Michael Reviews Linkin Park's New Album for Kerrang

Michael is obviously a big music fan and in an interesting development he has apparently written a review of Linkin Park's new album "Renovatio Theory" for rock music magazine Kerrang's September issue (in stands now). You can check it out HERE or read below:

ARTIST: LINKIN PARK

ALBUM: RENOVATIO THEORY

LABEL: WARNER BROS./MACHINE SHOP RECORDS

RELEASE DATE: SEPTEMBER 14, 2010

REVIEWER: MICHAEL REESE MEYERS

Rating: 4 1/2 Stars out of 5

*Review: As a Hollywood actor, music is a big part of my preparation. I am a huge music fan. Love all genres. Rap, rock, you name it. So of course a group like Linkin Park would appeal to me. I need to be honest. I used to be obsessed with Linkin Park. I almost got their band name as my first tattoo in high school. When I discovered their Hybrid Theory CD in the glove compartment of a friend's car during my junior year and played it I was hooked ever since. To this day they are one of my top rock bands of all time, along with 311, True Hollywood Story (who I've directed two music videos for), Goo Goo Dolls, Guns N Roses, Third Eye Blind, etc. I love bands that combine genres WELL. Linkin Park for a long time were the face of the rap metal/nu metal scene that started with the likes of Korn and Limp Bizkit back in the late 90's. But they stood out since they did it the best and were the most polished. Their songs were catchy, radio friendly, and combined nu metal guitars, hip hop beats and rhymes from the skilled MC Tony Shinoda, screaming and yet melodic vocals from Chester Bennington, and electronica/techno/trance influences with unique samples that gave their music an ethereal and interesting twist.

Hybrid Theory (which is regarded their best album) is regarded a classic among the rock crowd. It got them extreme success, Grammy Awards, and made them the highest selling music artist of 2001. After their Hybrid Theory remix album Reanimation in 2002 they released Conspiracy Theory, their second studio album, in 2003. That album, while good, was simply a Warner Bros. forced carbon copy of Hybrid Theory. After that was another remix album in 2004 for Conspiracy Theory called Reanimation 2.0: Collision Course (which included innovative mash ups with rapper Jay-Z's songs). By this point, the rap metal scene (and the many copycat groups it spawned, such as Adema, CrazyTown, etc.) had run its course and in some circles, became a punchline. Soon it became not so cool to like Linkin Park. Certain "softer" songs by the once raucous nu metal band made it hard to admit to being a fan.

After the 2005 release of Tony Shinoda's rap album with his rap group Styles of Beyond (which I LOVED), Linkin Park went on a mission to recreate themselves and redefine their signature sound. They dispatched longtime producer Don Gilmore and enlisted Rick Rubin to produce their third album and intended on stripping themselves of the glossy and catchy sound that made them famous and going back to their pre-record deal "rough around the edges" days in hopes of winning over detractors. They also explored their softer side a little more. In 2007 they released their third studio CD, Apocalypse Theory. The album was not well received by many critics and many hardcore fans hated it, including myself. Gone were the catchy choruses, furious raps, and memorable guitar chords of the eternally headphones clad Omar Martinez. Instead we got very melow love songs, Rage Against The Machine-esque rockers with almost acoustic/low budget level production, and strange all out computerized electronic songs without the signature "Linkin Park touch" to them. Outside of hit first single "What I've Done" (which was nominated for a Grammy and became an even bigger hit after it was featured in summer blockbuster Transformers) and slow ballad "Leave Out All The Rest", the album felt flat and had no memorable tracks or singles. I did enjoy their song "Transform" though as a great mosh track but the chorus was pretty weak. Since that point LP has only released one new song, "New Divide", for the 2009 sequel to Transformers.

Now three years since their last album the six piece Tampa, Florida rap rockers are back with what I feel is their best album to date. Yes, I said it! Renovatio Theory (Renovatio is Latin for "rebirth"), their fourth studio effort, is their finest work yet! I love this album. Every single track is totally different. No two songs sound the same. The reason for that is this is the first time they have had multiple producers on one album. The first two albums were produced by Don Gilmore (who returns this time to produce two tracks, first single Shut Your Face and Scars). The third album was produced by Rick Rubin, who is only back on Renovatio for one song, In Love With You. But there are new producers this time around, mainly One Republic (a successful rock band in their own right who have also penned and produced hits for groups such as U2, Green Day, Maroon 5 and more) and also the likes of trance DJ David Guetta (Jornada Del Muerto) and Drake hitman Noah "40" Shebib (Beat of my Drum). Hip hop producer The Alchemist produces one track (Until We Bleed). He also produced a track for their first Reanimation CD as well. An interesting addition is Ron Saint Germain, who is known for producing for reggae rock bands such as 311 and 420. Germain adds his flavor to two tracks (Waiting for the End and Come Down Low) and it really works. The rest of the tracks are produced by Shinoda himself.

This CD is experimental, yet possesses the glossy sound we have come to know and love from their first two albums. It is eclectic and yet it all somehow blends together. You can tell there are so many influences going on here. Many songs totally change tempo halfway through and end in a totally different way than they started. This CD really blows my mind and is EPIC in every way! I will go down the track list one by one and explain each song's sound and meaning:

1-"Lift Me Up" (Produced by Tony Shinoda): Mainly a 2:00 minute long intro, but it's kind of a song since it has lyrics. It starts off kind of techno/punk with a very fast paced computerized beat then quickly segues into some sort of epic choir-like inspiration chant of "Lift me up, let me go". Great epic piano in the background. It's an odd way to start an album but it sets the tone perfectly in a strange way and you almost wish it was longer.

2-"Look to the Stars" (Produced by One Republic): Very catchy and uplifting song. Sounds like something U2 would sing. All singing from Chester, no Tony (other than background vocals during the chorus). Straight forward rock. It is about someone who you lost (maybe they died) and knowing that they are still with you in spirit. The chorus sings "When I look to the stars I know just where you are, you're looking down upon me. When something old falls apart, something new has a start". A great anthem for anyone who wants to move on after losing someone close to them.

3-"In Love With You" (Produced by Rick Rubin): Despite the title, this is not a slow love song, but a very uptempo funk/rock Lenny Kravitz sounding rock jam. Tony raps the first verse and then Chester takes it from there singing the verses and chorus. Apparently Tony wrote the song for wife Christina Aguilera. It is one of the most unique and "un-Linkin Park" songs on the album but once you get over the fact that it is not like anything they have done before and just bounce with the song, it really grows on you and you rock out to it.

4-"Shut Your Face" (Produced by Don Gilmore): The first single. Man this song rocks! Maybe my favorite or second favorite song on the album. This song was made clearly as a throwback to their Hybrid Theory/Conspiracy Theory sound, much in thanks to Don Gilmore who produced those two albums, returning. Heavy guitars, Tony rapping bragodocious rhymes, catchy chorus sung/screamed by Chester, and of course DJ Hahn doing his thing scratching on the ones and twos and an Asian sample in the background behind the hip hop backbeat. Definite party track you will blast loud in your car or at the house and a great choice as first single to show die hard fans they still know how to rock old school Linkin Park style. What I found interesting is the rap lyric Tony says in the first verse where he goes "leave the rap rock chit chat alone". You can tell he wants the band to evolve into something more than a rap metal outfit and speaks of their old style in the same way an alcoholic may speak of a bottle of Vodka (something he funnily mentions in the opening lyric), but will die hard fans still accept them if they fully leave that style behind?

5-"Blame It On Me" (Produced by Tony Shinoda): An ok song. Not too crazy about it. Tony raps the verses and Chester screams the chorus (which is basically him shouting Why You Gotta Always Blame It On Me?" over and over). Simple bass line and hip hop beat with a soft guitar sample guiding the flow of the song. Kinda sounds like an Eminem type rap beat with some interesting samples in the background to add texture. Tony does give a few vintage punchlines like when he says in the second verse "The game's got an hour, Bauer, Jack time". I liked that part. Overall, a chill out song you can kinda bounce your head to. It grows on you.

6-"Until We Bleed" (Produced by The Alchemist): One of the best songs on the album and one of Linkin Park's best songs ever. A rap track with only Tony doing the verses and chorus. Sounds like something he would have made for his Styles of Beyond album. The song touches on many deep topics including cutting, government corruption, what has happened to the music industry, lost love, but the song's main subject matter seems to be about marijuana. Yes this is a weed smokers anthem. The song just has a very "chill out and puff weed" vibe to it and weed is mentioned constantly in the song. What makes the track stand out is the sample of a child (or children) singing some refrain in the background (which includes the title of the song). Very cool laid back hip hop track to get high too.

7-"Same Old Road" (Produced by One Republic): A classic. Simple as. One of Linkin Park's best songs EVER and I pray/know it will be a single and one of their most memorable and timeless songs. You can't listen to this song and not be in tears by the end of it. If you've ever had a broken heart, been rejected, been in a dysfunctional relationship, this song is for you. It sounds like a mix between Oasis, Depeche Mode, and The Cure. The guitar is simple and mostly acoustic throughout and the lyrics are haunting. It starts with rain sound effects and the rain drops actually become part of the BEAT of the song! Brilliant! Chester's harmonies with Tony on the adlibs are beautiful and they even hint back to their Grammy winning song "Crawling" with the refrain "crawling back in" during the second half of the song. The chorus is beautiful and one of the catchiest choruses of the last 15 years. Just an amazing amazing song. Fans will Love It!

8-"Sing Through The Fire" (Produced by Tony Shinoda): Sadly LP follows up arguably the CD's best track with it's worst track. My least favorite song on the album. Very skippable. Most might not like it. It is about how music can help you get through hard times. Tony raps in a very slow, almost talking style on the verses over a very sparse techno/sample filled beat that is very very slow and Chester sings the chorus, which has a very 80's Duran Duran sound. Just an odd mix. Sorry but this song will put you to sleep if you run out of Ambien. Tony does mention the 24 TV show again when he raps "Battle scars, fight the power, 24 seven, Jack Bauer". And as he did in first single "Shut Your Face" he throws in a Public Enemy reference or two. The song may not gel with fans right away but end up being one of those songs you only care about when the day comes when you are very depressed and need something like this to listen to. Think Kanye's 808's and Heartbreak, Linkin Park-style.

9-"Scars" (Produced by Don Gilmore): One of the two rap rock tracks on the CD (along with first single "Shut Your Face") that bring Linkin Park back to their Hybrid Theory/Conspiracy Theory roots. Classic Linkin Park party track right here. Turn this motherfucker up! Fat beat, cool samples, and very very catchy. Heaviest guitars on the album (it gets CRAZY, especially during the second verse, you'd think you were listening to Slipknot or something). Best mosh song on the CD. Tony raps the verses and Chester screams (and i mean SCREAMSSSS!!!) the chorus with Tony rapping something underneath his screams. Vintage Linkin Park right here. DJ Hahn returns with some cool scratching and the drum beat and bass dropouts always switching around really keeps the listener on their toes and shows that LP still haven't lost their touch on how to make a rap metal song entertain from start to finish. What is interesting is the guitar riff used on this song was originally the Intro track on their last album, Apocalypse Theory. They simply took the intro, made it longer, and put lyrics to it. Bravo.

10-"Beat Of My Drum" (Produced by Noah "40" Shebib): Best song on the album In My Opinion because it is the most unique/experimental but in a GREAT WAY. This song will divide many fans. It's Linkin Park doing R&B!!! Yes you heard me correct. R&B beat, love song, autotune. But it works! You'd think someone produced this for Drake or Chris Brown but accidentally e-mailed it to Linkin Park and Shinoda heard it and went "We Can Do This!". The reason for that is the song was produced and co-written by "40", who does most of Drake's hit songs. Tony sings the first verse and the chorus and the bridge. Chester sings the second verse. Tony then raps at the end of the song after the smooth R&B beat turns into some sort of African congo marching drum beat (which perfectly fits with the chorus which sings "I'mma make you march to the beat of my drum"). The sexiest (yes sexiest) song on the album and the most interesting and "outside of the box" song Linkin Park has ever done, EVER! I can't stop listening to it. Should be very very interesting to hear fans' reaction to this one but one thing's for sure, it's the track you would play when making love to your boyfriend/girlfriend, LOL!

11-"Jornada Del Muerto" (Produced by David Guetta): Very computerized sounding slow/love song. Hard to describe, you just have to hear it. Very unique sound for Linkin Park. Very experimental. Think Enrique Iglesias meets Owl City, produced by DJ Tiesto (or in this case DJ Guetta). The beat is almost nonexistent (it's mainly Chester singing over claps) but starts almost trance-like in the beginning with the lyrics being sung in spanish. Apparently Chester wrote it for his new wife (who is of Mexican heritage). A track that grows on you each time you hear it, especially if you enjoy hearing LP explore their electronica side. A really soothing song to relax to if you find yourself chilling by a sunrise with someone special.

12-"Waiting For The End" (Produced by Ron St. Germain): One of my favorites on the album and takes LP to a newer more mature level. Think The Beatles meets 311. Yes I just said that. The verses, which are rapped by Shinoda, have a very summer, happy, 311 reggae bounce to them and the chorus sung by Chester sounds like something straight out of the Beatles bag of tricks. Very catchy, sugary sweet chorus about love and peace and all that good hippie stuff. Die hard fans may scream "sell out" or "corny" or "where's the anger"?...but I think this is the sound and direction Tony wants the band to go in and if so, I like it. These guys are mostly married and in their 30's now. Millionaires who have toured the world. They can't be angry angst ridden teenagers forever.

13-"Come Down Low" (Produced by Ron St. Germain): Rumored to be the second single. I'm ok with that. Radio will love this. Very cool song that flips the usual Linkin Park formula of Tony rapping the verses and Chester singing the hook. This time it's reverse. The verses have a very fast uptempo punk/techno beat and Chester sing/rapping the lyrics very quickly and aggressively. Then Tony comes in to SING during the chorus and everything kinda slows down, but it's beautiful. The harmony is gorgeous and it is very catchy and almost Beach Boys-like. It's an awkward mix but it somehow fits. The best part of the song is this really cool breakbeat/scratching computerized section that concludes the song which sounds alot like something Linkin Park would have done for one of their Reanimation remix CD's and once again allows DJ Hahn to show off his skills. A well done track that seemlessly blends the old sound Linkin Park is known for and the new sound they clearly want to become known for.

14-"Let It Go" (Produced by One Republic): Not much to say about the final "song" on the album. It's kinda sweet and nice and all but ultimately forgettable. It's a somewhat catchy and beautiful slow song about how you need to let go of all the dark stuff in your past in order to be happy with your future and move on with life. Very simple and uplifting happy positive song sung by Chester (Tony sings a LITTLE at the beginning). Think "Leave Out All The Rest" Part 2 but not quite as good.

15-"Wisdom, Justice, and Love" (Produced by Tony Shinoda): This last track is not a song, but just an interlude which features a very computerized sounding Martin Luther King talking about fighting government corruption, racism, poverty, injustice, war, and other topics that are bad. It does have some ominous and sad music behind it and subtle scratches from Mr. Hahn, although I doubt this is supposed to be his usual "DJ scratching solo track" he always gets on the albums. Very interesting way to end the album and it definitely makes you think.

Overall I'd say this is their best CD yet or at least AS GOOD AS Hybrid Theory. It really runs the gamut of emotions. The first three songs are very happy and positive and uplifting, the next two are typical LP anger and angst, followed by three straight sad depressing tracks, one last angry song, and then from tracks 10 onward it's a happy love fest. Linkin Park has made their comeback album after the lackluster Apocalypse Theory and I believe Renovatio will be well received and seen as one of their better works. It is glossy yet fresh, experimental yet familiar. It shows their growth as artists. Their last album showed their frustration with being trapped in a genre that had seen its hey day (and it's expiration date come and go) and wanted to break free but they tried too hard and reached too far in order to destroy who they were. But now the most innovative band in music, the only band that can touch ANY genre and make it sound their own (even all within one song), is back. They are more mature and more confident in their own skin than ever before, and finally have something to say with all their suburban angst.