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Band Biography
The Biography
Ask Linkin Park guitarist Brad Delson for a wish-list of bands he'd like to tour with, and he's ready with a response. "We told our manager, 'Pick a band and we can tour with them.' Our music reaches out in so many directions that there's pretty much an unlimited amount of cool bands with which we could play.."
Delson is understandably proud of the diversity and uniqueness apparent on the band's debut album, Hybrid Theory (the band's original name). Built on an aggressive hard rock foundation, flavored with hip-hop vocal styling and electronic flourishes, Linkin Park's sound is utterly their own, an accomplishment strengthened by the band's remarkably powerful and unforced songwriting. But almost everything about Linkin Park has been unforced, including their Southern California origins.
Delson and emcee/vocalist Mike Shinoda attended the same high school together, where Delson also met the band's drummer, Rob Bourdon. Shinoda then hooked up with DJ Joseph Hahn while studying painting at the Pasadena Art Center. The final piece in the puzzle was singer Chester Bennington, a transplanted Arizona native who started making records when he was sixteen.
"Since I learned how to talk I've been telling everybody I was going to grow up to be a singer," laughs Bennington. "When I was two, I used to run around singing Foreigner songs &endash; there's tapes of me doing that."
The combination of Bennington's rich, mammoth vocal style clicked immediately with Shinoda's streetwise emceeing. "I think one of Chester and Mike's goals is to be as integrated as possible," offers Delson. "We want our sound to come across so that people go, 'oh, that's Linkin Park,' not 'I heard this hip-hop part, and now they're hitting me over the head with this rock chorus.' We want everything to have dynamics, but also a continuous cohesive flavor, so that you know what band you're listening to."
It was that cohesive style and instantly memorable songs that attracted immediate attention, starting with a publishing offer after the band's very first show at L.A.'s famed Whisky. After showcasing around town and eventually inking with Warner Bros., the band began work on their first album with producer Don Gilmore (Eve 6, Lit, Pearl Jam). "We met with a lot of people and had a very difficult time deciding," says Shinoda. "But Don, aside from making things sound good, stood out as someone who could really push us further as songwriters.
The end result is an album that's as well-crafted and melodic as it is confrontational, with a strong lyrical message.
"We try to push real things through in our lyrics; whether it's feeling insignificant or questioning your own thoughts or discovering the dark side of yourself."
Weaving influences as diverse as Deftones, Nine Inch Nails, Aphex Twin, and The Roots into a single unified whole, Linkin Park and Hybrid Theory are living proof that a fresh combination of talent, an unwavering dedication to craft, and a pure artistic vision can result in a powerful musical statement.
"I've wanted to do this my whole life, and I feel really blessed to be here," says Bennington. "A lot of hard work and dedication and faith can get you through anything and make it happen."
Meteora Biography
from www.Linkinpark.com
Sophomore albums are famously tricky affairs. Musicians have their entire lives to pen their debut album, the theory goes, and a relatively short time to follow it up. But what if the debut in question is the biggest selling album in recent memory? And what if the music industry has Hollywood-like expectations for another instant blockbuster? That was the scenario Linkin Park faced when they entered the studio to record Meteora , the follow-up to their multi-platinum debut Hybrid Theory .
That album-which Rolling Stone called "twelve songs of compact fire indivisibly blending alternative metal, hip-hop, and turntable art"--has shipped 14 million units worldwide to date. It was the Number One selling album of 2001. It launched three chart-topping singles including "In The End." And in 2002 it received a Grammy¨ for Best Hard Rock Performance for "Crawling," as well as nominations for Best Rock Album and Best New Artist. After diligently pursuing their craft since the band's humble origins in Southern California circa the mid-'90s, Linkin Park now had the world's ear.
To those outside the band, the pressure to follow up that success might have seemed insurmountable. But within Linkin Park, vocalists Chester Bennington and Mike Shinoda, guitarist Brad Delson, turntablist Joseph Hahn, drummer Rob Bourdon, and bassist Phoenix weren't sweating it in ways you might expect. Instead of dwelling on outside expectations, they set to work, meticulously crafting each moment of each song to their own exacting standards. The bigger picture developed accordingly.
"We don't ever want to have the mindset where we need to sell 10 million albums each time out. That's ridiculous," says Bennington. "It's a blessing to sell that many albums; it doesn't happen very often in this business--even once in your career is an achievement. Our obligation is to our fans. We're not going to get too comfortable and say it's a given that people will run out and buy our albums." "And if you know us, you know the biggest pressure came from within the band," says Shinoda.
"We just wanted to make another great album that we're proud of," says Bourdon. "We focused on that, and worked hard to create songs we love. We're our own harshest critics." If you doubt that, consider this: Shinoda and Bennington wrote 40 unique choruses for Meteora's poignant first single, "Somewhere I Belong," before arriving at the best possible version.
"We knew we needed to fix a couple things on that song," says Shinoda with a shrug. "So we'd write a new chorus, record it, mix it. Then we'd listen to it the next day, and Chester and I would look at each other and say, 'I don't know... I think it could be better.' And then we'd start again from scratch. It was a lot of work. We probably wrote and scrapped our sophomore jinx album somewhere in the mix. But we took our time, remained critical, and wrote songs we knew were good. Some people might have expected us to write a weaker version of Hybrid Theory --water it down, stagnate. But that's not what we're about."
The winning results of that painstaking approach are instantly apparent on Meteora . The twelve lean tracks display immense growth from the road-honed band, while still showcasing the rare chemistry that's been in place since Bennington completed the line-up in 1999. Working once again with Hybrid Theory co-producer Don Gilmore, the album came to life in a variety of studios, including the band's beloved tour-bus facility and each member's respective home set-up. This time Linkin Park had the opportunity to experiment with a wider palette sound, and an even more diverse array of styles.
They married wildly distressed samples to heavy guitars on songs such as "Somewhere I Belong." They arranged live strings and piano for "Breaking The Habit" and "Faint." They experimented with complex beats on songs such as "Easier To Run." They even added a Japanese flute called a shakuhachi to the hip-hop-driven "Nobody's Listening." Throughout, the rich textures and dynamic arrangements serve to enhance the moods created by Bennington's and Shinoda's powerful vocals--and vice versa. The synergy invites repeat listens.
The guiding vision for the 18-month recording process was evoked by the album's title, Meteora . During a European tour in 2002, the band stumbled upon a travel magazine featuring destinations in Greece. On the cover, the word "Meteora " and the accompanying photo caught their eye, and subsequently fired their imaginations.
Meteora is a group of six monasteries perched atop rock pinnacles rising 1500 feet above the plains of central Greece. As Bennington puts it, "they don't seem of this planet." And it's true. (To see for yourself, rent the Bond flick For Your Eyes Only, in which Roger Moore kicks ass at one of the mountain fortresses.) The Greek word literally translates as "hovering in the air." It's a fitting term for the otherworldly region, as well as for the album Linkin Park created with the image in mind. "We wanted to write songs that lived up to the energy that name exudes," says Bennington.
"It's really epic and beautiful. It totally embodies the sense of timelessness and expansiveness we wanted the album to have," says Shinoda. "We've since met people who've visited Meteora," adds Hahn. "People go there for solitude now--to find themselves. And that's what the album is about--finding yourself. Each song is about looking within and letting out emotions."
This time out, Bennington and Shinoda expanded the emotional range heard on Hybrid Theory . That album dealt with frustration, anger, fear and confusion from a younger person's perspective, according to Shinoda. The goal: catharsis. By contrast, Meteora reflects the accelerated lives the band members have led since recording their debut. "We toured the world for two years. That alone makes you step back and take a look at the bigger picture," says Shinoda. "We've always been interested in universal feelings, and that's what we focused on with this album. But Meteora is different in the sense that we're dealing with more facets of the human condition." "It's still a very dark album, but there's definitely more optimism," says Bennington. "We're still the same people, but now there's a light at the end of the tunnel."
On "Somewhere I Belong," for example, the verses describe fear and confusion, but the chorus takes that crucial first step toward arriving at a solution. Bennington sings, "I want to heal. I want to feel like I'm close to something real. I want to find something I've wanted all along, somewhere I belong."
And on "Breaking The Habit," he sings, "I don't know what's worth fighting for. Or why I have to scream. I don't know why I instigate and say what I don't mean. I don't know how I got this way. I know it's not alright. So I'm breaking the habit tonight."
Once again, the vocalists worked closely together to deliver a broad spectrum of emotions as a unified front. Now, however, Bennington and Shinoda draw upon a longer shared history. Their voices and sentiments are practically indivisible. "Mike is a computer whiz, and a formally trained musician," says Hahn, distinguishing the difference between the two vocalists. "Chester brings the rawness--the emotion that needs to come out. They complement each other that way. It's a true yin-yang thing."
The entire band, in fact, sounds more fully realized on Meteora . It's a rare achievement: A full integration of six members that still retains the unique qualities of each individual. The end result is the thumbprint style known as Linkin Park. "We don't really analyze the chemistry," says Bourdon. "We're just lucky and grateful that we found each other and that we work so well together."
"The collaborations are more seamless now," agrees Bennington. "Mike, for instance, knows more about me as a person, and I know more about him, so it's easier to write lyrics together. It's not possible to have secrecy in our relationship. You have to open up, because you want the other person to be on the same page. We're all that way with each other."
And with collaborators like these, who needs a therapist?
"Exactly," says Bennington with a laugh. "That's why I joined a band in the first place."
