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Honestly a very measured and respectful response, of course it's a bit of an awkward topic, but some comments I've seen made it sound like he was going to bash them when this wasn't that

There are 100% power chords in UIG, not even debatable https://www.linkinparkguitar.com/uploads/1/4/6/6/146660116/07_-_until_its_gone.txt The difference is there's a riff going on top that wouldn't be characteristic of meteora, but that's only in the intro/outro too And I feel like the UIG lyrics are criminally underrated given the band's explanation that it's about their kids growing up, which does actually foreshadow OML-style writing a little bit, but in a good way. Agreed that it's better than the "anti-something" generic lyrics on a lot of THP

I don't see this coming out specifically but it would be a shame if they didn't take advantage of all the wonderful live editions in some way. Grab the best of PMA piano, BTH with it's extended intro/outro, the ballad medley, Rolling In The Deep and stuff like that and you have an awesome release

Completely agree. By comparison, the stuff like Castle of Glass verses and ALITS intro sound so over-engineered and empty, like they're trying really hard to sound deep but don't have much to actually say. There are a few songs with great lyrics like UIG and Rebellion, but nothing from ATS-THP resonates as honestly and earnestly as OML to me. Invisible is so simple but so clear and approachable in its meaning, I think it's beautiful. Doesn't matter if other people chimed in to me, LP clearly heard a message there and the listener can clearly hear one too.

Nah not another take but a difference in tuning like Astat says. For that one it's hard to imagine it not being an intentional different pass rather than an accidental change of layers or chain in a re-export or anything

I wonder if the WFTE thing is possibly due to updating software, like the song was made on V1 of Valhalla delay and Ableton 9 or whatever, and when they open it today it's automatically transferring to Ableton 11 with Valhalla 2.0 and there are differences in how the software behaves today, so when they re-export there are slight differences Just a guess because yeah otherwise it doesn't make much sense why they would grab different versions

dude you already strawmanned the complaint in the shoutbox once, we're clearly not saying we wanna watch the old quality, we're saying we want to watch the best source available sans AI artifacts. basically the same convo DBZ fans have had with every home disc release lol

I'd be surprised if WTFE had a 4K version natively back then with all those VFX, I bet they just did a better handbrake-type conversion with the original uncompressed file but set the dimensions to 4K. But yeah I agree, I wish they didn't have the AI upscaling in and you can clearly see it in a lot of places. There also seems to be some jittery dropped frame-type issues in a few LOATR shots, I can't tell if that's an artifact from the upscale or something else

Oh I thought OP was talking about the light crash, but yeah I agree with this for that snare sound. And the technique you're talking about is most obvious in the beginning of Heavy imo To me it sounds like a clap stacked on top of the snare to give it some variety. I'd really love more breakdowns of OML instrumentals, there's a lot of interesting color in there

Finally some discussion about the actual music. I agree about the guitar, I feel like people don't give the OML guitar work enough credit for all the texture and interest it adds, LP really took to this pop sound flawlessly despite it being so far from work like THP before or anything else As for the drop style, I think that's just part of the sound. In the context of the song I think it sounds great, it's Chester's vocals that are really carrying the intensity of that moment imo

Seems like the acapella outro might have been one of the big changes, I'm dying to hear the 2017 version now Also really cool to see Brad is still into working with their older material, I hope that means we get more releases of some OML stuff or maybe even stuff like LFTA

I was gonna say, weird that this will exist but not for the rest of OML, also surprising they never did it for Lost or any M20 songs last year. A remix contest seems such an effective and simple engagement strategy these days

What?

Sick, I love Illenium and Last One To Know is one of my favs

IMO not really, I love GATS to death but the band had done tons of "energetic performance" MVs and GATS is a 5+ minute metal song with Rakim that sounds nothing like the firecracker catchy LP people love, the song was never gonna get much bigger than it did imo. The video would have to have a hell of a gimmick or something truly interesting to watch. One other thing that would've helped would be a single edit that drastically reduced the length, but I don't think they wanted to butcher the VISCERAL full track The only thing that might've changed that is inclusion in Transformers 4 or something, but that movie also flopped in the US. Audiences were moving on from both LP and TF at that time Also, this thread reminds me we have no demos of THP songs really, I'd love to hear what alternate ideas exist for GATS. Didn't Mike say he did a rap bridge at some point? Such a behemoth of a song man, and what a curve ball at the time. I love listening to ALTNC and it back to back just to hear the range.

I'd add Locked Outside to the OML list, since we see that title in the new FF I'm betting it got a decent way there, and also might be "pure LP" without any of the external writers (not that I disliked their contributions at all)

Yeah I was just thinking about this listening to Healing Foot. I feel like it's hardly talked about for being something people talked about so long. Wish we could just talk about the songs themselves for a little bit longer like the LPA "one song at a time" thread from a few years ago. I want to talk about the lyrics, chord progressions, what works what doesn't etc. Everything from M20 is still so interesting to me a year later.

Most of the time when we hear these b-sides and cut tracks, I can see why they were cut no matter how much I like them. I totally see why Lost is too similar to Numb for example. FF though, it's actually pretty different from other OML songs, at least in this form (who knows how much they changed since 2017). The swing rhythm isn't there on any other tracks, the acoustic guitar on the second verse is kinda a unique touch, the "Fiiiireee" refrain is unique from other refrains that are either more wordy or the "na na na" from HR, the vocal outro is kinda unique. The only striking similarities to other songs for me are the way it starts abruptly with vocals like HR and Heavy, the fact that it's all just Chester-focused with no back and forth like BS and NCSM, but overall it's not too similar imo. They went really hard with cutting on OML it seems to me, because this could have easily been an 11th track without the album overstaying its welcome imo. Here's to hoping Tidal Wave, Out Of Reach and the others see the light of day sometime

It depends how far the song got. Across The Line got a final mix, meaning that the band was done with it arrangement-wise and were strongly considering it to be on MTM til the last second when they started cutting. If the personnel doing the final mixes get their hands on it, we can consider it pretty "final" and no longer a demo. Lost (2003 mix) is not a demo for that same reason. QWERTY is a demo because they never passed it on to the mixing/mastering phase, and probably didn't even touch it for the final weeks/months they were finishing the other tracks because they had already decided it didn't make the cut. So unless the band picked it back up, did more work on it and mixed it intending to release it as a "real" track at some point and we never heard about it, it only exists in demo form. But yeah ultimately it's subjective, you might consider "demo" to refer to something even rougher than QWERTY and that's fine. But that's how LPLStaff was using the term.

Yeah I agree. Same thing as everyone complaining about the Already Over versions as if it's not a consequence of streaming and best practices for modern artists. I'd love LP to be an exception but as long as the business side exists, this is probably the tip of the iceberg We've also been seeing this for the merch too. A few HT and M20 shirts caught my eye out of seemingly dozens, and when I ordered them they were pretty poor quality and felt very "quantity over quality" to me

The video for FF was awesome, now I'm itching to see the footage for songs that we really got no insight into like Halfway Right or NCSM. I could just sit and listen to them talk about it for hours

I'm very surprised to see this quote because to me, everything on this track sounds like it could've been from OML. I'd love to hear the original demo now and compare, I bet it's gonna be really small stuff like an extra bar of intro sounds they cut out, a change in the way the vocals are layered or something we'll have to really listen for. I'd be surprised if any entire drum fill or any instrument really was recorded just for this release.

What is the order of play counts for all the singles across streaming devices? I feel like we're wasting a lot of time debating THP's inclusion when no one has bothered to pull those numbers, and we don't even know what other data the label might be using (radio plays for example which we'll never have)

Totally agree with all of that @ShadowUser, not to mention Mike's solo stuff. Make It Up As I Go might as well be an LP track, Already Over is probably in the same vein as half the MTM demos we could get but better and with live variations, we were lucky to also get Cross Off with Chester, M20 gave us more than we knew existed, etc. We've got more than enough to entertain us without ever getting something new again, but will surely get a few more one-offs too given how little we have from the last 4 albums compared to the rest

I have a feeling the acoustic outdo being repetitive of the way Invisible has an acoustic outro probably went into it too.