【乐评转载】Linkin Park 新专辑
之所以转载这篇乐评，原因是作者真的说出了我的心声，刚听完这张专辑时，我的感觉就是“Mike哪里去了？Hann哪里去了？是不是Mike ” 单飞“的一张Rap专辑就注定了现在这张专辑的”分手“，整张专辑基本就是Chester 的个人秀?慢慢的我开始觉得这张专辑其实并不简单...
特别是看了这篇国外友人的一番话后,更加确定了我的想法!
To the list of America's most endangered professions — lighthouse keepers, Detroit autoworkers, record-store clerks — add rappers in rock bands. Linkin Park certainly haven't failed to notice the nü-metal market withering since their last multiplatinum album in '03. They probably read the self-pitying blog ramblings of Bizkit-turned-filmmaker Fred Durst and thought: There but for the grace of God go we. A response to this crisis is apparent on Minutes to Midnight, their third studio disc. Before, Mike Shinoda rapped on nearly everything the band cut, sharing the limelight with singer Chester Bennington; here he throws down his mad rhyming skillz on a mere two numbers. (As consolation, Shinoda sings lead on a third track and earns a co-producer credit...but it's still marginalizing for a guy who rapped his way almost to the top of the Hot 100 last year with ''Where'd You Go,'' from side project Fort Minor.)
So who's the pied piper leading Linkin away from rap-rock? Ironically, it's co-producer Rick Rubin, the man who presided over the hybrid's invention. Whether he offered any game plan for replacing the missing elements, though, isn't clear. Amid the stabs at growth, every new effect sounds borrowed. The electronic pulse that opens ''Shadow of the Day'' sounds like an ancient NIN loop; then the song turns into their ''With or Without You,'' gradually adding elements — a snare, strings — in a wan attempt at anthemic momentum. The piano intro to ''What I've Done''...where have we heard that before? Oh, yeah: It sounds like the theme from Halloween. (Maybe they'll get a hit ringtone out of it — John Carpenter did.)
Bennington still has a rare gift for screaming and hitting recognizable notes at the same time. He manages some impressive bellowing on the handful of Metallica-flavored barn burners, especially on ''Given Up,'' where he yowls ''Put me out of my f---ing misery!'' — holding that last ''eeeeeee!'' for 17 seconds. (Yes, we timed it.) More often, though, he uses what a parent would call his ''inside voice,'' softly crooning about how a ''shadow of the day will embrace the world in gray'' or how his ''insides all turn to ash, so slow.'' Without Shinoda to interrupt , Bennington is forced all the more to be his own egocentric, emo-centric foil.
Now, guess what the best cuts are. Yep: the two where Shinoda gets his spoken word on — namely ''Bleed It Out,'' the most viscerally exciting thing the band has ever done; here, his rant provokes them into picking up the pace, not slackening it. We're no Rick Rubin, but some advice: Next time, guys, embrace your outmoded identity, throw cred or caution to the wind, and let your rap-rock freak flag fly. C
Posted May 09, 2007
中文译文:
美国最濒临消失的职业——灯塔守望者，底特律的汽车工人，音像店店员——这里还要加上一个，摇滚乐队的说唱者。 自03年他们的最后一张白金销量专辑以来，Linkin Park不可能没注意到新金属音乐的市场正在萎靡。这种危机感明显的反映在他们的第三张专辑Minutes to Midnight 中。他们很可能看到原Limp Bizkit乐队成员Fred Durst（后来变成影片制作人）在博客上那些自怜的闲谈，然后想：要不是得上帝恩宠，倒霉的可能就是我们了。以往，几乎在每首单曲中，Mike Shinoda的说唱都要跟主唱Chester Bennington分一杯羹；而在这张专辑中，我们仅在两首单曲中，可以再见识到他狂热的节奏感。（作为安慰，Shinoda作为和声的主唱，还得到联合制片人这样一个荣誉……但对于一个凭借去年在专辑Fort Minor的单曲''Where'd You Go,'中的说唱挤进热歌排行榜前100名的家伙，这样做还是显得对他过于怠慢了。
那么，谁是使Linkin脱离说唱摇滚的幕后“吹笛手”呢？出乎意料的，这个人是联合制片人Rick Rubin，而他就是主创hybrid（Linkin的前身）的那个人。然而，他是否提供了什么战略计划，来替代那些失去了的元素，我们不得而知。 在他们这些新的“力作”中，每个新效果听起来却都像“舶来品”。Shadow of the Day 开场的电子节拍听起来像以前的NIN乐队的噪音背景；接着是他们的那首With or Without You，渐渐加入这些元素——其实是一个圈套，弦乐器——试图用极大的动量来鼓动听者的热情，却苍白无力。 What I've Done开场的钢琴曲……貌似很耳熟？猜对了！听起来像Halloween中的主题曲（他们也许有可能成为热门的手机铃音——像John Carpenter那样）
Bennington 仍然有着罕见的天赋，可以在尖啸着的同时清楚地击打音乐节拍。他在好几首Metallica风格的单曲中有一些令人印象深刻的叫喊，那些单曲曾轰动一时，特别是在Given up中，他吼出''把我从那该死的痛苦中解放出来！“（Put me out of my f---ing misery!）——最后的''eeeeeee!''他撑了17秒（没错，我们给他计时了）。然而，他更经常用一种天才们自称为“体内音”的，轻轻的低声吟唱''阴暗即将笼罩这个世界“（shadow of the day will embrace the world in gray） 或者 ''我的心慢慢的，全化成灰“（insides all turn to ash, so slow.）没有Shinoda的干扰，更加衬托出 Bennington朝自我中心、情绪中心发展。
那么现在猜猜哪些是他们做得最好的部分？对，就是Shinoda加入他说唱的那两个地方——即Bleed It Out，这是这个乐队至今为止最令人热血沸腾的作品。 在这里Shinoda的喊叫非但没有使节奏松弛，反而让他们节奏更为紧凑。我们不是Rick Rubin，但这里有一些小建议：老兄们，下一次，勇敢地去拥抱被你们丢弃了的身份，别去担心什么金钱或者小心翼翼的做音乐，让你们说唱摇滚独特的旗帜自由地飘吧。 SF 我不知道这篇乐评里面的“猜测”是确切的还是纯粹自己臆断的，否则我决不会赞同这样的说法。
退一万步说，如果LP这次的“改变”是完全为了迎合市场的话，那我并不认为NU METAL已经没落了。
找一个不太恰当的乐队作比较，LIMP BIZIKIT的音乐还是跟LP有所区别的，LP更注重节奏和配乐的合理性，LB太杂、太闹，很难就这样放在音响里持续地听下去。
几年前当LP的第一张HYBRID THEORY刚出来的时候，我站在固守传统的角度上是很不认同这样的乐队的，我只是搞不明白为什么人们喜欢拿LP跟METTALICA作比较。
我以为LP只是又一个合乎市场口味的时髦货罢了。
听过了这张新专辑后的第一感觉是，他们变得更摇滚了。
仅此而已 up~ 我喜欢楼主的签名
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