Astat

The remixes will probably just focus on whatever single is out during a given period...most of LP's official remixes in recent years have been of single tracks (What I've Done, Leave Out All the Rest, The Catalyst, Waiting For the End). I bet we get a Lost in the Echo remix either next month or September.

Jim's been their production manager since at least 2004...the other guy might have been Rob McDermott or someone like that who was part of their management team.

Yeah, each one was done by a different artist...I think there was a post on Mike's blog around that time that listed who did each one. Here's a link from Suru that lists some of them, but it's only about half of them: http://www.suru-la.com/blog/102/projekt-revolution-posters

Brad still uses the Ibanez LF-7 pedal as part of his live rig.

Open Labs NeKo XXL. And as usual, I have more info for you guys...some of this isn't exactly "new" time-wise, but it's still new information: -Final say on the octave effect Brad uses on the Waiting For the End solo: It's an octave-up patch on his T.C. Electronics G-Major processor, controlled with his expression pedal. His Boss CE-5 is also on for that part to make it sound a bit fuller. -Similarly, the effects for Wretches and Kings (even though it's not being played anymore): That one is actually an Electro-Harmonix HOG with an octave down setting for the "DUN DUN DUN" part in the main riff. The dissonant-sounding part at the end of each repeat of the riff (the part Brad plays way up at the top of the neck) has a second octave band brought in, so the signal is actually split into 3 notes for that part. -The red PRS that Mike is currently using for some performances of Waiting For the End has quite a history...Brad used it on No More Sorrow a lot starting in 2007, but I bet you didn't know this next part: It's the same guitar Brad was using on Figure.09 as far back as 2003! It was modified quite a bit following the Meteora touring cycle - the bridge pickup was changed and it had the Fernandes Sustainer modification done to it. -As far as Brad's current effects rig goes, the Boss BF-3 flanger pedal has been retired for the time being, as the current live set doesn't have any parts that require a flanger. He's also added a Devi Ever Shoegazer fuzz pedal, which is used in combination with one of his Boss CS-3's on Burn It Down. Brad's MXR Micro Amp and one of his CS-3's are both pretty much on at all times these days to help thicken up his overall sound.

...I haven't seen this much idiocy in such a short period of time since LPU8 came out. I'll save the time and effort and just clarify one major point though: The $299 for the software only applies if you're JUST buying the software. All of the computers in this line come with it pre-installed.

Some more info I've been able to track down lately... -The two guitars Brad is using on With You/Runaway are actually PRS DC3's that have been modified to have humbuckers in the bridge, not NF3's like I originally thought. -Some more info on Chester's Green Guitar Project guitar: It has 22 frets, Gibson-style tuning pegs (probably Klusons), and the pickup in it is a Dimarzio "rail" pickup of some type. The edges of the body are also unfinished. -The blue PRS that Mike used on Waiting For the End at the Third Encore performances and the House of Blues show is actually a Tim Mahoney signature model SE that's been repainted a darker blue color (with the previously mentioned Fernandes Sustainer mod done to it). Brad actually used the same guitar on No More Sorrow at the Mayan Theater show last year, but I had never noticed. Speaking of the Mayan Theater show last year, I also found out that some of LP's old stage equipment was auctioned off for charity at that show. A couple of the guitars that were auctioned off were the orange Ibanez Brad used to use on With You/Runaway during the Meteora period, and the black Ibanez he used for Don't Stay.

I remember seeing those in the video you're talking about a while back, cool to know where they come from though!

I don't think he has at any of the TV performances. Not sure why, but it seems like he only bothers with them for full shows.

...Not even close.

Pretty sure I'm the first person to mention this, which I find surprising...the live version of Tinfoil is in a completely different key than the album version. Sounds like they dropped the pitch down by a whole step or so to make it cross-fade into Faint more smoothly. Wasn't sure where else to mention this, but I noticed it after listening to one of the DSPs, so...

The songs are "officially" in all caps, as is the album title. That's just part of the way the band chose to promote this album, for whatever reason. So TECHNICALLY speaking, if you want to refer to the songs the way the band and their management do, they should all be in caps... ...but I don't think that makes it any less stupid. At least with Reanimation, it made sense to do them in all caps because of all the different characters, it just made things look more uniform - "P5HNG ME A*WY" vs. "P5hng Me A*wy" for instance. With this album, they're just...regular song titles. In all caps. I don't get it.

With the "keep my distance" lyric serving as a common thread in both the main part of the song and Mike's rap, I'd assume it's all supposed to be one song. The live version of And One was totally different from the EP version anyway, even if you don't factor in the absence of the rap part at the end. I've always assumed they re-worked the song at some point between the HTEP and Hybrid Theory.

That's not the version they use...or even the same song, actually. They've been using the Bluegrass Tribute to Linkin Park version of One Step Closer as their post-show music at most shows since the start of the A Thousand Suns touring cycle. I believe this was something that actually started when Dead By Sunrise was touring, then it carried over into LP tours as well.

I know in the case of the Powerless intro, it was probably just a result of the stream version having a really awkwardly-placed split between Tinfoil and Powerless. They split the tracks a bit too late on that version, right after the first piano chord that should have marked the beginning of Powerless. The very beginning of Tinfoil was also tacked onto the end of Until it Breaks on the stream.

I've tried figuring out the guitar in that one before, and it left me stumped. I'll probably take another crack at it though, as I pretty much refuse to let a song defeat me, haha.

The APFMH bridge sample is triggered by Rob using one of his pads, Phoenix also doubles it on bass.

I came up with a Papercut/Hit the Floor/A.06 one a while back that I thought sounded pretty cool...

You can buy some of the previous LPU CDs in the online store, yeah. Most of the older ones are sold out though...the ones that are still available are 5, 7, 8, and 10. All of the others are available as digital downloads though.

There might have been a couple more, but I doubt there were many. BOW was really only active for a short period toward the end of 2005, with the exception of the Club Tattoo parties.

Nobody remembers where this info originated from anymore? That's surprising...it was one of many factoids in the "Touring Info" section on pushmeaway.com: http://web.archive.org/web/20050207052204/...ouringinfo.html "D12 and Eminem showed up at the the Projekt Revolution 2002 tour date in Detroit. They rapped a little and later came out to help with "One Step Closer"." That website was usually VERY reliable for info - the girl who ran it knew LP personally, and the site itself was hosted on the Sparkart servers that used to host linkinpark.com as well (she won a contest that got her site hosted on LP's servers way back in like 2001).

In the End, sometime in the fall of 2001. Bought the CD the following March.

First 5 tracks off the album, plus Tinfoil as an opener and Until it Breaks over the WFTE intro is my bet. They tend to debut the more straightforward songs earlier in the cycle and then get into the more ambitious stuff later on.

Aww shit son, you know what time it is? Astat's book-sized review time! LOST IN THE ECHO Pretty solid opening track, I feel like it could use a bit more of a drawn-out buildup in the intro, but it doesn't sound bad the way it is either. I think this track has my least favorite of Mike's rap parts on the album, with the possible exception of the bridge on BURN IT DOWN. I really like the backing vocals at the end of each verse, and the chorus is really cool too. My biggest gripe with this track is how random the vocal scratching part after the second chorus is. It comes out of nowhere and doesn't really add much to the track in my opinion. Great overall vibe on this track, just some nitpicky things about it that bug me. 7/10 IN MY REMAINS This is one of my favorites on the album. The really poppy verse vocals threw me off at first, but they provide an excellent contrast with the chorus, which is another really good one. The part where Mike comes in over the military-style snare drum roll makes my hair stand on end, and I love the "one by one" gang vocals that accompany the last chorus. I can definitely see this being a single at some point, and it'll probably be a great live song too. 9/10 BURN IT DOWN I still think this is a solid song. I like to think of it as "New Divide light," similar style of track, but more concise and with a rap verse added in place of the electronic bridge. Chester really puts in a good performance on this track, and there's a lot of "ear candy" to be found in the instrumental as well. I'm not a big fan of Mike's rap on this track, it's always sounded like they put it in there just for the sake of having a rap part on the first single, regardless of whether or not the song really needed one. 7/10 LIES GREED MISERY I still stand by my initial opinion of this song, it sounds like Mike had a couple decent verses and a somewhat interesting musical idea that amounted to maybe a minute and a half's worth of a song, so they brought in Chester to take a big, angsty shit all over it just for the sake of not having two "full" songs on the album that clocked in at under 2 minutes. I see this song as a cross between Wretches and Kings and Bleed it Out, it has a lot of musical similarities to the former, but tries to pull off the "death party vibe" of the latter, but it doesn't do either one particularly well. This song's biggest redeeming quality is that it surprisingly translated well to live performances. 4/10 I'LL BE GONE Okay, there HAS to be an intentional connection to When They Come For Me on this song. I wondered that when I first saw the song title, but kind of shrugged it off as a coincidence. But seriously, try singing any of the singing parts from WTCFM (either the "ahh-ahh" chorus or the "oh, when they come for me" part in the bridge) over the chorus to this song - they fit PERFECTLY. If that's a coincidence, it's a mind-blowing one. Anyway, I like this song quite a bit. I was kind of disappointed in how subtle Owen Pallett's string contributions wound up being, I was anticipating more epic-sounding, Breaking the Habit-esque stuff. I feel like the last chorus could've gone on a bit longer and kicked the song up one more notch, the way the song ends just seems a little sudden. Overall a cool-sounding song, but it doesn't have anything about it that really jumps out at me enough to call it a GREAT song. 7.5/10 CASTLE OF GLASS I was kind of surprised by this one, I should really learn to stop paying attention to pre-album reviews of songs, because in the case of this song, they weren't even CLOSE. "Americana?" "Campfire song?" Seriously? It amazes me how some people can be this far off and hold down a job in the music journalism industry. A line like "take me down to the riverbend" doesn't make a song folk, and the presence of an acoustic guitar doesn't make a song a campfire song, kthx. Anyway, pretty cool song that starts off with an eerie electronic vibe, but winds up in alternative/pop punk territory by the time it's over. I really like the unison vocals by Mike and Chester in this song, they really blend well on this one. It amazes me how far LP's come with their vocal arrangements as their career has progressed, and this song is a great example of that. 8/10 VICTIMIZED This song is a minute and fifty seconds of total WTF-ness...in a relatively good way. The drums on this track kick all kinds of ass, I really look forward to watching Rob play this track live. Really curious what that garbled voice at the beginning is saying too, it sounds like someone talking through a megaphone about how they want Linkin Park to go back to their roots? If that's the case, I think it's a brilliant musical bitch-slap to all the people who want to hop in a time machine and go back to 2003. I think my favorite part of this song is the singing part Mike has at the beginning, it has this vibe that comes across like he's playfully mocking/gloating to someone who really deserves to get their ass kicked right before karma finally catches up to them. I would normally facepalm at vocal parts like the one Chester has in this song, but I can't really think of anything else that would better suit this song. The inclusion of the rap verse really leaves me scratching my head, but it definitely helps make this song fit the whole "cram the entire Linkin Park style into a song under two minutes" tag that the band seems to have put on it. I honestly can't decide whether this song is filler or totally fucking brilliant...I think LP has finally done a song that I can't quite wrap my head around, so I have to give them credit for that. 7/10 (I'm giving it an average rating for neutrality's sake - I could look at this song one way and rate it as a 3/10, or look at it another way and give it a perfect 10/10. It's THAT weird.) ROADS UNTRAVELED I love the chime-like sounds that this song is built around. This might be LP's best ballad yet. I can honestly say this track gives me a lump in my throat at certain points, and I'm not a person who tends to get emotionally affected by music. I feel like the lack of a real chorus on this song might hurt this song a bit in the eyes of some (LP just did a "wordless chorus" with When They Come For Me on their previous album, after all), but I feel like the verses on this song say a lot, and sometimes it's best not to add words just for the sake of adding words. This is definitely one that I'll be playing a lot. 9/10 SKIN TO BONE Cool instrumental vibe on this song that sets it apart from most of the rest of the album, but I feel like this is one of the weaker tracks on here. I really like Mike's bassy singing voice on the first verse, but I could take or leave a lot of the rest of the track. The second verse has some REALLY cheesy lyrics - "Right to left/left to right, Night to day/day to night?" Really? Did LP decide to write a song based around an elementary school-level exercise on what opposites are? Sheesh. I feel like this is the In Between of this album, it's a song that sounds cool and doesn't necessarily "suck," but it doesn't really seem to go anywhere. Just seems like filler to me...but I still like it more than LIES GREED MISERY. 6/10 UNTIL IT BREAKS I can definitely tell that this song was made up of a few different demos. Mike's best rapping on the album is on this track, but I'm really disappointed that he returned to his obsession with the phrase "like that," a.k.a. 80% of the reason I don't listen to Fort Minor anymore. The tempo change leading into the "Apaches verse" after Chester's part is interesting, it sounded really abrupt the first time I listened to it, but it actually works pretty well now that I've analyzed it a bit more. I really love the contrast between the lo-fi, underground rap sound of Mike's parts, the calm piano ballad style of Chester's part, and the symphonic quality of Brad's part at the end. And how about Brad, by the way? I knew he had a decent voice, but I would've expected both Phoenix and Joe to get a lead vocal part on an album before he did. He actually sounds really good, even on the layered harmonies. I'm curious to see how he'll handle this song when/if the full version is played live. I really don't have anything bad to say about this song, but I bet a lot of people won't like it based on how it jumps between the different parts. 8/10 TINFOIL So, we're back to the Foreword/Don't Stay tactic of splitting one song into two parts to make the album look like it has more songs than it does, huh? This is the intro to POWERLESS, nothing more. Cool instrumental vibe that continues into the following song...I have a feeling the only reason they made this a separate track was to save themselves the trouble of having to make a radio edit version of POWERLESS when it's inevitably released as a single in conjunction with that stupid Abe Lincoln vampire movie. Completely unnecessary. 2/10 POWERLESS Pretty "meh" way to end the album, in my opinion. It's a rather predictable and (surprise) movie soundtrack-esque track. It's a really nice instrumental, particularly starting in the second verse. Also some really nice vocal harmonies on this one, but they aren't enough to redeem the song. The whole thing just sounds really forced to me. It's bland enough that I really can't think of much more to say...which kind of bothers me, usually I'm better at picking out little things about songs that I like and dislike, but this whole track just bores me. 5/10 Final score: 79.5/120, which works out to like 6.6/10, but that doesn't necessarily reflect my overall view of the album. Since TINFOIL and LIES GREED MISERY really brought down the overall rating, I'm gonna say I look at the album as an overall 7.5/10. Good, with some really great moments and some not-so-great ones. I'm just thankful that it didn't end up sounding like 2012's version of Meteora, which I was honestly worried about for a while. Ranking the 5 albums is tough for me. I definitely like Meteora the least, and Hybrid Theory/A Thousand Suns are pretty close competitors for my favorite. Minutes to Midnight and Living Things are obviously at spots 3 and 4 then, but I'm not sure which one would go where.

Until it Breaks is apparently composed of several different demos/seeds that never went anywhere on their own, so they combined a few of them into one song. I'm guessing "Apaches" was one of those incomplete tracks, and that's the section the live WFTE verse comes from.