Linkin Park "A Thousand Suns"

    I have been a fan of the band since 2002. Before they released their “eponymous” album they had to change their name to Linkin Park due to legal issues. Hybrid Theory went diamond in the U.S. and multi-platinum in several countries like Australia, United Kingdom and Europe (to name a few) for a reason. Even if what they created was not anything new, it struck a chord because of its emotion, its presentation, its energy, and its honesty. Some fans may never forget their debut, but encourage the band to try new things. Meteora was an excellent follow-up that did not stray too far from their original sound, but showed a definite improvement, and added subtle changes. The biggest of which was the song that proclaimed they were breaking the habit.  It was said to be one of their favorites explaining its release as last single; high promotion due to its “innovative” animated video and own collectible dvd/graphic novel set; was said to serve as the blueprint for their follow-up (in abstract memory). It’s Minutes to Midnight, and we wait for their album devoid of any “nu-metal.” It was an experiment for sure, and was inspired by bands such as Pink Floyd and U2, among others. It had some of their best songs ever written and was their most diverse album. Consistency was another story. I love this record, but with all experiments there are successes and failures, but remember without failure how can one become better? It was the album that divided fans because of its slight absurdity, but in no way prepared for what was to follow. I was afraid to not only listen to this record, but review it as well.   A Thousand Suns is a multi-layer, multi-concept record that has been compared to Pink Floyd’s Dark Side of The Moon, Radiohead’s Ok Computer and Kid A, and even Public Enemy’s Fear of a Blank Planet, respectively. The album was also labeled "2010's best avant-rock nuclear-anxiety concept record" by The Village Voice’s Chris Weingarten. Have I piqued your interest yet?                           “The Requiem” sparse piano notes and whirring distortion set the stage to the harmonizing choir that soon drowns in  auto tune. The chorus of the first single is what is relayed to us; a cry for help. J Robert Oppenheimer is featured in “The Radiance,” and  sets the stage for the first full song. A river of synth, amidst a drum machine beat, accompany Chester Bennington in this enticing reconstruction of the paved streets after the “Burning in the Skies” because there are no roads left. All I hear is eighteen seconds of war, and these “Empty Spaces” sound like a good place to hide “When They Come For Me.” The tribal drums, and tone amidst the harmonizing in back are perfect for the verses spit as fire. After three minute mark your ears are graced with this synth arpeggio and Bennington’s beautiful voice; yes he can sing. For old-school fans you may remember a time you rode a carousel in the last half-minute. The piano may have you question what you’re listening to because it doesn’t sound like a “Robot Boy” is playing, but someone from ragtime.  I cannot help but think of Michael Franti as I sit here “Waiting for the End” in one of their most melodic and catchy songs in their repertoire, and Bennington’s vocals shine in one of his best performances. The “Blackout” was caused due to the varying emotions a listener feels when listening to this song; the screaming of Bennington, is probably what caused it with that surge of anger, contradict the predominately poppy techno/electronic synth with a slight infusion of dubstep. Mike Shinoda lends his singing voice to re-align the circuit board before Chester returns to harmonize. Mario Savio sets the tone for what is to come for those “Wretches and Kings” in what is a nod to Public Enemy, and Chuck D in specifics in one of their most aggressive and hip-hop focused tunes.                                                                                                          Who better to speak of “Wisdom, Justice, and Love” than Martin Luther King Jr. before the last line is repeated by a robotic entity. Mike Shinoda is in between the vocals of Chester Bennington and instrumentals reminiscent of U2. “Fallout” borrows verses from the third track sung by robotic vocals. I would have to say that this may seem like one of their most distinctive singles because of the persistent percussion and its techno-aesthetic, but “The Catalyst” is the subject matter and the album that the single is encased in; forcing them to take their sound to where it has never been before. It did not get much airplay because its atmospherics and (pre) tension frighten the mainstream, what do you think? “The Message” is the closest you will get to an acoustic torn-heart confessional often played by punk-pop (or singer-songwriters) letting you see their tender side.  KAZOWIE!