It feels like a completely different song, even though the chorus is exactly the same. For example, the demo for ‘In The End’ has a very different feeling to it because the verses are completely different from the album version. The songs could have been very different in meaning if the lyrics weren’t changed. Some of them have completely different lyrics in the demos. It is fascinating to hear how the songs evolved from the demos to the versions on the album. The most interesting part is the demos and unreleased songs. The album is divided into six parts: the original album, Reanimation, Hybrid Theory EP, live versions and rarities, demos and finally the unreleased songs. It’s amazing how small changes to, for example, the melodies can change the overall feeling of the song. The remixes are fresh new takes on the old songs and by mixing the lyrics and changing the melodies they bring new dynamics to the songs. These are not new and they have been released before in 2002 on their album ‘ Reanimation‘. This album starts with the original songs and then moves on to the remixes, made by other artists and/or Linkin Park.
Then add to that the impressive vocals of Bennington, which raise the hairs on the back of my neck every single time. The song ‘Crawling’ is one of the heaviest songs on the album in terms of emotional intensity. I can’t think of any other singer who can describe depression in such an honest and accurate way, as Chester Bennington does, especially on this album. The songs are raw and honest about some of the most difficult emotions that we deal with. But still, this album and the legacy of the band lives on and now we get to enjoy some rare demos from the making of this record.įirst of all, many of the songs on the original album hold a very big emotional meaning for me personally. A lot has changed for the band in those twenty years, from the changes in musical style and the devastating loss of their lead singer Chester Bennington a few years ago. It launched them into world fame and suddenly it has been 20 years since its initial release, showing how much time flies. This was the debut album for Linkin Park. Prepare for an emotional roller coaster while listening to it. The songs talk about difficult emotions that we all experience, making it relatable. It’s super unique in the way that it combines rap with heavy, hard rock music. Meteora came out in 2003, followed by a run of albums (2007’s Minutes to Midnight, 2010’s A Thousand Suns, 2012’s Living Things, and others) that shifted more heavily toward electronic music.For me, personally, “ Hybrid Theory” is one of the greatest albums ever made. Hybrid Theory was a kind of Rubicon in hard rock, making the influence of hip-hop and electronic music impossible to ignore. And by the time they went “pop” (2017’s One More Light), they’d been redefining the terms of commercial rock music for nearly two decades.įormed on the outskirts of Los Angeles in 1996, the group spent their first few years struggling-at one point, an executive suggested they fire Shinoda, their MC, and take a more conventional rock-band route. When they wanted to take the guitars down a little, they moved toward a brooding, post-hardcore vision of electronic music that let Bennington flex his inner Depeche Mode fan while retaining a sense of anguish that, it turns out, didn't need aggression to find expression. Heavy as it could be, the music was almost never macho, trading in hard-rock pomp for the arty vulnerability of emo and synth-pop. But part of the reason the band survived was that they were always more versatile than their moment. Hybrid Theory was a once-in-a-generation album, arguably the commercial and creative pinnacle of rap-rock. On a deeper level, the choice set a kind of metaphorical course for catharsis: Linkin Park were angry, but their anger burned clean. It was more that in avoiding blunt, four-letter expressions of frustration, Shinoda and Bennington could challenge themselves to lean into-and lay bare-their pain in ways that cussing only covered up. It wasn’t just about keeping their audience, a portion of which might’ve had trouble slipping Parental Advisory stickers past their parents. When Mike Shinoda and the late Chester Bennington were writing lyrics for Linkin Park’s 2000 breakthrough, Hybrid Theory, they made a pact: No cussing.
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