auburntiger

I've only listened to it once so far. My thoughts anyway after first blush and reflecting: Elements of the album definitely make it a Linkin Park album, like the guitar riffs, MIke's wrapping, and Joe's work. Many of the songs are reminiscent of Hybrid Theory and Meteora. Heavy is the Crown, to me, anyway, has that guitar melody from the chorus of "Faint" in it. Again, my point of view, and so what if it does? It works. Having said that, it's also a different enough collection of songs that you can tell that progression is there to still try new ideas and playing with melodies. More tracks with Mike either singing or screaming. Emily also screams a fair bit of her lyrics; I'm not sure if that was a common thing with Dead Sara, so I'm ignorant there. It does feel like the band is "keeping up with the times" this time around. I occasionally think about Spiritbox as I listen, as well as other groups in that same vein. I get those who are disappointed in a lack of a Chester tribute, but it was done through the Hollywood Bowl (which should get some kind of official release). Chester will always ben synonymous with Linkin Park. I can't help but think for the rest of the band, though the chorus from "Heavy": "I keep draggin' around what's keeping me down, if I just let let go, I'd be set free," and feel that eventually let go of grief. I know Rob didn't feel comfortable moving forward, and I also respect that. I do hope more live material does get released, so we can hear more of Emily's take on the older songs with Chester's vocals. I don't know if it will happen (hell, Springsteen even does it now via nugs.net). tl;dr - It is definitely a Linkin Park album, but at the same time continuing to try new things to avoid the expectation of each and every release being identical to Hybrid Theory and Meteora. p.s. To Shinoda: thanks for leaving Alvin & The Chipmunks at home this time around.

lfy is so lit...not that it wasn't before, but she does Chester justice on it.

I'm digging this.

Watched the videos. It's not often I'm moved by music on first listen, but I was moved (tearing up) with the messages in each song, as well as post-songs, with his reflections of the world, friends, and then the one where his friends (I presume) were calling to check up on him. I cannot even begin to imagine how he felt, feels, and is going through. It felt like I was sitting here, listening to a friend talk to me about his feelings after what had happened with Chester. Just not talk. Exclaim, get mad, feel upset. All of those emotions. You didn't necessarily have to listen to all of the lyrics to understand how he was feeling. I'm glad he was kind (brave? Not meant as a slam, it's hard putting your feelings out on Front St.) enough to share these songs, so he can let everything out. Or maybe at least a little bit.

It'll be a long time, I think. You're talking about a 20-year friendship amongst all of these guys. I'm confident that they'll continue onward, and could even go back and forth, in being a five- or six-person group. Folks just need to be patient (not directed at you, Geki). I remember when Glenn Frey died last year; initially, the Eagles thought about continuing briefly. Then after the Grammys, they called it quits (well, really, it was more or less Don Henley). A year or so down the road, and they're performing together again, with Frey's son as his dad's replacement, at a handful of shows.

It still seems surreal to me. I enjoyed his singing, and he brought the right emotion to every song. Not just LP, but also Dead by Sunrise. My favorite DSP will always be Oklahoma City in '08, for sticking it out, even though he was ill. All of LP's music was relatable, and got me through some tough times. "The Messenger," in particular, while going through a divorce. It's just so unreal that this has happened.

On first listen of the album from start to finish, this album is pretty forgettable. I can't name one song that I wanted to go back and hear again, after finishing this. Maybe something will sink in after a couple of listens, but to the casual observer, I have a feeling it will be easily forgotten. If it's your cup of tea, that's cool. I'm just not really feeling this release.

I'm pretty much here, too. I don't hate the new stuff, but I don't really think any of the new batch is particularly memorable. Or at least, I'm not itching to go back and listen to the songs again. I miss hearing guitars and such. I think I've listened to BS 3 times, and GG, and will probably listen to Invisible once before release. I don't mind the band's wanting to experiment with sounds and such; it's commendable. I like listening to Breaking Benjamin, but get tired of the same recycled sound, album-in, and album-out. Clearly they're taking a page out of Madonna's book - to reinvent themselves with each release. Sometimes it'll be a hit (Ray of Light/William Orbit-produced), sometimes it won't (pretty much everything after RoL). Many folks were also turned off by ATS, but I loved it - it reminded me of listening to Enigma (The CROSS of Changes, Le Roi Est Mort..., The Screen Behind the Mirror, in particular).

Oh, sweet! We're getting new Dead by Sunrise music?

Quick! Someone find this person LPU8.

The CD works for me, but I usually don't have any preconceived notions of anything going into it. I like instrumentals, and it allows my mind to wander as to what the rationale is/would've been for the compositions in the state we got them. As long as they don't go back to what they did for LPU 8, I'm good.

It's the same way on Chrome. Chrome just goes, "lol...you want to do what where? Nope."

I'm leery about "fan-voted setlists." Metallica did that this last year, with a "By Request" tour. Turns out, fans only had the option of picking 1 of three songs that ended up in that night's set.

Easier to Run

I like the track, as well as the others that have been put out there for listening in advance of the album. If the rest of the album is anything like what we've heard so far, I'll be very happy with this release. The sound effect in the track reminds me of the William Orbit-produced Madonna song, "The Power of Good-bye."