Astat

I've been a musician for 10 years (16 if you count when I started singing). My family's musical heritage goes back at least 3 generations. My dad's a drummer who's had tinnitus for longer than I've been alive. I'm already developing tinnitus myself, from years of listening to loud music in headphones, and my telemarketing job (where I make phone calls wearing a headset 5 hours a day, 6 days a week) probably isn't helping either. Needless to say, I know a thing or two about it. I also know that any concert-goer is inherently assuming that risk by attending a show. You're more at risk of developing tinnitus by listening to music in headphones than you are by going to a loud concert. Loud sounds in high concentration at close proximity are what cause tinnitus in most people. That's why my dad's tinnitus is far worse in his left ear - being a drummer, having his hi-hat ringing in his left ear all the time brought it on. A 2-hour outdoor concert at between 100-110 dB isn't highly concentrated because the open air dissipates the sound, and it isn't in close proximity for anyone except those who are directly in front of the PA stacks (and even then, it's nowhere near as bad for their ears as headphones). I guarantee that nobody in the history of mankind has ever developed tinnitus just from going to one loud concert. And like I already said, frequent concert-goers should be held responsible for taking that risk. As for noise restrictions, I've always been a staunch supporter of the concept of "not on your property, not your problem." If you don't like living next to a concert venue, move. They're entitled to be there just as much as you are, and they're also entitled to do what it takes to maintain a healthy business. Booking a world-renowned act like Linkin Park and then being forced to keep their PA volume at such a low level that the people way in the back can't hear anything is not a good way to maintain a healthy business. 95 dB is PATHETICALLY soft compared to most concerts (according to the American Tinnitus Association, 95 dB is comparable to the noise from an MRI machine at any hospital), the industry average is around 110. Most governments get it - the industry average is what it is for a reason: It works. It's loud enough to fill pretty much any venue, but it's not painfully loud to the point that it damages people's ears. Then you have the occasional politicians who probably have ulterior motives ("rock and roll is the devil's music!") who push for noise restrictions for no reason other than to shut down as many concerts and parties as possible. Of course, that wouldn't go over well with the general public, so they use "noise pollution" (one of the most laughably absurd phrases ever coined) as a front to get people to agree with it. People going to concerts should be held responsible for the risk of hearing damage. The government shouldn't need to "protect" people from something that's completely voluntary in the first place.

I was gonna say, there had to be something going on, because you literally can't hear the band AT ALL on some of the Youtube videos shot from the nosebleed seats. That's a really lame way to start a tour, hopefully the band makes a statement by not going back to Buenos Aires until they change the ridiculous restrictions.

Holy crap, they took The Messenger all the way down from G to Eb. I figured they'd take it down a half step, maybe a whole step, but not 4 freaking semitones...I hope this isn't a sign of Chester's voice getting even worse. He was painfully out of tune on the outro of When They Come For Me too, but I'll give him the benefit of the doubt on that one since he's not used to singing and playing drums at the same time.

Also, I think it should be noted that The Messenger had an extended outro.

Uhh...what? Robot Boy is a full-length song. LOL @ the idiocy of expecting a band not to play songs from their new album on the tour immediately following its release. I'm sure if you're that opposed to the idea, they don't want your money anyway. I sure wouldn't. Every time somebody says this about a show, it ends up being a gross exaggeration. I have NEVER heard a show where the band didn't interact with the crowd at all. Check out the end of The Messenger, for instance. In other words...drop all the hits that 95% of people who go to a show want to hear, and play a bunch of obscure tracks that most of the people in the audience won't even know (save for APFMH, With You, and Figure.09). I've actually witnessed QWERTY live, and I can tell you, nobody in the audience gave a fuck. There were maybe 3 people around me who knew the song, and it got by far the worst audience reception of any song played that night. If LP didn't play Crawling, Shadow of the Day, What I've Done, and a bunch of their other singles all in the same show, people would probably be lined up at the box office demanding refunds after it was over.

That's exactly the same setlist that was already posted...?

Nice selection of songs, surprised they played The Messenger! Not sure how I feel about the setlist though. The order of the songs seems a bit randomly thrown together, but I'll reserve judgement until I hear some recordings. Just saying though, I think this would make a better setlist using those songs: 01. The Requiem 02. The Radiance 03. New Divide 04. Given Up 05. Faint 06. Wretches and Kings 07. Papercut 08. Empty Spaces 09. When They Come For Me 10. No More Sorrow 11. Jornada Del Muerto 12. Waiting For the End 13. Wisdom, Justice, and Love 14. Iridescent 15. Numb 16. Breaking the Habit 17. Shadow of the Day 18. Crawling 19. Bleed it Out [Encore 1] 20. The Messenger 21. What I've Done 22. In the End [Encore 2] 23. Fallout 24. The Catalyst 25. One Step Closer

Disappointed, yes. Not surprised in the slightest though. This is Linkin Park and Brazil we're talking about. I'd be willing to bet there was never an "agreement" in the first place. I'm personally still amazed that this show is even happening, so I guess we all (the Brazilian fans in particular) should count our blessings.

Hmm. I find that kind of odd, that the same remix was released under 2 different names, it was "The Catalyst (Bobby Bloomfield DIOYY? Remix)" on the original iTunes EP, but they changed it to "The Catalyst (Guitarmageddon DIOYY? Remix)" on this one.

Hmm. After seeing the CD single tracklisting with the Glitch Mob remix of WFTE, I was wondering what happened to the single with this tracklisting. I guess they decided to go with 2 different tracklistings for the digital and physical releases. Can anyone confirm whether or not this remix is the same as the DIOYY? remix that appeared on the iTunes EP of The Catalyst remixes?

Nothing really happened between those two, I think some people have the impression there was a confrontation of some sort, which isn't true. What pretty much happened was after SOB had finished working on Resada Beach and submitted the album to the label, Warner decided to shelve it indefinitely and not do any promotion for it. Tak felt that Mike should've made more of an effort to fight to get the album released, both as their producer/the head of Machine Shop (which SOB was signed to), and as "that guy" who has the ability to sway opinions of people at the label because he's part of one of their biggest acts. Linkin Park was always out touring, so Mike was never around to help, and Tak got pissed off about it after all the meetings with the label went nowhere. He was the only one that saw things that way (for a more reasonable view of what the source of the problem was, check out Ryu's posts in the "S.O.B. Vs. Warner" topic on SOB Central, where you'll find the legendary "Tom Whalley can suck a fart out of my ass" quote!), and it eventually created a rift between him and the rest of the SOB/Demigodz/Spytech crew (Ryu, Cheapshot, Scoop, Apathy, Celph Titled, etc.).

Saying he doesn't want to scream anymore doesn't mean he never ever will again for as long as he lives. He says he made up his mind 3 years ago...which was long before they recorded Blackout. That was probably even before he finished recording Out of Ashes, and there's screaming on that album too. If a song calls for screaming, Chester will scream. You guys are making a big deal out of nothing (as usual).

A Decade Underground is NOT the LPU X CD. This has been confirmed numerous times. Where were you guys during the whole discussion about the LPU X CD being 10 unreleased demos from all eras of the band, one of which pre-dates Hybrid Theory? I'm also positive that Mike is aware of this as well, he just seems to think that Pretend to Be is one of the tracks on the LPU X CD (which it may actually be, that still hasn't been clarified), but he's definitely unaware that it was made available on the A Decade Underground compilation with the preorder

LP won't be in the UK on the 5th, so the live footage had to be be pre-recorded at some other point. The KROQ Breakfast performance is the only thing that makes sense, people who attended confirmed that the whole thing was filmed. Either way, it'll be some new proshot footage, so someone really needs to record this.

Hey, let's all start hating on a great vocalist from a great band because he doesn't kiss Chester's ass in the media! The immaturity of Linkin Park fans amazes me sometimes. I swear they'll immediately turn against anyone who has anything negative to say about LP or any of their members. Oh wait, this is the same fanbase that completely turned against Evanescence and Paramore solely because their fans were cheating in online voting contests (just like the LP fans were, but I wouldn't expect most LP fans to be affected by big words like "hypocrisy"). I guess I really shouldn't be surprised.

Why do these type of threads pop up with seemingly every new release? 1. It should be painfully obvious by this point that this band doesn't give a fuck about what critics, be they fans or media, think about the music they create. 2. People are seriously looking for way too much meaning in the Meeting of A Thousand Suns documentary. O absolutely guarantee that the same kind of tension has been present during the recording of every other album the band has made. They're used to that kind of pressure by now, they've been a major label recording act for about 11 years. They just did a different kind of documentary than what they've done in the past, one that focused on more of the unpleasant side of things, something that every band goes through when recording an album. My band had some moments that were more tense than anything on that DVD while recording our EP, and that was self-produced and self-released with no expectations from anybody. The recording studio is just not a pleasant environment to be holed up in for months at a time. It happens. 3. The bottom line is, the 6 guys in Linkin Park ultimately get along with each other better than probably 99% of members of other major label bands, and other bands have stayed together through infinitely worse circumstances. If Joey and Johnny Ramone can stay in the same band for 15 years without even being on speaking terms with each other, the members of Linkin Park can handle some differences of opinion on their creative direction. I seriously remember almost this EXACT same topic being posted numerous times after Minutes to Midnight came out: "If Linkin Park doesn't get their act together with their next album, it's all over for them!" It didn't happen then, it's not going to happen now.

Just wanted to post that I caught part of a VH1 special on TV last night that showed parts of LP and Alice in Chains' performances from last year's Sonisphere UK, and much to my surprise, it wasn't one of the previously existing proshot video sources from this show. I didn't see the whole thing, but I saw Somewhere I Belong, In the End, and Hands Held High/Crawling. Looking at the show page - http://lplive.net/shows/20090801.php - none of the sources list HHH/Crawling, so this must be a new one. I didn't think this was worthy of being posted directly in Newswire, so I'm leaving it here for now. Anybody else see/record this? I'm going to make sure to keep an eye out for it if it's on again, but I have no way of recording it.

This will be the third official ATS remix, or possibly the fourth, depending on when it comes out. In addition to the Bobby Bloomfield DIOYY? remix of The Catalyst, the King Fantastic remix on that same EP was also an official LP-commissioned remix that wasn't related to the fan remix contest. The b-side to the Waiting For the End single is also listed as "The Catalyst (Guitarmageddon DIOYY? Remix)," so that may actually be a second remix done by Does it Offend You, Yeah? I'm assuming the GBC remix of Wretches and Kings is the same track that Scoop DeVille's mentioned working on.

You know what? This actually could be a great way for me to improve that list of songs played live (I'm the main person that keeps track of it). I could add an entry for "Earliest known recording" to the entries for each song too. Thanks for the idea!

You could come up with a thread called "Controversy over (insert random thing) in Israel" and I'm sure there would be people who would view it as justification for spewing their political bullshit. Quite frankly, EVERYTHING that happens in Israel pisses off somebody. The Israelis and Palestinians still find reason to murder each other by the thousands over the fact that Israel even EXISTS, despite the fact that it's been an independent nation for 62 years. The governments on both sides don't show any signs of pulling their collective heads out of their asses anytime soon, so there'll always be idiots who will complain that anybody doing anything in Israel is an abomination for one reason or another. All I hope is that the band doesn't encounter any issues putting on this show because of the cliques of dumbasses that control both governments over there.

I'd love to have an album of mine do "weakly" enough to sell 6 figures and debut at #2 someday...

Yeah, as already mentioned, that's the Access Virus TI that Mike used to use on New Divide. Brad uses it at the very end of The Catalyst.

I'm gonna bump this just for the sake of hindsight being 20/20, and point out which songs it turns out they were talking about: 1. Blackout 2. Wretches and Kings 3. Waiting For the End 4. Robot Boy 5. Burning in the Skies 6. The Catalyst I know a lot of people (myself included) took it for granted that they were referring to Iridescent with the 3rd track, because of the LPTV episode referring to a guitar solo in that song, but it turns out what I originally thought was a synth solo on Waiting For the End is actually a Brad guitar solo (albeit a very simple one) played with a pitch-shifter. The 4th track has the most vague description, and the same could really be said about Iridescent, except Iridescent has an identifiable chorus, and the length is closer to that of Robot Boy. I also find the description of Burning in the Skies quite funny, as there is clearly guitar throughout that entire song, yet they say there isn't any until 3 minutes into it. I also have to laugh at the initial report of there being "6 other tracks that are more rock-oriented." There turned out to be 9 more tracks, and I wouldn't call any of them "rock" tracks other than Iridescent.

I'd imagine he's probably using some kind of sawtooth wave shape to get that really distorted tone, he also manipulates some of the filter controls while he's playing to give it that sweeping sound.

Okay...this has the potential to be a more epic broadcast than Rock Am Ring '04. There are a lot of factors that could negate that (audio/video quality of the broadcast, quality of the performance itself, choice of songs, whether or not Warner decides to block the broadcast like they have done so many times in the past), but just based on the size and energy of South American crowds at rock shows (I heard a report that the festival is expecting about 100,000 people a day), this could really end up being something that blows everybody away. I think the biggest letdown of the first Brazil show in 2004 was the lack of any real high quality recordings of it, this should easily make up for it.