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Ah, the dreaded “changing our sound” record. For some artists, it is a blessing that thrusts them into a long and prosperous career. But for most, it alienates their built-in fanbase and fails to draw in new fans. So when Linkin Park announced their third LP would be drastically different, many were skeptical. When first single “What I’ve Done” wound up sounding like the Linkin Park of old, the “new sound” was doubted. So what’s the verdict on Minutes To Midnight? It’s hands down the best Linkin Park record to date. And yes, it shares little in common with their old material.
So what’s changed? Firstly, Mike Shinoda, MC/producer/multi-instrumentalist and co-frontman of Linkin Park has taken a backseat. His vocals are only featured prominently on three tracks, but this time around he finally receives his much-deserved producer credit, along with the legendary Rick Rubin, who apparently was the catalyst for the change in sound. The old sounding Linkin Park only seeps through on “What I’ve Done,” “No More Sorrow” and “Given Up,” which prominently feature the former Linkin Park trademarks of big metal riffs and Chester Bennington’s angst-filled screaming.
The remaining majority of Minutes To Midnight has a very different aura to it. Bennington finally maximizes the use of his soothing and melodic voice (instead of always screaming), which is best heard on the lullaby-like “Leave Out All The Rest.” One of Shinoda’s production trademarks was the use of spacey synthesizers and foreign instruments, but this style is also gone. Instead, Shinoda focuses on more traditional and classical instruments: a lush orchestral string arrangement on “Shadow of the Day,” a subtle piano melody on “What I’ve Done,” and church organs on “Hands Held High.”
Two of Shinoda’s appearances might be the most non-Linkin Park sounding songs featured on a Linkin Park album. In fact, neither would even fit on his hip-hop side project, Fort Minor. “Hands Held High” finds Shinoda tackling organs, pianos, strings and guitars with Rob Bourdon’s military drumming. The solo track subtly tackles the Iraq War and President Bush, and crescendos with a gospel choir chanting “Amen” while Shinoda sings (not raps) the closing chorus. Shinoda also sings for an entire song, “In Between.” Over a syncopated cello, he offers an apology to an unnamed victim.
The only track prominently pairing Shinoda and Bennington together is the punkish “Bleed It Out.” The minimal guitar-and-handclaps beat and chanted chorus is perfectly suited for anthemic arena performances. The closing track, “The Little Things Give You Away,” may be the band’s most epic performance yet. The six-minute Hurrican Katrina track (an anomaly for a band with notoriously short songs) slowly builds from a simple sampled electronica drumbeat and acoustic guitar to the biggest performance of the band’s career so far. With a two-minute guitar solo by Brad Nelson punctuated by Bennington and Shinoda harmonizing the chorus, the song is much more classic rock than it is the nu-metal Linkin Park of old.
Many long-time Linkin Park fans may be turned off by the new direction. But music aficionados who were quick to dismiss Linkin Park may want to reevaluate their status: Minutes To Midnight is an excellent record.
