However, that sort of comes with the whole pop interface that the band has now accepted as its fate.Īs I said before, I’m not asking you to take something important away from this album, to have some sort of cathartic realization, or to respect and admire the musicianship that went into this album’s creation.
I’m not going to defend the album’s lack of appropriate instrumentation, or its basic posturing. Anyone who approaches One More Light without being determined to despise it in advance will find some of the group’s strongest hooks to date, from the irresistible chorus of ‘Good Goodbye’ to the beautifully integrated guest vocals of Kiiara on ‘Heavy.’ The lyrics on ‘Halfway Right’ do justice to those looking for depth behind an obviously shallow mask, and ‘Sharp Edges’ does just enough differently to offer a glimmer of hope that – perhaps – Linkin Park can continue branching out and growing within the pop sphere. The fact that they’re jumbled together within the same roughly forty minute experience is most likely what eats away at fans, who are so beside themselves with the idea of a soft, radio-pop version of Linkin Park that they forgot to actually listen to the record without a negative predisposition.
With all of that said, One More Light is pretty much a ten song collection of all-out pop melodies that, had they been spread across the next three or four albums as token ballads, would probably have been warmly received. One More Light merely drops the pretenses of feigning a heavier sound (like the grating ‘Victimized’, or all of The Hunting Party) and embraces LP’s melodic demeanor without making excuses.
WHO WROTE LINKIN PARK ONE MORE LIGHT ALBUM FREE
You’re free to enjoy these newer songs less, but the signs that this was on its way have been there for almost a decade. To pretend that the band hasn’t been peddling this exact brand of pop ever since they unceremoniously divorced their nu-metal fan base feels conveniently ignorant, especially with tracks like ‘Leave Out All the Rest’, ‘Iridescent’, and ‘Castle of Glass’ staring us in the face. There’s nothing about A Thousand Suns or especially Living Things that suggested Linkin Park was on anything other than a collision course with a straight-up pop record. Even though time has been good to that album (perhaps just because their career since then has been a dumpster fire), I still believe One More Light poses less of a departure than Minutes to Midnight did in its time. ‘Shadow of the Day’ sounded like Bennington ripped out Bono’s vocal chords, and Shinoda was basically an afterthought over the course of the entire record. In the case of Linkin Park, it all started with Minutes to Midnight, which was borderline career suicide when it was released. It’s human nature to relate to music, and to want to have the same level of connection with all subsequent releases from an artist or album that at one point made you feel something in a strong way. There’s something about hearing a band you grew up with change that blinds you to the qualities of their new music. Even though it’s what we all want from them, that’s not really Linkin Park’s problem. I’m guessing (and based on the painfully forced sound of Livings Things, less guessing and more knowingly asserting) that at this point in Bennington’s and Shinoda’s lives, it just no longer makes sense to wail on about betrayal, breakups, and general teen angst. That’s where I fail to understand the backlash against a group of now 40-something year old musicians who have created everything from nu-metal/rap-rock to elaborately symphonic, pop-rock concept albums – and everything in between. And that’s okay, because all music has a target audience. They were tailor made to sell, and we ate that shit up like the naïve, hurt little bastards we were. Everything about Hybrid Theory and Meteora was designed to trick you into thinking you were listening to metal, but in reality those earworm melodies were the mainstay infrastructure holding it all together.
I know the thirteen year old in all of us is screaming in adamant disbelief at that statement, including the teenager in me, but it’s true. Let’s get one thing straight first: Linkin Park is – and has always been – a pop band. This album isn’t the worst thing in the world – in fact it is quite a bit better than the material they’ve been peddling over the course of the last several years. Because with the level of flat out hatred being shown towards the band right now, you’d think they had just murdered an entire litter of puppies and then gone on tour to support Donald Trump’s Muslim ban. I’m not asking you to embrace One More Light with me, though, so much as understand it.
WHO WROTE LINKIN PARK ONE MORE LIGHT ALBUM FULL
Alas, since nobody else has the courage to speak up amidst the mutiny that has risen in opposition to Linkin Park’s full throttle pop expedition, I stand alone.
In reviewing One More Light, I feel like a public defender who is assigned to someone too guilty to assemble his or her own legal team.
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