It’s been quite some time since Linkin Park graced fans with new material. The previous studio release, “Meteora”, was released four years ago, and seemed to take the familiar formula from “Hybrid Theory” in a more mature direction. One might have expected the new release to remain on the same path, especially since it was some of the better material in the alt metal/rap fusion subgenre. Instead, the band chose a more conventional direction, and the essential question is whether or not the new style works.
1) Wake – The album begins with a short instrumental, and like so many such openings, it leaves very little impact. If anything, one is left with the desire to hear the song that might have progressed from such a beginning. (7/10)
2) Given Up – The first fully realized song on the album sets forth the conventional nature of the material. The fusion elements of the previous albums are completely missing. While the song itself has some of the familiar edge, the musical structure is a bit simple. The middle section actually sounds like someone trying too hard to be edgy, which is never good. (6/10)
3) Leave Out All the Rest – This song sounds like it should be included in the soundtrack for what would likely be a very good film. It quickly erases the bad feeling left by the previous track and gives me hope for the rest of the material. Not only that, but it gives the vocalist a chance to sing, which is always a good thing. I also can’t help but relate to the lyrics on some level. (8/10)
4) Bleed It Out – One of the few examples of the previous fusion style, and the best such track on the album. When the bass line cuts in on every verse, it’s hard not to feel the energy of the song kick up a notch. The chorus is a bit too simplistic, unfortunately, but it doesn’t ruin the energy much at all. (8/10)
5) Shadow of the Day – This could easily be described as Linkin Park’s version of U2’s “With or Without You”. It definitely sounds very familiar, especially the bass line, but there are enough differences to make this work on its own. Again, this could be a great soundtrack entry, which seems to stand for many of the tracks on this album. (8/10)
6) What I’ve Done – This is, of course, the track included in the enormously popular film “The Transformers”, so it fits with the overall impression that the songs were designed as perfect soundtrack fare. That doesn’t take away from the strength of the song, which works just fine on its own. (8/10)
7) Hands Held High – This is the other song written in the former style, and it falls incredibly flat. Clearly a screed against George Bush and his political supporters, there’s little else to recommend it to the less partisan listener. The music behind the words is often too spare, and when the song finally gets somewhere in the final minute, it’s a bit too little, too late. (5/10)
No More Sorrow – After the drop in energy from the previous track, this is a surprisingly aggressive track that seems to present a case for more material in the “nu metal” style. While the song is nice enough, there’s very little originality to it. (6/10)
9) Valentine’s Day – This track brings the album back to a style more in keeping with “Shadow of the Day”, which is actually a good thing. In fact, one is left wondering if this is the better direction for the band, given how strong the vocals can be with the right material. (8/10)
10) In Between – This is an odd track, to say the least. It’s quite minimalist after the lush layering of the previous track, and it feels like something that would have worked far better in the band’s former style. As presented, this song is actually rather boring. (5/10)
11) In Pieces – This track also starts slowly, but about halfway through the song, things pick up and the song is salvaged nicely. Hardly one of the best on the album, since there’s still a distinct lack of energy throughout, but it could have been much worse. (6/10)
12) The Little Things Give You Away – While this is also a spare composition, it manages to keep the album from ending on a sour note. The vocals are very done, and while the song does feel a bit long, this is a very good way to end the album. (8/10)
If nothing else, this album presents two very different paths forward for the band. They appear to have lost touch with their previous style, given the uneven results of similar tracks on this album, so changes will need to continue. Former fans would probably prefer a direction in keeping with the harder tracks, but they were a bit conventional and even generic, and that would leave the band in a precarious position for growth and success. On the other hand, the more melodic material showcased the vocals and the musicianship, even if it appeals to a different audience than earlier albums. As it stands now, this latest effort is a bit average, since the band is struggling to find its new voice.
Rating: 7/10
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