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You're forgetting the videos they had done by Bono from U2, Paul McCartney, and Metallica. That's absolutely massive, and 3 of the largest acts on the entire planet and in music history. Huge. Shame about Corey Taylor. He was in Mexico at Knotfest or whatever I think, or a festival... Jonathan Davis was there too but made it to the Bowl and flew back ASAP, I think he even left DURING the show right after OSC to go back. Would have loved to have seen Corey and Jared Leto but that's just how it is, not everyone could make it. Papa Roach was on tour in Europe. They told their management they were going to cancel several shows to fly to LA and see the show and then go back to Europe to continue the tour. Their management would not let them cancel the shows in Europe. So stuff like that happens too. What's more important is the many musical tributes. LP did the best they could with guests. Jay-Z played Numb/Encore talking about Chester his ENTIRE tour after that. Corey has given several press interviews about Chester and Chris Cornell, etc.

Derek's AltWire is back with another interview from Mike, this time about Dropped Frames, Vol. 1! AW: ‘Super Galaxtica’ sounds like something scooped up from a classic arcade title. From having previously worked on film soundtracks and 8-Bit Rebellion and LP Recharge, have there been a few potential video game soundtrack ideas/offers in the past that intrigued you? Are there any series you wish you could do the score for? MS: I haven’t been offered anything interesting, but I’m open to the idea. I play Overwatch, Fortnite, and a little bit of Minecraft; I’m also a big fan of Zelda, Halo, Metroid, and Mario. Most of those haven’t historically gone to mainstream musicians for music or done collaborations. But anything is possible. AW: With so much of the album rooted in experimentation and pushing you out of your comfort zones, have you discovered any new favorite instruments/synthesisers that you could potentially see fitting in with future material? MS: I’m getting my Teenage Engineering OP-Z fixed, so I’m excited about getting that back. And while I don’t use my MPC60 on the stream, because it’s too slow, I love that machine. AW: Whilst reviewing previous career material during a stream, when selecting your preferred tracks the term ‘no-brainer’ comes up a lot – are there a couple of ‘no-brainer’ favorites from ‘Dropped Frames, Vol. 1’ that immediately come to mind, and if so, why? MS: Super Galaxtica, Duckbot, Osiris, and El Rey Demonio are probably my favorites. Lots of little sonic gems and happy accidents in there. Check out the full interview here.

No idea, haven't heard the song haha

grandson has just confirmed that his new song "Riptide" is a collaboration with Mike Shinoda, according to @grandsonnews on Twitter. Last year, Mike teased a collaboration with grandson and boonn. In March 2019, grandson tweeted, "Mike and I got back in the studio before tour and he helped produce one of my favorite new unreleased songs." In a recent tweet, grandson also hinted at Mike Shinoda, putting out the characters "19 8 9 14 15 4 1" which is "SHINODA." The account says the song is coming on July 31, which is this Friday.

You're right that it isn't lossless, but it's the same mix you'd get. I understand what you are saying though about lossless audio in HQ. This is the best we are going to get. The band obviously doesn't want to release that show.

Just on YouTube. Download the audio and track it. The band paid Ethan Mates to mix the entire show professionally and they reuploaded it in place of the original audio. The audio on there is as good as a live release, same guy who mixed a ton of LP's live releases.

Rob: "I've had a lot of moments in life, many breakdowns."

In high school, Rob had issues with alcohol and drugs. That was a very, very long time ago and before he even joined Xero. He could have, at that time, sworn off alcohol and drugs and not wanted to be around any of it any longer. For Porto Alegre 2012, we heard Joe was sick, hence the delay. Similar to how Chester was injured at West Palm Beach 2014 and forced the band to have a huge delay (and shortened setlist) for the show. This happens sometimes on tour... Brad was sick at Sunrise 2011, skipped the soundcheck and M&G, but played the show.

On July 22nd, Mike did an art day on his stream and took a few questions at the end. There were just a couple of relevant answers so we put these in with the 7/23/2020 stream recap. Someone asked if the unreleased jams in the art stream were on "Dropped Frames, Vol. 2" coming up. -> "I'm looking forward to putting out the next volume of Dropped Frames. I hope you guys are enjoying the first one still. Keep listening to it, keep passing it around. I'm going to add the new volumes in to the playlist, we have a Dropped Frames playlist on Spotify, I think we have one on Apple but I'm not sure. But put them all together because they're fun to listen to on shuffle that way. It's pretty great. It's also a good like, background music when you're just chilling." - "Will "Looking For An Answer" be released?" -> "I don't think so. I think that the version that was recorded at the Hollywood Bowl was THE version. We tried to make, I tried to... the idea of recording it came and went. Even though the version at the Hollywood Bowl was not my best singing, it was emotionally the right tone and whatever." https://www.twitch.tv/videos/687434405 And from July 23: - "When you are on tour is being on stage enough to keep you in shape or do you work out too?" -> "I usually work out in addition if I've got time. On the Post Traumatic Tour, everything was smaller scale and streamlined, and there was a lot of driving on the bus. So I didn't get to work out very much, that sucked. On LP tours it was a lot more luxurious and I had tons of time to work out. I haven't been working out at all.... you can totally tell, right? I'm not working out a lot right now. For me, being on stage is generally pretty active." - "Will you do a remix album to Dropped Frames?" -> "I probably won't make remixes of the stuff because I feel like the songs being instrumental is like... I don't know if I want to make remixes of them. Maybe we'll do something remix-y for you guys." - Re: Dropped Frames, Vol. 2: "We are already getting prepped for Volume 2, my friends. So brace yourselves for it. Yeah, very exciting. Put them in a playlist together and put it on shuffle, it's the way to do it, trust me. It's what I do on the art streams every time, it's the best." - "Were you involved in One OK Rock's "Eye of the Storm" album? If so, what songs did you work on?" -> "No, I was not involved. Wait, what was the name of the album with One Way Ticket? "Ambitions", so no. I wrote a little something and it wasn't really like, it wasn't the jam. We wrote some stuff but we could do better is the thing, that's the point. We could do better." - "Do you still have the theremin from New Divide?" -> "I don't think I used it on New Divide. Oh, I used on stage on New Divide, yeah, so we have that still in the storage locker of Linkin Park stuff. But I actually tried to use it A Thousand Suns. I shouldn't say "tried", because it was pretty fun. You know it makes a single note sound and then I ran that through AutoTune, so the notes were jumping like, perfectly. It was pretty fun but it kind of sounded like something you would get on a keyboard and have more control over. So we ended up just doing that." - "What songs did you remix for U2 and Kings of Leon?"- > "I got stems for... I don't even remember, you guys. I don't remember. I got stems for one of the U2 songs off of like, it was before that album where they put their songs on everybody's iPhones. What album was that called? I don't even know. But they sent stems, I think I made a thing and I sent it, it was like ok and it didn't go anywhere. Kings of Leon, it might have been "Use Somebody", maybe, I'm not sure. Here's the thing guys, when you've made as many, I mean I'm sitting here making a track a day on Twitch, I also often times make another track in the afternoon or work on other stuff in the afternoon. I've been doing this for 20 years. Do you know how many songs I've made? Do you know how many tracks I've made? Like, I have generated so much stuff and I don't work every day. Sometimes I do the stream and I don't do more music for the rest of the day. Other times in my life I've gone maybe a couple of weeks without making something, but usually not. Usually I make something at least once a week, if not, a bunch of things. And sometimes when I'm sitting, that's not even counting when I've been on tour, driving, in the car like in the passenger seat or back seat of a car or on a plane and I will sit there on my phone or on my laptop and make multiple things while I'm traveling. I was on a flight one time where I think I made 15 to 20 things. Oh my god, one time, I don't know if I've told you this story, I was on an international flight. I think I flew from London to LAX and I was on my computer, I was playing with Maschine with my device in my laptop. I was in first class and I was like two seats back. I was on the left side, I remember exactly where I was and it was mostly dark the entire time. So I'm in the dark, I've got my headphones on, just making stuff. I stopped to eat a little bit, watched a movie, made some more stuff. I didn't sleep because I was going to get home and sleep, or I had just slept or whatever. It wasn't about like, getting work done, it was just having fun, "oh I have an idea", "oh I have another idea", "oh I have yet another idea." I got to the end of the flight, I stood up, and this guy behind me goes, "Hey man, I hope you had a productive flight" and he had his really smooth way about him talking. And I turned around and it was fucking Lionel Richie. Lionel Richie had been sitting behind me the entire time and watched me do this. And I was like, "Oh! Uh... yeah it was pretty productive, I made some things, I liked some of them." And he goes, "I know how that goes man, you didn't sleep though." And I was like, "No I didn't" and he said, "Next time you should sleep though", or something like that. He kind of joked with me and gave me a hard time, that was it. That was the extent of our conversation. I liked that he was relating to like, "I know how that is, I know how that goes." Ha." - In terms of working with other projects: "I've been offered acting, I've been offered like, "Hey do you want to read for this film role?", "Hey do you want to collaborate with this person", or "Collaborate or make music with this thing" and I've been like, "Na, it's not a good fit for me." Even early I was kind of like, "Ehhh, I don't think so." It's good to know what you're about." - If people had to play Linkin Park in a movie as the band, Mike would want to cast a bunch of nerdy guys. - "Do you have crazy stuff on your rider when you're on tour? Like a golden chair, lol?"-> "We never had really crazy stuff. I never had anything super crazy on my rider, I don't know about the other guys. There have been moments when I found out that other guys in the band had things going on, and I was like, "Oh, really? I didn't realize that was a thing." And I won't embarrass them or call them out. Generally a rider is for things like towels, waters, specifics kinds of drink and food, I wouldn't ever really or almost never would put alcohol on a rider when it was Linkin Park because of Chester and Rob. Sometimes there would be food things. I think we did a phase where we were trying out different salsas, different hot sauces, different food things. It was always food. There was probably an era way back in the day where we needed certain things for our like our XBox on the bus, so we'd put like, "Please put a couple of XBox games in the dressing room" and whatever. It might be in the context of all of the things they were getting for the show, that's not super crazy. But I don't think we did that much, that wasn't a thing that stuck. We'd just go through little phases, like, "How about we put this weird thing on the rider?" Black towels, white towels, those type of things were on the rider. One time, before we went to Israel for the first time, we sent our normal rider which had things like towels and waters and basic food stuff. Like Brad and Rob had food restrictions so there'd be like food restriction stuff on there, which is important if you're in like, Spain for example where they'll have a lot of meat products and things and there's not a lot of like, vegan stuff generally unless you ask for it. So we're going to Israel for the first time and somebody printed a story that did we did want golden towel racks and all of this weird extravagant shit. They printed that we wanted, it wasn't as dumb as like, stacks of money, but it was almost like that. It was like golden chairs and whatever. So somebody says they remember the story. It was so weird! And we were just like, "This is dumb, and no, we don't ever do that." I don't know why somebody made that story up but they did. And it was really circulating too and a lot of people had picked it up as it was true, and we were so frustrated that that was happening. People are idiots, people who believed and wrote that are idiots." https://www.twitch.tv/videos/688433030

Here's a new interview Mike did with "DC101 At Home" which is streaming on Facebook! Check it out here.

We are sending our love out to the worldwide Linkin Park community of fans and fans of Chester Bennington today. It is not an easy day for many, and we acknowledge that. If you would like to use this thread to share stories of Chester, Linkin Park, and more, please feel free. Please know that we care about you all and we are very grateful that you are a part of the LP family.

And now Chester is trending today!

Mike made an appearance on a podcast from Angry Americans - here's the rundown. It's over 2 hours long. "The frontman for the legendary rock band, Linkin Park (@LinkinPark), Mike Shinoda (@MikeShinoda) is a true creative genius. [1:01:10] His groundbreaking work spans genres, geography and generations. Mike has performed with brilliant icons ranging from Jay-Z to Paul McCartney. Throughout his career Mike Shinoda has found ways to channel his righteous anger into positive impact. And to connect, unite and empower others worldwide. He’s a leader in the arena. A voice of reason. A conscience. A great American success story. A parent. An activist. A philanthropist. A patriot. Mike and Linkin Park have a massive global following--and hold the title as the most-liked band on Facebook and amassing over 7.7 billion YouTube views. He has sold over 55 million albums worldwide, sold out stadiums around the world, and earned 2 Grammy Awards, 5 American Music Awards, 4 MTV VMA Awards, 10 MTV Europe Music Awards, 3 World Music Awards, and “Rock Album of the Year” at the 2018 iHeartRadio Music Awards for Linkin Park’s seventh studio album, One More Light In 2014, Mike and Paul partnered on a groundbreaking campaign with Iraq and Afghanistan Veterans of America (IAVA) to support veterans that included dozens of Linkin Park shows and reached hundreds of thousands of people nationwide. And Mike’s got a new project that’s bringing people together and opening doors for others worldwide: "Dropped Frames Vol.1" is out now. He joined host Paul Rieckhoff (@PaulRieckhoff) for an extended, candid and unedited conversation about the new project, his pandemic experience, what he thinks the future of concerts look like, what he thinks about Trump, Black Lives Matter and the toxicity of social media. AND, Mike shares an amazing first car story--and of course, his favorite drink." Listen to the full podcast here.

It turns out "Dropped Frames" is not only the name of Mike's series of instrumental albums, but it's also the name of a weekly talk show online talking about gaming! So it was only fitting for them to do an interview with Mike, right? Mike spent the second half of his stream time on July 15th hanging with the guys from Dropped Frames for an hour, and you can check it out below. A few highlights: "When we were on tour for our first record Hybrid Theory, we were on a bus. We were able to get two buses at one point. We were successful enough to get two buses. And in one of the buses we put a big recording rig in the back and it was the size of a refrigerator. They drilled into the bus and strapped it to the bus so it didn't like fall over or roll around. We were running it on a Mac with a keyboard and that's how we recorded a lot of the demos to our second record. By the time we got to our fourth record, it was just all on a laptop with a little keyboard controller. So I've lived through all of that stuff and collected stuff the whole time, so I have, for me, what's a fun mix of the most current virtual instruments and then like the MPC 60 which is full of samples and 12 bit." "The band, we have collected between all of the band members and touring entities... when we toured, at one point, we had to have six copies of any piece of gear on stage because we needed for the main rig... you know the stories you hear of like Guns N Roses, where it's like, they just collect and collect and collect gear, and they make songs, and Chinese Democracy was an album they worked on for decades. It had studios just full of junk. We were starting to head that direction. The reasoning was that we might have tours that butted right up next to each other in North America, in Europe, and in Asia. Or maybe one of those was in Australia. And we couldn't get all of the gear from one place to another to continue our tour quickly enough. Because they'd have to, in order to do that, you'd have to put the gear on a ship and ship it overseas and that takes time. So we had to have six copies of every drum. Six keyboards. Six vocal mics, all of the compressors, every single piece of gear on the stage including the front of house mixing console and whatever. So, I mean, just a lot of junk at the end of the day. You buy a bunch of stuff, you rent some of it, and then it piles up in a unit and eventually you have try and sell it after it's been bashed to hell because we've been touring it around the world."

Mike didn't do a Q&A on July 15th as it was just an art stream and an interview with the "Dropped Frames" talk show. - "Taka said a few years ago he worked with you and Steve Aoki. What happened to that? Did it become Last One to Know?" - "I believe that it did. I don't know when he said that and I don't know what he was focused on, but I wrote Last One To Know and I just liked the song and then I played it for a few people and Taka did do a version of it. Steve and his manager just loved it and they wanted to do something with it and they had suggested Lights and I think she's great. I think she's super cool. And I think the thing about it was just that on that one I had always imagined it being a female vocalist. I actually wanted it to be a female vocalist for the whole song. That was my thing. I didn't want it to be my song at all, but they did, so that's how it ended up working out." - "Back in the day what did you think about people who downloaded music illegally?" -> "I've talked about this like a billion times I think. It didn't really bother me. I always said the trade off is, like, if you never buy the stuff that your favorite groups are making, if you only downloaded it for free, then effectively that group could basically like, go away. If you think about it, that's the whole problem with downloading for free and why people would say, "Oh you're stealing from the band", or whatever. If you were a band coming up and nobody paid you for any of your stuff, then you quit. So that's sucky. If you love the band, it's a shitty thing to happen. And that's true for anybody, any group. If you look at the number of followers or downloads or you put up stuff in your store and nobody buys it, it's like "Oh, nobody cares, so I guess move on." It is what it is." - "How do you guys decide where to go when you're planning a tour?" -> "There's an art to planning a tour. Obviously part of it is what makes financial sense, where are the fans, where have we been, where have we not been. Sometimes it gets kicked off by like, an offer from a festival or another band to tour with. Like if a couple of big festivals in Europe are happening over the summer and they make an offer to the band, it's like, "Ok we've got one show at the beginning of July and one show at the beginning of August, so we fill in the middle, you know." So there's a few festivals or whatever. For us, it was easier than most because we had relations with a lot of the festivals and could go headline and stuff like that. But on my own, on solo tours, I wasn't going to be headlining festivals. So I could find different festivals. There were ones that I got offers and then I would do like, do some of them and not want to do others. It was a lot more... you had to finesse it." - "Hola from Hawaii! I met Joe when he was doing a mural for POW! WOW! Hawaii. Is it true you were considering doing a mural for it?" -> "I was! I was supposed to go and then some stuff came up and I couldn't. Part of the problem is that.... POW! WOW! is a really great art show, they do them in Hawaii and other places and I've wanted for years to come to the one in Hawaii. And it's always like, right next to my birthday and stuff comes up right around my birthday. I just haven't been able to make it out, but I really want to. If you haven't seen that, just wherever you live, look it up. POW! WOW! Hawaii is like, a really great art show. They paint murals and stuff like that all over the islands." - "If you could collaborate with any artist right now, who would it be?" -> "I don't know. I love the guys from Brockhampton, they're great. I think Denzel Curry is really talented. I don't know." https://www.twitch.tv/videos/681482794

The Tuesday, July 14 recap for Mike's stream. - "How did Second to None come about?" -> "Second to None was a beat, I think I came up with that beat after the Fort Minor record, I think. And I wanted to hear somebody rapping over it, I didn't want to just put it on my own. We were working on the Styles of Beyond record and I kind of pitched it to them. And we ended up just doing it. I think we didn't know what would happen with it, but we were like, "Oh yeah this is dope, this is a dope beat." My concept for it, for part of it, I was listening to like 1988, 89, and 90s rap. Before Big Daddy Kane started making songs for like, girls. Like he was making R&B songs. At first he was doing like, hardcore rap and then he was like, making songs to be an R&B star. I loved back when he was dancing too, with it, which was so crazy. If don't know anything about Big Daddy Kane, look up Big Daddy Kane at the Apollo. K-A-N-E, that was like one of my favorite eras of stuff as a little kid, like seeing this stuff. And so Second to None was created with that in my mind." - "I want to know how you guys made the first sound in Battle Symphony. Is it a sample?" -> "I think that was part of the demo, like the vocal demo. And chopped up music from the demo, super effected. So treated both of those things together as if I sampled it, and then effected that. Played it on pads and stuff, as I recall." - "How did it feel hearing Kidz Bop cover In The End? Did you have any input on it? -> "Uh, no. When somebody covers something like that, they just do it. You can get in the way of it, but it's like kind of, I don't remember how it works. I think the way it works is, you could like, sue them. So your option is to let it go or to threaten them to not put it out. But you can cover a song as long as you're staying true and not really changing the song. Then you just need to make the parties aware that you covered it. I think that's how it works, I'm not 100% sure. At the time, I remember being NOT happy that Kidz Bop covered In The End. But also, it was like, it's a huge song and they're going to cover any song that's huge, so you don't have a lot of say in the matter." - "What tools of the trade did you add from working with Rick Rubin? Any cool stories of working with him?" -> "The stories I always tell about that, the sessions with Rick, the main change for us was we were making an instrumental and writing over it. And that's different than sitting at an instrument and writing chords and melody. And so he was trying to get us to try to move more in that direction. I had kind of been doing that, think I wrote the chorus to In The End and Breaking The Habit just chords and vocals. Castle Of Glass too. I think you can tell, like there's like the way the chords and everything interlocks with the vocal. I think you can feel that in the song. And I think that's why Rick was trying to get us to do that. So over the course of a few records he got us closer to that in progression over time." https://www.twitch.tv/videos/679529291

It was just all around a weird release. Soundcheck Session, so a significant portion of it was not in front of a crowd. The only two songs from the show were In the End and Numb, which were the two piano songs. The entire thing just didn't make any sense, and releasing it as video only with no way to stream the audio. If Crossing A Line and Make It Up As I Go were on there, why couldn't there be a proper release of the PT live songs?

Mike's first Q&A summary in a while, here's the recap and highlights. - "Could you active your phone number in Italy and other countries?" -> "Here's the thing. The number that I have released to you guys, I do it with a company called Community and Community is not yet available in other countries. They are getting there, they are a growing start up. What they have to do, is they do deals with the phone companies basically to acquire numbers and then they assign those numbers to the people that work with them. So they gave me a number. It's very hard for me to keep up with texting people back. But the texts do come through to my app on my phone. I don't get pinged every time somebody texts me because that would be too crazy because the followers are in the five digits so there is a lot of people. But I see more than I respond to. And it does come to me. I should do it more, I don't do it enough." Mike talked about lemon tea and ginger tea helping him with his throat and voice. - "I was wondering if you ever plan to release a live album from the Post Traumatic Tour." -> "I don't think I'll do it. I kind of don't want to do a live... I feel like those shows are very special and I don't think I'm going to release it. I think that people saw it, if you didn't, the stuff is online already. I don't think I need to have an official version." There was a huge explanation on publishing and royalties, how complicated it is, how countries where songs are recorded actually have a say in the publishing, etc. Mike said he is trying to get it so the Dropped Frames music can be used in Twitch streams by other people. He said he is not the one taking down Linkin Park music online, it is extremely complicated. - "Release a vinyl version of Dropped Frames." -> "I will if there's enough demand. That doesn't mean, by the way, that Dropped Frames has to sell a bajillion copies. It just means that there have to be enough people that want vinyl so that the vinyl will pay for itself. In order to make a product, you have to produce a certain quantity so I would have to have enough people who were interested in buying it for it to make sense. I don't know how to quantify that." - "Can you tell us why songs like I'll Be Gone and Promises I Can't Keep were never performed live?" -> "You know, it was just that we only have so much room in the set. The guys have never wanted to play longer than 90-100 minutes or so. We sometimes stretch that a little bit. That was the limit. The more songs that we have to add, the more the band has to know all of those songs and I don't think that, I guess I just didn't have the interest or brain space to add more. We did add a lot, we did play so many. At some points we were rotating three different setlists with maybe a 1/3 of those being unique to that setlist. So it was a lot to remember. I could have probably done more, but I think that's because of what I was responsible for. I don't know how to explain that. It wasn't really me, I would have done longer sets, I would have done a little bit longer." - "Do other members of the band have home studios too? Can you tell us about them?" -> "So everybody is different, everybody has got some stuff. Not as in depth as what I've got going here. Brad doesn't really have anything. Dave has some bass guitars and drums, but no mics or recording equipment really. He's got a laptop with some stuff on it just to throw a couple of things on it, but he doesn't do recording. He'll only do it if I'm asking him to or somebody's trying to send a thing. But he doesn't really mess with it. Joe has stuff, but it's usually in disarray. He gets excited about a thing, buy a piece of gear, play with it, and then move on really quickly. And there aren't that many units that he goes super deep on. He knows the sampler stuff really well and of course turntables and Serato and all of that. In terms of the individual keyboards, he usually relies on an engineer to go deep on those for him, which is normal. A lot of people are that way. A lot of people are that way if they have the means to have that gear. If you're in Joe's situation, it's not crazy. Rob probably has almost the setup I have or getting there. Some of the stuff is a little older, and he can use it. It's like, the focus is usually always on drums for his stuff. He's got some other stuff to play around with, but it's mostly all about drums. And even then, up until now, we've gotten better results at my place or in a professional studio. But I upgraded a bunch of my drum stuff in the last two years so I feel like I get awesome drum sounds now." Mike isn't very interested in doing drive in concerts. He isn't going to do a lyric writing session on a stream. - "How was working with Darren King on Hold It Together? Darren absolutely rips?" -> "I agree. Go do yourself a favor and check out Darren's Instagram page because he puts a lot of his stuff up, his crazy, creative studio studio sessions. We didn't meet in person because he lives in not LA. He said, "Yeah I get a really good sound at my home in my home studio, so let me just send you tracks." And we did it that way and then I chopped those up and used them. I didn't just like, play the drums. I grabbed them and effected them and chose different sampled drum parts for the beat and verse and got to his part in the bridge. Darren's the reason the drum stuff on "Hold My Shit Together" off of the Post Traumatic record was so good. He's so great." https://www.twitch.tv/videos/678532004

On July 12th, KROQ reaired Mike's Sound Space 2018 concert via Twitter broadcast and included a new interview that Mike did with Nicole Alvarez. This show was one of the first Post Traumatic shows of Mike's world tour and featured six songs played to an intimate crowd. Check it out here.

Kind of off topic, but... Chester dancing to bluegrass OSC at DBS Amsterdam is hilarious.

What do you think? Mike didn't play Brooding live for Post Traumatic,, he hasn't really played many instrumentals live over the course of his career honestly. Session and Cure For The Itch were both Joe-only tracks. Mike did do on the 2014-2015 world tour part of his solo medley instrumentally which he played. When he inevitably plays solo again, since he's releasing at least 3 volumes of instrumentals, do you think he slips one in somewhere? Some of the volume 1 tracks are pretty good, he could fit one in to a setlist. But he already has trouble fitting everything in since he has so much material he can play.

Forbes has posted a new interview with Mike. Baltin: At what point did this evolve into an album? Shinoda: When people's tour schedules fell apart and they weren't allowed to continue on as planned I watched a number of artists panic because the things they planned to do they weren't getting to do. And also because the attention they were expecting to have from people was gonna go away. And all of a sudden they were scrambling to grab people's attention in other ways. All of a sudden every single music artist in the universe had to live stream concerts from their bedroom. And I was so bored by that. I don't know why I felt that way. I just didn't like it. And that's not a knock by the way. Baltin: Were there any live streams you enjoyed? Shinoda: Post Malone's Nirvana one was dope. That was one of my favorite ones. I've caught some of the stuff that Questlove and the Roots have done. Quest is always spinning records and stuff, talking about his experience in the studio or bits and pieces of trivia about the artists that he's playing. I love that. My favorite things have been random unknown singers on Instagram who sit down with a guitar and sing a thing. And Instagram's algorithm is so good that it knows now that's what I love. And it just shows me new singers with like 25,000 followers singing a song with a ukulele. That's half my feed (laughs). Baltin: So could these discoveries ever lead to collaborations? Shinoda: When I hear people I think are really dope I reach out. That's how I ended up doing a remix with Ren For Short. I heard her on a playlist and I was like, "What's this girl all about?" She had like no followers. I put it on my playlist, I posted it on Instagram, she DM'ed me, we started talking and then I made a remix for her and we debuted it on my stream on Twitch. Baltin: One of the interesting things about this time is seeing how people evolve and show different sides of themselves. I doubt you would have made an all-instrumental album at another time. Shinoda: I fell into it. These albums, Dropped Frames is gonna be the first of at least three. I've got the second one done and the third one is in progress. And I say in progress, basically it's just tightening up and mixing stuff that I made on the stream. But certainly it's a thing I wouldn't have done unless I was in this situation that I'm in right now. It's also funny cause it's clearly not for everybody. Instrumental music is not your way to the Billboard top five (laughs). But anybody who knows my discography knows I've done instrumentals often, on every record, every couple of records there [are] instrumental tracks. A few different instrumental pieces that have gone to film and TV as well. I feel like there is a poetry to the instrumental that it leaves an openness to interpretation in terms of the content that is a lot of fun. And I haven't ever done that before on a full-length album. Check out the full interview here.

Mike's leak says this is not the case. We'll see what happens. It's leaning towards it being something epic that the band is involved in pretty heavily.

They are just show intros and outros. First one from 2004 could be some type of demo made by Mike and/or Joe. Who knows. No one has ever commented on them.

Listening parties have become a "thing" with Mike, dating back to the LIVING THINGS album in 2012. Ever since then, Mike has fully embraced and participated in listening parties with fans online. So you didn't think he'd skip out on this one, did you? Join Mike on Twitch on July 10th at 10am PST for "Dropped Frames, Vol. 1" listening party as he talks about the songs. He will also be debuting the new music video for "Open Door", created by Ana Ginter, on the stream. See you there!