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This, my good friends, is pop at it’s most subtle.
I’m not usually one to care about a bands image and ‘coolness’ – if I did then Bryan Adams and Five would certainly not be on my CD rack. However, with some music, image can be important simply because it affects your perception of the music. This is one album where image spills over into music.
Linkin Park are the bridge between pop and metal. In case you didn’t know, they are as manufactured as Hear’Say; only they’ve been given a different image. Instead of the pretty, smiley, happy boy bands we have learnt to hate, the producers of Linkin Park have made them a pretty, shouting unhappy I hate my parent’s image. And it has worked, fooling a lot of people into thinking that LP are a genuine ‘real’ band. However, it has also made a lot of music purists shun nu-metal.
Gone slightly off the subject, I think. Right then, onto the album in question – ‘Hybrid Theory’. Bear in mind that I’ve lost the CD case, and so I’ve had to guess some of the names.
Track One: Papercut – First off, the lyrics to this are some of the most meaningless tosh that I have ever had the misfortune to hear. This is true for the rest of the album as well – the lyrics seem to be just a collection of sentences that rhyme, without having a message, story, meaning, or even a consistent subject matter. For this track, the chorus is about having a face inside you… riiiight. I didn’t think manufactured bands smoked that much pot. Ignoring the lyrics, it isn’t actually too bad a track.
Track Two: One Step Closer (to the hedge) – Somewhat idiotically, there is no pause between tracks. The producers of this clearly have no idea what they’re doing, because blending the tracks into each other on an album like this where the songs are all so similar is perhaps the biggest mistake that could be made. Again, nonsensical lyrics prevail here – “The less I hear the less you say / You’ll find that out anyway”. This isn’t amazingly bad to start with, but it degenerates into someone shouting Shut Up over and over again which wrecks the track.
Track Three: With You - Starts off with some bubbly noises and even more crappy lyrics. From now on, unless I say otherwise, the lyrics are pants by default. Nothing amazing, just light verses into a heavy chorus. In fact, I think there are actually two choruses, which is nice.
Track Four: - Lots of scratching in this filler track. Average stuff, a guy shouting to guitars.
OK, so far the album isn’t great. The lyrics are apauling (sp?), and all of the tracks sound pretty similar. Papercut is fairly good, but then it is the first track, which means the album hadn’t had a chance to become monotonous. Thus far, it’s got 2/5, but the middle section (which tends to be the strongest part of any album) is coming up.
Track Five: Crawling – Excellent stuff. Top track on the album, bar none. The chorus is great ‘melodic screaming’, and it’s perfect for turning up loud when you’re urinated off with something. When you watch the video to this, the lyrics actually make some degree of sense – but then, you shouldn’t really need a video to aid your understanding of music. I think. Tempo changes are used well here, with echoing quiet verses building up to a heavy chorus. The icing on the cake is the emotion in the voice – yeah, so it may be faked, but it adds immensely to the quality of the track.
Track Six: Runaway – No, not a cover of The Corrs song (unfortunately), just another track. Not as good as Crawling, but still a bloomin’ (heh – don’t think I ever managed to use that word before) good track. Gets a bit repetitive towards the end, but I like the vocals.
Track Seven: By Myself – Reminds me of Metropolis Zone from Sonic The Hodgeheg 2. If that doesn’t mean anything to you, don’t worry. Feels very metaley –not metaly as in the music type, but as in the sound you get when you hit two pieces of metal together. Another of my faveorites.
Track Eight: In The End – Has been doing the rounds on the radio recently. It’s in a strange position on the album, because a track like this really should go at the very end. Still a fairly good track.
Very strong middle section, not a poor track there. Brings the album up to a 3/5.
Track Nine: Another Place – Boring, generic stuff. There is one strong spot, where they use the old slow whispering into big shouting bit, which works really well, but the rest is forgettable.
Track Ten: Hey, look at me, filler track!- Actually features one good lyric, comparing a memory to a crumpled scrap of paper. Grating vocals, incredibly painful guitar, and an extremely poofy held note at the very end. Even the goldfish try to leave the room when this one starts up.
Track Eleven: The Scratching One – Does exactly what it says on the tin. Reminiscent of a track on The Offspring’s Americana, with no vocals at all. It is seemingly on the alb to show off Linkin Porks scratching skills – pity no-one cares about scratching nowadays.
Track Twelve: A Place For My Head – Not suited to be the last track at all. In The End should have that job. Dull stuff, and so a perfect end to the album.
It weighs in at a rip-off of 37minutes, roughly half of what a CD can hold. If I had paid money for this, I would be absolutely furious, because it’s an obvious example of big record companies trying to rip us off. When the next album comes out, it will basically be the missing half of this one, meaning that to get a complete album you will have the shell out 30 squids.
Overall, this is, in a word, pants. There are a couple of good tracks, but it’s too short, has too much filler, and don’t get me started on the lyrics again.
Cheers for reading, Mouldy Cheese.
I’m not usually one to care about a bands image and ‘coolness’ – if I did then Bryan Adams and Five would certainly not be on my CD rack. However, with some music, image can be important simply because it affects your perception of the music. This is one album where image spills over into music.
Linkin Park are the bridge between pop and metal. In case you didn’t know, they are as manufactured as Hear’Say; only they’ve been given a different image. Instead of the pretty, smiley, happy boy bands we have learnt to hate, the producers of Linkin Park have made them a pretty, shouting unhappy I hate my parent’s image. And it has worked, fooling a lot of people into thinking that LP are a genuine ‘real’ band. However, it has also made a lot of music purists shun nu-metal.
Gone slightly off the subject, I think. Right then, onto the album in question – ‘Hybrid Theory’. Bear in mind that I’ve lost the CD case, and so I’ve had to guess some of the names.
Track One: Papercut – First off, the lyrics to this are some of the most meaningless tosh that I have ever had the misfortune to hear. This is true for the rest of the album as well – the lyrics seem to be just a collection of sentences that rhyme, without having a message, story, meaning, or even a consistent subject matter. For this track, the chorus is about having a face inside you… riiiight. I didn’t think manufactured bands smoked that much pot. Ignoring the lyrics, it isn’t actually too bad a track.
Track Two: One Step Closer (to the hedge) – Somewhat idiotically, there is no pause between tracks. The producers of this clearly have no idea what they’re doing, because blending the tracks into each other on an album like this where the songs are all so similar is perhaps the biggest mistake that could be made. Again, nonsensical lyrics prevail here – “The less I hear the less you say / You’ll find that out anyway”. This isn’t amazingly bad to start with, but it degenerates into someone shouting Shut Up over and over again which wrecks the track.
Track Three: With You - Starts off with some bubbly noises and even more crappy lyrics. From now on, unless I say otherwise, the lyrics are pants by default. Nothing amazing, just light verses into a heavy chorus. In fact, I think there are actually two choruses, which is nice.
Track Four: - Lots of scratching in this filler track. Average stuff, a guy shouting to guitars.
OK, so far the album isn’t great. The lyrics are apauling (sp?), and all of the tracks sound pretty similar. Papercut is fairly good, but then it is the first track, which means the album hadn’t had a chance to become monotonous. Thus far, it’s got 2/5, but the middle section (which tends to be the strongest part of any album) is coming up.
Track Five: Crawling – Excellent stuff. Top track on the album, bar none. The chorus is great ‘melodic screaming’, and it’s perfect for turning up loud when you’re urinated off with something. When you watch the video to this, the lyrics actually make some degree of sense – but then, you shouldn’t really need a video to aid your understanding of music. I think. Tempo changes are used well here, with echoing quiet verses building up to a heavy chorus. The icing on the cake is the emotion in the voice – yeah, so it may be faked, but it adds immensely to the quality of the track.
Track Six: Runaway – No, not a cover of The Corrs song (unfortunately), just another track. Not as good as Crawling, but still a bloomin’ (heh – don’t think I ever managed to use that word before) good track. Gets a bit repetitive towards the end, but I like the vocals.
Track Seven: By Myself – Reminds me of Metropolis Zone from Sonic The Hodgeheg 2. If that doesn’t mean anything to you, don’t worry. Feels very metaley –not metaly as in the music type, but as in the sound you get when you hit two pieces of metal together. Another of my faveorites.
Track Eight: In The End – Has been doing the rounds on the radio recently. It’s in a strange position on the album, because a track like this really should go at the very end. Still a fairly good track.
Very strong middle section, not a poor track there. Brings the album up to a 3/5.
Track Nine: Another Place – Boring, generic stuff. There is one strong spot, where they use the old slow whispering into big shouting bit, which works really well, but the rest is forgettable.
Track Ten: Hey, look at me, filler track!- Actually features one good lyric, comparing a memory to a crumpled scrap of paper. Grating vocals, incredibly painful guitar, and an extremely poofy held note at the very end. Even the goldfish try to leave the room when this one starts up.
Track Eleven: The Scratching One – Does exactly what it says on the tin. Reminiscent of a track on The Offspring’s Americana, with no vocals at all. It is seemingly on the alb to show off Linkin Porks scratching skills – pity no-one cares about scratching nowadays.
Track Twelve: A Place For My Head – Not suited to be the last track at all. In The End should have that job. Dull stuff, and so a perfect end to the album.
It weighs in at a rip-off of 37minutes, roughly half of what a CD can hold. If I had paid money for this, I would be absolutely furious, because it’s an obvious example of big record companies trying to rip us off. When the next album comes out, it will basically be the missing half of this one, meaning that to get a complete album you will have the shell out 30 squids.
Overall, this is, in a word, pants. There are a couple of good tracks, but it’s too short, has too much filler, and don’t get me started on the lyrics again.
Cheers for reading, Mouldy Cheese.
Page:
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This, my good friends, is pop at it’s most subtle.
I’m not usually one to care about a bands image and ‘coolness’ – if I did then Bryan Adams and Five would certainly not be on my CD rack. However, with some music, image can be important simply because it affects your perception of the music. This is one album where image spills over into music.
Linkin Park are the bridge between pop and metal. In case you didn’t know, they are as manufactured as Hear’Say; only they’ve been given a different image. Instead of the pretty, smiley, happy boy bands we have learnt to hate, the producers of Linkin Park have made them a pretty, shouting unhappy I hate my parent’s image. And it has worked, fooling a lot of people into thinking that LP are a genuine ‘real’ band. However, it has also made a lot of music purists shun nu-metal.
Gone slightly off the subject, I think. Right then, onto the album in question – ‘Hybrid Theory’. Bear in mind that I’ve lost the CD case, and so I’ve had to guess some of the names.
Track One: Papercut – First off, the lyrics to this are some of the most meaningless tosh that I have ever had the misfortune to hear. This is true for the rest of the album as well – the lyrics seem to be just a collection of sentences that rhyme, without having a message, story, meaning, or even a consistent subject matter. For this track, the chorus is about having a face inside you… riiiight. I didn’t think manufactured bands smoked that much pot. Ignoring the lyrics, it isn’t actually too bad a track.
Track Two: One Step Closer (to the hedge) – Somewhat idiotically, there is no pause between tracks. The producers of this clearly have no idea what they’re doing, because blending the tracks into each other on an album like this where the songs are all so similar is perhaps the biggest mistake that could be made. Again, nonsensical lyrics prevail here – “The less I hear the less you say / You’ll find that out anyway”. This isn’t amazingly bad to start with, but it degenerates into someone shouting Shut Up over and over again which wrecks the track.
Track Three: With You - Starts off with some bubbly noises and even more crappy lyrics. From now on, unless I say otherwise, the lyrics are pants by default. Nothing amazing, just light verses into a heavy chorus. In fact, I think there are actually two choruses, which is nice.
Track Four: - Lots of scratching in this filler track. Average stuff, a guy shouting to guitars.
OK, so far the album isn’t great. The lyrics are apauling (sp?), and all of the tracks sound pretty similar. Papercut is fairly good, but then it is the first track, which means the album hadn’t had a chance to become monotonous. Thus far, it’s got 2/5, but the middle section (which tends to be the strongest part of any album) is coming up.
Track Five: Crawling – Excellent stuff. Top track on the album, bar none. The chorus is great ‘melodic screaming’, and it’s perfect for turning up loud when you’re urinated off with something. When you watch the video to this, the lyrics actually make some degree of sense – but then, you shouldn’t really need a video to aid your understanding of music. I think. Tempo changes are used well here, with echoing quiet verses building up to a heavy chorus. The icing on the cake is the emotion in the voice – yeah, so it may be faked, but it adds immensely to the quality of the track.
Track Six: Runaway – No, not a cover of The Corrs song (unfortunately), just another track. Not as good as Crawling, but still a bloomin’ (heh – don’t think I ever managed to use that word before) good track. Gets a bit repetitive towards the end, but I like the vocals.
Track Seven: By Myself – Reminds me of Metropolis Zone from Sonic The Hodgeheg 2. If that doesn’t mean anything to you, don’t worry. Feels very metaley –not metaly as in the music type, but as in the sound you get when you hit two pieces of metal together. Another of my faveorites.
Track Eight: In The End – Has been doing the rounds on the radio recently. It’s in a strange position on the album, because a track like this really should go at the very end. Still a fairly good track.
Very strong middle section, not a poor track there. Brings the album up to a 3/5.
Track Nine: Another Place – Boring, generic stuff. There is one strong spot, where they use the old slow whispering into big shouting bit, which works really well, but the rest is forgettable.
Track Ten: Hey, look at me, filler track!- Actually features one good lyric, comparing a memory to a crumpled scrap of paper. Grating vocals, incredibly painful guitar, and an extremely poofy held note at the very end. Even the goldfish try to leave the room when this one starts up.
Track Eleven: The Scratching One – Does exactly what it says on the tin. Reminiscent of a track on The Offspring’s Americana, with no vocals at all. It is seemingly on the alb to show off Linkin Porks scratching skills – pity no-one cares about scratching nowadays.
Track Twelve: A Place For My Head – Not suited to be the last track at all. In The End should have that job. Dull stuff, and so a perfect end to the album.
It weighs in at a rip-off of 37minutes, roughly half of what a CD can hold. If I had paid money for this, I would be absolutely furious, because it’s an obvious example of big record companies trying to rip us off. When the next album comes out, it will basically be the missing half of this one, meaning that to get a complete album you will have the shell out 30 squids.
Overall, this is, in a word, pants. There are a couple of good tracks, but it’s too short, has too much filler, and don’t get me started on the lyrics again.
Cheers for reading, Mouldy Cheese.
I’m not usually one to care about a bands image and ‘coolness’ – if I did then Bryan Adams and Five would certainly not be on my CD rack. However, with some music, image can be important simply because it affects your perception of the music. This is one album where image spills over into music.
Linkin Park are the bridge between pop and metal. In case you didn’t know, they are as manufactured as Hear’Say; only they’ve been given a different image. Instead of the pretty, smiley, happy boy bands we have learnt to hate, the producers of Linkin Park have made them a pretty, shouting unhappy I hate my parent’s image. And it has worked, fooling a lot of people into thinking that LP are a genuine ‘real’ band. However, it has also made a lot of music purists shun nu-metal.
Gone slightly off the subject, I think. Right then, onto the album in question – ‘Hybrid Theory’. Bear in mind that I’ve lost the CD case, and so I’ve had to guess some of the names.
Track One: Papercut – First off, the lyrics to this are some of the most meaningless tosh that I have ever had the misfortune to hear. This is true for the rest of the album as well – the lyrics seem to be just a collection of sentences that rhyme, without having a message, story, meaning, or even a consistent subject matter. For this track, the chorus is about having a face inside you… riiiight. I didn’t think manufactured bands smoked that much pot. Ignoring the lyrics, it isn’t actually too bad a track.
Track Two: One Step Closer (to the hedge) – Somewhat idiotically, there is no pause between tracks. The producers of this clearly have no idea what they’re doing, because blending the tracks into each other on an album like this where the songs are all so similar is perhaps the biggest mistake that could be made. Again, nonsensical lyrics prevail here – “The less I hear the less you say / You’ll find that out anyway”. This isn’t amazingly bad to start with, but it degenerates into someone shouting Shut Up over and over again which wrecks the track.
Track Three: With You - Starts off with some bubbly noises and even more crappy lyrics. From now on, unless I say otherwise, the lyrics are pants by default. Nothing amazing, just light verses into a heavy chorus. In fact, I think there are actually two choruses, which is nice.
Track Four: - Lots of scratching in this filler track. Average stuff, a guy shouting to guitars.
OK, so far the album isn’t great. The lyrics are apauling (sp?), and all of the tracks sound pretty similar. Papercut is fairly good, but then it is the first track, which means the album hadn’t had a chance to become monotonous. Thus far, it’s got 2/5, but the middle section (which tends to be the strongest part of any album) is coming up.
Track Five: Crawling – Excellent stuff. Top track on the album, bar none. The chorus is great ‘melodic screaming’, and it’s perfect for turning up loud when you’re urinated off with something. When you watch the video to this, the lyrics actually make some degree of sense – but then, you shouldn’t really need a video to aid your understanding of music. I think. Tempo changes are used well here, with echoing quiet verses building up to a heavy chorus. The icing on the cake is the emotion in the voice – yeah, so it may be faked, but it adds immensely to the quality of the track.
Track Six: Runaway – No, not a cover of The Corrs song (unfortunately), just another track. Not as good as Crawling, but still a bloomin’ (heh – don’t think I ever managed to use that word before) good track. Gets a bit repetitive towards the end, but I like the vocals.
Track Seven: By Myself – Reminds me of Metropolis Zone from Sonic The Hodgeheg 2. If that doesn’t mean anything to you, don’t worry. Feels very metaley –not metaly as in the music type, but as in the sound you get when you hit two pieces of metal together. Another of my faveorites.
Track Eight: In The End – Has been doing the rounds on the radio recently. It’s in a strange position on the album, because a track like this really should go at the very end. Still a fairly good track.
Very strong middle section, not a poor track there. Brings the album up to a 3/5.
Track Nine: Another Place – Boring, generic stuff. There is one strong spot, where they use the old slow whispering into big shouting bit, which works really well, but the rest is forgettable.
Track Ten: Hey, look at me, filler track!- Actually features one good lyric, comparing a memory to a crumpled scrap of paper. Grating vocals, incredibly painful guitar, and an extremely poofy held note at the very end. Even the goldfish try to leave the room when this one starts up.
Track Eleven: The Scratching One – Does exactly what it says on the tin. Reminiscent of a track on The Offspring’s Americana, with no vocals at all. It is seemingly on the alb to show off Linkin Porks scratching skills – pity no-one cares about scratching nowadays.
Track Twelve: A Place For My Head – Not suited to be the last track at all. In The End should have that job. Dull stuff, and so a perfect end to the album.
It weighs in at a rip-off of 37minutes, roughly half of what a CD can hold. If I had paid money for this, I would be absolutely furious, because it’s an obvious example of big record companies trying to rip us off. When the next album comes out, it will basically be the missing half of this one, meaning that to get a complete album you will have the shell out 30 squids.
Overall, this is, in a word, pants. There are a couple of good tracks, but it’s too short, has too much filler, and don’t get me started on the lyrics again.
Cheers for reading, Mouldy Cheese.
Page: