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About Astat

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  • Birthday 05/08/1988

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  • LP Shows Attended
    2004.08.05 - Cuyahoga Falls, OH - Blossom Music Center 2007.08.17 - Cuyahoga Falls, OH - Blossom Music Center 2008.08.19 - Cuyahoga Falls, OH - Blossom Music Center 2011.01.28 - St. Paul, MN - Xcel Energy Center 2014.08.26 - Falcon Heights, MN - Minnesota State Fair 2017.10.27 - Hollywood, CA - Hollywood Bowl

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    White Bear Lake, Minnesota

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  1. A royal flush is the best hand you can possibly get in a game of poker. I'm sure that's what he's referencing and it's just a coincidence.
  2. All music copyrighted in the United States exists under what's known as a "compulsory license law." Basically if you sign all the paperwork and agree to pay the licensing fees and royalty rates that are set by the statute of the law, you're not required to get any kind of permission to record/release/sell a cover song. A lot of covers are released without the artist or anyone outside their label's licensing department even knowing about them.
  3. It's also been reported that these releases use the newer masters from 2013 for all of the pre-Living Things albums (from when they did the iTunes remasters), which would presumably mean all new physical pressings of Minutes to Midnight have the alternate (wrong) version of Shadow of the Day on them. I'll try to confirm this, but if so that would pretty much mean the original version of the song is "out of print" at this point.
  4. It also doesn't help that Genius apparently never bothers going through their corrections queue on any song that isn't super popular. Source: "The Hiram Abiff of this rap shit" line in Ryu's verse on the Skin to Bone remix that I submitted months ago, which still hasn't been accepted nor denied.
  5. Yeah and really poor cassette quality at that. Very muffled and the speed/pitch drifts all over the place.
  6. Both of my copies from the Super Deluxe and vinyl sets have the "!" marking on them as well.
  7. Zomba sampler version instrumental.
  8. No, it's the one from the 7/8/9-track demo CDs. That's the only version with the whisper at the beginning and the extra drum beat in the bridge.
  9. HTEP was most likely meant to showcase new material written with Chester rather than re-hashing anything they had done before that. When they got signed to do a whole album, they pulled from their entire backlog of songs for potential album material. HTEP was before the Carousel/Part of Me demos (the version of And One on the demos CD is the same recording as the HTEP). Song arrangements changed, stuff was re-recorded. No different than something like the Xero Stick N Move getting deconstructed and made into LP Stick N Move and then getting deconstructed again and made into Runaway. The only reason the HTEP sounds better is they threw more money at it than the demos, half of it was done in a professional studio with a proper producer (Mudrock). The majority of the other pre-HT demos were done in their little rehearsal studio. I don't even think the HTEP sounds THAT much better than the demos, listen to how pretty much the entire backing track to High Voltage is programmed and Step Up clearly doesn't have real drums on it. The bump in quality is really only evident on Carousel, And One, and Part of Me, and those are the tracks they did with Mudrock.
  10. Same 2 rack tom + 2 crash + ride basic kit setup Rob's always used, looks pretty much the same as he does here:
  11. I'm 100% confident these are real.
  12. Xero version. Chester's singing is better of course, but I don't really like his take on the chorus melody. Mike's performance is way better on the Xero version too, and I don't like the overlapping vocals on the bridge of the LP version.
  13. Sounds to me like the Hybrid Party versions are just the versions on which the LPU9 and Forgotten Demos ones are based. They obviously edited the LPU9 one significantly when they released it. A lot of the Hybrid Party tracks aren't necessarily standalone demos, they're just the building blocks they put live instruments and vocals on top of when they made complete songs.
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