#linkinpark — Public Fediverse posts

In the End

I tried so hard and got so far
But in the end, it doesn't even matter
I had to fall to lose it all
But in the end, it doesn't even matter

flic.kr/p/2suTRPc

#photography #music #linkinpark #intheend #desaturated #gimp #darktable #rose #garden 🌱📷

What was happening in heavy music around 1996?

Some bands were just getting started. Others were releasing their earliest material or preparing for the albums that would eventually “Sway” their way into metal history.

Read here: https://metalinsider.net/lists/10-bands-that-debuted-in-1996

#CoalChamber #LinkinPark #Slipknot #Rammstein #NinetiesMetal

So denn, die Nachbarn lasse ich noch ein wenig schlafen. Aber auf dem Kopfhörer scheppert gerade das Meteora Album von #linkinPark

So denn, die Nachbarn lasse ich noch ein wenig schlafen. Aber auf dem Kopfhörer scheppert gerade das Meteora Album von #linkinPark

Since the last Filter dropped, it still hasn’t stopped raining and storming in my neck of the woods. Consequently, my minions trudge evermore through the thin sheet metal of our ducts as the thunder rattles everything like so many dice in a tabletop nerd’s clutches.1 Yet I must press them and push them, for we have quotas to meet and ravenous appetites to sate.

So it is with shaky hands and discombobulated craniums that my grunts hand over the goods. BEHOLD!

Kenstrosity’s Thrashed Thrall

Ascended Master // Crepuscular Gloom [May 8th, 2026 – Self Released]

Death thrash is best thrash, if you ask this sponge. Something about this unholy combo really rustles my jimmies, especially when its executed with great speed and riff-centered fervor. Cincinnati’s Ascended Master nail that combination right into the grave, boasting a sound that’s three parts Death, one part Atheist, and a pinch of Blood Red Throne. With a sense of groove that gives barnburners “Blood Spilled Upon the Stars,” “Crepuscular Gloom,” and rabid closer “Xenopaleontology” a deadly swagger liable to cause fierce whiplash in all who would headbang to it, debut LP Crepuscular Gloom” is a record pumped full of testosterone and adrenaline. Speedy rippers like “Midnight Mother” and “Ghoul Queen” put the pedal to the metal with a ferocity more commonly associated with Kvaen or Hellripper in the modern pantheon, but the record’s natural engineering and coherent screams hark to earlier times where Death reigned supreme in the scene. However, it would be inaccurate to call it pure worship. Ascended Master have an intense personality and a particular ferocity that allows Crepuscular Gloom to integrate smoothly into their respective category without blending into the crowd. As their career develops from this point, I expect we’ll see their identity bloom and rise with greater distinction, further setting them apart and threatening year-end lists all around. Just wait, you’ll see!

ClarkKent’s Prehistoric Pulls

Ilienses Tree // Toward the Storm [May 1st, 2026 – Meuse Music Records]

Ilienses Tree sow their roots deep into the island the band originates from—Sardinia, just off the coast of Italy. Their name, Ilienses, refers to an ancient Nuragic civilization that, during the Bronze Age, built impressive stone tower structures that still stand today. While the band isn’t nearly so old, their second album, Toward the Storm, dabbles in the sort of slow, deliberate doom that speaks of the patience of those ancient ruins. They lean towards a style of funeral doom that has the brutal power of My Dying Bride, but their record also contains the unpredictable dynamic drumming of Oromet and sneaks into speedier death/doom territory akin to Paradise Lost and Novembers Doom. Ilienses Tree have a mastery over melancholic lead riffs, such as the one that opens “To Not Be Forgotten.” “Sudden Rain” flexes the band’s creative muscle most impressively. Beginning in a slow burn and anchored by a poignant guitar lead, the song has a sudden burst of energy, turns in a lovely duet between arpeggiated riffs and bass, and features several more memorable and distinct guitar leads. Though the songs average nine minutes, they fit neatly into a 38-minute record, and thanks to progressive structures, they never feel overlong. If you’d like some music that simultaneously hits you in the feels and provides a shot of adrenaline, then go towards, not away from, this storm.

Anna Fiori // Metztli [May 21st, 2026 – Self Released]

Sometimes symphonic metal bands grow a touch stale from a failure to innovate, relying too heavily on the gimmick of symphonic instruments. Anna Fiori, however, has created something pretty special, with a Mexican/Aztec twist on the genre. Her band mixes “pre-Hispanic instrumentation” with cinematic symphonics and heavy guitars to create thrilling high-energy music. While some songs hit a more poppy Beyond the Black mold (“En El Vacio”), others take a longer-form route. The nine-minute “Luna Llena (Xiki Noeso)” blends indigenous chants and flutes with orchestral elements that sometimes sound like an exciting score to a whimsical adventure film. The highlight, “Luna Menguante (Nimotemak),” contains a mix of cool riffs, flutes, and blast beats before taking us on a bonkers ride involving operatic singing, off-kilter pianos, a few solos, and perhaps the summoning of a demon or two. While the song compositions are tons of fun, Fiori’s performance ties it all together. She sings in the sweet poppy manner of Epica’s Simone Simons, the operatic style of many a Therion singer, and even some growls in the spirit of Seven Spires’s Adrienne Cowen, if not quite her power. Fiori even briefly raps on a couple of tracks, with a pretty impressive section on the outro track, “Tetzahuitl, Pt. 2: El Origen,” and goes off-script with an infectious laugh on “Entre Mil Voces.” Clearly she’s having a lot of fun. Metztli hits some of the familiar symphonic notes while injecting enough personality of its own to make for an entertaining, and sometimes wild, ride.

Grin Reaper’s Spring Fling

Beyond the Veil // Oblivion [May 1st, 2026 – Wormholedeath Records]

There’s little online information about Tokyo prog metallers Beyond the Veil,2 and while I don’t recall how I stumbled across debut Oblivion, I’m glad I did. Upon listening, I was immediately enamored by their familiar yet enchanting blend of drama and technicality. Fans of Opeth and Dream Theater will uncover a trove of unapologetic prog where Beyond the Veil weaves gorgeously conceived instrumentation into intricate compositions. Oblivion also embraces long-form arrangements, sporting six tracks ranging between seven-and-a-half and sixteen minutes each. Credit to Beyond the Veil, though, because even with such robust runtimes totaling over an hour, Oblivion never feels repetitive or bankrupt of ideas. Quite the opposite, in fact, as each listen reveals new knots to untangle and coils to unwind. Perhaps the facet I’ve come to appreciate the most as I revisit Oblivion is Beyond the Veil’s merger of piano, mellotron, and orchestrations with guitar, bass, and drums. They’re hardly the first band to do this, but each song sounds well-attuned to incorporating the right instrument for the right part rather than spotlighting heavy-handed wankery, allowing Oblivion to soar. While Beyond the Veil doesn’t break the mold with this one, getting lost in Oblivion never sounded so sweet.

Lago // Vigil [May 8th, 2026 – Everlasting Spew Records]

Vigil introduced me to Lago and their infectiously abrasive death metal, and this album is forty-two minutes of unhinged brutality flecked with melody. The blood of Immolation, Morbid Angel, and Incantation pumps through Lago’s veins, delivering unapologetic tangles of dissonant, jangling guitars, fuming blast beats, and murky bass runs beneath Cole Jacobsen’s devilishly demented gutturals. Lago’s brew is potent stuff, swirling and churning with caustic acid that will leave your eardrums scarred and cowed with nary a moment wasted. Complimenting the devastating filth Lago dredges is Gus Barr’s warbling lead guitar, which cuts through the grime with off-kilter shredding. “Behold, Ruin” and “Initiation Rite” hit with the immediacy and aplomb of Immolation, lurching onwards with Brian Miller’s timekeeping straight out of Close to a World Below’s playbook. Meanwhile, “Procession into Slaughter” and “The Land Was a Desert” launch into Azagthoth-tinged, otherworldly riffs. Everything about Lago screams danger, yet once the blood starts flowing it’s impossible to turn away from their murderously addictive violence. Once Vigil has its hooks in you, you won’t want them to Lago.

Redshift // Down the Wire [May 29th, 2026 – Pale Wizard Records]

As a massive Rush fan, Redshift’s Down the Wire immediately caught my attention with ample parallels. A power trio wielding buttery smooth bass lines, Lifeson-leaning chords, and Tiago Martins’ tender tenor call to mind Canada’s greatest export for all the right reasons. Yet Bath, England’s Redshift is more than a Rush clone, and on Down the Wire they bounce and whip in syncopated flurries and chromatic runs while dabbling with vocoded vocals and deathly roars. As the best prog does, Redshift explores vast territory in a commensurately brief runtime. Opener “The Routine” hits the Rush influence hard and early, but “The Clown” draws upon Synchestra-era Devin Townsend kookiness while “The Rogue” dabbles in Yesified eclecticism and even features guest keys from Derek Sherinian (ex-Dream Theater, ex-Yngwie Malmsteen). One thing Redshift steers away from is the self-seriousness associated with a lot of prog, and Down the Wire radiates a pervasive sense of fun. Trumpets and samba-coded melodies enliven “The Rogue” while “The Singer” assaults with fierce growls, wicked solos, and perfectly balanced instrumental interplay. Down the Wire fires on all cylinders, scorching with progressive songwriting and so much replayability that I regret not getting the chance to write a review in full. If you’re Down to the Wire and need a prog fix quickly, Redshift is a clever choice that won’t disappoint.

Spicie Forrest’s Nostalgic Nugget

Haste the Day // Dissenter [May 1st, 2026 – Solid State Records]

I haven’t heard the name Haste the Day since 2008. At the time, I was on the tail end of my metalcore phase and pushing into heavier styles, so while I recognized their quality, I didn’t latch on to them as I did other acts of their ilk. It’s a shame, because Dissenter is the sound of my adolescence. Slinging the same emo-flavored metalcore as early As I Lay Dying and August Burns Red, the Indianapolis-based six-piece offers 39 minutes of beautifully aching nostalgia. Stephen Keech’s lead vocals sound pushed and strained (complimentary), evoking the emotion of early Linkin Park (“Shallows,” “Grave”). Guitarists Scott Whelan, Brennan Chaulk, and Dave Krysl are so in sync, delivering stellar layered riffs and leads felt in the soul (“Burn”). When Michael Murphy’s bass comes to the fore, as on “Liminal,” he brings a heaviness and intensity that hurtles me back to middle school like it was just yesterday. Dissenter is a bit heavier and faster on the front end, but even the not-quite-overwrought power ballads of the back half maintain their drive and pacing thanks to Giuseppe Capolupo’s kit work (“Adrift,” “Escape”). For those of us who cut our teeth on acts like Haste the Day, late-career and comeback albums can be an anxious affair, but I’m happy to report that Dissenter is a worthy walk down memory lane.

Since the last Filter dropped, it still hasn’t stopped raining and storming in my neck of the woods. Consequently, my minions trudge evermore through the thin sheet metal of our ducts as the thunder rattles everything like so many dice in a tabletop nerd’s clutches.1 Yet I must press them and push them, for we have quotas to meet and ravenous appetites to sate.

So it is with shaky hands and discombobulated craniums that my grunts hand over the goods. BEHOLD!

Kenstrosity’s Thrashed Thrall

Ascended Master // Crepuscular Gloom [May 8th, 2026 – Self Released]

Death thrash is best thrash, if you ask this sponge. Something about this unholy combo really rustles my jimmies, especially when its executed with great speed and riff-centered fervor. Cincinnati’s Ascended Master nail that combination right into the grave, boasting a sound that’s three parts Death, one part Atheist, and a pinch of Blood Red Throne. With a sense of groove that gives barnburners “Blood Spilled Upon the Stars,” “Crepuscular Gloom,” and rabid closer “Xenopaleontology” a deadly swagger liable to cause fierce whiplash in all who would headbang to it, debut LP Crepuscular Gloom” is a record pumped full of testosterone and adrenaline. Speedy rippers like “Midnight Mother” and “Ghoul Queen” put the pedal to the metal with a ferocity more commonly associated with Kvaen or Hellripper in the modern pantheon, but the record’s natural engineering and coherent screams hark to earlier times where Death reigned supreme in the scene. However, it would be inaccurate to call it pure worship. Ascended Master have an intense personality and a particular ferocity that allows Crepuscular Gloom to integrate smoothly into their respective category without blending into the crowd. As their career develops from this point, I expect we’ll see their identity bloom and rise with greater distinction, further setting them apart and threatening year-end lists all around. Just wait, you’ll see!

ClarkKent’s Prehistoric Pulls

Ilienses Tree // Toward the Storm [May 1st, 2026 – Meuse Music Records]

Ilienses Tree sow their roots deep into the island the band originates from—Sardinia, just off the coast of Italy. Their name, Ilienses, refers to an ancient Nuragic civilization that, during the Bronze Age, built impressive stone tower structures that still stand today. While the band isn’t nearly so old, their second album, Toward the Storm, dabbles in the sort of slow, deliberate doom that speaks of the patience of those ancient ruins. They lean towards a style of funeral doom that has the brutal power of My Dying Bride, but their record also contains the unpredictable dynamic drumming of Oromet and sneaks into speedier death/doom territory akin to Paradise Lost and Novembers Doom. Ilienses Tree have a mastery over melancholic lead riffs, such as the one that opens “To Not Be Forgotten.” “Sudden Rain” flexes the band’s creative muscle most impressively. Beginning in a slow burn and anchored by a poignant guitar lead, the song has a sudden burst of energy, turns in a lovely duet between arpeggiated riffs and bass, and features several more memorable and distinct guitar leads. Though the songs average nine minutes, they fit neatly into a 38-minute record, and thanks to progressive structures, they never feel overlong. If you’d like some music that simultaneously hits you in the feels and provides a shot of adrenaline, then go towards, not away from, this storm.

Anna Fiori // Metztli [May 21st, 2026 – Self Released]

Sometimes symphonic metal bands grow a touch stale from a failure to innovate, relying too heavily on the gimmick of symphonic instruments. Anna Fiori, however, has created something pretty special, with a Mexican/Aztec twist on the genre. Her band mixes “pre-Hispanic instrumentation” with cinematic symphonics and heavy guitars to create thrilling high-energy music. While some songs hit a more poppy Beyond the Black mold (“En El Vacio”), others take a longer-form route. The nine-minute “Luna Llena (Xiki Noeso)” blends indigenous chants and flutes with orchestral elements that sometimes sound like an exciting score to a whimsical adventure film. The highlight, “Luna Menguante (Nimotemak),” contains a mix of cool riffs, flutes, and blast beats before taking us on a bonkers ride involving operatic singing, off-kilter pianos, a few solos, and perhaps the summoning of a demon or two. While the song compositions are tons of fun, Fiori’s performance ties it all together. She sings in the sweet poppy manner of Epica’s Simone Simons, the operatic style of many a Therion singer, and even some growls in the spirit of Seven Spires’s Adrienne Cowen, if not quite her power. Fiori even briefly raps on a couple of tracks, with a pretty impressive section on the outro track, “Tetzahuitl, Pt. 2: El Origen,” and goes off-script with an infectious laugh on “Entre Mil Voces.” Clearly she’s having a lot of fun. Metztli hits some of the familiar symphonic notes while injecting enough personality of its own to make for an entertaining, and sometimes wild, ride.

Grin Reaper’s Spring Fling

Beyond the Veil // Oblivion [May 1st, 2026 – Wormholedeath Records]

There’s little online information about Tokyo prog metallers Beyond the Veil,2 and while I don’t recall how I stumbled across debut Oblivion, I’m glad I did. Upon listening, I was immediately enamored by their familiar yet enchanting blend of drama and technicality. Fans of Opeth and Dream Theater will uncover a trove of unapologetic prog where Beyond the Veil weaves gorgeously conceived instrumentation into intricate compositions. Oblivion also embraces long-form arrangements, sporting six tracks ranging between seven-and-a-half and sixteen minutes each. Credit to Beyond the Veil, though, because even with such robust runtimes totaling over an hour, Oblivion never feels repetitive or bankrupt of ideas. Quite the opposite, in fact, as each listen reveals new knots to untangle and coils to unwind. Perhaps the facet I’ve come to appreciate the most as I revisit Oblivion is Beyond the Veil’s merger of piano, mellotron, and orchestrations with guitar, bass, and drums. They’re hardly the first band to do this, but each song sounds well-attuned to incorporating the right instrument for the right part rather than spotlighting heavy-handed wankery, allowing Oblivion to soar. While Beyond the Veil doesn’t break the mold with this one, getting lost in Oblivion never sounded so sweet.

Lago // Vigil [May 8th, 2026 – Everlasting Spew Records]

Vigil introduced me to Lago and their infectiously abrasive death metal, and this album is forty-two minutes of unhinged brutality flecked with melody. The blood of Immolation, Morbid Angel, and Incantation pumps through Lago’s veins, delivering unapologetic tangles of dissonant, jangling guitars, fuming blast beats, and murky bass runs beneath Cole Jacobsen’s devilishly demented gutturals. Lago’s brew is potent stuff, swirling and churning with caustic acid that will leave your eardrums scarred and cowed with nary a moment wasted. Complimenting the devastating filth Lago dredges is Gus Barr’s warbling lead guitar, which cuts through the grime with off-kilter shredding. “Behold, Ruin” and “Initiation Rite” hit with the immediacy and aplomb of Immolation, lurching onwards with Brian Miller’s timekeeping straight out of Close to a World Below’s playbook. Meanwhile, “Procession into Slaughter” and “The Land Was a Desert” launch into Azagthoth-tinged, otherworldly riffs. Everything about Lago screams danger, yet once the blood starts flowing it’s impossible to turn away from their murderously addictive violence. Once Vigil has its hooks in you, you won’t want them to Lago.

Redshift // Down the Wire [May 29th, 2026 – Pale Wizard Records]

As a massive Rush fan, Redshift’s Down the Wire immediately caught my attention with ample parallels. A power trio wielding buttery smooth bass lines, Lifeson-leaning chords, and Tiago Martins’ tender tenor call to mind Canada’s greatest export for all the right reasons. Yet Bath, England’s Redshift is more than a Rush clone, and on Down the Wire they bounce and whip in syncopated flurries and chromatic runs while dabbling with vocoded vocals and deathly roars. As the best prog does, Redshift explores vast territory in a commensurately brief runtime. Opener “The Routine” hits the Rush influence hard and early, but “The Clown” draws upon Synchestra-era Devin Townsend kookiness while “The Rogue” dabbles in Yesified eclecticism and even features guest keys from Derek Sherinian (ex-Dream Theater, ex-Yngwie Malmsteen). One thing Redshift steers away from is the self-seriousness associated with a lot of prog, and Down the Wire radiates a pervasive sense of fun. Trumpets and samba-coded melodies enliven “The Rogue” while “The Singer” assaults with fierce growls, wicked solos, and perfectly balanced instrumental interplay. Down the Wire fires on all cylinders, scorching with progressive songwriting and so much replayability that I regret not getting the chance to write a review in full. If you’re Down to the Wire and need a prog fix quickly, Redshift is a clever choice that won’t disappoint.

Spicie Forrest’s Nostalgic Nugget

Haste the Day // Dissenter [May 1st, 2026 – Solid State Records]

I haven’t heard the name Haste the Day since 2008. At the time, I was on the tail end of my metalcore phase and pushing into heavier styles, so while I recognized their quality, I didn’t latch on to them as I did other acts of their ilk. It’s a shame, because Dissenter is the sound of my adolescence. Slinging the same emo-flavored metalcore as early As I Lay Dying and August Burns Red, the Indianapolis-based six-piece offers 39 minutes of beautifully aching nostalgia. Stephen Keech’s lead vocals sound pushed and strained (complimentary), evoking the emotion of early Linkin Park (“Shallows,” “Grave”). Guitarists Scott Whelan, Brennan Chaulk, and Dave Krysl are so in sync, delivering stellar layered riffs and leads felt in the soul (“Burn”). When Michael Murphy’s bass comes to the fore, as on “Liminal,” he brings a heaviness and intensity that hurtles me back to middle school like it was just yesterday. Dissenter is a bit heavier and faster on the front end, but even the not-quite-overwrought power ballads of the back half maintain their drive and pacing thanks to Giuseppe Capolupo’s kit work (“Adrift,” “Escape”). For those of us who cut our teeth on acts like Haste the Day, late-career and comeback albums can be an anxious affair, but I’m happy to report that Dissenter is a worthy walk down memory lane.

New Linkin Park Documentary To Bow This September
#Documentary #News #LinkinPark #LinkinParkUnshatter

https://deadline.com/2026/08/linkin-park-documentary-septebmer-1237016502/

New Linkin Park Documentary To Bow This September
#Documentary #News #LinkinPark #LinkinParkUnshatter

https://deadline.com/2026/08/linkin-park-documentary-septebmer-1237016502/

🇺🇦 #NowPlaying on #BBC6Music's #HuwStephens

Linkin Park:
  🎵 In The End

#6music #LinkinPark

▶️ 🪄 Automagic 🔊 show 📻 playlist on Spotify

▶️ Song/Cover on Bandcamp:

Linkin Park - In The End (Konc...

🇺🇦 #NowPlaying on #BBC6Music's #HuwStephens

Linkin Park:
🎵 In The End

#LinkinPark

https://koncealed.bandcamp.com/track/linkin-park-in-the-end-koncealed-remix

https://open.spotify.com/track/7q115ia4fQn9zonjpexWsY

🇺🇦 #NowPlaying on #BBC6Music's #HuwStephens

Linkin Park:
🎵 In The End

#LinkinPark

https://koncealed.bandcamp.com/track/linkin-park-in-the-end-koncealed-remix

https://open.spotify.com/track/7q115ia4fQn9zonjpexWsY

Quobuz Großeinkauf gerade.

Einige Alben höre ich immer wieder und will sie besitzen (als DRM-freier Download).

Die kanonischen Alben von Linkin Park gehören dazu, weil die der "Soundtrack meiner Schulzeit" waren.

Die Diskografie ist für mich: Hybrid Theory, Reanimation, Meteora, 10 Jahre irgendwas elektronisches, Stille, Comeback mit Sarah Armstrong

Außerdem noch mehrere Alben von Saltatio Mortis und Vogelfrey (beides Mittelalter-Bands) weil E-Gitarren und Dudelsäcke so gut zusammen passen.

Die Alben kann ich dann aus Tidal entfernen und über Finamp hören, sobald sie in Jellyfin verfügbar sind.

#quobuz #drmfree #music #musik #linkinPark #saltatioMortis #Vogelfrey #jellyfin #finamp

This morning’s earworm;

‘Heavy’ by Linkin Park

https://music.youtube.com/watch?v=uEITghr7Rxg&si=tsxRNKezTlBU_9sg

#music #song #LinkinPark

This morning’s earworm;

‘Heavy’ by Linkin Park

https://music.youtube.com/watch?v=uEITghr7Rxg&si=tsxRNKezTlBU_9sg

#music #song #LinkinPark

Ted Tocks Covers

Numb

Originally posted on July 20, 2025

Remembering Chester Bennington!

“I’m tired of being what you want me to be
Feeling so faithless, lost under the surface
Don’t know what you’re expecting of me
Put under the pressure of walking in your shoes”

#ChesterBennington #LinkinPark #mikeshinoda #violetorlando #tommeeproffitt #SkylarGrey #emilyarmstrong #jayz #joshjohnson #robynadeleanderson

https://tedtockscovers.wordpress.com/2025/07/20/numb-crumbling-under-the-weight-of-unrealistic-expectations-musicislife-tedtockscovers-linkinpark-chesterbennington/

@NorcalGma2 “And I’m about to bake!” 🎵🎤 #LinkinPark

@NorcalGma2 “And I’m about to bake!” 🎵🎤 #LinkinPark

'I went to Rock in Rio Lisboa and it changed me – it's so much more than just music'

https://web.brid.gy/r/https://www.mirror.co.uk/3am/celebrity-news/i-went-rock-rio-lisboa-37368821

'I went to Rock in Rio Lisboa and it changed me – it's so much more than just music'

https://web.brid.gy/r/https://www.mirror.co.uk/3am/celebrity-news/i-went-rock-rio-lisboa-37368821

😆😆😆

#LimpBizkit, #LinkinPark, & #Incubus #NuMetal Jam | #AMS Jam #Band
https://www.youtube.com/watch?v=jEyR1I5lbXI

#AmericanMusicalSupply They're a good store and they're Not #Reverb / #Fender #FMIC

This morning’s earworm:

‘In the End’ by Linkin Park

https://music.youtube.com/watch?v=BLZWkjBXfN8&si=gDeYPxTA6v8kQsTc

#earworm #music #song #metal #MetalMusic #LinkinPark #LP

This morning’s earworm:

‘In the End’ by Linkin Park

https://music.youtube.com/watch?v=BLZWkjBXfN8&si=gDeYPxTA6v8kQsTc

#earworm #music #song #metal #MetalMusic #LinkinPark #LP

Working on something cool! 🎧🎶📊

https://lastplayed.io/?utm_source=mastodon&utm_medium=link&utm_campaign=HAPPYPRIDE26

#music #stats #numbers #LinkinPark #NewFoundGlory #Chumbawamba #NOFX #PapaRoach

Working on something cool! 🎧🎶📊

https://lastplayed.io/?utm_source=mastodon&utm_medium=link&utm_campaign=HAPPYPRIDE26

#music #stats #numbers #LinkinPark #NewFoundGlory #Chumbawamba #NOFX #PapaRoach

Tra poco si parte: #LinkinPark 🖤

Qualcuno di voi al concerto a Firenze di oggi?

@musica
#mastomusic

Pasaron muchas cosas anoche en el concierto: Mike regalando una gorra firmada a un chaval, la persona más feliz del concierto desde luego, la bolsa del Lidl, la santa virgen Emily. Pero el momento en el que Emily tira al batería de su sitio y se pone ella a tocar muy emocionada se salió.
#LinkinPark

Ok, impresiones:
- Conciertazo, desde aquí un besis a todos los trabajadores de cara al público que tengan que trabajar de pie, porque llevamos varias horas y el dulce abrazo de la muerte nos llama cada vez más por librarnos del dolor de pieses.
- No han tocado crawling, comprensible pq Emily no estaba al 100%... Y el sonido no estaba muy fino tampoco pq ella no se oía en sus auriculares.
- Estoy ronco de tanto gritar y deshidratado parcialmente de tanto llorar (New Divide y Waiting for the End me llegan mucho a la patata x historia personal).
- Two Faced y Stained suenan increíbles en directo. Ahora quiero que Emily grabe en estudio todas las canciones anteriores de LP. Pero se que no pué ser y me conformaré con el directo.
- Lost con solo voz y piano ha sido preciosa.
- Una amistosa palmada en la espalda a los que han montado y preparado los vídeos de las pantallas. Espectacular e inspirador.

Voy a ver si el taxi que he reservado viene o me cancela el viaje para cobrarme el triple. Luego a casita a cenar y a abrazar gatos.

#LinkinPark #Conciertazo

Preparándonos Pal concierto.

En plena ola de calor, con 40 a la sombra, y no han retrasado la hora de entrar ni una miaja.

Y, tras revisar, solo dejan meter botellas de máximo 1 litro y SIN TAPON... tb dicen que habrá puestos de rellenar agua, pero las colas van a ser épicas.

Lo vamos a pasar bien, pero si además sobrevivimos va a estar aún mejor xD

#ConciertoAlAireLibre #LinkinPark #EsYaMusicaPsraViejosONo #SiNoSobrevivoVengadMiMuerte #MatadATicketmaster

25 years ago, linkin park released ‘in the end’ #fyp #foryoupage #viral #trending #linkinpark #music

No puedo ir al concierto así que: VENDO 2 ENTRADAS LINKIN PARK MADRID 23 JUNIO 🔥 Primerísima Fila (Zona LPU PIT) ✅ Transferencia oficial y segura Ticketmaster 📩 Enlace directo: secure.ticketmaster.es/rs/182366627... ¡Gracias! #LinkinPark #LinkinParkMadrid #ticketmaster #entradaslinkinpark