Overview

It’s been four years since Linkin Park has released what can truly be called a new album. Even ‘Live in Texas’ was released in 2003. (You’ll notice I am not counting Collision Course on this list; that is intentional). Minutes to Midnight, which in title is a homage in some ways to the end of days and doomsday clock, is a twelve track, all-new album with the return of both the accelerated percussive rapping of Mike Shinoda (coming from his side-project Fort Minor), and the wailing harmony of Chester Bennington on vocals.

Thoughts and Opinions

Musical Evolution

Minutes to Midnight is a surprising evolution for Linkin Park. While it has been four years since Meteora, the musical styling of the band feels like it has grown at least that much, if not more.

One of the most interesting parts of the new album is how much more harmonized all of the parts feel, and at the same time how much the unique elements of LP have been toned down. With their previous albums, it felt like a three person rock band was layered on top with a DJ (Joe Hahn) and a rapper (Mike Shinoda). That does not exist at all on MtM. In fact, I can’t recall a single track that has an outwardly obvious section of scratching on it. Likewise, very few of the tracks have a significant amount of rapping in them.

The Anatomy of Linkin Park

That leads into one unusual factor in this new album: Mike Shinoda seems to be predominately a background singer and guitar player on this album. He does an excellent job at this, but it almost seems to be an absence given their history with it being in their songs.

On the other hand, the work done by Hahn and Shinoda in the album is there when you listen for it, and while subtle, it integrates so beautifully into some of the songs, it puts them into a category above most of their previous work (I’ll cite ‘The Little Things Give You Away’).

I should also note that Shinoda is a producer on this album, so he probably has a lot to do with the polished feel in several of the tracks.

Tempo/Emotion

There is little doubt that throughout this album there is a driving emotion of regret, giving way to the flood (letting go), and the urge/need for rebirth. This seems to be a popular trend in rock albums recently, as opposed to the dark brooding ‘insane asylum’ feel of the past.

Favorite Songs:

• The Little Things Give You Away - Beautiful song, beautiful way to end the album.
• What I’ve Done - First single, and rightfully so.
• Leave Out All The Rest - The best melancholy track on the album.
• Bleed It Out - Very non traditional fast, aggressive song. Shinoda providing his trademark rapping. Chester’s yelling is a little repetitive, but very on target.
• In Between - Shinoda’s best appearance on the album. Not rapping, not always singing, but well done.
• Given Up - Fast, fun, and a very catchy riff.
• In Pieces - Worth notable mention. Can get lost stuck in the middle of ‘In Between’ and ‘The Little Things…’ but it has a lot of impressive lead-ins from Hahn on the keys.

Songs I Could Do Without

• Hands Held High - Political Themes are fine if you nail the riff (think War Pigs), but this song just doesn’t hit it for me, and the blatant political lyrics bore me.
• Valentine’s Day - This feels like coffee shop melodrama to me.

Closing Comments

Why does the background piano for ‘What I’ve Done’ sound just like the theme-song for ‘Halloween’? Don’t get me wrong, it adds a nice dark marbling to the song, but it just catches me off guard every time.