. <---USE WHAT NOW.[/quote]nailz1000 wrote:. <---USE THEM.lostoursouls_666 wrote:hey man linkin park my not be what everone looks for in music but hey the first time i heard them they rocked even though theres a bit of hip-hop in it its still good music well ne they are better then lots of musicians out there they are even better then all that rap-crap stuff you agree right?
All Linkin Park Fans or Haters!
-
lostoursouls_666
- Joined: Wed Jan 28, 2004 8:53 pm
- Location: In your closet watching you getting dressed. >3
-
lostoursouls_666
- Joined: Wed Jan 28, 2004 8:53 pm
- Location: In your closet watching you getting dressed. >3
wtf lincoln park never heard it called that before, i've always know it as Linkin park and well thats allKamoc wrote:it's lincoln park.
-
Bote
- Joined: Sat Aug 09, 2003 8:20 am
- Location: Belgrade, Serbia
- Contact:
I liked the first album a lot, the second was meh.
My Youtube channel: Bote Logos
NEW!!! One Piece AMV - "YUM YUM 2.0"
Berserk - Man of Sorrows (upscaled to 4k)
NEW!!! One Piece AMV - "YUM YUM 2.0"
Berserk - Man of Sorrows (upscaled to 4k)
Beowulf@RDS wrote:RECTANGLES AND AFTER EFFECTS WONT SAVE YOU NOW MOTHERFUCKERS
-
Otohiko
- Joined: Mon May 05, 2003 8:32 pm
Ah, well, if they really thought the park is called that - looks like the band and its' fans here do have something in common after all...lostoursouls_666 wrote:wtf lincoln park never heard it called that before, i've always know it as Linkin park and well thats allKamoc wrote:it's lincoln park.
[size=0]dyslexia[/size]
The Birds are using humanity in order to throw something terrifying at this green pig. And then what happens to us all later, that’s simply not important to them…
-
FoolThemAll
- Joined: Sun Jun 30, 2002 2:32 pm
- Location: St. Clair Shores, MI
- Contact:
They named themselves after Lincoln Park in California, I believe...and they probably just changed the spelling cuz cool. Like "sk8er boi". Oh well, they're still fun music.Otohiko wrote:Ah, well, if they really thought the park is called that - looks like the band and its' fans here do have something in common after all...lostoursouls_666 wrote:wtf lincoln park never heard it called that before, i've always know it as Linkin park and well thats allKamoc wrote:it's lincoln park.
[size=0]dyslexia[/size]
_________________________
One more day to fool them all
One more day to drop the ball
One more day to fade away
One more day to fool them all
One more day to drop the ball
One more day to fade away
-
Otohiko
- Joined: Mon May 05, 2003 8:32 pm
Worry not, I'm just poking sarcasm at them.
And frankly, if not for their near-disproportional mass popularity - I don't think people would be as hostile to them as they are. Besides, as we all know too well, this is the .org, and there's a special reason for people to be pissy about LP...
Quite a few of their fans do irritate me though.
And frankly, if not for their near-disproportional mass popularity - I don't think people would be as hostile to them as they are. Besides, as we all know too well, this is the .org, and there's a special reason for people to be pissy about LP...
Quite a few of their fans do irritate me though.
The Birds are using humanity in order to throw something terrifying at this green pig. And then what happens to us all later, that’s simply not important to them…
-
rose4emily
- Joined: Fri Jan 23, 2004 1:36 am
- Location: Rochester, NY
- Contact:
You can't properly appreciate "nerd-rock" and "synth-rock" until you've listed to a couple of Devo albums and NIN's Pretty Hate Machine. That's what "synth-rock" is all about.
As to Linkin Park itself, I find it irritating as all hell, but mostly because of overexposure (as in my roommate listens to only Linkin Park and Evanescence, and will put a single LP song and its five remixes on a loop for three hours on end - I'll put on Abbey Road and he starts complaining halfway through "Maxwell's Silver Hammer").
As I see it they fall into one of the five traps of modern angry suburban white kid rock. That would be the fact that they are angry suburban white kids with nine out of ten songs being about some vauge inner pain with no apparent cause or solution. Sure, half of Pretty Hate Machine was whining, but at least Trent was able to admit in his lyrics that his only real problem was a couple of failed relationships. Shit happens, and there's really no reason to encourage an already lame generation to think the world is a conspiracy against them in which their angst and attitude are their only protection and where everything from some ill-mannered classmates to parental divorces should be thought of as cause for wrist-slitting or other such foolish cries for attention. At least the depressed country singer lost his wife, kids, and dog before he started complaining to the crowd.
The second trap would be trying to sound as "heavy" and "bad-ass" as possible all of the time. This would be what I call "the Slipknot Effect", not that Slipknot started it, but they are still one of the grossest examples of this phenomina I can think of. Releasing 45 minutes of screaming over detuned distortion guitars and drummers that somehow forgot the art of finessing the skins and decided to just flail their sticks at the fastest speed they were physically capable of is not the way to go about making albums. Sure, industrial more or less got its start there, but the originators knew when to drop back a bit and foster a little contrast. That's what made even stuff as melodically simplistic and noise-heavy as Nirvana's Nevermind or Marilyn Manson's Antichrist Superstar listenable - the moments of reprieve when the sound grows cleaner and clearer.
The third would be unintelligable/nonsensical lyrics. This one's probably as old as rock music itself, but reached a real revival with Kurt Cobain's voice and odd songwriting style. Somehow people mistook the lack of coherance and comprehensibility for profundity and ran with it. This isn't really a problem in itself, but becomes a touch irritating when it leaves the realm of obvious silliness (as in much of the late-60's output of The Beatles) and starts showing up in peoples conversations as stuff they think "speaks to them" as "an important message about life and....". Singing words instead of noises isn't that hard - even Ozzy Osbourne can do it, and we've all heard his speaking voice.
The fourth would be extreme political focus. This one is definately as old as rock music itself, but can really kill a band's ability to produce fresh material once the basic themes of protest are used up. Think of Rage Against the Machine. Any one of their albums is great as a funk rock blend a bit more on the rock side than, say, the Red Hot Chili Peppers or Incubus, with beautifully recorded and cleanly played drum tracks, a nice simple but confident bass, a guitar that always sounds like something else, and well-timed passionate vocals. Any two of their albums is just like any one of their albums, except redundant. As the joke goes "eight years later a lot has changed - Bush is the president, the economy's tanking, and we're at war with Iraq" - and America still exploits foreign labor, appalachia is still poor, the cities are still full of crime and abuses of the legal system, rednecks still exist and cause trouble... names and places (other than Bush and Iraq) come and go in the news but the stories are always the same, and forty years of musical protest hasn't really done a thing other than remind people who are already aware of the world's problems that those problems exist.
The fifth is not bothering to actually learn to sing or play one's instrument. I'm not sure where LP stands on this because, while they definately "keep it simple", their emphasis seems to be on the mix rather than the elements. Other than David Gilmour, the members of Pink Floyd weren't exactly instrumental virtuosos either - they just had really good songwriting skills in the form of Roger Waters. For any band that isn't big on concepts albums, illustrative lyrics, and brilliant studio engineering, however, the ability to throw in a decent drum or guitar solo once in a while is nice. Singers that can use more than a half-octave range, keep in tune, and actually produce a clear tone are a plus. Keyboard players that can do more than hit the sample mapped to C#4 should be a requisite if you're going to drag a stationary and visually dull instrument on stage. If I, someone whose career doesn't revolve around music, can produce a decent funk-bass line, guitar solo, drum-beat, and some Chopin on the keys, the professionals sure as hell should be capable of doing the same with their instruemts.
Enough complaining about the situation and characteristics of modern rock, on to some positive suggestions:
Try listening to Jethro Tull, early Black Sabbath, late Beatles, mid-era Chili Peppers, Iron Butterfly, Bauhaus, Fiona Apple, Devo, Pink Floyd from Meddle through The Wall, Alice Cooper, Nine Inch Nails, VAST, Dire Straits, The Doors, the Grateful Dead, Jimi Hendrix, Joe Satriani, Steve Vai, Iron Maiden, Queen, Skinny Puppy, Santana, New Order, Bob Dylan, Guns and Roses, Iced Earth, Blind Guardian, Alan Parsons, The Zombies, INXS, Pearl Jam, Type O Negative, and Led Zeppelin. It's a long list, but there's all sorts of different stuff in there and it provides some good examples of where mainstream music did something new or special.
As to Linkin Park itself, I find it irritating as all hell, but mostly because of overexposure (as in my roommate listens to only Linkin Park and Evanescence, and will put a single LP song and its five remixes on a loop for three hours on end - I'll put on Abbey Road and he starts complaining halfway through "Maxwell's Silver Hammer").
As I see it they fall into one of the five traps of modern angry suburban white kid rock. That would be the fact that they are angry suburban white kids with nine out of ten songs being about some vauge inner pain with no apparent cause or solution. Sure, half of Pretty Hate Machine was whining, but at least Trent was able to admit in his lyrics that his only real problem was a couple of failed relationships. Shit happens, and there's really no reason to encourage an already lame generation to think the world is a conspiracy against them in which their angst and attitude are their only protection and where everything from some ill-mannered classmates to parental divorces should be thought of as cause for wrist-slitting or other such foolish cries for attention. At least the depressed country singer lost his wife, kids, and dog before he started complaining to the crowd.
The second trap would be trying to sound as "heavy" and "bad-ass" as possible all of the time. This would be what I call "the Slipknot Effect", not that Slipknot started it, but they are still one of the grossest examples of this phenomina I can think of. Releasing 45 minutes of screaming over detuned distortion guitars and drummers that somehow forgot the art of finessing the skins and decided to just flail their sticks at the fastest speed they were physically capable of is not the way to go about making albums. Sure, industrial more or less got its start there, but the originators knew when to drop back a bit and foster a little contrast. That's what made even stuff as melodically simplistic and noise-heavy as Nirvana's Nevermind or Marilyn Manson's Antichrist Superstar listenable - the moments of reprieve when the sound grows cleaner and clearer.
The third would be unintelligable/nonsensical lyrics. This one's probably as old as rock music itself, but reached a real revival with Kurt Cobain's voice and odd songwriting style. Somehow people mistook the lack of coherance and comprehensibility for profundity and ran with it. This isn't really a problem in itself, but becomes a touch irritating when it leaves the realm of obvious silliness (as in much of the late-60's output of The Beatles) and starts showing up in peoples conversations as stuff they think "speaks to them" as "an important message about life and....". Singing words instead of noises isn't that hard - even Ozzy Osbourne can do it, and we've all heard his speaking voice.
The fourth would be extreme political focus. This one is definately as old as rock music itself, but can really kill a band's ability to produce fresh material once the basic themes of protest are used up. Think of Rage Against the Machine. Any one of their albums is great as a funk rock blend a bit more on the rock side than, say, the Red Hot Chili Peppers or Incubus, with beautifully recorded and cleanly played drum tracks, a nice simple but confident bass, a guitar that always sounds like something else, and well-timed passionate vocals. Any two of their albums is just like any one of their albums, except redundant. As the joke goes "eight years later a lot has changed - Bush is the president, the economy's tanking, and we're at war with Iraq" - and America still exploits foreign labor, appalachia is still poor, the cities are still full of crime and abuses of the legal system, rednecks still exist and cause trouble... names and places (other than Bush and Iraq) come and go in the news but the stories are always the same, and forty years of musical protest hasn't really done a thing other than remind people who are already aware of the world's problems that those problems exist.
The fifth is not bothering to actually learn to sing or play one's instrument. I'm not sure where LP stands on this because, while they definately "keep it simple", their emphasis seems to be on the mix rather than the elements. Other than David Gilmour, the members of Pink Floyd weren't exactly instrumental virtuosos either - they just had really good songwriting skills in the form of Roger Waters. For any band that isn't big on concepts albums, illustrative lyrics, and brilliant studio engineering, however, the ability to throw in a decent drum or guitar solo once in a while is nice. Singers that can use more than a half-octave range, keep in tune, and actually produce a clear tone are a plus. Keyboard players that can do more than hit the sample mapped to C#4 should be a requisite if you're going to drag a stationary and visually dull instrument on stage. If I, someone whose career doesn't revolve around music, can produce a decent funk-bass line, guitar solo, drum-beat, and some Chopin on the keys, the professionals sure as hell should be capable of doing the same with their instruemts.
Enough complaining about the situation and characteristics of modern rock, on to some positive suggestions:
Try listening to Jethro Tull, early Black Sabbath, late Beatles, mid-era Chili Peppers, Iron Butterfly, Bauhaus, Fiona Apple, Devo, Pink Floyd from Meddle through The Wall, Alice Cooper, Nine Inch Nails, VAST, Dire Straits, The Doors, the Grateful Dead, Jimi Hendrix, Joe Satriani, Steve Vai, Iron Maiden, Queen, Skinny Puppy, Santana, New Order, Bob Dylan, Guns and Roses, Iced Earth, Blind Guardian, Alan Parsons, The Zombies, INXS, Pearl Jam, Type O Negative, and Led Zeppelin. It's a long list, but there's all sorts of different stuff in there and it provides some good examples of where mainstream music did something new or special.
may seeds of dreams fall from my hands -
and by yours be pressed into the ground.
and by yours be pressed into the ground.