All i am saying is that the Tasty Gas Station Breaks From The Orient sample at the end threw me off a little bit ahaha, in a good way 0:22
The heaviest LP song ever, and I did not know Mike had that in him. Also, I can hear some screaming before the first verse. Sounds like vocals from Announcement Service Public, but that would be a bit weird to use Chester's vocals in that way.
hmmmmm... As said in the shoutbox: I kid. I'm glad I'm not the only one to pick it out! Sounds like the With You sample gets briefly scratched after that to me as well (the one that opens Wth>You with the stutters, and comes right before the guitars enter on the OG version).
I'm just messing with you. I just saw an opportunity to use that shoutbox quote in this context. This song is full of little sonic nuggets like that for me. It's got those two at the end, that tone sample Joe is scratching in the bridge like it's 1999 and this is Slipknot, and then that other sample in the bridge he cuts that I'm like 90% sure is another one of his loops from TGSB. It also very much sounds similar to stuff from The Hunting Party though. It's really just an all around banger. When this is officially out I hope it quells all the people who were like "she's not good for heavy music like Linkin Park". I think this song definitely lived up to the hype.
I was right about the sample garnish and spontaneous jerks making or breaking this track for me. Surprised? Nah, not really, but it clears their other shots at “punk”! And I like Victimized on occasion. Update: Actually, the surprising thing is this is one of the tracks I expected to stagnate on me and stay an unremarkable “It’s okay, all in all” but it’s getting better. I really like hearing this unheard of aggression from Mike. I think of the few new-new treats, it might be my favorite.
The little tidbit of electronics after the first chorus, the way Emily starts the second chorus without the instrumentation, and the snare-heavy outro are fantastic touches. There's also Emily's ridiculously dramatic delivery at the start of the bridge, and the bridge itself which is the most Xero thing the band have done since, well, Xero. This could well be the least flawed track on the whole album for me. Possibly my favourite. Despite the fact that Mike here sounds like someone is sitting on his chest.
One of my favorite little detail that I've observed recently is how the chorus drums and riff enter in differently each time. On the chorus after the first verse, the drums and riff enter in as Emily screams "out". Chorus after the second verse has a new guitar lead-in but the riff and drums come in AFTER Emily screams "let me out." On the final chorus, the drums come in after she screams "set me free." When I realized that was happening my appreciation for the song increased.
Not my vibe! Though, I'll never say never. I hated War at first, and now I find that song to be pretty fun, so who knows! 7/100
Right! The attention to details in this album is through the roof. It is full of those little variations within songs - little twists between verses, choruses, etc. For example, I love how the phrasing and melody between Overflow first and second verse is pretty different. In the first verse, "I can feel the pressure comin'" is emphasized and sustained, and that doesn't happen in the second verse, where Mike goes instead into a different motive starting from "Ground is shakin' as it opens up to pull me". The short duration of the songs is deceiving. It is a very well composed album.
You know what, the moment that gives me the most chills in this song is when Joe comes in with the scratches on the bridge. Instant flashback to the HT days. And even more so, since they reused that old tone for the scratch. From that point onward, the scratches are very present on the album. Casualty is like a multidimensional portal from which 1999 Mr Hahn is jumping right in the present.
Yep. I love it. Which is probably no surprise at this point. The tone scratch reminds me a lot of And One where he does a somewhat similar tone scratch thing throughout the back half. Or the bridge of Part of Me. I'm very certain in Casualty he's using the same sample loops you hear starting at 12:19 on his Tasty Gas Station Breaks stage vinyl. The first is the tone he scratches, the second is a loop of a vocal sample from Afrika Bambaataa's Planet Rock that Joe is doing some staccato cuts with when the breakdown comes in (it's like a 1 - 2 - Triplet on 3 rhythm to start out with). Actually...now that I think about it, And One might also be using that Planet Rock sample in the breakdown leading to Mike's outro verse...
Damn, And One, that must be it! Though it was a very familiar sound, but couldn't recall the exact song. One could not resist the appeal of the scratches