Chester’s and Mike’s vocal delivery, as always, are impeccable to the extent where they seem plastic and overproduced, and carry through otherwise tiring songs such as Nobody Can Save Me, Invisible or Heavy with mild choruses. There are a bare few moments throughout the album that slightly engage a listener, such as the intro sections for Talking to Myself or Sharp Edges where phased out synths neatly compliment guitar passages. The music clearly is influenced by Twenty One Pilots and The Chainsmokers – to be frank I’d rather listen to the garbage that DJ duo comes up with than hear a vapid derivative of it performed by an aging former nu-metal band. Witness the boy bandification of Linkin Park!Įach song is an overproduced mess of hi-hat shakers, syncopated kick drums, swelling synths, and cut-up pitches shifted vocals all structured in the dullest intro-verse-chorus-repeat sequencing imaginable. His words completely contradict the fact that his band’s latest music blatantly panders to lovesick, partying millennials and has no semblance of experience or creativity thrown in it. Their singles for this latest album, One More Light, were spectacularly lackluster and severely disappointing to fans of all kinds, and each song lowered the expectations of any maturity in the songwriting or composition – when leader singer Chester Bennington was confronted for the lack of teen angst in his lyrics, he shot back that “he was 41”. Even their 2014 return to “hard rock”, The Hunting Party, failed to spark up any interest with tired fans, though it felt like the right direction for the band after all the aimless wandering of the previous albums. However, we ask that you be civil when contacting us.Review Summary: The audacity to tell their fans to “move the fuck on” amazes me.ĭespite having composed many catchy singles as they evolved their musical style in their albums after Meteora, Linkin Park have long since lost any touch of originality.
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