OneStepCloser

I have to agree, W&K was awesome live, as was WTCFM! I believe BITS needs some work, Mike and Chester don't go together too well on that one, but WFTE is also very good, and the Messenger is beautiful! From what I've seen on youtube, blackout works very well too, I think fans don't appreciate the difficulty in recreating album tracks live.

SONISPHERE 2009, UK!

Get the 720p download in the Live Vids Download section on the forum, it's absolutely amazing with VLC player, brings back so many memories!

Yeah, I've got the same problem, the russian torrent is no good, since it denies me access, I'm not on demonoid, and the rapidshare blu-ray upload was apparently not working. There are only a few videos in HD on youtube, it's just I very much NEED them, since I see myself in like seven songs at the front.

Actually, does anybody know if there are HD videos on youtube of all the songs, or similar?

I can't seem to download the Russian torrent, can anyone provide me with a megaupload/similar of the HD 720p show? It was basically the best night of my life, front row!

Is anybody going to upload ALL the videos in HD?

YES, finally, I find myself in a video! Lying From You @ 2.13, I'm rocking out! Is there any chance the rest of the videos will find themselves on youtube? Can anyone do a megaupload?

Here's my review, all 1,623 words of it. I have to say, I was massively skeptical about this album. But LP have pulled it out of the bag, pushed the boundaries, and have produced energising, dynamic, fresh, inspiring music. Please do read and comment! Review: The Requiem: Don’t know what to make of this track. Seems like a reasonable beat, but the electronica voice just doesn’t fit in and ruins the song, doesn’t add any effect to the song, but just disrupts the nice background beat – ending is good, however. 4/10 The Radiance: A heavy, intense track, which, although just filled with a speech, is effective and resounding. A much better opening than the Requiem, with the heartbeat a good addition. 8/10 Burning in the Skies: A good, heavy start fades into mellow guitar and a nice beat, with Mike’s reasonable vocals. When the chorus arrives, Chester’s vocals are strong, but the backing instruments seem unenthusiastic, and I cannot imagine this song live working. Vocals are effective and satisfactory, but nothing amazing. However, the guitar picks up the song, and I realise why the song may work live, the drums are heavy, the lyrics are deep, and although intrusive, Mike’s vocals aren’t overly used. A good track. 8/10 Empty Spaces: A distinct jungle track, where gunfire, megaphone and explosions become apparent, perhaps a link to ‘Nam. Other than that, nothing of a track, so no mark. When They Come For Me: A nice heavy guitar, distorted, good beat, bongo drums or something, and the electronica is working well. Such an awesome beat, something really heavy that WILL work live – Mike’s rapping is as usual, ace. The backing instruments remind me of Meteora, and even a mention of POA. The main chorus, although chanted/sung, seems to fit with the song’s style, and live, could be a treat, as it is powerful, melodic and appropriate. Chester’s vocals are a relief, perhaps, to the heavy beat, as it eases into his singing – yet, as the instruments build up around his strong voice, Mike returns, and Chester and Mike, as they so magically are able to somehow do, combine to form such a great ending that this may be already my favourite track of the album. 9.5/10 Robot Boy: Piano interlude reminds me of ETR from Meteora, and the soothing backing vocals are interesting. A combination of Mike and Chester again is melodic, but lacks depth, somewhat, and the tempo appears a little slow to enthral. Rather likened to peaceful chanting, the verse and chorus seem dull. A distinct lack of variation in lyrics/tempo seems to be a detriment to the song, but Chester’s shouts and cries in the background add depth and clarity to the track, and somewhat embody a further element of the song that Mike cannot capture. 5/10 Jornada Del Muerto: A creaking, chanting and constant beat is accompanied by odd sounding, dragging vocals, which are unclear, but then joined by electronica synth, which takes over from the rest of the track and makes it a little more clear and driven than I expected. A mediocre filler track, but better than others. 6/10 Waiting for the End: A good start, some decent guitar and a funny background drumming? Mike’s rapping is strangely melodic, and oddly doesn’t seem to fit him. Chester’s vocals, strangely, do not fit, either. He seems to sing a little without passion, and the song seems to lack direction. However, he moves on to some energetic, meaningful lyrics, before returning to lyrics which I would associate with perhaps a television show. Yet, again, Chester returns to more meaningful, passionate lyrics, and Mike rejoins, and his rapping is a little more normal, but sounds Jamaican, which is strange. Live, this could be a decent song, but in studio format, it seems a little too austere for my taste. Chester’s vocals combined with Mike’s singing towards the end works well, and the song finally seems to slot into place like pieces on a jigsaw puzzle. Without the ending harmony, this song sounds average. 7.5/10 Blackout: A good initial beat, which sounds promising. The starting guitar is brooding and heavy, which is reassuring. However, the almost Super Mario synth does not fit whatsoever into the guitar and background beat. However, as it fades, Chester’s almost screamed rapping is a relief, and as it leads into his aggressive screaming, we’re reminded of the classic Chester. The song reverts to the initial beat, and Chester isn’t a half-bad rapper. His screaming is fluent and well accompanied by the instruments, but Super Mario returns for some reason. Mr Hahn works some distorted guitar and scratch magic to take the song to a better, higher, supreme level with distorted chorus, shouts and screaming from Chester, which works remarkably well. Mike appears with some soft vocals, which are not unwelcome, but surprising. Although, for once, they work, and aren’t half bad. The beat works well with his deeper voice, and when Chester returns to sing with Mike, it works pleasantly well. As the instruments cut out and they are left together, then Chester alone, the tracks fades into a robotic Chester and out, which works remarkably well. A decent track. 8.5/10 Wretches and Kings: A powerful, American, throaty speech, although an odd way to start a track is surprisingly good for setting the mood. The distorted, twitchy, industrial beat and guitar works excellently, and Mike returns with his trademark rapping, with supreme lyrics and a strong backing beat. The guitar works almost too well, and Chester’s vocals take you by surprise in the chorus, extremely powerful, and a certain treat live. The drums cause excitement, and the looped industrial beat is perfect with Mike’s rapping. The guitar over the bridge, with shouts of HEY, works tremendously. Chester’s powerful, angry chorus lets him pour meaning into the track. Mike’s crowd-pleasing chants (no doubt amazing live) will be sure to work with any crowd, and as the instrumental fades with the angry speech that was also at the start of the track, it works supremely, and some Mr Hahn scratching compliments his freestyle heavy beat before scratching out. A definite track to remember. 9/10 Wisdom, Justice, and Love: A melancholy piano follows a depressing-sounding speech, accompanying it as if at a funeral. Touching as it, the words of the speech, powerful, rehearsed, and historical, hit home as the piano appears to emphasise them. Some distortion on the lyrics as it gets further into the speech, and a build-up in the background fades as the voice turns completely robotic, almost frightening, as we are reminded of the title. A fairly good track for one with no real beat or vocals. 8/10 Iridescent: Ethereal, slow, piano, a sombre, slow tune. Mike’s slow, meaningful vocals, perhaps work to an extent. The slow occasional piano chord compliment Mike’s vocals, and as they become more frequent, Chester’s vocals are strong and substantial. As the chorus ends, a beat appears in the song, and a distant guitar also, with Mike retaking the vocals. Chester’s powerful chorus completes Mike’s slower, deeper vocals, and an almost Sum-41 guitar is introduced, with a nice, bassy, beat. Then, almost a choral chant begins, with rich vocal and lyrical content. A handful of powerful notes work in synergy (Mike and Chester), and Chester’s chorus, strong and backed up a strong beat, is energetic and almost touching, before it fades into electronic piano, soft and slow, before fading out. A fairly good track, which definitely gets better as it progresses. 8/10 Fallout: A gradual opening, almost like the SOTD/WID bridge, before going into mechanical, synthy distant vocals, unclear as to their content. They become clearer as the song progresses, until Mike’s vocals are clearly heard, before fading out again. 6/10 The Catalyst: DJ Hahn’s scratching is simple but complex at the same time, energetic and tense. Mike’s techno vocals come into play, with questionable effect, but Chester’s strong vocals play compliment well to Mike’s fake counterparts. The techno bridge and beat work well, with Hahn also present in the background – Chester’s vocals continue, with dominant, effortless lyrics. They culminate in passionate, strong, throaty vocals, until a techno bridge takes over and takes control of the song, working well with the beat of the song. Chester’s vocals return for a short period, before drifting out. The instruments become stripped back and Mike begin a slow, melodic vocal, gradually raising in strength and backing instruments until Chester enters the fray, using his massive voice to blast out perfect notes, working greatly in harmony with Mike’s weaker, deeper vocals. Chester sings the last chorus, note perfect, before the techno and piano play him out. A real worthy single. 9/10 The Messenger: Acoustic guitar opens, slow and melodic, before Chester’s vocals enter, not particularly meaningful, until he begins to strain and pour in passion to the vocals, with even the occasional throaty scream, with the acoustic guitar, stripped back, working well with Chester’s vocals on their own, and as piano joins in the bridge, the song continues well, powerful and deep in vocal context and content. Chester continues with powerful, effortless vocals, mixed in with passionate, scratchy vocals, before he really gives in to emotion, and produces wonderful notes that live will mesmerise, before fading out entirely. A fitting end to what to me is a new, fresh, dynamic album with flavours of the past. 9/10 Overall, A Thousand Suns is an album worth remembering. Although perhaps with more Mike Shinoda than I would have preferred, especially in the vocal department, every track brings something new, exciting and mesmerising. A deep album, packed with layers of meaning, Chester’s strong vocals go hand in hand with Mike’s vocals and trademark rapping, producing substantial, turbulent, energising music. Although I thought I may never say this, A Thousand Suns really has excited me in its variation, much more so than Minutes to Midnight. To say the very least, A Thousand Suns has pushed the boundaries of Linkin Park to the extreme. And it’s worked.

Haha, if only I did! I can't wait, it's gonna be my fourth time seeing LP. How many old songs are we expecting to hear on a 20-song set?

I'm going! This time I'll be standing, which is better than first time I went in '08 when I was like 13. I can't wait! Might even see the famous Alex McMillan.

R.I.P. RJD. Seeing your performance at Sonisphere, despite the rain, was simply breathtaking. To the father of heavy metal: \m/

hey, can someone invite me? *mail removed*

But that's me. Sorry, USA. XD ND and CBI are both there.

Can't you just watch the Channel 4 Sonisphere performance? Link: http://www.channel4.com/programmes/sonisph...val/4od#2932340 six days left.