How dare you? We aren't going anywhere without In my remains. Although, I'm not sure anyone except me gives a shit about that song.
iN mY rEMAINS is great. And I don't really give a shit about no double posts. What's the point in that rule anyway?
That you dont spam the thread full. Maybe in real life rules are there to break , but you should hold onto rules on a plattform like LPA, because its help to have a nice vibe with all the members, why breaking the rules (tonight ). Rules are there for some order, without them there would be more thrash in the forum for sure. Just try not to do it.
Can't really blame Filip. I'd imagine it's a pain in the ass to take your time out to get information for these songs only to get a few replies at the most. Too much work. Anyways, thanks Filip, for the ATS posts. At least you tried
LOST IN THE ECHO “In these promises broken, deep below, each word gets lost in the echo…” Lost In The Echo is the first track on Linkin Park’s fifth album, LIVING THINGS. It held the working title “Holding Company” during its inception in 2011. The band recorded the finished song in March 2012. It was the second single from the album, and reached peaks including #4 UK Rock chart, #10 on the US Rock chart, and #95 on the US Billboard Hot 100. Lost In The Echo bestows the opening moments of LIVING THINGS with a radiant synthesizer that weaves and ascends with a striking wave of sound before it merges with heavily distorted, crunching guitars to create a riff akin to a throbbing digital heartbeat. The electronic fortress of sound leaves little breathing room until co-vocalist Mike Shinoda explodes onto the record for an aggressive rap verse immediately harkening back to the days of nu-metal. Chester Bennington is heard harmonizing in a faraway echo, lost in a rising sea of swelling synths and digital keys while Shinoda raps with equal rhythm and confidence. Paying respects to Linkin Park’s heavier history, the chorus delivers a triumphant, pleading performance by Bennington alongside a cascading wall of electronically distorted guitars. His fury releases in the bridge for a maniacal scream before bracing for a glitch-ridden, electronic breakdown. Shinoda returns for his most potent moment on the track, that oozes with emotion rather than using vibrant imagery. The final chorus leads into ferocious frenzy of screams by Bennington, as he howls over the colossal intro synth and burning guitars, edging the song into a truly satisfying conclusion. Lyrically speaking, Lost In The Echo can be interpreted in a number of ways, much like the rest of the band’s discography. However, analyzing the lyrics, one can find the song to be awfully personal. The character in question is fed up with being used or manipulated by somebody, which seems similar to most of the band’s earlier work. What changes with Lost In The Echo though, is the uplifting message that “this time I’ve finally let you go” signifying a departure from the constant alienation and isolation that the band spoke of so much in the past. Lost In The Echo also had a radical departure with its experimental music video that released on August 29, 2012. The band had hyped the video as an interactive video “designed to draw you into the world of the song”, and the result was indeed unique for Linkin Park. Fans were told to link their Facebook accounts to a dedicated website for the official video with much anticipation. The video itself then used the photos found in these accounts and displayed them as memories for the characters to access. The video itself took place in a dilapidated city worn from the apocalypse. It involved a main character handing out photographs to the surviving community and then focuses on their emotional outpours. The conclusion of the video has many of the figures dissolving into dust, perhaps as the distant memory of which someone has “finally let go”. The result of such interaction between subject and source lead to several inadvertently hilarious moments when silly or otherwise inappropriate photographs would be used, all the while the character in the video weeps or trembles in terror. The video was ultimately considered gimmicky by fans and criticized for a lack of any real story, action, or development of any manner. Though as of January 2015, the song holds over 32 million views on YouTube. Note that if you look closely, you can find pictures of the band members in suitcase at the beginning and end of the video. The demo “Holding Company” was a surprise for fans when it was released on LPU XIII. Instead of the aggressive, soaring electronic rock found in the finished product, the demo contained a much more mellow instrumental. Over 5 minutes in length, the track is much longer than Lost In The Echo, and features a wall of guitars far less distorted than on the album. Many hardcore fans even prefer this demo, as it uses far more experimental qualities. The track was also remixed for release in Recharged in 2013 by KillSonik. The remixed version has an incredible intro that essentially takes the beautiful harmonizing and screams by Bennington and amplifies them into a concentrated mass of dubstep and electro music. On the live stage, Lost In The Echo is a lightning rod of energy. The song debuted on August 6, 2012 during the band’s regular Third Encore performance in California, just days before the start of the Honda Civic Tour. Adding extra depth to the song, the band created an extended introduction to the song featuring synths found in “Holding Company”. The intro is held in high esteem amongst fans, as it is highly atmospheric and humbling in sound, serving as a stark contrast to the heavy anthem that follows. The track is regularly placed near the end of the main set or as an encore opener due to its revitalizing energy. Unfortunately, and in a move that seems incredibly disheartening to fans, the band decided to shorten the song for their Carnivores Tour in 2014. The new shortened edition features the intro, chorus, bridge/breakdown, and then the final chorus/outro. While the song essentially keeps all the best parts, it still feels like a shallow ghost of its former self. Here’s to hoping it returns in full in 2015. Below is a pro-shot performance from Summer Sonic 2012, featuring in my humble opinion the best Lost In The Echo recording. Listen for Bennington’s brutal screams that bring goosebumps in a way he hasn’t been able to deliver in years. -------------------------------------------------------------------------------------------------------------------------------------------- Taking my honest opinion into account, Lost In The Echo is a brilliant electronic anthem that not only harkens back to their nu-metal days, but surpasses them as well. The song revitalizes the otherwise stale structure found in Hybrid Theory and Meteora with powerful grace. Also the chorus is quite possible my most favourite in melody and structure that Chester has ever delivered.
Damn, feels good to read one of these. Great post, man. I'm not gonna lie, "Lost In The Echo" is far from my favorite. What I really do appreciate is the instrumental. The vocals are what killed the song for me. The rapping was really bad all until the third, breakdown verse. Instrumentally, one of the very best from the band. Remarkable synth work and the layered production really works perfectly. I listen to the instrumental much more than I listen to the song. The other complaint I have about the song is how it feels like a throwback to older LP stuff, when, in my opinion - the band does their best stuff while looking forward. In that way, even though it's pretty much "Iridescent" part 2, I enjoy "Holding Company" much more than I enjoy the final product. And like that, I listen to it far more often. It's mellow, nice, atmospheric and just gives me some feeling that the final version doesn't. The guitar work, while simple, is done so nicely. Killer song live and the Summer Sonic performance is one of the best.
I'm not ashamed to admit this song was my favourite LP song for a good year or so...I was really surprised by the energy it bought. Definitely the best album opener for me. It's also one of the few songs I feel encapsulates a lot of what LP are about (rapping, screaming, soft singing, heavy(ish)ness and electronics)
Great post, FiP! I know LT has had a mixed reception since it's release, but I still think it remains their "freshest" album to date. Stylistically, to me it has the highest energy in a LP album. It feels so lively to me, there's this awesome atmosphere to it. It's like dipping your hand into a giant candy bad, there's plenty of different things and you're sure to find something you'll like. Anyways, as for LITE itself This song is exactly what I would have expected this band to have sounded 10+ years after their debut. It's like a natural progression, this song feels like a perfect balance of everything they've perfected over the years. LITE and LT as a whole is essentially a mix of the old and new in one. LITE to me is like a modernized HT song. I've criticized Mike's lyrics in the past, but it's not the case here. I've used the word "genuine" a lot in the past, and I think it especially holds true here. It doesn't feel like some pointless rap verse (CoughTHPcough), it holds it's own weight. It's personal, yet relatable. Mike does a great job here, and Chester's screaming at the end is just awesome. Is it my favorite song off of the album? No, certainly not. However, I felt like LITE was the right direction for them to head in at that point.
Lost in the Echo was one of the song that got me to appreciate Living Things. One of the very few tracks that features Joe scratching on the album, which in itself is a rarity these days. I especially love it with the live intro, although I wish we could have heard that from the studio album. Even though the guitar is buried with the synths, it serves the track well, especially the opening staccato riff. Only complaint? Not really a fan of the end of Mike's first verse. I absolutely love the synths though.
Lost in the Echo, easily in my top five and probably in my top 3 with the classics In The End and Numb. The first time I heard that synth hook...it was so catchy... it just made me smile as this band I had come to know as always making something with sounds I had never heard before had done it again. The way it breaks into the guitars is so perfect, I can jump around to the intro of this song any day. The layering and mixing is also perfect throughout the verses, Chester's "oh's" add a ton to the verses, and the bridge is absolutely insane. The vocal glitching that was first introduced in WTFTE/Blackout is just as good, if not better here. And holy crap, that rap verse that comes after is insane. The lyrics are simple, but dang, such great delivery. And the walls of synth and guitar that come down in the bridge feel more impacting than any "drop" in THP. The final chorus with the overlapping vocals is a stroke of genius. Sometimes I listen and I'm singing along with the light singing part, sometimes I screaming along with the other vocals. And the way he holds the last "GOOOOO" is amazing, and always done well live. I'm so glad I got to see the song in full in 2013, and even though it was shortened it was still great @ Carnivores. Chester always seems to dance around like crazy to this song and it makes me want to, too. They all seem pretty into the song, and you can definitely tell Chester wants to do it justice the way his screams are always top-notch on it. Also, you listed that video as being from 2012, but I'm pretty sure it's from 2013, shortly after SSMF. I love the way Chester screams "Let you go". It sounds different than his other screams, this time it has some quality to it....like it sounds more desperate or something rather than angry. Truly the greatest song to get you through a breakup lol. If I was to nitpick, I would point out that this song falls into the category of songs where Mike's rap feels disconnected to the chorus, but not nearly as much as other songs. In addition, Mike's rap isn't terrific, but it's much better than things like KTTK or AFN where he's just rapping about rapping. Not that I don't appreciate that time to time, but I just enjoy this so much more. My only other complaint would be that the sound of the chorus is just a little too...cluttered? Like, the instrumental depth I feel in the rest of the song just kinda feels like it peaks and all becomes one wall of sound. It doesn't sound bad but it could be slightly more interesting. This is probably the most HT/Meteora feeling song since those albums imo , besides maybe UIG or AFN. That isn't a bad thing at all to me. I love the stuff that's far away from those albums and I certainly love this song. The extended intro live is fantastic, I would do anything to get a special edition of LT with that as an intro track, similar to Wake or Intro. Hopefully the song sticks around live for a long time.