lgr

not to mention, none of us are in the band, so we have no idea when the parts for a song truly came about.. look at Runaway for example - Stick & Move barely sounds like it, but that 1 chorus guitar part is what later built the track we know.

but in terms of Primo being a working title for a song that was finished and included on album, Primo counts as an LT-era track. it doesn't matter what era the song began in, it's where it ended up in terms of being a finished track - like Skipees says, it's split by album, not era - I imagine this would get horribly complicated if we listed when/what "era" work began on a track

agreed. you can certainly tell it's a demo (I'm sure the vocals and lyrics would have been re-done in some places) but I prefer this length and atmosphere to the final track - it has so much more presence. it's also very clearly rooted in the ATS vibe and I love that. i'm sure that would have been mixed down by final release does anyone else feel like those last few piano notes are pretty much the Roads Untravelled melody?

the worst thing about them stopping selling new DSPs is the fact that you can bet they won't be replacing it with some sort of new system ie. free downloads, downloads for the LPU, a subscription service, etc.

this. we don't even know if CFTI applies. it might have been left out of the contract on the ground that it be a PA intro, rather than a song that was "played"

we have alot of similar stuff: WMD documents turned out to be falsified and/or elaborated upon + the man who wrote them comittted suicide not long before the truth came out, it was a big, big mess. It's of course a big thing that Bush was such a symbol of fuckery in the US, but that doesnt mean that only the US could write songs about it.

my response:

We went to war with Bush, so I think it applies to the UK too. thematically, it speaks to what I came to understand about the whole 2000/01 "special relationship" between the UK and US, but I still found the song overly preachy

our slang's blooming lush! on 2nd thoughts, this thread ought to belong in here

If I was famous enough to be in a band as big as LP, I'd probably be a bit silly with fans. if you're asking someone ~"how can I be famous", you probably deserve a nonsense answer

what makes you like those two? I just ... fail to see their appeal

it could be a 2014 exclusive, or a 2014 festival exclusive. of course LP are shit with living up to our expectations sometimes, but who's to say they won't make a big "we've decided to do HT in full in the US for X/Y (CA/NY) dates" my point is that a festival promoter can have the band sign for a performance's exclusivity over that year or the festival period, but they don't own the band's live output for the rest of time! It may be a long shot, and it may be years until-, but we ought ot not assume DL is the be-all-and-end-all of HT in full.

1 and 2 = basically, Download is "it". jesus, that's tough on US fans :/ must be pretty bad to be the guy who did an IMR remix and reading that thread. sassy Mike..

Weekend campers at Reading Deserve the George Cross... I have no idea what DL camping's like, I just know that I can't be arsed with it. I work/volunteer on a lot of independent festivals and the camping is the worst bit about it, even if everyone around you is lovely and clean, you're still stuck being cold and uncomfortable, it just..sucks

Just as I suspected I always wonder how crap like that gets started. "Omg it's about his dadd, so sad :( <\3" like, what even...?

Lets face it, everything with Motion Man was terrible..

I'm sure anything that's not suitable won't be used on-site, but I meant that your link was dead

in the LPU there's at least only >200 spammers as opposed to >900,000 of them on Facebook

"no image"

this is a really cool idea, it'll help with covers etc. too

I'm dying

LITE - it's been suggested that this one is about Hybrid Theory and Mike adressing the album as a person - "You were that foundation" - he acknowledges that it made him, but "Never gonna be another one, no" - its time has pased, it's about putting a line in the sand, use of the word "finally" is pretty clear. there's also a similar address to I Have Not Begun/When They Come For Me - as if Mike's talking to someone who's critical of their later work "How's that working out for y'all in the back, huh?" it's similar to Taking Back Sunday's line in Timberwolves At New Jersey "I got the mic and you got the mosh pit" - it's about power, Mike's up onstage making something of himself, but you're in the crowd, you're not important. "I've seen that frustration / [...] / And I've come back unshaken" - Mike won't change his mind by what's said amongst others. the "I can't c-flat" is also is important, as it refers to the old down-tuned guitars style that tones of people wanted back after ATS, and in response - "I can't fall back, I came too far" - Mike shows there's no return, the band has evolved and people should try to catch up (motherfucker). That said, there is also a significant portion of these lyrics that could similarly apply to the whole "fucked up relationships" theme, in that if "each word gets lost in the echo" - there's no point speaking anymore, actions are the only way out of something. However, the "You were that foundation / Never gonna be another one, no" reminds me alot of the psychological condition 'Codependancy' - the excessive reliance on another's approval/affections (read more here), yet there is a positive here in the lines "Hold myself up and love my scars" - acceptance of a problem, and then - "this time I finally let you go" - a recovery. IMR - In My Remains has always struck me as though Chester is speaking from sort of afterlife (the word "remains" is a perticularly death-related term), adressing the listener wit the hope of telling them something that can help them on their own journey, or refelct upon Chester's own path, but he struggles - "Sifting "through the wreckage / I can't concentrate / Searching for a message/ [...] fear and pain / broken down [...]". he speaks of "wash[ing] away the worst of me" and "promises that never came" and "every broken heart" - he accepts he hasn't lived a brilliant life, but also makes us aware that he too was not treated well - "digging through the wreckage of your disregard", he feels wronged too, but isn't his attempt to contact us from beyond something to be admired? the idea of selecting parts and messages from someone's life reminds me alot of Leave Out All The Rest's "don't resent me" lines - the desire to be seen in a good light by those we love, even once we are gone. I'm not sure what I think of Mike's "Like an army.../one by one by one" lines, they strike me as a bit out of place but I guess it could be to do with the fact that everyone will eventually die, one by one by one we will all die, "falling" can apply to death; "fell" can be used similarly to words like "passed", "pased on" when we refer to death, but it tends to be used in terms of medieval battle - "to fall in battle" (which would explain the army refernece Mike uses. the "army falling" could be used in the hope that we too emulate the desire to teach others how to live well so they don't feel like the "afterlife chester" attempting to resolve his loved one's "fear and pain" and his own regrets. I love stuff like this, but right now, my arm hurts

absolutely, I would bury myself in threads like that. I had heard that this song was about Chester dealing with the loss of his father, but I'm not sure when or where I heard that and like most things on the internet it's probably not true... having listened to Valentines Day almost directly after visiting auschwitz, I've always considered it applied to how I felt about that day - the collective pronouns - "they"/"you" (possibly plural?) can make it refer to a group of people, not just an individual - "a black wind took them away" is scarily apt. it was the middle of a European Winter, and the "so cold" line always strikes me. "I used to be my own protection but not know" - of becoming aware that the world and its people are capable of horrifying acts. the fact that we were actually there in that place on Valentine's Day itself makes the coincidences even more unsettling. every time I put that song on I can just feel the cold in my hands and feet, I remember the lights aboard the night train and the way falling snow blurs your vision and makes you dizzy sometimes. I listened to MTM on loop and chester's little vocal intonations and breaks in tone are really firmly attatched to that time

am I correct in guessing that any content submitted won't appear onsite until 5.0?