One More Light

Explicit
Linkin ParkMay 19, 2017
Pop℗ 2017 Warner Bros. Records Inc.
6,395
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One More Light is the seventh studio album by American rock band Linkin Park. It was released on May 19, 2017, through Warner Bros. and Machine Shop. It is the last Linkin Park record produced before lead vocalist Chester Bennington's death on July 20, 2017.
The band recorded the album between September 2015 and February 2017 in multiple studios. Band members Brad Delson and Mike Shinoda served as the album's primary producers. The sound of One More Light has been described as being more pop-focused, departing from the alternative rock and alternative metal sounds of their previous albums. The album features guest vocal appearances from Pusha T, Stormzy, and Kiiara, and production and songwriting collaborations with Julia Michaels, Justin Tranter, Ross Golan, Andrew Goldstein, blackbear, and Eg White. The album is also the band's first to feature a title track, as they felt that the song "One More Light" was the heart of the album.
The album's lead single, "Heavy", featuring Kiiara, was released on February 16, 2017. "Battle Symphony", "Good Goodbye", and "Invisible" were released as promotional singles prior to the album's release.

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Songs
Popularity
1
Nobody Can Save Me3:45
2
Good Goodbye (feat. Pusha T and Stormzy)3:31
3
Talking to Myself3:51
4
Battle Symphony3:36
5
Invisible3:34
6
Heavy (feat. Kiiara)2:49
7
Sorry for Now3:23
8
Halfway Right3:37
9
One More Light4:15
10
Sharp Edges2:58
4.5
6,395 total
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Additional Information

Tracks
10
Released
May 19, 2017
Label
℗ 2017 Warner Bros. Records Inc.
File type
MP3
Access type
Streaming and by permanent download to your computer and/or device
Internet connection
Required for streaming and downloading
Playback information
Via Google Play Music app on Android v4+, iOS v7+, or by exporting MP3 files to your computer and playing on any MP3 compatible music player
Damned if they do, damned if they don't -- that was the conundrum facing Linkin Park when it came time to deliver Minutes to Midnight, their third album. It had been four years since their last, 2003's Meteora, which itself was essentially a continuation of the rap-rock of their 2000 debut, Hybrid Theory, the blockbuster that was one of the biggest rock hits of the new millennium. On that album, Linkin Park sounded tense and nervous, they sounded wiry -- rap-rock without the maliciousness that pulsed through mock-rockers like Limp Bizkit. Linkin Park seemed to come by their alienation honestly, plus they had hooks and a visceral power that connected with millions of listeners, many of whom who were satisfied by the familiarity of Meteora. They may have been able to give their fans more of the same on their sophomore effort, but Linkin Park couldn't do the same thing on their third record: they would seem like one-trick ponies, so they'd be better off to acknowledge their advancing age and try to mature, or broaden their sonic palette. Yet like many other hard rockers, they were the kind of band whose audience either didn't want change or outgrew the group -- and considering that it had been a full seven years between Hybrid Theory and Minutes to Midnight, many fans who were on the verge of getting their driver's license in 2000 were now leaving college and, along with it, adolescent angst.

So, Linkin Park decided to embrace the inevitable and jumped head-first into maturity on Minutes to Midnight, which meant that poor Mike Shinoda was effectively benched, rapping on just two songs. In many ways, it seems like even the "guitarists" were benched this time around, since Minutes to Midnight doesn't really rock, it broods. Apart from a handful of ringers -- "Given Up," the Shinoda-fueled "Bleed It Out," easily the best, most visceral track here -- this is quiet, atmospheric stuff, dabbling with electronic textures that were cutting edge in 1996 but sound passé now. Also sounding passé are the tortured musings of lead singer Chester Bennington, who still is tormented by love, loss, family, any number of items that sound convincing coming from a man in his early twenties, but not so much so when the thirties are approaching rapidly. And yet the way Bennington and his mates, shepherded by producer Rick Rubin, try to "sound" mature isn't always convincing, either, possibly because it sounds like a skate punk uncomfortably trying on his big brother's suit. They have the chops to rock, and when they deign to do so on Minutes to Midnight they sound comfortable, they sound right, but too often they run away from this core strength. [WEA International issued a special tour edition in 2007.]
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