The lyrics of Until It's Gone are very relatable. 'You don't know what you've got until it's gone' I total agree, this applies when you lose something that you never normally pay attention to or think about but then you really miss it if you lose it. My old bunk bed was creaky and I couldn't fall onto it like a normal bed, instead I had to climb up. But being in my room without that bed there makes me really miss it, even if a normal bed is more practical. It's a weird example but it feels to me that the lyrics mean that you don't know how much something means to you until it's gone, and for that I like the lyrics. Apart from the lyrics, I also quite like the song, it's got nice vocals and I like how it goes from heavy to soft to build-up to heavy. The instrumental effects are cool behind the vocals, and I like the dramatic sound of the bells and the heavy drums and the generally slow pace of the song. It could do with a more interesting bridge between the last 2 choruses though, and it would be nice to have some better bass to accompany the dramatic sound. The only bass I can hear is heavily played electric guitar in the chorus, which is relatively hard to hear over everything else. This is a problem I have with a lot of Linkin Park, especially their newer stuff; lack of apparent bass guitar. There's a lot of distorted bass and cool electric guitar though. Feel free to disagree with me though, I don't know shit about music and I guess I just expect bass like in Foo Fighters, Muse, or Coldplay. EDIT: There is noticeable bass in Mark The Graves
I loved Until it's Gone on first listen, and still love it now. This is the pinnacle of melody over lyrics to me. Sure, the chorus lyrics suck. Like, they're Meteora level bad. But Chester can deliver it like a fucking champ. The progression from the somber, almost whispering of the line to the full on screaming by the end works SO well, and keeps the track fresh when it otherwise would have gotten stale fast. The instrumentation here is off the charts. THP suffered a fair bit from poor production, but Until It's Gone sounds great. It's very atmospheric while keeping the trend of a huge wall of guitars in the chorus. It's basically what songs like In My Remains and I'll Be Gone aspired to be, but didn't quite reach.
I don't really understand this. First of all, I'm not sure what's wrong with Meteora lyrics, and secondly, all the lyrics in the chorus are just 'UNTIL IT'S GOOOONE' multiple times, so what's wrong with it?
1. "I wanna heal, I wanna feel what I thought was never real I wanna let go of the pain I’ve felt so long (Erase all the pain till it’s gone)" Just overly edgy. Sure, it was cool when I was younger, but now I can barely get through songs like Somewhere I Belong, Don't Stay, or Hit The Floor without cringing a little. 2. You just described it. Not only is it obnoxiously repetitive, but it's also a phrase that has been "said a thousand times". The verse lyrics are fine. Some pretty decent metaphors in there don't just shove the idea of "You don't know what you've got until it's gone" down your throat, but the chorus just kind of sounds lazy, lyrically.
If I shouldn't follow HIS twisted train of thought, then what other twisted train of thought should I follow? Yours? I thought that let to a dead end.
Please do not talk to me about The Tocaraca Song or I'll blast your face with Burn It Down's rap verse at full volume. See how you'll like that huh?
I quite like Until It's Gone, it's definitely not one of my favourites, but it is nice to listen to. I really like the vocal layers during the "until it's goooooone" part, and that combined with the strings make for a really cool sound. Other than that part the rest of the song is pretty average to me, the guitar solo is simple but effective, and fits in well with the song.
WASTELANDS “This is war with no weapons, marching with no steppin’, murder with no killin’, illin’ every direction” In the burning ember left by War is nothing but Wastelands (bad pun), the sixth track featured on The Hunting Party and the third single of the album. Relying on nu-metal nostalgia, Wastelands takes Linkin Park back to the past for a throwback, intentional or not, celebrating and cherishing the sound of Hybrid Theory fourteen years later. According to Shinoda’s tweets during The Hunting Party listening session, the first verse to Wastelands was written long before the rest of the song was even conceived. Whether this means the lyrics were written years or months in advance remains to be answered. From his choice of words, it appears a second verse was written at an earlier stage, but was ultimately rewritten in the final month of recording The Hunting Party. On May 24th, 2014, a minute long Wastelands snippet was revealed in a promotional UFC commercial. The hype had reached a boiling point as fans craved the full song. Surprisingly, Wastelands was premiered that same night, however through means not seen since Linkin Park revealed No More Sorrow, Given Up, and Bleed It Out in 2007. Following the first chorus of Runaway in the middle of Linkin Park’s live set in Tucson, the song completely transitioned and Shinoda began to rap the same lyrics found in the studio preview released earlier that day. The entirety of Wastelands was then played to great fanfare. Although they did not have the studio recording to compare at the time, the track sounded right at home in a live environment. The studio recording of Wastelands was to debut on June 1st on a UK radio station. However, Shinoda had other plans as he tossed several Wastelands CDs into the crowd of their Rock in Rio performance the night before. Needless to say, within hours the track was leaked online to the pleasure of fans worldwide. Wastelands begins with Bourdon releasing an intricate drum barrage over a fading electronic sample. The raw sound is instantly reminiscent of Guilty All The Same’s garage style intro before a riveting, chainsaw guitar riff tears open the track with a groovy, distorted rhythm. The apocalyptic track welcomes Shinoda for a cutthroat rapping demonstration that massacres the verses. His flow is pinpoint focused over the rhythmic thumping of the crushing guitars as he bellows with pristine swagger about a rising conflict. Bennington takes the track from an aggressive punch in the face to a soaring anthem as he barks out a triumphant chorus that flows with adrenaline. The savage guitar riff and pulsing drums amplify the dystopian chorus, creating an aggressive jam that rivals their nu-metal past and sits comfortably in the realm of The Hunting Party. Although he never screams, Bennington’s asphalt growls are ripe with intimidation, and only grow stronger as the song progresses. The bridge/breakdown strives to be different from everything in Linkin Park’s nu-metal discography, and remains unique to The Hunting Party. Devoid of any screaming, rapping, singing, or guitar solos of any kind, Wastelands instead chooses to deliver a gungy, dirty instrumental breakdown that churns together and presents a tensely satisfying moment. The storm breaks for an instant as Bennington returns to softly and cleanly sing the first half of the chorus before belting into the familiar previous rasp. Interestingly, the final chorus of Wastelands completely changes the chord structure, something very unconventional for Linkin Park. While neither revolutionary nor overly breathtaking, Wastelands represents the standard that if something isn’t broken, don’t fix it. The track revises Linkin Park’s nu-metal formula, adding new-age lyrics and maturity, and concludes as a wonderful tribute. As hinted to above, Wastelands was heavily integrated into UFC promotional material. It became the official UFC song for the remainder of 2014 and the collaboration peaked for the band’s official music video. Splicing UFC footage with a recording of Linkin Park’s Rock in Rio performance of Wastelands, the video was released on June 25th, 2014, nearly a month after the initial preview. The music video was poorly received, with just under 300,000 YouTube views in two years. Following the trend of the rest of The Hunting Party, Wastelands never had an official remix. However, that didn’t stop Cypher from releasing an atmospheric remix of the track for LPA’s Viscera. The track heavily reimagined Wastelands, slowing the song to a standstill and distorting Shinoda’s vocals in an effect similar to Reanimation’s Frgt/10. The song explodes halfway through with an adrenaline-pumping riff alongside Bennington’s chorus and then travels back to hip-hop. Throw in a sample from Hybrid Theory’s Cure For The Itch and you have a remix worth listening to. Looking at the lyrical content, Wastelands is a wildfire barreling in all sorts of different directions. First off, there’s the obvious statement towards the degradation of the current rock scene, as Shinoda claims “I’m not afraid of that, print it in your paperback” as a possible reference to not being afraid of media backlash for the heavy tone of the album. The “wastelands of today” being today’s musical landscape where popular artists have created a world void of substance in the industry. Linkin Park feels there’s “nothing left to lose” in releasing a heavy album now. There’s also the literal political statement that war and conflict is meaningless when it leads to nothing but wastelands worth absolutely nothing. And of course, there’s also the general direction that Linkin Park just wanted to write and release a genuinely kickass track with plenty of loaded imagery and bolstered by Shinoda’s hip-hop swagger. As stated above, Wastelands became a staple to the setlist in The Hunting Party touring cycle. It consistently remained on the set as a transitional piece of Runaway, and as such became a classic onstage. The band exuded energy playing the track, and never really encountered any technical difficulties in the track. The decision to use rawer studio vocals also proved invaluable as Bennington was capable of mimicking the track every single night.