Astat

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.

Yep. Mike actually uses it on New Divide, you can see him holding one hand up to it at various points in the Myspace video.

Why do people keep commenting on the quality of the "rapping" in a song that has no rapping in it?

I think this will end up being a step in the right direction for WMG as a whole. To put it bluntly, Tom Whalley is a dinosaur of the music business. Yeah, he's only been president of the company for 9 years or so, but he's probably pushing 70 years old at this point, and he's been with the company since the 1970s. If you look at the "big four" labels, WMG has by far had the most issues with licensing their music to third party companies like Youtube, the Rock Band/Guitar Hero games, etc. over the past few years. That's probably because of Tom's outdated business models and the fact that he wouldn't accept that the music business isn't what it was 10 years ago. He knew how to run the company, but his way of going about it was severely outdated. Having a younger guy like Rob Cavallo in charge who is greatly involved with modern acts and understands the way things work these days is probably going to result in a much more up-to-date business model for the company, and hopefully help get a lot of the licensing issues plaguing WMG worked out.

If you listen to the full recording of the Kevin and Bean Breakfast With Linkin Park performance, at one point during the Q&A, Mike starts talking through the microphone with the vocal effects for The Requiem to show how they can make him sound like a little girl. Even though he's just talking, you can tell that it sounds nothing like the studio version, in fact, it sounds pretty terrible. My guess is that they tried doing it live during rehearsals, and they weren't happy with how it sounded so they decided to have him lip-sync, at least until they come up with a better solution. For what it's worth, the "ooh" parts before the robot girl stuff sound different than the studio version though, so it could actually be live for all I know. I don't hear "as" in there like some people are hearing either though, sounds just like the album version to me.

What I've Done is 1,385,748,574 times better of a closer than Breaking the Habit. Hell, the Reanimation version of High Voltage would make a better closer than Breaking the Habit. Breaking the Habit is the second worst choice of a closing song I've ever heard from any band in my life, the first being Green Day's insistence on closing every show with Good Riddance. At least What I've Done has some energy...Breaking the Habit always has and always will be suited for mid-show status. It doesn't have the immediate impact to work at the beginning, and it doesn't have the energy to close. The Japan 2006 setlist was thankfully just a bout of random experimentation, the likes of which we'll hopefully never have to endure again. 9 times out of 10, any song that works as an opener will also work as a closer. One Step Closer works great in both roles. A Place for My Head was a great opener early on in their career and was almost always the second to last song of their sets for several years after that. Faint is a great closer and also worked wonderfully in the 2nd slot from time to time, it'd make a great opener if they chose to use it as one. Bleed it Out would probably make a good opener too if they gave it a bit of an extended intro (2007 VMAs are a good indication of that). Tonight reminds me EXACTLY of how pissed off people were at the concept of Faint closing after the Berlin show in April of 2007. That turned out to be arguably a better closing song than One Step Closer. I'm sure most of you will love it as a closer after a few months go by. Hating everything and then changing your mind and deciding you love it is pretty much a prerequisite to being part of the Linkin Park fanbase, after all. I do agree with this statement though.

Pretty sure it wasn't edited down, they would've had to do that in a hurry and the transitions where they cut parts out sounded like they were rehearsed that way. Plus Mike said ahead of time they'd be playing a shortened version.

Mike sounded "weird" at the beginning because he had a bunch of effects on his vocals, just like he does on the album version. Easy to tell when they switched them off for the "lift me up/let me go" ending. Chester really didn't sound any worse than he has live for the better part of the last 3 and a half years, I can live with that. Hell, he sounded better than he did in the LPTV episode where they were recording vocals for the song in Mike's home studio. I think other than the song being shortened and Mike messing up the lyrics at the end (he sang the "burn inside the fires of a thousand suns" verse instead of the "broken people living under loaded gun" one), that sounded good. The mix could've been better, but a lot of rock bands struggle with that on live televised performances. Also, I think Rob had a microphone too, I saw one behind him in one of the shots but it was after he started drumming, and he had quit using it by then. For someone who does as much music production as you do, I would've thought you'd be able to tell what Auto-Tune sounds like. It seems to me that most people these days think any kind of vocal manipulation effects = Auto-Tune. I've heard a vocoder called Auto-Tune. I've heard a ring modulator called Auto-Tune. I've heard a flanger called Auto-Tune. I've heard a phase shifter called Auto-Tune. I've heard chorus called Auto-Tune. I've heard a harmonizer called Auto-Tune. I've heard just about every kind of general pitch correction and/or modulation effect under the sun called Auto-Tune. It's really starting to piss me off that people think anything that doesn't sound like a totally raw, untouched vocal track has to be using Auto-Tune. It's a horrible disservice to all the other vocal effects out there, the majority of which are far more versatile, particularly for use in live situations. The gang vocals were sung by the whole band. Definitely not a backing track, they were a lot more pitchy than they are on the studio version, which is understandable since the other 4 guys really aren't vocalists by trade.