Even after Bennington was installed, Hybrid Theory’s demos show just how far they had to travel before arriving at anything resembling synergy. The group had been active for three years before the departure in 1999 of original singer Mark Wakefield (who went on to both manage Taproot and design the cover for System of a Down’s Toxicity).
Today, it’s hard to look past the buddy act of Bennington and Mike Shinoda as the skeleton key that unlocked Linkin Park’s appeal for a wider spectrum of listeners.
Rather than re-re-evaluate the era in which they found fame, the 20th anniversary reissue of Hybrid Theory-featuring over 50 unreleased tracks, B-sides, remixes, live performances and rarities-encourages a closer examination of why this band went supernova. In making themselves small, they became colossal. They sang about being filled with tension, feeling betrayed by the light, wishing for a way to disappear. They knew the nu- was loaded: Their blend of rapping, screaming, and circuit-bending rendered them suspect to the double-denim dinosaurs of rock crit, so they built a street team on chatrooms and trained in on untapped admissions of despondency and failure. Nu-metal would seem the obvious category, but even though Linkin Park were saddled with the tag at the time, it was an awkward fit. Yet on lists of the best metal, hard rock, emo or straight-up rock, Hybrid Theory is often conspicuously absent, as if no axe-worshipping subtribe is willing to adopt it as their own. You’d assume being the only diamond-tinted rock album this side of the millennium might afford a smidgen of clout. With global sales of 32 million-including 12 million in the U.S., a million of which has come in the past three years- Hybrid Theory is the highest-selling debut in any genre since 1988’s Appetite for Destruction.
#Linkin park hybrid theory ep cover free
For those who witnessed Bennington buoyant and free on stage just weeks before he died, the burden of presence is hard to shake.Īll of this weighs heavily on 2000’s Hybrid Theory, already the most popular heavy music of the 21st century. He worked through years of sexual abuse and drug addiction on stage, on record, and through community outreach. His death in 2017 was by all accounts a shock: to the band, to his family, and to the legions across the world who treated him as an inspiration, not just for his power as a singer, but for his dignity in recovery and honesty in relapses. The defining characteristic of Linkin Park’s music was how accessible it made the tools to deal with trauma, an offering intended both for their fans and Bennington himself. Points Of Authority (Live at Docklands Arena, London)ġ1.Chester Bennington was 41 years old when he lost the battle he spent life urging people to overcome. A Place For My Head (Live at Docklands Arena, London)ġ0. Points Of Authority (Live BBC Radio One)ĩ. Live At The Fillmore 2001 // Live At Rock Am Ring 2001Ĩ0-page book featuring contributions from the band and previously unseen photosĬassette reproduction of original 2-track street team samplerģ Lithographs featuring new art by Mike Shinoda, Joe Hahn, and Frank Maddocksĥ. Live Projekt Revolution 2002 (never-before-released)ģ. The new edition will be available in various formats, including CD and vinyl box sets, so check out your options below:Ģ. Linkin Park’s 20th-anniversary edition of Hybrid Theory is out now via Warner Records, and is available for purchase at the band’s website. Listen to FEVER 333’s cover of “In The End” below:
#Linkin park hybrid theory ep cover full
It’s a nice, subtle way to reimagine the track, even if it leaves the listener at times wishing the band would go full FEVER with it. At the same time, Jason Aalon Butler’s rhymes are significantly more energetic and vengeful than those of Linkin Park vocalist Mike Shinoda, and he ends each verse with a solid scream. Now, in honor of the 20th anniversary of Hybrid Theory, FEVER 333 have dropped a cover of Linkin Park‘s massive classic “In The End,” and it shows just how much the band have conquered the genre’s throne.Īs you’ll hear via the embed below, FEVER 333’s take on “In The End” is pretty traditional overall, never trying to mess with the original’s vibe or attitude too much.
The band’s merging of hip-hop and hardcore, not to mention their socially-conscious lyrics, channel what nu-metal was always meant to be, and what it was at its best. If any band champions the nu-metal comeback of the past five years, it is undoubtedly FEVER 333.
0 kommentar(er)
