I loved the remix album Reanimation (2002) with its emphasis on hip-hop collaborations, subjected my wife to watching the DVD Live in Texas (2003), snatched the Jay-Z mashup Collision Course (2004) off the shelves at Tower Records, and recommended Shinoda’s side project Fort Minor to friends. LP is serious about doing that work.Īnd I like serious musicians. We’ve all heard tales of great musicians suddenly jotting down a song, fully formed and perfect, but many of the best also generate dozens if not hundreds of ideas before choosing the very best for an album. Notes on the creative process behind each track show a band that constructs, deconstructs then reconstructs its music, its members thinking outside the box, cooperating, and letting ideas germinate until the most effective configuration of sounds comes together. The CD insert for Meteora conveys the band’s vision. To listen to Hybrid Theory after some time away is to realize all over again just how good LP was from the start, and this was a sound the band further honed for its following release Meteora (2003). Mike Shinoda rapped with restrained intensity and Chester Bennington screamed in anguish, the music buzzing and shimmering around them, the production ranging from sleek to raw. Aside from a moment here or a B-side there, it was heavy stuff. Metal, rock, rap, electronica, samples, noise. Hybrid Theory announced the band’s intention to splice styles.
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