and Xero, how they had four real songs on their demo, etc. Cool story about Mike and Mark sending the tape to Immortal Records who had Korn and Incubus, and the label couldn't believe it was just two guys in the band, they were really, really surprised the drums were all sampled, etc. Mike and Mark switched off on instruments like guitar, bass, etc. They told Mike to get a full band together ASAP and play shows, to get in a studio and record, and then come back to talk to the label because they liked the songs. Mike jokes that the guy NOW says Xero never came back to show him more songs, but Mike says "yeah, we actually did send him more demos but he just wasn't interested in us anymore. We would have killed to get on that label so we did send them a lot of demos."

    - He talks about his relationship with Mark - they became friends at 12 years old. Mike explains the reason Mark left Xero was because he was going to get a stomach ulcer from playing live - he had panic attacks playing in front of people, he couldn't get up on stage in front of people, he would freak out at the monitor engineer every time they played so he'd piss off the guy in charge of the sound. He was so panicked about playing live. He did understand it was not a good fit for him to be in the band. He loves music a lot and that's what lead him into his music management role now with System of a Down, Alice in Chains, Deftones, etc. 

    - Mike tells the story of being introduced to Brad. Brad was the first of the current members of the band to join Xero. He was Mark's next door neighbor... looking out Mark's window, Brad was right next to him. Mike didn't know Brad well in high school because hip hop and metal kids didn't co-mingle. But Mark was in a band with Brad before that. Mark shared metal with Mike, Mike shared hip hop with him. He confirms for the first time that Mark was in The Pricks with Brad, before Relative Degree. Relative Degree overlapped time-wise with Xero because Mark and Mike wrote "on the side" since Mark was already in a band with Brad.

    - The rest of the band - Brad was at UCLA with Dave, Mike was at ArtCenter with Joe, Rob was at a neighboring high school. And then the story of Jeff and Scott finding Chester after they tried out a lot of other singers. It was very obvious Chester was the best fit. The direction of the sound was clear to the band pretty much as soon as they started writing together.

    - Mike explains the process behind them finding the Hybrid Theory 20 demos and videos. He loves 'She Couldn't'. Discusses the gear used when making it and loves the line "you are not alone", which turned out to be the identity of the band for the next five or six years - the idea was just there from the beginning. The band were naturally not great friends, but they'd geek out about music because they loved all the creative aspects of music together.

    - Chester did not fit in right away with the band. He was messing around with drugs, and Rob was totally straight edge so they didn't know if that'd be an issue for one, but also because his personality was a lot different than the band's. They wanted to get to know him first as a person before they could commit to him. "We were really different, but we were really cool. We really like each other. I think we're fine." Rick says having outliers working together really creates something intense musically. The band was polar opposites in a lot of ways and friction but worked really well together - they drew from a lot of different areas. Brad loved the music by Britney Spears, for example, so they drew from a lot of different areas. He said they had to experiment with their relationships, how Brad and Joe interacted together versus how Brad and Chester interacted together. 

    - Mike discusses how the band figured out how to play songs live. Rick says it was the first group he's ever worked with where all of the music was made virtually and not in a traditional band setting (like recording together in one room). So Rick said LP didn't figure out specific parts and instruments for people until they went to rehearse to perform live. Mike thought it was bsolutely crazy that Tom Morello told him Rage Against the Machine would jam in a room for hours together, then they'd assemble it with a producer and Zach would rap over it a month later and there was their album. Mike said his mindset wanted to take a musical piece and change/edit/produce it a million different ways himself... experimenting with it before committing to how it should sound.

    - When LP would play a song live, the fans wanted to hear the album version. If the band changed how they played it, the reaction was less from the crowd. At a certain point when everyone had heard the song one way for so long, the band and fans both liked it enough that way that they both enjoyed LP playing it a new way, so LP would add new bridges, etc to songs on stage.

    - Mike considers 'Dropped Frames' like kind of mixtape-style releases. He had over 100 songs and wanted to release them in a trilogy. Mike was concerned that maybe some of those instrumental songs had portions that could be parts of bigger songs, but he was fine with releasing them. 

    - He loves the song 'Drivers License' by Olivia Rodrigo.

    - Rick asks about Hybrid Theory - Mike says the album had five singles but Chester would say that it actually had six. 

  2. Mike spoke to Input Magazine about releasing 'Happy Endings' with his current NFT fascination, and more. Check out the full interview here.


    Some highlights:


    How did you get into NFTs?


    "I’ve been watching NFTs for a while. Linkin Park have like a VC arm, and a few years ago we did a bunch of meetings with different companies about investment and the idea of creating blockchain-related merchandise. And I was like, “I feel like we’re ready for it. But fans aren’t ready for it. Nobody’s going to buy it.” So we just stayed away from it. And it wasn’t until this year when I was like, “Oh, people are ready.” Regular people really are collecting this stuff. And it’s not just a couple of billionaires getting involved."


    And since you're kind of a household name, I presume people don't think that you're going to be an “opportunist crooked jerk” about this.


    I hope not! I’ve tried music and visual as an NFT. I've tried just visual; I’ve tried GIFs. Those have all performed differently. I’ve yet to do one that’s just the music NFT, like a full track beginning to end, one of one. That’ll be soon. I’ll do that and see how it goes.


    So tell me about the sale of the NFTs of “Happy Endings.” What was the price range for those 10?


    "I don't quite know right now, but I can guess. So here’s the way it worked: I had already put up a couple things on Zora, and I have this I had this single called “Happy Endings” coming out. It’s basically like a pop single. So we’re all ramped up for this big release. And I said to management, “I want to debut it with an NFT,” and they’re like, “You’re crazy. How in the world are we going to make that happen?” My attitude is like, “I know the timeline’s short, but we can work it out.” And that's what we did.


    The highest bid was five Wrapped Ethereum [around $8,000]. The lowest was a couple hundred dollars. And as soon as the initial sales were over, I said, “Surprise, everybody who owns one as of tomorrow is going to get a signed, one-of-10 print of the art. So you have 24 hours if you want to resell it. But whoever owns it at this time tomorrow gets a print.” I kind of expected somebody to go to the person who only spent 200 bucks and be like, “I will give you $15,000 for that NFT that you spent 200 bucks on.” I expected it to change hands. And it didn’t change hands."


    What do you ascribe that to?


    "I think the people who bought them were legit fans."

  3. Mike did an interview with Kevan Kenney from Radio.com on February 25th and we're here to recap it for you! Check out the full 25 minute video here.

    - Mike listens to new music by jumping on streaming platforms and checking out new releases, but also follows playlists of artists that typically have around 5,000 followers~ who are releasing new music. 


    - He's talked to Brevin Kim about collaborating; he found them on Pigeons & Planes which he follows. Jacob, the founder of P&P is really involved with Brevin Kim but didn't want to really bother Mike about them but Mike wanted to talk to them.


    - When a new collaborator/artist is a super big fan of LP, it's an uncomfortable situation for Mike. He's had sessions where the artists can't get over who he is and it's weird. Sometimes the artists are able to get over it, but sometimes they can't.


    - He has been in a phase of "research and development." The entire afternoon after he streams on Twitch is composed of writing new songs (for himself, or with someone else). "I've got a couple of other things I'm not really ready to talk about yet."


    - "The idea of just going out there with one song and knowing that if this song does well, if the fans like it, I've got other songs that I can start to mold into an album. I've got other things and ideas that I can develop to follow it up with. And I'm ready to go regardless. It's a matter of keeping your tools sharp. I'm in here every day, everything is always sharp."


    - Mike says he is like a "creative director" of the Hybrid Theory 20 remix project. The label is who pitched the idea to him but he wasn't big on the project until artists like 100 gecs started getting tossed around. He thought at first that just remixing more Hybrid Theory songs was not interesting since the band had already done Reanimation. "We are not treading familiar territory at all by doing a 100 gecs remix." He said, "We have a few things. It's not fully formed yet, but there is some other stuff coming together." And finally about 'Crawling' remix: "In terms of the energy of the song, we'll try to go small. Delicate and introverted. I imagine it with a female singer. We've never really done that, so we'll see what happens."


    - "The support on 'Happy Endings' has been spectacular. I had written it with a couple of friends, one of them Upsahl. It wasn't like we made it and said, "Let's put this out!" We made it and it just sat on a hard drive. A little while later a couple of other people had heard it and they were like, "Yo, what is that song? It's so good." And I was like, "Oh! I forgot about that song." And then it ended up being other people who were like, "Put out this song." Originally Iann was not on it, it was Sam and Pete." Upsahl was introduced to Mike by Sam and Pete since they had been writing with Upsahl already. Someone else had already mentioned Upsahl to Mike around that time so he was very interested in getting a collaboration going.


  4. 13 hours ago, BladedChild said:

    Yeah obviously they would have to agree with it 

    Its a whole thing, its just sad these files and stuff are just sitting somewhere untouched, like whats the harm in at least selling them?


    You could apply that same question to every single unreleased track/demo/remix in LP's catalog. The band wants to be in control of what's out there and they don't want every single thing out, they want this amount of demos, etc.

  5. Hey everyone, we are looking for some help from people who have collected live audio & video over the years. In 2006, Fort Minor performed 4 songs for MTV Overdrive. For years, the videos worked, downloads were shared on LPTimes, etc as you can see by their news posts. In fact, the videos worked until even around the 'One More Light' era. For whatever reason, we never got around to trying to upload the videos until later.

    We started a thread in November 2019 about this, trying to get it solved in 2020, but we've had no luck. The issue at hand is that the video files are looking for the DRM on the MTV server, which is no longer there. Maybe there is a way to crack the DRM on the videos to get them to play, so we can upload them to YouTube for everyone.

    Or maybe you are someone that downloaded the files in 2006 and they still play on your computer. If that is you, or you have any ideas how to get the videos to play... let us know! 

    To date, we have had no luck on these four files. So we're turning to you guys!

    Here is the audio rip of the videos that we have, which we just uploaded to YouTube:


    .WMV video download (DRM locked)


    Thanks in advance for any help!

  6. 5 hours ago, Coizu said:

    Because those contests always high quality results, lol. Does someone remember a single remix that was the result of one of those contests?


    This is the only one I loved.



    Otherwise, let Mike remix the stuff.

  7. 4 hours ago, YRQRM0 said:

    Like I said in the other thread, I don't expect serious purpose-driven work from Mike for a while. I feel like he's just kinda explored a lot of ground and now is just having fun. I'll still enjoy the music for what it is, and hopefully a project full of passion and experimentation is still in the future. 


    Plot twist - what if the serious, purpose-driven work is with LP right now? No matter when they release an album - 2021, 2022, 2023, etc... it's going to be something they've all 5 heavily invested in and put an incredible amount of work into because it's the first album without Chester. If they do decide to release their music they've been making, it's likely going to be something really great... like it could be ATS-level great. Albums like LT, THP, and OML haven't had a full-band investment like MTM and ATS had. We might really see something tremendous come from LP on the next album. Maybe his solo stuff is what's more laid back, care free, etc. LP has been writing for a while so maybe this is the result of what happens when LP is hunkered down on something and Mike is also at the same time doing a million things - Twitch streaming daily, ShinodaProduceMe, all these collabs with other artists, solo songs, Dropped Frames, etc.

  8. Following January's remix of 'One Step Closer' by 100 Gecs, Mike has confirmed in his interview with The Needle Drop that more remixes of Hybrid Theory songs are on the way.



    Talking to The Needle Drop, Mike explained that he was having conversations with Warner, who brought the idea up to him to have artists do Reanimation-style remixes to continue the celebration of Hybrid Theory 20 this year. Mike liked the idea but wanted artists who were super creative and not artists who would just make some generic pop remixes of the album's songs.


    Along with 100 Gecs, Mike mentioned that he'd been having conversations about umru, Kero Kero Bonito, and Blood Orange. He added that some of the remixes worked out while others didn't, so we will have to see what Linkin Park ends up releasing.


    In addition, Mike seems to have been working on a 'Papercut' remix himself, judging by the folders on his Twitch stream. Thanks to the keen-eyed PeppePark for that one. Hopefully we get that remix too!


    Stay tuned for more information, as it's we are slowly approaching two months since the 'One Step Closer' remix... hopefully more are coming shortly.

  9. Remember everything Mike usually says about music is pretty calculated. When he said "which of these 3 ideas do you like better?", he was already making Open Door and mashing them up, lol. He knew he was going to release a demo (& song). So if he's saying this now, he's probably already got the album under way and the label knows. Or when he was doing the Post Traumatic EP, he said if fans liked the music he'd make more, or something to that extent. Well then he says months later he had like 6+ songs he wanted to release on January 1, 2018 for everyone... so, he isn't fooling us, ha. He probably already has the album somewhat structured and is getting it ready. But the lack of enthusiasm about it is noted... he's definitely been down on himself (in this case, meaning he's down on RELEASING music) lately. 

  10. Is a new Mike Shinoda album now in the works?

    Following his comments on Twitch on February 18 about a new album, Mike once again on the 22nd mentioned a new album in response to fan questions.

    He said, "You're asking, "If we promote the hell out of #HappyEndings and get it working, then do we get an album?" The answer is probably... I think that's the equation. The equation is - if the song works, then I make more songs. Ok? I've got some stuff and I'm still writing more stuff. Here's the deal then. You guys spread the word and promote the shit out of #HappyEndings, get it to people, get it happening and get it to people who don't listen to me... if people start streaming the song, then we can go."


    Essentially... if 'Happy Endings' does well, Mike is interested in releasing an album.


    This was a follow up to last week when he explained, "I'm not working on a new album, no, but I have music. Does that make sense? I make stuff all the time, I've made some things. And if the song were to do well, I could very easily see organizing some of the things I've been making and putting it out as an album. It sounds like you guys want more rapping. What do you guys want? What kind of album should I make if I did that? More rapping? A lot of people said more rapping. I don't like "making something like a thing", but, I could make a bunch of new songs with the Fort Minor drum pieces and things like that. I don't really WANT to do that but it's a possibility. But I've got stuff, I could do it."

    Mike also mentioned in his interview with The Needle Drop that someone who works with his music publishing influenced him to finish and release 'Happy Endings'.

    It sounds like Mike is in the right mindset to start putting together his new songs to potentially form an album. What do you think?

  11. They didn't spend much time rehearsing for the 2014 world tour as evidenced by the amount of new songs they played. LP probably realized they didn't play many new songs on the LT and THP world tours, so they started rehearsing for the OML tour in February 2017, quite a few months before the tour actually even started. Then we see what happened, they debuted almost the entire album right away. Pretty great. OML tour sets were very good.

  12. LP had a big missed opportunity to play some of those Hybrid Theory deep cuts on the Carnivores Tour. The "DJ-style" set wasn't very good for a rock album, it would have fit Living Things better. But no complaints about the LT tour besides it being way too short (needed another USA tour and a European arena tour)... the LT setlists were very good.


    They should have done a Hybrid Theory club tour to start 2014 (10 USA shows, 10 Euro shows, a few in South America/Asia/Australia) and then done Carnivores Tour with some of the deeper cuts but also loaded up on THP songs. Keys, ALITS, All For Nothing, Rebellion, play all of that. GATS.

  13. 35 minutes ago, Coizu said:

    folklore/evermore is definitely a Taylor thing and she wasn't like guided by someone else. Bon Iver was only invovled in one song (plus another one on evermore) and Antonoff is part of her team since 1989.


    Yeah agreed. Totally a Taylor thing, but the process was with Aaron Dessner from The National and Jack Antonoff almost from start to finish for folklore. The ideas kept bouncing off the three of them and it went so well... bam there's the album. In particular her writing with Aaron was clicking so well, they kept coming up with more and more ideas so there's evermore, which is almost exclusively Taylor and Aaron. That one was written right around when they did the folklore live album. The stories they've told about evermore are pretty cool. Drinking a ton of wine, waking up, and Taylor has the song ideas lol

  14. @theneedledrop has announced that Mike will be a special guest for a new interview on Friday, February 19th.


    "A N N O U N C I N G

    An interview with Mike Shinoda.

    Friday, 2/19

    1PM EST / 10AM PST"


    The interview can be viewed on The Needle Drop's Twitch channel here. Mike usually streams on Twitch at the same time (10AM PST) but will be joining The Needle Drop at the same time instead. 


    The Needle Drop, known as Anthony Fantano, "is an American music critic, interviewer, YouTuber and internet personality known for his music-related YouTube channel The Needle Drop and its companion website. His website and YouTube videos discuss and review a variety of music genres." (Wikipedia).

  15. Along with his debut of the new song "Happy Endings", Mike answered questions on Twitch today. Here's the recap.

    - On if he is making a new album: "I'm not working on a new album, no, but I have music. Does that make sense? I make stuff all the time, I've made some things. And if the song were to do well, I could very easily see organizing some of the things I've been making and putting it out as an album. It sounds like you guys want more rapping. What do you guys want? What kind of album should I make if I did that? More rapping? A lot of people said more rapping. I don't like "making something like a thing", but, I could make a bunch of new songs with the Fort Minor drum pieces and things like that. I don't really WANT to do that but it's a possibility. But I've got stuff, I could do it."


    - "What have you been doing that has helped you stay sane in lockdown?" -> "I think like doing creative projects helps. And also sometimes just being like, I know that we are supposed to do a thing like the kids are SUPPOSED to be on a Zoom right now, but maybe we should go on a walk. Maybe we should pick up food and go to a park. It doesn't happen often, but once in a while, you've gotta just prioritize."


    - "Have you ever thought about the possibility of bringing one of the LP members to help with a #ShinodaProduceMe song?" -> "That's possible, but we're not doing in person stuff. No one's doing in person stuff."


    - 'Happy Endings' physical release: "Some people want to hear 'Happy Endings' on vinyl. A vinyl single? We could do that."


    - "Are you nervous releasing new stuff? Or are you like, "Whatever, if they like it, they like it"?" -> "I get excited. I don't get nervous, I get excited about it though."


    - "Favorite Linkin Park demo?" -> "Demo? Does that mean demo that got released or demo that got turned into a song on an album, or a demo that didn't, or it doesn't matter? Favorite demo that turned into a song... I mean dude there were some demos that there was real merit in the actual demo that we ended up going in a different direction with the final. You guys remember 'Primo', that whole situation with 'I'll Be Gone'? 'Primo' was a GOOD demo. And we ended up doing the song called 'I'll Be Gone' out of it, but the demo version of 'Primo' is pretty great. Part of me thinks that maybe we should have gone that direction. But it was a vote, six guys vote and that's what you do with it. And I'll tell you... typical band dynamic: if Joe were to watch this, then he would be like, "The demo was better, I told you so." That's a typical Joe response to that. He wouldn't say it in those words, he'd say it in much more snarky words. But I would agree with that. I think the demo of 'Primo' had better bones than the thing we released, in my opinion. At the time, I would have voted for the 'I'll Be Gone' version, but now I think that was... I think the other version might have been better. But I don't know, we'll never know."


    - "I can't stop talking about the art for the song ('Happy Endings')." -> "Oh, I haven't talked about this today. Cain Caser is an artist who I've been seeing around. So Cain's really dope, go check him out on Instagram. Frank Maddocks was like, "What if we asked Cain to do it?" And I was like, "Oh I've heard of that guy." We had been thinking about a few different artists and Frank had gone out to a few different artists to ask, "Are you interested?" And Cain came back with images right away, like, "I want to do this, check this out." And one of them was the start of this cover image. And I loved it, I was like, "That's pretty sick, let's do that. Like would he be down to collaborate with me on it?" And he was, so basically he did it in photoshop and then transferred that to a physical painting and started painting them. And from the physical pictures he took of the painting, I took those and then manipulated those. So, the physical painting of this thing he actually finished and went in a slightly different direction. So the physical painting is different than the digital art that's the cover. So he'll probably post his version, which is great, it's so cool, and my version is the version that ended up on the cover. He's in the UK which is the main reason we didn't physically do anything and physically pass it off because it'd be too expensive and too slow too. Because you have to ship a physical painting and the single release was coming up too fast. So the timing and money didn't make any sense. Yeah, but I'm all about that cover, I love that cover. Fun."


    - "What's the story behind the "come on" at the start of 'Over Again' and why'd you feel like it needed to go in the song?" -> "You can hear when the song starts, you can hear me frustrated yell "Come on!" into the mic and it was because I was so frustrated. I was trying to record the song, it was very serious and I was trying to get it done and then there was like a car alarm going on outside that every once in a while when I'd try and record my part, I'd be just doing it and it'd be like "Beep beep!" And I was just like, so mad. So yeah, it was a stupid car alarm."


    - "How do you navigate all of your plugins on Ableton?" -> "It's a mess. My plugins are a total mess. I did highlight, like you can categorize in collections and I did put the category "Use More", I tagged them as "Use More" so some of them I put in there so I know that they're good since I don't usually use them."

  16. The good news: Mike can create a poppy, catchy track pretty quickly with a great production sound. Regardless of how anyone feels about the song, this is great news regarding LP (in case anyone had any doubts, which they really shouldn't). The song is fine, it isn't bad, it isn't great. But Mike has put out a pretty consistent repertoire of solo music since 2017 - Post Traumatic EP, Post Traumatic, fine, Open Door, and Happy Endings all sound good and are solid pieces for his solo catalogue.


    Looking forward to whatever LP is cooking up. If the OML production sound is anything to go by, they are probably making some GREAT sounding music.

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