Song Structures of "A Thousand Suns" Let's play to see if we can arrange them all in order 1. The Requiem - Verse x 2 2. The Radiance - N/A? 3. Burning in the Skies - Verse 1/Chorus/Verse 2/Chorus/Chorus #2 or (Bridge)/Half verse 1(V3?) 4. Empty Spaces - N/A? 5. When They Come For Me - Verse 1/Chorus?/Verse 2/Chorus?/Bridge?/Chorus?/Chorus #2? 6. Robot Boy - Verse 1/ Verse 2/ Verse 3*2 7. Jornada Del Muerto - Chorus*4/Snyth breakdown 8. Waiting For The End - Verse 1/ Verse 2/ Chorus 1/ Verse 3/ Verse 4/ Verse 1 + Partial chorus 9. Blackout - Verse 1/Chorus/Verse 2/Half chorus/Chorus/Electronic Breakdown - Bridge/Verse 3/Chorus 2? (Come down) 10. Wretches & Kings - Intro/Verse 1/Chorus/Verse 2/Chorus/Bridge/Outro 11. Wisdom, Justice and Love - N/A? 12. Iridescent - Verse 1/Chorus/Verse 2/ Chorus/Bridge/Chorus 13. Fallout - N/A? 14. The Catalyst - Verse 1*2/Chorus/Verse 2*2/Chorus/Bridge?/Chorus 15. The Messenger - Verse 1/Chorus/Verse 2/Chorus
To me, and I discussed this in the shoutbox, seems kind of against the point of what Linkin Park wanted with A Thousand Suns. I understand it is just for fun, but it's not about picking apart the song structurally, it's about listening to the great music they put out this time around.
It's a fun game is all it is. It doesn't matter if it's "Against the point" is it really that hard to wrap your head around? It's effing game! Also I absolutely disagree with you as that I think it IS the point, they want you to question it, they want you to say "Hey, this is different" they want you to know that the structures aren't really easy to define and this game helps that experience of getting into the songs and if you can't see that, and if anyone else can't see that, it's a total loss on me. All I can suggest to you is if you do not like the idea, do not post in the thread because you're constant drone of "it's not the point" is getting pretty redundant man. Not to be rude, but chill, it's a game. Get over it.
Exactly. Part of what makes it fun. I mean, if people think I'm trying to define that THIS IS WHAT THE SONG IS then, that's their problem. I'm just chilling out with what I find entertaining. *shrug*
I see your point Jesse. As long as you are having a good time, you don't care about the people who are not so for the idea when they don't need to be. Can we stop having cat fights over whats wrong with writing a song structure though please? I can't see anything wrong with it.
I don't have a problem with you pointing out your opinion at all. There's nothing to get upset about here. There's just two different opinions about a game.
I like the idea, I mean we saw them arguing in the doc about creating new song structures, it's interesting to see in a logical way if they did it at the end or not. The songs flow is great, so I don't notice that kind of things but it's cool actually take the time to analyze it. It's not because you try to go behind the music that you are raping your musical experience.
I agree with Jesse all the way. The different structures IS the point. They even say it themselves in MOATS. "Verse/Chorus/Verse/Chorus/Bridge/Chorus, that's boring." Thanks for posting this, facepalm.
Burning In The Skies: Mike verse, Chester chorus, Mike verse, Chester chorus, Instrumental Break/Guitar Solo if you want to call it that even though it's only chords, Chester chorus, short Mike outro. One of the more conventional songs. When They Come For Me: V, C, V, C, Bridge, C, Different take on the chorus/Outro. Right as you think the song is ending, Chester comes right back in full blast, bit of a surprise. The chorus is also unconventional in that there's no words obviously. Robot Boy: V, V, Instrumental, V/Outro. This one is definitely the most fluid song. No real structure at all. Probably the reason I think it's the biggest "grower" on the album. Waiting For The End: V, V, C, V, C, Bridge?, Vocal glitching break, big finish outro. The most unique thing about this song is what Mike mentioned in an LPTV. It builds so steadily. I remember the first time I listened to it, it was near the end and I thought to myself "that was a good song, but it feels like it was missing something" and then Chester comes in with the big outro right at the end and I was like "FUCK THERE IT IS." The ending brings the entire song together. Blackout: V, C, V, C, Instrumental/Vocal Glitch break, (beginning completely different movement) Mike V, big Outro. This song takes you for the biggest ride. The beginning is soft, then gets really up-beat, chorus is huge, vocal glitch part just gets insane, then a sudden drop and Mike builds the song all the way back up, and it ends with a huge crescendo. Wow. Wretches & Kings: V, Pre-C, C, V, Pre-C, Double-C, Bridge, Outro. Another more conventional song. Iridescent: V, C, V, C, Breakdown, Bridge, C. Not too out-of-the-ordinary. The Catalyst: I don't fucking know. XD A-B-C really describes it best. The Messenger: V, V, Outro. I don't really think you can consider "When life leaves us blind/love keeps us kind" a chorus. It's more like lyrics to the verse that just get repeated at the end. Which is like a pre-chorus, except there's no chorus to come after it. So overall, the structures aren't EXTREMELY out of left field, but definitely a huge step out of the box for Linkin Park. Robot Boy, Waiting For The End, Blackout, and The Catalyst are the most unique structurally. Do I get a cookie for this?
So Robot Boy and The Catalyst have no real "structure" at all, and Blackout has a very interesting one. In Robot Boy, you have a very simple vocal melody, repeated four times, forming the verse part. I think the vocals here serve as an "instrument" because it's heavily processed and layered. The peak of the the song is the synth solo with Chester shouting wildly and Mike singing randomly. Both The Catalyst and Blackout has a "second part" that "calms" the song down, like the dénouement of a short story.
I don't think it's very processed at all. You just have Mike and Chester singing together and complimenting each other's voices. Plus you have all that ambient pad synth in the back.