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30 minutes ago, JZLP-NaughtyNottingham said:

 

I was talking only about lyrics

Instrumental: Doesnt sounds like Meteora to me, the synths are forgettable,  no big chorus, no power chords, very slow pace, very cinematic.

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 

18 hours ago, RYG4R said:

Imagine next year would be WB releasing another compilation called LINKIN PARK: THE BALLAD COLLECTION

 

1. My December (Piano Version)

2. Pushing Me Away (Piano Version)

3. Shadow of the Day

4. The Messenger

5. Robot Boy

6. TINFOIL+POWERLESS

7. In Between

8. Final Masquerade (Acoustic)

9. Valentine's Day

10. I'LL BE GONE (Primo rework) - this could be their lead single

11. Burning in the Skies

12. ROADS UNTRAVELED

13. The Little Things Give You Away

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

9 hours ago, SardonicallyParanoid said:

I REALLY, REALLY don't agree with the sentiment of OML being unauthentic crap. Trendy? Yeah. LP did that shit with the famed Hybrid Theory too. But unauthentic??? It was probably, lyrically, the MOST authentic they possibly could have been. Songs about their families and loved ones, worry over disappointing people, remembering and reflecting, that's a side of LP we almost never saw in such a capacity. Yeah, it was done under a poppier guise because that's what got traction and that's what they were listening to at the time. It was what THEY were interested in doing, so more power to 'em! It's probably the best pop stuff I give a damn to listen to. 

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. 

30 minutes ago, vinifeijo said:

The "ooohs" feel so dry and raw, like they removed some of the layer effects it had. Someone opened the file to edit something and export and fucked up removing something they shouldn't had.

The "light" thing totally sounds like another take. 

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 

39 minutes ago, JZLP-NaughtyNottingham said:

As i said it before, its hard to complain about the upgrades on these videos, the quality is so fucking good! could they have done it better? absolutely but i guess that involved way more $$$

 

in case that you prefer the old videos feeel free to watch the old shitty ass potato quality using the wayback machine and stop complaining haha

 

LOATR 360(p)otato https://web.archive.org/web/20201020222912/https://www.youtube.com/watch?v=yZIummTz9mM

 

the boost in quality is FANTASTIC

 

 

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 

4 hours ago, Coizu said:

I think this is misleading. The majority of the quality upgrades don't involve AI upscaling at all, at least from what I can tell. For example, WFTE has no AI upscaling involved at all (and I would also assume that all AI models would produce shit output in that case anyway). I think in most cases they just had a better quality version laying around that were simply never uploaded to YouTube or they rescanned original tapes (like they most probably did for OSC back then). They only applied AI upscaling very selectively, e.g. in LOATR they only use it for specific scenes. I would guess that 75% of that video for example doesn't involve AI upscaling at all (or just very minor to bring it over the 4k finish line so to speak). All the Chester solo scenes for example don't look AI upscaled to me while the scenes in the beginning where Mike pulls of the helmet or the close up shot of Rob playing chess are definitely AI upscaled in a very visible way.

 

I wish they would have kept it away from all scenes though since a) I think the videos would have looked good enough without it and b) it creates this very distinct AI upscaling artifacting which we never can get rid of. AI upscaling is something that will only improve from here on out and with tech like RTX upscaling, it will happen on the client while playing back the video, but we won't be able to benefit from that in the future since parts of the videos already went through one pass of AI upscaling.

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 

3 hours ago, AceWav said:

You've got a keen ear for audio engineering if you can pinpoint such small details like this. I noticed it's then used in the ''fire'' chorus section, so i believe that drop hit is a blended snare sound to help set up in that moment the chorus snare, cause it's the same ongoing sound from there. That had to be a mike move, because i learned this technique from Mike and apply it to my songs sometimes. Every other snare, I'll add a sampled layer or a reverb tail or something so the snare doesn't sound to redundant in its tone. 

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 

On 3/30/2024 at 3:54 AM, Qwerty18 said:

About the instrumental: I really like the guitar work on the track. It's subtle, smooth, and full of finesse. 

 

On the other end, I don't get why the drop hit (of whatever you call it) was mixed or done to sound so..... thin?  The best example I have of it is at the 1:27 mark. When the tension is released, there is that "splaaah" sound (drum/sample/both). And honestly, that sound, I find it unpleasant, to the point it slightly, and non-metaphorically, hurt my ears. 

 

Weird choices on the sound-design department have been my biggest complain about that era in general - this is another occurrence of it.

 

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 

On 3/15/2024 at 11:51 AM, lpliveusername said:

Never this one.

What?

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

2 hours ago, Qwerty18 said:

 

For real, that video must be in the top 5 worst decisions of LP's history 😅 

 

This song was asking for some proper adrenaline-packed "band performance" shoots. Could have multiply the impact of the single by 10.

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)

2 hours ago, vinifeijo said:

Isn't it a bit sad how we hype so much for a new release, then 1 week after it's realeased the magic is gone? It's a bittersweet feeling, like i'm taking things for granted.

Best example of this was Pictureboard, i think. 2 decades craving for it, and after the release it all just gets behind like it never happened or meant much.

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  

43 minutes ago, bloodbath said:

This might sound dumb, but I have to ask, what makes a song a demo? I mean, I've never thought of Qwerty as a demo, but a B-Side, that's why I'm very intrigued by your comment. What would be the difference compared to a song like Across the Line, which I also consider a complete track. 

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. 

4 hours ago, ScottiePippo said:

"Looks very cash grabby to do something like that when you have the press and fans running wild about "unreleased song featuring Chester Bennington vocals" combined with the fact the band and label are both VERY aware the LP fans collect every single item with the band's name on it."

Isn't that plain and simple supply and demand dynamics? I'm not a compulsive buyer and I think I'm responsable with my money. I'm going to buy the cd version because that is my preferred choice and I don't care what other people can afford to buy (if they can buy it all good for them, they do what they want with their money, and if they can't buy anything there's still free streaming). It feels like a lot of you are discovering capitalism recently or acts naive. What you are talking about (the fact that the band has always been meticulous about every single release and that there weren't X different version of the same thing) belongs to the past of the music industry. The trend is going in this direction for some time and there's not much you can do about it other than not buy everything like a maniac. The music industry is pushing is that direction to resurrect a little bit physical media and we all know that.
Also a greatest hits type of release has never been something that is renowned for being special in its attention to detail/care and almost always the band is not even remotely involved in it. This is a greatest hits release and compared to the standard compilation it's not bad at all imo. 

 

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

6 hours ago, Fleur de Lys said:

 

Very cool that they worked together on it.

 

I don't think it was just mixing. The distorted powerchords in the bridge/last chorus is not what they were going for with OML. Also, the huge drumfill before the last chorus.

 

I think they purposefully made it more rockband-esque. Even the intro with the organ-synth, I feel like it is more "rock" than the production that would have been on there in 2017... but it is, of course, just speculation. The song is only better for it imo, the band have a better idea of what they are now plus the OML-2010s-popsound is already dated.

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 

1 minute ago, DylHDZ said:

Love FF, way better than HR imo if that’s what they compared it to. Chester sounds great, the melodies and instruments 👌🏼great and that acoustic guitar touch at the end just beautiful 

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

Friendly Fire's drums rule, Chester sounds great on it, the structure was surprisingly interesting. I'm kinda surprised it didn't beat Halfway Right for being a bit more unique instrumentally, I guess they just liked HR better.

Also I'm disappointed to hear QWERTY isn't a new mix, I feel like that song would really take on a whole new life if it got the Lost treatment