"Session" - Song by Song, Let's Talk Linkin Park

Everything you just said was one big opinion. People all have different opinions, there's no right or wrong, so stop acting like there is. I get sick really easily of narrow-minded people like you. Opinions will always differ, so get the fuck over it and quit tripping, I don't have time for your cryin'.

This.

 

I liked it for several first listens.This is one of some songs in live sets that I hope they'll replace it (maybe replace it with the reggae version for good).The video is cool though.

 

The reggae version needs to make a big concert debut.

 

I'd almost fight for you if it weren't for the fact that every single one of your posts are filled with hypocrisy.

That said I would have ripped Burn It Down a new one like so many others, but I feel it appropriate to right objectively without much bias in the song analysis.

P.S. Hope to have Lies Greed Misery up tonight (EST)

 

I don't feel there's anything wrong with "Burn It Down", but it's extremely.....generic. I can't say that I'm ever in the mood for it and I often find myself skipping it when listening to "Living Things". When it was first revealed I really couldn't help but be confused, after "A Thousand Suns" this isn't exactly what I expected (I should have, considering the band is unpredictable at this point). I'm much more forgiving with it now days though. Despite the lyrical content within the song, it felt much more lighthearted than anything on "A Thousand Suns", so despite my criticisms it felt and still feels fresh. Honestly, the reason I skip it now days is because I listened to it so many damn times when it first came out. I'm just worn out on it at this point.

Now that I think about it, I feel it serves it's purpose really well. It's designed to be a radio friendly pop-rock song. It's catchy, up-beat, over-all a fun song. I don't need a constant supply of "Heal and feel" LP songs, so this was a nice change of pace. Don't get me started on those remixes though.

On a side-note, I don't have a problem at all with Mike's verse, at least it's no THP Mike verses (But that's another story).

 

LIES GREED MISERY
“I wanna see you choke on your lies, swallow up your greed, suffer all alone in your misery”
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Screeching its way into the fourth position on LIVING THINGS, Lies Greed Misery is an exhilarating, electronic moshpit of energy. Linkin Park’s first official worldwide scavenger hunt left fans scrambling for clues and hunting down locations tweeted by the band. The reward for completing the scavenger hunt was the world premiere of Lies Greed Misery, presented on May 24, 2012 on BBC Radio. LPA’s very own Joe was honoured with an official “leak” of the song by Mike Shinoda himself, which he generously shared with the LPA community soon after.

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In the LPTV titled “Piledriver”, the band discusses the titular demo’s final name. The first option they come up with is “Breaking Point”. After Joe Hahn’s ‘lifeline’ they decided on the title Lies Greed Misery. Interestingly, after playing a near final mix of the song, Shinoda mentions how the track sounds completely different.

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Lies Greed Misery begins with a series of glitchy synths that each grow with energy with guitar feedback fading in until a massive, thumping beat takes command of the instrumental alongside a discordant drum pattern. The electric sound almost seems to take the catchiest elements of dubstep for inspiration. Shinoda returns to the mic, reacquainted with his finest swagger, as he aggressively rhymes over the thumping electronic background, his vocals stuttering with glitch-ridden effects.

The chorus is equal amounts unsettling and ridiculously uplifting as, thanks to some digital vocal filters, Bennington cries with a maliciously gleeful tone in his voice (think M.I.A. – Paper Planes) about completely tearing a person down. The same booming electronic beat blares behind the vocalist, slightly more pronounced by an identical electric guitar riff using a noise gate to give it a more aggressive edge. Although the lyrics speak of complete disrespect, the way in which it the chorus is delivered is malevolently pleasurable.

The track continues without any real evolution until the bridge, where static silence falls. A clean, softer synth strikes with a beat that will soon become the massively distorted outro riff for the song. Bennington returns with crispy clean vocals, forewarning “you did it to yourself”. The refrain is drilled into the listener’s mind four times before Bennington’s frustration takes over and he screams the same refrain with a berserk rage several times, this time with a distorted wall of crushing guitars enveloping the soft synths. Finally, the song is concluded with a jarring fully screamed chorus, courtesy of Bennington over the same titanic wall of guitars.

In an interview with AbcDane, Bennington explained his frenzied, malicious vocal performance, saying the sound was far too pop friendly in the beginning stages:

Lyrically, the song has an obvious personal tone, and can be easily regarded as a relationship song. The character in the song is fed up with their other member and wishes the absolute worst for them. According to Bennington, the song could be opened up even wider to more confrontations:

He goes on to explain the riveting, maliciously gleeful chorus:

On a commercial level, Lies Greed Misery was used in the promotional multiplayer trailer for Medal of Honor: Warfighter.

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Live, Lies Greed Misery was a mixed bag. It premiered during the pre-Living Things European Tour as a promotional single but only showed up in the middle of Set A on the Honda Civic Tour, with In My Remains taking its place on Set B. The problems with the song stemmed from the hollow sound the thumping electronic background created, leaving a strange disconnect between the vocals and the instrumental. The vocal effects found on the album are obviously not present, leaving a much flatter delivery. Anti-climatically, the final chorus that is screamed on the studio recording proves either too demanding on vocals over a 20+ song setlist or simply impossible for Bennington to reproduce live. The result is a third chorus that sounds identical to the first two, losing all the luster gained from the jarring screams. The track was played through all of 2013 and was played once in early 2014 before being dropped completely.

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Personally, I love Lies Greed Misery. Although the song is shorter than Faint and other one-trick ponies from the nu-metal days, it undergoes a satisfying evolution thanks to the building instrumental and the gloriously frenzied vocals. Even Shinoda’s verses feel great here, although the lyrics could use some work. That said, the song definitely feels less exciting after the aggression displayed in The Hunting Party, but overall much like Bleed It Out, it’s a feel-good blast regardless of my current emotions.[/media][/CENTER]

 

Not Louis, it was Joe!

Will post later.

 

Lies Greed Misery is APFMH's teenage son. Nuff said.

 

Incidentally, I liked LGM only after I watched a live performance because the song seemed like a lot of fun. The song is good at what it tries to be. And, I find the drumline(?) and synths very catchy. But I just think LP can do a lot better than songs like Lies greed misery.

 

Pizza Party Song

I can remember the day i listened to Zanes radio show. It has to be 9 pm or something over here, a day before LP performed at Rock Am Ring.
I was hyped and so i started to stream Zane Lows show. When the song kicks in , i was like did i listened too. It was weird, but this song just make so much fun. On the RaR performance it was pretty cool , was fun.
Its a good song but far from my favorites.

 

Good stuff. I remember the whole thing with Joe, it had been a blast to follow the scavenger hunt.

The song itself is one of the weakest on the album, but it's fun. It manages to surprise despite being so familiar.

 

I find LGM to be the second-weakest song on the album, but I still find it to be very energetic and catchy. The phaser-effected organ synth, the resampled Mike vocals in-time with the synth drums, and the heaviness of the synths all make it a worthwhile listen. Chester's screams are extremely fitting for the songs mood, which I also love. It's borderline maniacal, laughing at someone else's suffering. Just a fun song in general, especially to play.

 

Quick thought for BID: Catchy and very energetic. Love it.

LGM is nice, the chorus being my favourite section. I don't think it was as strong when performed live, though. The first line is just... Yeah.
I like the glitchy aspect of it, it gives it a certain uniqueness.

There's... Not that much to say about it I guess. I'll leave you with this amazing remix by zwieR.Z:

[video=youtube;gqSKBUKrKsU]https://www.youtube.com/watch?v=gqSKBUKrKsU[/video]

 

I remember the premiere of the song on the show, and that was the moment I almost had given up on LP... it was such a disappointment.
Good thing that LGM is one of the weaker songs on Living Things.

 

I loved LGM and played it nonstop from when it was released until the day that LT was released. My initial reaction to it was good despite the poppiness, and it grew on me more as I listened to it. It's definitely one of their unique ones and they do a great job on it, my only question is how much input each band member gave in the production. Brad obviously gave the name and probably helped with programming it. I really like how good Chester's voice sounds, which is probably half due to the effects. The bridge is just my only problem because it is too repetitive; Hey, APFMH is the same structure of something whispered x4 and then shouted x4 but this is less appealing. Still an overall good song and fun to jam to.

Live, eh it isn't as entertaining. Definitely a studio experience because some layers aren't present. It's weird that Brad doesn't even play guitar on it (but that was explained in an interview that Brad didn't do much guitar on LT) and Mike does, it should be the other way around since Mike can just do backup on the chorus. Brad just hits the pads, but man does he look like he is in the zone. Same for Phoenix, but he still plays Bass. Chester can't nail that live, so it isn't bad that they didn't drop it. Maybe when they fire Joe from the band it will re enter and Brad will just do all the electronics.

And thank you for not mentioning the Dirtyphonics remix of it on Recharged, that was atrocious. It looks like these posts might be getting shorter now that we are on more recent songs that have less information to discuss.

Oh, and Chester lost his voting rights...that explains shitty Runaway making it back into the setlists///

 

I had a huge grin the first time I had heard Mike come in with "Imma be that n-n-n-nail in your coffin!". And the chorus made me grin even more. Definitely one of their more unique sounding songs and full of energy.

 

I’LL BE GONE
“Let the sun fade out and another rise, climbing through tomorrow I’ll be gone”
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Alternative rock anthem, I’ll Be Gone is the fifth featured track on LIVING THINGS. The song was neither promoted as a single nor released before the album.

It was demoed as “Primo” before finally finding its final title. Although the track wasn’t featured as a promotional single, I’ll Be Gone was hyped to be an amazing song due to the collaboration with Owen Pallett – string producer for Grammy winning band, Arcade Fire. Band members explained time and time again how Pallett’s contributions were incredible and that the song benefitted greatly from the collaboration.

I’ll Be Gone is a love letter to Linkin Park’s organic third album, Minutes To Midnight with a crisp, alternative instrumental that fires from the beginning of the track. After a brief and calming sample intro, a massive burst of electric guitar forms a wall of noise over a pounding drumbeat. This opening riff would almost sound right at home with a sequel/tribute to What I’ve Done. I’ll Be Gone briefly winds down for a subtle verse nuanced by background synths and strings. The moment features Bennington singing soothing and flavourful lyrics until one can feel the song rising again.

The chorus strikes with the same force as the intro, but has the added benefit of a soaring Bennington as he seemingly bellows from the rooftops about leaving everything behind. The bridge carries Bennington even further as he sings over a blazing wall of octaves until the song returns back to full swing with one last chorus. I’ll Be Gone concludes with a crescendo similar to the outro of Waiting For The End with the lead vocalist raising his voice higher than thought possible before the intro samples fade the song out.

I’ll Be Gone has been frequently criticized by critics and fans alike for its mixing. Much like In My Remains’ beautiful synths, Owen Pallett’s string contributions have all been washed away in the drowning wall of guitars. They are present in the verses, but completely inaudible in the chorus and bridge. The idea that a song can be too loud or too powerful for its own good can be seen here, as I’ll Be Gone feels like wasted potential due to the lack of the beautiful strings the song was intended to feature pre-release.

Lyrically, I’ll Be Gone is about leaving something behind – whether it be a relationship, a current lifestyle, or even the world we live in, as referenced by Mike Shinoda in a Rolling Stone interview:

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Although I’ll Be Gone is a standard 3-minute alternative rock track that follows a cookie-cutter structure, the original demo “Primo” is anything but familiar. Released as a promotional song for LPU XIII, Primo is a 6-minute long, progressive song that features different lyrics, an atmospheric, acoustic intro and a raw vocal take. What truly separates Primo from I’ll Be Gone though is the extended subtle electronic bridge that features a tense, brooding drum line from Bourdon over Bennington’s vulnerable bridge vocals. What follows this is a staggering outro with extra vocal melodies not featured on the final track. Many fans argue Primo to be superior to I’ll Be Gone. There’s no question the demo dives into far more experimental and substantial territory.

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Two remixes of I’ll Be Gone are also featured on Linkin Park’s 2013 remix album, Recharged. The first mix is the I’ll Be Gone (Vice Remix) and it takes the alternative anthem into the electronic world of EDM. Following the first chorus is a bass drop that leads into a rap first from Pusha T. The surprise comes from another rap verse that follows it from Shinoda himself, who spits out some truly riveting rhymes from the new material. The I’ll Be Gone (Schoolboy Remix) extends the album song to 6-minutes and features a different, less exciting take on the song.

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Currently, I’ll Be Gone has not been played live. Despite the fact that Living Things was designed as a “live album” as told by band members, and the song has been brought up several times as something the band wished to play during the album cycle, the song ultimately has never seen the light of day. The song shouldn’t be hard to translate to a live performance, which makes the fact that it hasn’t been played all the more mysterious. Here’s to hoping we’ll hear it once soon enough.