Linkin Park sound lost and des­per­ate

South Waikato News - - ENTERTAINMENT -

If you are still ex­pect­ing the Linkin Park that re­leased angsty screa­math­ons like Paper­cut to reap­pear any time soon it is prob­a­bly time to put your Hy­brid The­ory T-shirt on Trade Me and give up now. It’s not go­ing to hap­pen.

The for­mer nu-met­allers in­di­cated with 2007’s hor­ri­bly bland Min­utes to Mid­night that they were not in­ter­ested in me­tal, nu-me­tal or even just rock­ing out any more – they had U2’s sta­di­um­sized ca­reer am­bi­tions in mind.

That lofty goal con­tin­ues on their Rick Ru­bin­pro­duced fourth al­bum A Thou­sand Suns, a con­cept al­bum full of big state­ments.

It’s full of spo­ken word seg­ments, pi­ano segues, in­ter­ludes and song ti­tles like The Re­quiem and Wait­ing for the End. It’s also a genre mash-up, with a cou­ple of vi­brant hip-hop tracks ( When They Come For Me, Wretches and Kings) ap­pear­ing along­side One Repub­lic-style pi­ano bal­lads ( Robot Boy, The Mes­sen­ger) and fu­tur­is­tic raves ( The Cat­a­lyst, Black­out).

There are oc­ca­sional mo­ments, such as Black­out’s fre­netic in­ten­sity and Wretches and King’s throb­bing beats, where Linkin Park seem to know what they’re do­ing.

But dual front men Mike Shin­oda and Ch­ester Ben­ning­ton can’t come close to the emo­tional im­pact of Reznor, with songs like Irides­cent full of lyrics so cliched Chris Martin would have re­jected them. ‘‘Do you feel cold and lost in des­per­a­tion?’’ goes one par­tic­u­larly cloy­ing re­frain. Linkin Park do and it’s writ­ten all over A Thou­sand Suns.

Back to the draw­ing board, boys.

FOR­WARD THINK­ING: Linkin Park’s new al­bum is a pick ’n mix of gen­res.

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