Linkin Park

La leí ayer la nota. Están tomando cualquier cosa de lo que dijo Chester ahí. No dice absolutamente nada acerca de volver al nü metal ni nada. Dice solamente que el último disco fue como muy conceptual y muy medio tiempo, y acá están tratando de hacer algo un poco más cancionero y con un poco más de polenta.

De hecho, ahí dice clarito "without getting too metal".

Yo de todos modos no espero nada, siempre dicen miles de cosas antes de la salida de cada disco y terminan cumpliéndose el 20%, sobre todo con Chester, como cuando dijo que MTM iba a ser un disco muy pesado y con mucho grito.

Hasta no escuchar algo no voy a emitir opinión.

Acá está la nota completa:

Spoiler:

Revealed! The Secrets Of Linkin Park's New Album
Chester Bennington takes K! on a tour of their forthcoming album - and explains how they've learnt to love guitars again

Linkin park are busy putting the finishing touches to their fifth studio album and they've given Kerrang! the inside story of the new record.
The as-yet-untitled release - tentatively scheduled to see the light of day this summer - is currently being completed in the band's LA studio, and frontman Chster has revealed to K! that it's sounding "a lot more familiar" than the bands last album, ATS.
Where that 2010 release took LP into unfamiliar and polarising territory, the vocalist has promised that the latest outing sees the Californians take heed of their nu metal roots and throw an embrace around guitars once more.
And if that's whetted your appetite for the new release, just wait and see what else Chester and co have shared with us this week...

With the record nearly finished, how are things shaping up in this final straight?
We've found our stride right now. It's really a prolific phase for the band; we've found a place where everyone is really happy and feels like their voice is being heard.

How ha the positivity rubbed off in the sound of the record?
One thing that Mike and I discussed early on in the writing process was that we wanted to focus on trying to keep things up-tempo. There's some dark stuff, too, but our fans can tell that even in the darker stuff there's always a glimmer of hope, and that's what we write the songs about. It's not finding the positive twist on even the darkest moments; we never want people to feel any hopelessness.

Was the decision to write "up-tempo" based around planning to play the songs live?
Yeah, that was our real motivator. We know that when our fans come to see us play, they come for the energy of the show. But we've been writing a lot of midtempo stuff and they're good songs, and if we keep writing these kind of songs we're going to end up with a really long set (laughs). We know that with every record we put out we're going to need to put out singles and pick our favourite songs, so we thought it'd make a good exercise.

Does that mean a departure away from the sound of ATS and towards LP of old?
Over the previous two records, we were trying hard to break out of the nu-metal box that we'd found ourselves in. It's easy to characterise us as that, based on HBT and Meteora, when we were a nu-metal band. But we knew there was more to us than that. And, with the exception of the metal seven-string guitar tone that we had on the first two records - which I think is the reason a lot of people like the band - I feel we've found a place where we're finally comfortable in our skin.

Is it simply a case of balancing all the different sides of the band?
Absolutely. There's so many different sides to LP, and we're tapping into each of them a little bit. With this album, we've incorporated a lot of guitar work with big choruses and the heavier electro stuff to give it a really big wall of sound feeling without getting too metal. This will be a lot more familiar to people than ATS was, where we were like, "Fuck it, we're just gunna go bonkers." (laughs).

Was that a defined focus for this album, then?
We just know the things we don't like, so we know whether or not we're feeling this vibe or that vibe that we've had in the past. But, above all, we just let the music take us wherever it wants to go. Mike and I naturally gravitate towards the ideas that inspire lots of melodies right away. From there, the songs will let us know whether they're good or not. Our process is pretty labour intensive, so songs always go through a huge range of work. It's very rare for our songs to start off one way and stay that way. The ones that become really, really hard to work on fall to the side, and the ones that stick around are those that inspire us, lend themselves to lots of different changes, and the ones that are continuously easy to write lyrics or melodies to.

And what can we expect of that lyrical content?
We've been writing a lot about relationships. We're not a political band; we're more of a socially minded band. We try to look at things that we find in the world that we'd like to see less of. We stick to what we're really good at writing about, and we always have these great things to be inspired by. We've found a new way of writing that mixes everything together well - we're not focusing too much energy on home or the studio or the road. And I think that's helped us be more creative, so we'll be able to make records faster, stay out on the road and continue playing shows - while not overplaying to the point of people getting sick of us (laughs).

¿O sea que vuelven a la distorsión?

"Linkin Park
Our new single, "Burn It Down," will be released on April 16. http://www.viddy.com/video/3907d782-b471-45fc-a9f2-0ae470813bea"

Epa!!! Tan rapido?

Sep, y en mayo/junio ya tenemo' el disco nuevo.

BHAMOOOOOOOOOOOO.

Tapa completa de Burn It Down. Sale el lunes junto al lyric video y revelan la tapa del disco nuevo.

Por cierto, el disco nuevo se llamaría "Living Things", si lo que adivinaron los pibes en LPA es correcto.

cuando salió a thousand suns lo escuché una vez y me dormí una siesta de 3 horitas

no sé porque le tienen miedo a sus "raíces", podrían plantearse explorar las bases de otra manera en vez de andar fijandose si estan haciendo metal o no

ojalá este bueno

Etlainen escribió:no sé porque le tienen miedo a sus "raíces", podrían plantearse explorar las bases de otra manera en vez de andar fijandose si estan haciendo metal o no

Eso es exactamente lo que se plantearon con este disco, segun dijeron

Ayer justo escuchaba A Thousand Suns y me di cuenta que no hay nada más groso que Blackout. Me encanta el contraste de Chester loco con la música animadita.

Igual ya lo sabía, pero lo reafirmé. Ojalá tiren alguno así en este nuevo disco.

Aguante Iron Man en la tapa, ojalá hagan A Thousand Suns 2, nada de distorsiones ni boludeces, que la flasheen el triple

Linkin Park Open Up About Hybrid Vibe of June Album

SoCal hard rock hybridists Linkin Park managed to confound cranky critics and loyal fans alike with 2010's A Thousand Suns. The ambitious concept album explored atomic Armageddon over music that drew comparisons to Radiohead and Pink Floyd, so it seemed a bit out of step to say the least. As it turns out, that record was part of a cycle initiated in 2007 when the six-piece first linked with producer Rick Rubin, who also helmed the band's as-yet-untitled fifth LP, due out in June.

"The very first question Rick asked when he met us was, 'What kind of record do you want to make?' " says singer Chester Bennington, 36, sitting at a diner-style booth in the spacious lounge at NRG Recording Studios in North Hollywood. "Our response was, 'Well, anything that doesn't sound like what we did before would be a good place to start.' And he was like, 'Great, because that's the only answer I would've accepted.' That sold us on working with him."

After creating the best-selling debut album of the aughts with 2001's Hybrid Theory, scoring a Grammy, and following that with the similarly sounding (and similarly successful) Meteora in 2003, Linkin Park were faced with a choice: change it up at the risk of losing it all, or keep doing the same thing while potentially becoming a caricature of themselves — an irrelevant holdover from nü-metal's moment in the sun. Thankfully, they decided on the former.

"People would be surprised to learn how much of a sense of humor we have about ourselves," says rapper-producer Mike Shinoda. "There are things we've done in our career that we wouldn't do now, but they felt right at the time. It's like opening up a drawer and finding an old pair of bell bottoms, going, 'Oh my God, I can't believe I went to school wearing that.' " Without missing a beat, Bennington chimes in: "But it was the shit back then!"

For their upcoming release, Linkin Park are switching it up yet again, but not in the way you'd expect for a band that recently blew peoples' expectations wide open. They're celebrating the success of the experiment by embracing their strengths, and mixing what they learned on that sonic walkabout with what the rest of us already know they're good at: heaving guitars, walls of textured electronics, and emotive lyrics that feel both deeply personal and somehow universal.

"On the last two albums," says Bennington, "if someone brought in a song that felt very 'Linkin Park,' we were like, 'Mm, let's move on.' We now know we have the skills and the tools to take those ideas and make them into what we’re actually looking for, as opposed to getting into it and discovering that it just sounds really nü-metal. That's always going to be gross to us, but we can take elements of that and reinvent the vibe, make it now and fresh."

Shinoda and Bennington played five of the new songs for SPIN and sure enough, they felt like an improvement on an old family recipe (albeit one you'd most likely use to piss off the rest of your family). "Lost in the Echo" featured a staccato guitar attack, tribal drums, crystalline keys and some brutal screams, but it also interweaved contemporary sub-bass boom and clangy industrial effects. "In My Remains" is both dark and triumphant, built for an arena at the end of days.

The melancholic "Castle of Glass" offers a steam-engine chug and a mountain of sound while Bennington sings about being but a small crack in the titular edifice, illustrating belonging and futility in the same stroke. On "I'll Be Gone," his metallic vocals come from a character who's either forced or chooses to leave home before the sun comes up. Amidst the lo-bit glitch and seismic stomp comes an unlikely cameo: strings courtesy of Arcade Fire arranger Owen Pallett.

"He's incredible," says Bennington, leaning back against the wall of the studio. "You send him notes and he's immediately like, 'I just sent you the track. Like, five minutes ago. It's done.' "

Last but not least, they cue up their upcoming single, "Burn it Down," a seared but still high-sheen slab of cross-pollinated pop driven by four-on-the-floor pump and the pulse of guitars and synths irreparably fused together. Shinoda delivers his bars with force and finesse, and joins Bennington to sing: "We're building it up to break it back down / We're building it up to burn it back down / We can't wait to burn it to the ground." Are they talking about a relationship? Music? Society?

"Once we start hitting lyrical themes that can whack you from all these different perspectives, we know we’re onto something special," says Bennington. "That’s when the hair starts standing up. We don’t sit down and go, 'People are uneasy about the economy. Let's write about that.' We got a little more poetic, a little more colorful this time. A lot of the songs revolve around people — a drifter, or a soldier returning home, or a child finding his or her place in the family."

"Some of these songs started off really mellow," says Shinoda. "Some sounded very electro, and a few were folk, essentially. It's bizarre to remember that now, hearing what's so clearly a mix of all of our influences. Our tastes have gotten even broader since we started, if you can imagine that. It's like wrangling kittens." Bennington weighs in: "It's also what we've based our career on — that we have a little bit of something for everyone. That's been our little fountain of youth."

"Lost in the Echo" featured a staccato guitar attack, tribal drums, crystalline keys and some brutal screams, but it also interweaved contemporary sub-bass boom and clangy industrial effects.

¿NEUROSIS PARK?

Uuuuh, como la subió esa entrevista

Del blog de Mike

Monday is almost here.

Early Monday morning, our new single BURN IT DOWN will be released. The LIVING THINGS album pre-sale will begin. You’ll see the album cover, the track listing, and hear about some new tour plans. My bandmates and I are very excited for this week.

Many of you know our story up until this point. We built the band upon the idea of fusing all our favorite styles of music–as different as they might be–into one, signature sound. Our first two albums were the result of a lot of hard work, perseverance, smarts, and luck, to build a toolbox that would provide us with what we needed to make the best songs we could at the time.

Success came at a pivotal time in an industry that was about to take a nosedive, and we were able to establish ourselves before things changed drastically. Hybrid Theory became the best-selling album of the year, worldwide. After Meteora‘s success, we realized that we needed to step back and think about our future, in order to have one. We decided we had to had to veer away from the main thing upon which our success was built: the music.

When I tried to explain this pivotal moment to a friend of mine, he had a hard time understanding. He said, “It’s like you invented the Big Mac or the iPod, then decided not to sell it anymore. Why the hell would you do that?”

Trying to explain how personal and artistic choices factor in for a band like ours is difficult. As we finished up “A Thousand Suns” in 2010, I found myself having to try to do it often, in interviews and to myself. Before we even finished the songs, each guy in my band knew it was a polarizing and challenging album, one that people would probably love or hate. I suppose that it didn’t really matter if it made sense to anyone but us — for a while, we had to steer as far away from the early sound of Linkin Park as possible, or else we would be trapped making the exact same music over and over until we had to call it quits.

Thinking back: as we wrote Minutes To Midnight and A Thousand Suns, I would sometimes bring in demos that sounded like something from the first two albums. Those demos were always met with a negative reaction by my bandmates, and I tended to agree. I loved the journey toward a new, unknown sound. With each experiment, we discovered new ways to make songs, and we filled our toolbox with tons of new tools. With each song, we tried both cutting-edge and classic gear; we started with radically different seeds; and we approached the vocals with a virtual blindfold on. And, about a year ago, I realized that our toolbox was virtually overflowing with great tools.

But we were avoiding something.

In the early part of our career, we were inexperienced. We made decisions on all fronts that some of us regret (some times a little, some times a lot). And some decisions (like my fire-engine red hair back in the day) were things that I don’t really regret, but I simply wouldn’t do today. All those things spun together to create a complicated uneasiness about the past that the band wasn’t able to come to terms with for a while.

Luckily, I wasn’t the only one who felt that way. Over the course of the last year, the subject kept popping up, and we talked about how to tastefully bridge the gap between all the musical places we’ve been, to marry together all the ideas we’ve accumulated about how to make a song. And as LIVING THINGS began taking shape, the most powerful shift I saw take place was the acceptance and eagerness to use all the tools in the toolbox, not just some. Everything at once, together.

Some people have already compared our new album to the early ones. I suppose it depends on how you want to make that comparison (by the way, it’s certainly not about guitars). For me, it’s all about getting back to the real “hybrid theory” — not the album with that name, but the idea that the six guys in our band have drastically different tastes in music, and the blending of all those sounds into one is exactly what we built our band upon.

///

The single BURN IT DOWN and the album LIVING THINGS will be available tomorrow.

And some decisions (like my fire-engine red hair back in the day) were things that I don’t really regret

No me cabe mucho el nombre del disco, pero bueno, veremos que tal!

me vendió el disco

1. Lost In The Echo
2. In My Remains
3. Burn It Down
4. Lies Greed Misery
5. I'll Be Gone
6. Castle Of Glass
7. Victimized
8. Roads Untravelled
9. Skin To Bone
10. Until It Breaks
11. Tinfoil
12. Powerless

Sale el 26 de junio.

ZARPADO arte de tapa! Y me gustó mucho Burn it down, una mezcla de Justice, Madonna y el LP de siempre

me gustó el temita, pero que alguien les tire un disco de neurosis o algo así y el que saquen despues de este puede ser explosivo

bah, que digo, a esta altura que una banda mainstream se la juegue lejos de géneros populares es utópico

MUY buena la tapa

Del single todavía no comento. Después cuando escuche el disco entero veremos.

http://www.ultimate-guitar.com/news/upcoming_releases/linkin_park_get_back_to_their_roots.html

Da lástima este "artículo".

Uno de los comentarios mas pene que haya visto en mi vida:

espal wrote on 04/19/2012 - 11:36 am /
I don't want a new album... I want a nu album

Qué gente de mierda. Los que escriben y los que comentan también.

Manu escribió:Qué gente de mierda. Los que escriben y los que comentan también.

Por algo el show de Velez me la bajó demasaido, todos los pibes congelados en el 2001... che, yo no entiendo, pero las bandas onda Slipknot, Manson, Evanescence, LP (etapa Nu Metal), ¿cómo hacen? O sea, siempre son pibes de entre 13 y 16 años, y son bandas que hace bastante quedaron en el olvido (salvo Evanescence, pero hasta ahí), es alto cliché ajkkajkja

Nacho escribió:

Manu escribió:Qué gente de mierda. Los que escriben y los que comentan también.

Por algo el show de Velez me la bajó demasaido, todos los pibes congelados en el 2001... che, yo no entiendo, pero las bandas onda Slipknot, Manson, Evanescence, LP (etapa Nu Metal), ¿cómo hacen? O sea, siempre son pibes de entre 13 y 16 años, y son bandas que hace bastante quedaron en el olvido (salvo Evanescence, pero hasta ahí), es alto cliché ajkkajkja

Porque a diferencia de acá, hay muchos chabones que crecieron con las bandas y siguen escuchando, el fan nümetalerito existe en latinoamérica nomás (creí que solo en Argentina, pero hablando con un venezolano me contó que allá también y que le hincha los huevos).

cuando saquen algo que sea la mitad de interesante para el mainstream como fueron hybrid theory/meteora se van a dejar de romper los huevos

esto de no renegar del pasado sin caer en hacer un disco del pasado les va a sentar bien... igual siguen estando equivocados si piensan que solo volver a la estructura de banda de rock convencional los va a encasillar en el nu, siempre depende de que es lo que compongan