I don't mind them - but I just think it gets a bit old on this record. There's nothing particularly innovative about the music on this record as it is, but I felt the band overdid it *slightly*. It's such a distinct sound to use on multiple songs that it becomes noticeable in a way that's like, "Oh, that sound again."
I've loved them ever since I heard Mother We Share by Chvrches. I found the breakdown of Blackout to be more weird/abrasive to my ears at the time tbh. For this album I don't think there's any vocal chopping/sampling I don't like.
I really liked them alot. Gave me modern hip hop production vibes and NCSM's intro is my favorite intro on any of the songs.
Eh. Wasn't a huge fan of them, but they weren't my least favorite part of the album. Like people have said, they are very popular effects in a lot of music today, especially in the hip-hop and pop worlds. I understand why Linkin Park used them. On the other hand, a lot of the music that I like is pretty organic sounding, which is why I don't enjoy anything Linkin Park did after Minutes To Midnight. Minutes was pretty organic sounding in that there weren't tons of effects, etc. and the band talked about that a lot in 2007/2008. I mean it's Linkin Park so it's not going to be 100% organic, but yeah. I'm into a lot of music that sounds like Valentine's Day, What I've Done, The Little Things Give You Away, Given Up type of stuff.
I don't think they could be replaced by scratching as they create a melody while scratching would usually be added to the melody. I think they kind of replace the typical Linkin Park intro which is triggered on a Maschine (or MPC, or IPAD) such as the intros of Crawling, Numb, New Divide, Burn it Down or Until it's gone. In these cases, they used distorted piano, guitar and synths and chopped them up in order to create a new melody. The same happened with the vocal samples on OML. I think Battle Symphony's intro is also played on a Maschine. The issue that I have with all the vocal samples being used on the record is that they lack uniqueness. There have been intros in the past, some of which I named above, that I feel like only LP could have created them. I do not think they're cheesy or bubblegum but you can really hear stuff like that all over the radio.. it's just something that became popular during the last years and I do not like that LP avoids being unique by using them (same with all the trap sounds). Plus: I think that there are a lot of artists that use them better.. Edit: The Bridge of "Blackout" was a nice way to sample vocals. Although it's pretty dubstep which was trendy at the time
Well that is my point. It was convincing enough for many to think it was a guest vocalist. It just sounds natural. While on OML it's plain as day they're using a filter.
I see. Those are creative choices by the band, though, for each track. And their intentions likely weren't "make everything sound natural" or they'd have foregone any programming altogether
This reply is right on the money. Linkin Park wasn't going for ''organic'' or ''natural'' on this album. Like I said in an earlier post, the only album that really had ''organic'' sounding stuff on it was Minutes To Midnight, and even then it wasn't 100% organic. I don't really think Linkin Park is that kind of band, seeing as how virtually none of their music is done in that fashion, and trust me, I listen to a lot of music that people would consider organic or natural, so I know what I'm talking about. I don't really understand all this hate for the effects and stuff. I mean, it's really nothing new for Linkin Park, they've been using tons of effects and stuff since before Hybrid Theory even came out in 2000. The whole chipmunk thing is new, I think, but honestly, it's not even remotely the biggest flaw of One More Light (the album). I've literally seen people say that they would love the album if there weren't any chipmunk noises, seriously? It's not that drastic. Haha. And it's very common in mainstream music today.
Strongly dislike these vocal effects and how they were implemented in certain songs. I can forgive them for being in Good Goodbye, since that song has several other aspects I like, and these vocals actually do work after the chorus in that song, as they contribute to the "sarcastic" tone LP was going for IMO. As for the rest of the songs they're in, they did not add further enjoyment, with Sorry For Now being the worst offender. I don't really get what LP was going for with the vibe of that song, as those pitch-shifted vocals sound so out of place in the context of the rest of the song.
I really like the chipmunk sounds in the beggining of Nobody Can Save Me and on Good Goodbye, but those on Sorry For Now are simply astounding. There are also some on Halfway Right, also pretty good.
The "god bless us everyone" is just one of the best LP lines ever, just as is "lift me up let me go". The Catalyst is one of my favourite LP songs.