Archive for category Hard Rock

Red: Release The Panic Review

Red had big shoes to fill with the release of their fourth album, which followed the nearly flawless Until We Have Faces. Here’s why Release The Panic doesn’t even come close to the mastery of the band’s best work.

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Breaking Benjamin: We Are Not Alone Review

Following a rugged but surprisingly enjoyable debut, Breaking Benjamin returns with another heavy album, but for this sophomore effort, the band shows greater poise, variety and musicianship in crafting a superior entry. While the raw hard rock energy of Saturate garnered its fair share of fans, We Are Not Alone is superior in every way: the breakdowns are more refined and well-crafted, the melodies are simply infectious and serve as a much more effective method for balancing out all the aggressive energy and Benjamin Burnley’s vocals are more well-rounded than ever before. Between Burnley’s broad vocal range, Jeremy Hummel’s unrelenting drumming and blazing guitar riffs and bass hooks from Aaron Fink and Mark Klepaski, the masterful skill of this band seems limitless, but it’s combined with desperate lyrics, aggressive rhythms and upgraded production values, Breaking Benjamin delivers a timeless album for any hard rock fan to enjoy.

Standout Tracks

The brooding, heavy rocker “So Cold” opens We Are Not Alone on an aggressive and dark note that sets the atmosphere for the entire album. The quiet, twanging buzz of electric guitar starts it off as a pensive song, but it quickly escalates into a full-fledged headbanger accentuated by pounding drums and pulsating guitar riffs. Burnley’s sweet voice soon turns into gruffer shouts for the steady but heavier chorus. But more impressive is the dramatic bridge which simultaneously builds and unleashes tension for this terrific leadoff’s conclusion.

The buzzing resonance of electric guitars immediately sets “Sooner Or Later” apart from the rest of the album, while a surprisingly catchy chorus proves the band’s ability to balance heavy hooks and enjoyable sing-alongs for hard rock fans. Burnley’s fluctuation between pitch-perfect and coarse vocals is exemplary again, but the vocals shine all the brighter thanks to the amount of angry sincerity and intelligence in the lyrics: “Sooner or later, you’re gonna hate it / Go ahead and throw your life away / Driving me under, leaving me out there / Go ahead and throw your life away.”

Although “Forget It” is pleasant enough, “Rain” easily sets the bar as Breaking Benjamin’s best ballad. The acoustic guitar and Burnley’s crystal-clear voice ring out with clarity as the sound of trickling water enhances the song’s melancholy and contemplative tone. The following “Hidden Track” adds the twist of raising the intensity for a more dramatic rocker, but “Rain” is the superior version if only for the diversity and heartfelt presence it brings to We Are Not Alone.

The Verdict

From the thrashing drums and scaling riffs of “Believe” to the upbeat grooves of the catchy “Simple Design,” Breaking Benjamin offers fans a unique selection of tracks that proves itself to be the band’s most versatile and ultimately enjoyable work yet. The hard rock intensity is still largely intact, but Breaking Benjamin expands their range with more melodies and some infectious choruses that are too enjoyable to ignore. Fans of Three Days Grace, 12 Stones, Sick Puppies, 10 Years, Trapt, Chevelle, Seether and Evans Blue will be right at home with this terrific record, an instrumental one in shaping the face of hard rock and Breaking Benjamin as we know them. From improved composition to the band’s greater exposition of their skill, We Are Not Alone offers a melodic and hard-hitting experience enhanced even further by Burnley’s impressive vocals and songwriting. Saturate was memorable for its raw hard rock feel, but Breaking Benjamin’s sophomore albums hows how much more prolific a touch of melody can be for that enjoyable formula.

Final Score: 8.5/10

Rank: 2nd (four total albums)

Track List

  1. So Cold
  2. Simple Design
  3. Follow
  4. Firefly
  5. Break My Fall
  6. Forget It
  7. Sooner Or Later
  8. Breakdown
  9. Away
  10. Believe
  11. Rain
  12. Hidden Track

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Red: End Of Silence Review

Red may be classified as a Christian band, but their positive message of hope for mankind certainly doesn’t hold back their heavy brand of alternative metal and hard rock. And despite the connotations of being tagged as “metal,” Red displays a fairly impressive amount of musicianship by employing an abundance of string instruments in their songs, transforming would-be one-dimensional rock songs into experimental and dramatic works of art worthy of conveying the band’s urgent  and passionate message. While Anthony Armstrong and Jasen Rauch provide a base layer of heavy electric guitar riffs, lead singer Michael Barnes adjusts his voice to appropriately match the tempo and flow of each song, ranging from scratchy and harsh vocals of desperation to harmonic wails of emotion. Although Barnes’ croaky vocals can be a little cumbersome on some of the straight-forward heavy rockers, End Of Silence does a pretty good job of mixing up the tempo, especially because of the effective strings. In the end, this debut isn’t the most impressive album to ever grace the Christian rock charts, but it is a promising start and a testament to this band’s talent as composers.

Standout Tracks

The amped up guitar riffs, Hayden Lamb’s heart-pounding drumming and an epic background of violins, violas and cellos make “Breathe Into Me” the best example of what Red is capable of. The desperate theme of falling and realizing in that desperation that you need God is accentuated by the dramatic string ensemble as well as Barnes’ magnificent vocals, which fluctuate between raspy croaks and pitch-perfect bellows of “Breathe your life into me / I can feel you / I’m falling, falling faster.” There are a lot of heavy and gallant songs on End Of Silence, but none are as captivating as this first single.

Following another dynamic opening track, “Already Over” switches up the pace for the first time, delivering a slower song with just as much impact. The use of strings is just as affecting as before, but as Randy Armstrong’s piano (first seen on the album’s intro) makes a reappearance, it gives an already tense song its sense of tragic remorse. The chorus picks up the tempo as Barnes and his crew rock out, giving this hard rock ballad more firepower to make a lasting impression.

“Pieces” is more of a traditional ballad than the heavier “Already Over.” This heartfelt and instrumental-dependent ballad simply consists of emotive piano, transcendent strings, acoustic guitar and Barnes’ smoothest vocal performance of the album. Although fans of Red probably won’t connect as much with this slower track, it’s songs like this that show the most promise and potential for this band as they continue to grow as composers and songwriters, as Barnes delivers the affecting words on overcoming sin, “Then I see your face, I know I’m finally yours / I find everything that I lost before / You call my name, I come to you in pieces so you can make me whole.”

The Verdict

Despite the post-hardcore screams and a few overbearing hard rock songs, End Of Silence ends up being more meaningful than anything Linkin Park’s done in years, regardless of taking the Christian themes into account. The use of strings transforms one-dimensional alternative metal songs into arresting masterpieces packed with feeling and sincerity not often seen in this genre. Barnes vocals aren’t always steady, but his fluctuation between frustration and compassion is remarkable when he really gets into it. Fans of Thousand Foot Krutch, Linkin Park, Breaking Benjamin, Three Days Grace, Skillet, Pillar, Evans Blue, Disciple and Demon Hunter should appreciate the Christian themes and hard rock intensity of Red. Because although End Of Silence has its definite flaws, it’s a very solid start to a promising future for the band.

Final Score: 7.1/10

Rank: 3rd (three total albums)

Track List

  1. Intro (End Of Silence)
  2. Breathe Into Me
  3. Let Go
  4. Already Over
  5. Lost
  6. Pieces
  7. Break Me Down
  8. Wasting Time
  9. Gave It All Away
  10. Hide
  11. Already Over, Pt. 2

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Linkin Park: Meteora Review

It’s hard to remember now, but there once was a time when Linkin Park was the top dog in the hardcore rock category. Between Chester Bennington’s unpredictable balancing act between sweet coos and piercing screams, Mike Shinoda’s deceptively complex rap verses and Mr. Hahn stylistic beats and musical tweaks on the turntables, Linkin Park was a pioneering force of nu metal, an ingenious and creatively hard-hitting blend of heavy rock and rap. After taking the world by storm with their gritty and raw debut album Hybrid Theory, Linkin Park returned with the same aggression and energy but a more refined sound and better studio production for their groundbreaking sophomore followup, Meteora. Linkin Park fans sit in two camps: those who hail Hybrid Theory as the band’s defining work, and those who cite the musical and lyrical progression of Meteora as a significant step forward. In reality, Linkin Park’s first two albums are remarkably similar, making it a bit of a toss-up choosing between the two. Meteora sounds more polished, but the band’s style hasn’t budged from their first outing; in fact, many songs feature parallel structure and themes, such as including another instrumental session or “Easier To Run,” a poor man’s version of “Crawling” from Hybrid Theory. When all is said and done, these two records are neck-and-neck, but Meteora pulls away to win the race by a nose as Linkin Park’s best album.

Standout Tracks

Faint” features some of Mr. Hahn’s best turntable work on the entire album, while Bennington delivers the screams of each ferocious chorus with power and anger. Rob Bourdon’s lively drum beat and Brad Delson’s resonant guitar riffs give this song an incredibly electric atmosphere, especially as Shinoda’s verses build up momentum into Bennington’s brutal choruses. Although it doesn’t even last for three minutes, “Faint” is an incredible pump-up song and memorable addition to Meteora.

Breaking The Habit” deviates from the in-your-face guitar riffs and over-the-top screeching a little bit for one of the lighter tracks of Meteora, but the passion and energy remains firmly intact as Bennington wishes for more in a brooding and darkly introspective pseudo-ballad. The slightly upbeat drumming mixes well with the repetitively pensive riffs, lending to the song’s dramatic nature as Bennington declares “I don’t know what’s worth fighting for, or why I have to scream / I don’t know why I instigate and say what I don’t mean / I don’t know how I got this way, I know it’s not all right / So I’m breaking the habit, I’m breaking the habit tonight.”

Saving the best for last, Linkin Park delivers the iconic “Numb” to close out Meteora in epic fashion. The memorable keyboard notes, Bennington’s hoarse vocals and Shinoda’s background emphasis combine with heavy guitar hooks and Dave Farrell’s resonant bass to give the song its kick, making it the best song of the album.

The Verdict

Hybrid Theory was a phenomenal debut, with a number of wonderfully wicked standout tracks. But for all of the power and angst within those shining stars, a few songs fell short in comparison. That being said, Meteora is a more composed and consistent entry throughout, with plenty of hit singles to make it a better all-around album. The compositional progression is undeniable, and although that very progress ultimately led to Minutes To Midnight and the dismally experimental travesties that followed, Meteora marks the pinnacle of Linkin Park’s balance between hardcore, rap, and experimental elements on the turntables. Despite leaving the unrefined sound of Hybrid Theory behind, the band’s sophomore followup retains all the angst and staying power of their debut, packing the same dynamic and unique punch that fans craved. From the orient-influenced “Nobody’s Listening” to the explosive leadoff “Don’t Stay,” Linkin Park explores the unanswered questions of strained relationships and life in general with heavy and awesome dose of nu metal. Fans of Three Days Grace, Papa Roach, Breaking Benjamin, Disturbed, Avenged Sevenfold, Rise Against and Atreyu will thoroughly enjoy Linkin Park’s Meteora, not only for its hard-hitting sound, but for the refined artistic touches that make this intriguing blend of musical genres work.

Final Score: 9.8/10

Rank: 1st (five total albums)

Track List

  1. Foreword
  2. Don’t Stay
  3. Somewhere I Belong
  4. Lying From You
  5. Hit The Floor
  6. Easier To Run
  7. Faint
  8. Figure.09
  9. Breaking The Habit
  10. From The Inside
  11. Nobody’s Listening
  12. Session
  13. Numb

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Sum 41: Chuck Review

With their third album Chuck, Sum 41 drops their sarcastic attitude and cheeky punk sound of the past in favor of a heavier, more serious hardcore sound accompanied by a lyrical emphasis on ignorance and society’s wrongdoings. This new focus makes this the band’s most aggressive album yet, border-lining on metal influences at times that deliver hard-hitting riffs, fast-paced drumming and angst-filled songwriting. Frontman Deryck Whibley’s new jaded perspective was likely inspired by the band’s time in the violence-stricken Congo (the album is named for Chuck Pelletier, a UN aid worker who helped Sum 41 evacuate their hotel and avoid hostility), and the result is much more sobering and contentious entry in the group’s previously upbeat and lighthearted records. Although some hail Chuck as a complete departure from the band’s enjoyable punk style, this album adds diversity to Sum 41’s discography as the hardcore rock vibes lend to an engaging, albeit satisfactorily brief, sound.

Standout Tracks

“No Reason” quickly establishes the no-nonsense, severe temperament of Chuck with a dynamic, in-your-face leadoff track. Whibley delivers harsh and fuming vocals as he does for the majority of the album, while Dave Baksh’s central guitar riff lends itself to Steve Jocz’s rapid-fire drumming and Cone McCaslin’s tone-setting bass to give this song real energy and verve. The vocal counterpoint that closes the song closes it on a pronounced note, between background shouting and Whibley’s fierce accusations of “Tell me why can’t you see it’s not the way? / When we all fall down it will be too late / Why is there no reason we can’t change? / When we all fall down, who will take the blame?”

Continuing the aggressive stance on the evils and ignorance of society, “We’re All To Blame” furthers the hardcore influences for one of the heaviest tracks of Chuck. The intense heavy metal sound is perpetuated through blazing guitar riffs, pounding drums and Whibley’s jagged shouts and screams, but is nicely balanced by a few quick changes in tempo that slow things down and keep the flurry of musical activity from getting too tumultuous. Sum 41 has never been heavier, both in composition and songwriting, as Whibley delivers some of the band’s most anti-establishment sentiments: “And we’re all to blame / We’ve gone too far, from pride to shame / We’re trying so hard, we’re dying in vain.”

Pieces” deviates from the burning and vehement tone of the rest of the album to give the audience a pleasant glimpse at Sum 41’s variety with a serious and heartfelt ballad. Whibley knocks it out of the park with edgy but soft vocals that fit superbly with melancholy guitar-chugging, while the genuine lyrics about a failed relationship strike home. Although the urgent nature of Chuck dominates the majority of its run time, “Pieces” pervades through the angst as one of the band’s sincerest works.

The Verdict

Chuck strays from the jaunty and sarcastic ways of the past with a fervent and potent new dose of Sum 41. Like their other albums, Chuck clocks in at just over half an hour, but the power chords and affecting vocals of those 30 minutes make it a quick and hard-hitting experience. From the tense “There’s No Solution” to the reflective “Some Say,” Sum 41 offers a volatile but well-crafted album that deserves more recognition as the intelligent and important entry that it is in their discography. Some fans were disgruntled with band’s switch to a more hardcore style, but this aggressive change-up didn’t stay with Whibley and company forever. Fans of The Offspring, Blink-182, New Found Glory, The Starting Line, Jimmy Eat World, Rise Against, Green Day and Papa Roach should find something to enjoy here, even with the heavier mood. Because while this brief but intriguing side of Sum 41’s political and hard rock side doesn’t quite live up to their best work, it certainly establishes itself as an engaging and thought-provoking venture at the very least.

Final Score: 8/10

Rank: 3rd (five total albums)

Track List

  1. Intro
  2. No Reason
  3. We’re All To Blame
  4. Angels With Dirty Faces
  5. Some Say
  6. The Bitter End
  7. Open Your Eyes
  8. Slipping Away
  9. I’m Not The One
  10. Welcome To Hell
  11. Pieces
  12. There’s No Solution
  13. 88

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Sick Puppies: Tri-Polar Review

Sick Puppies is an extremely talented, hard rock trio hailing from Sydney, Australia with an undeniable flair for both their heavy arena rock anthems and impressively sentimental ballads. With their 2007 debut album, Dressed Up As Life, the band created an extremely balanced rock album, with some hard-hitting songs countered by slower, heartfelt songs. The lyrical depth and showmanship of this trio was immediately apparent with energetic and passionate songs that meshed well to give the album a nice and consistent flow. With the release of their sophomore album Tri-Polar, the balance seems to have tipped in favor of the aggressive, hard rock side of the scale. The ballads and aesthetically pleasing songs still make an appearance, but this followup largely favors heavier, angrier tracks both in their composition and lyrics. Lead singer Shimon Moore once again displays a knack for delivering crisp, soft vocals for the ballads as well as the rough vocals filled with angst and energy that dominate the heavy rockers. Moore’s guitar riffs, Emma Anzai’s deep bass and Mark Goodwin’s drums are all so vibrantly distinguishable that the entire record seems impossible for only three people to create. When all is said and done, Tri-Polar is another solid entry in Sick Puppies’ discography, even if its overindulgence with the heavier side of the rock spectrum fails to translate into a superior followup.

Standout Tracks

“War” immediately displays the new, harder side to Sick Puppies with a fist-pumping, arena rock anthem to kick things off. This blood pumping track is hard-hitting and its high octane energy makes it one of the most intense songs on the record, but this is the pinnacle of Sick Puppies’ heavier side. The thundering drums of Goodwin and sharp buzz of guitars helps give this track its aggressive feel, but Moore’s vocals are what elevates the intensity to a whole new level. Moore’s rough growls dominate the vocals and make the album’s opener even more formidable. Although the lyrical depth isn’t very extensive, the pure hard rock power of this song make it the best on Tri-Polar.

You’re Going Down” follows the resilient but surprisingly upbeat “Riptide” with a completely contradictory tone, reestablishing the new hard rock alter ego of Sick Puppies’ music. In the same vein as the album’s aggressive opener, “You’re Going Down” opens with the deep purr of Anzai’s bass accompanied by forcibly restrained vocals from Moore before erupting into the head-banging, hard-rocking chorus. The theme of antagonization continues with Moore’s proclamation “It’s been a long time coming / And the table’s turned around / Cuz one of us is going / One of us is going down / I’m not running / It’s a little different now / Cuz one of us is going / One of us is going down.” This standout track contains one of the best guitar solos and breakdowns of the album, even if Moore’s coarse vocals may start taking their toll on more casual listeners at this point.

“Maybe” is the band’s biggest and most well-known single after making a successful splash on the airwaves. “Maybe” outdoes both the uplifting “Odd One” and the  emotional lover’s plea of “Don’t Walk Away” to claim the title of the best ballad on the album. This hopeful and inspiring track focuses on the beautiful anxiety of changing and moving on to “reach for something more.” Moore’s softer, smooth vocals are well-suited for this lighter song filled with the doubt and excitement of chasing dreams. “Maybe” is not the most dynamic track on Tri-Polar, but for those who can’t stomach Sick Puppies’ new reliance on hard rock, it will undoubtedly be the best.

The Verdict

Sick Puppies couldn’t quite duplicate the mastery of Dressed Up As Life, but managed to deliver another stellar effort with the heavier Tri-Polar. Although the change in direction could prove to be the band’s downfall if the music continues to progress down this more intense path, the hard rock style of the Sick Puppies’ sophomore album itself isn’t unenjoyable. Some might even welcome this new style because there’s no denying that this talented trio can deliver some truly special tracks with fist-pumping, arena rock moments. Fans of Breaking Benjamin, Evans Blue, Three Days Grace, Red, Thousand Foot Krutch, 10 Years, Trapt, 12 Stones, Papa Roach and Seether will be able to appreciate both new and old Sick Puppies, especially because of their ability to produce quality material on both ends of the rock spectrum. The pure angst and raw rock energy of “I Hate You” contrasts with the inspirational, mellow-turned-epic closer “White Balloons,” and although these two styles are starkly different, somehow fit in the same album for better or worse. Tri-Polar suffers from a slight rehash of the same old aggression and angst through numerous hard rock tracks, but ultimately lives up to the name of Sick Puppies.

Final Score: 7.8/10

Rank: 2nd (two total albums)

Track List

  1. War
  2. I Hate You
  3. Riptide
  4. You’re Going Down
  5. Odd One
  6. So What I Lied
  7. Survive
  8. Should’ve Known Better
  9. Maybe
  10. Don’t Walk Away
  11. Master Of The Universe
  12. In It For Life
  13. White Balloons

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Linkin Park: Living Things Review

Linkin Park were once the kings of rock.  They had a unique style and addictive brand of music, flawlessly blending hard rock, rap and even experimental influence into incredibly aggressive and heavy rock masterpieces. Lead singer Chester Bennington screamed his face off, Mike Shinoda rapped impressive and catchy verses, Joe Hahn mixed things up on the turntable to add flair and Dave Farrell, Brad Delson and Rob Bourdon supplied the heavy guitar and drums to bring everything together. Hybrid Theory and Meteora were two phenomenal hard rock albums that continue to find playtime in any fan’s music rotation to this day. And then came Minutes To Midnight, the band’s third album that was seen as a major failure because of its ballad-heavy track listing. Little did fans know that compared to the upcoming A Thousand Suns, that album had an abundance of heavy rock anthems worth treasuring. But at the time, it seemed like a small departure from the complex and downright wicked brand of music Linkin Park was known for. But then came the major turning point, as all the experimental and electronic techniques that had once provided some of the coolest and most unique moments (emphasis on the word “moments”) completely took over as the band produced their fourth album. The result was a sorry product that completely abandoned the winning formula that had garnered them so many fans. Instead, it favored distorted political speeches, warbled static and other random noises attempting to be artistic. And ever since then, fans have been mourning the loss of the once stellar group that changed the face of hard rock with Hybrid Theory and Meteora. So when reports came out (soon after the release of A Thousand Suns) that Linkin Park was writing new material and that it would be in the same vein as their first two masterful albums, fans approached with cautious optimism. Was Linkin Park really going back to what made them a phenomenal band in the first place? Could we all look forward to actual rock music again instead of experimental distortion and a ridiculous attempt at reggae? Would Living Things satisfy a population waiting for vintage Linkin Park again? Unfortunately, the answer to all of those questions is a resounding no. While the band’s fifth album has a few quality tunes, Living Things still favors a lighter, watered down approach and there’s little to hold the interest of someone who’s ever heard Linkin Park’s first two albums (or even Minutes To Midnight for that matter).  This newest failure for Linkin Park is a small improvement from their last, but unfortunately for their credibility and for the fans that will still feel abandonedimproving on an awful album like A Thousand Suns isn’t that hard to do.

Standout Tracks

“Lost In The Echo”  certainly tricks listeners into hoping that Linkin Park might be back in full force, as the album’s opening track is easily their best song since Minutes To Midnight. This is without question the best song on Living Things and one of the few worth listening to, showcasing the band’s experimental capabilities at their best. Mike Shinoda is (finally) rapping the verses again and Bennington even gives a few aggressive screams for old time’s sake. If only the energy and hard rock power in this one stellar track could have lasted for the rest of the album.

At this point, you either love “Burn It Down” or you hate it. This single is actually a decent song by the album’s low standards, but is extremely overplayed (even TNT and ESPN hadn’t already ruined it by playing it in every NBA playoff promo, the radio would have finished the job). Shinoda is actually rapping again instead of singing, which is a good sign, but Bennington’s vocals don’t ever get aggressive enough for this song to be truly memorable. The anger, the emotion and the raw rock energy are all gone as Linkin Park’s latest single settles for a catchy (and slightly annoying) electronic melody to draw listeners in. Unfortunately, on an album this bland, “Burn It To The Ground” actually sticks out as one of its best tracks. Just keep in mind that a song like this wouldn’t have made the cut on Hybrid Theory OR Meteora.

“Victimized” rounds out the list of noteworthy songs on Living Things. Yes, the song with a 1:46 track time that mostly consists of Chester Bennington screaming “Victimized!” at the top of his lungs over and over again. It’s not a good song by any means and its short length makes it even less memorable, but there’s a reason it stands out. It’d be easy to get taken in with decent songs like “In My Remains,” “I’ll Be Gone,” “Castle Of Glass” and “Powerless,” but doing so would only be a disservice to the great band that Linkin Park used to be. Because as pleasant as those songs are, and even though they’re good for what they are (poppy, light rock songs meant for the radio waves), at least a song like “Victimized” lets us remember what it was like back when Bennington would scream and shout in our earbuds with reckless abandon. This straightforward and seemingly pointless track is nothing but random screaming to a backdrop of hard drumming, but at this point, it’s as close as fans are going to get to vintage Linkin Park.

The Verdict

One thing needs to be clear: This is still not the Linkin Park fans fell in love with. This is not Hybrid Theory. This is not Meteora. But thankfully, it’s definitely not A Thousand Suns either. Living Things won’t convince disheartened fans that Linkin Park is truly back, and it certainly isn’t a good album, but it’s a (small) step in the right direction. Maybe because it couldn’t be any worse than the appallingly dreadful A Thousand Suns, but Linkin Park’s newest album does show signs of life at times, even if they are faint, few and far between. However, don’t expect to enjoy this newest effort, Linkin Park fans. Contrary to the popular belief that litters iTunes reviews and Twitter, this is not the Linkin Park we know and love. They didn’t go back to their roots, they didn’t “turn things around” and they did little to win back the smart fans who abandoned ship long ago. Even after Minutes To Midnight slightly changed their sound and then A Thousand Suns completely obliterated it, there was still some hope that Linkin Park would pick up the quality of their music and rediscover their passion for rocking faces off. Unfortunately, Living Things does little to restore that hope. If anything, it only reassures the depressing notion that the Linkin Park fans cherished for so long is forever gone. Maybe they got sick of that angry style of music. Maybe they got lost in the experimental side of their own music. Or maybe they tried to mold their sound to get more plays on the radio. But whatever the case, Linkin Park is definitely not back. And anyone who says differently needs to take a quick trip down memory lane with Hybrid Theory and Meteora to remember what good Linkin Park really sounds like.

Final Score: 4/10

Rank: 4th (five total albums)

Track List

  1. Lost In The Echo
  2. In My Remains
  3. Burn It Down
  4. Lies Greed Misery
  5. I’ll Be Gone
  6. Castle Of Glass
  7. Victimized
  8. Roads Untraveled
  9. Skin To Bone
  10. Until It Breaks
  11. Tinfoil
  12. Powerless

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