Review Summary: Although controversial, A Thousand Suns offers the contemplative side of Linkin Park like fans haven't seen before.
As we delve deeper into the discography of Linkin Park, it’s impossible not to discuss
A Thousand Suns. The record is daring, unique, and extremely polarizing. Its electronic hip-hop style was Linkin Park’s official leap into uncharted territory. Like it or not – Linkin Park doesn’t care. This is their style and they’re *not* sorry. That was the attitude that made
Suns appealing to me. The unapologetic stride the group carried with
A Thousand Suns made me want to understand the album. It’s a record all about taking risks. Linkin Park shed their skin and adorned something else entirely. While their previous record tried to blend in,
Suns steps out of their own shadow and shines a different light.
A Thousand Suns is a packed reference to many outlets. Most notably to Hinduism and J. Robert Oppenheimer respectively. Oppenheimer was a nuclear physicist known for assembling the nuke used to obliterate Hiroshima and Nagasaki in World War II. He referenced Bhagavad Vita, a Hindu Sanskrit, in saying “Now I am become Death, the destroyer of worlds,” in reference to his work. These were the inspirations for the album’s theme. Upon working more on the album, Joe Hahn commented the band used the verse, “If the radiance of
a thousand suns were to burst at once into the sky, that would be like the splendor of the mighty one,” to curate the title.
Before we tap into the album, let’s discuss what exactly the Bhagavad Vita is. The Bhagavad Vita is an epic poem firmly established in the Hindu religion. There is a war waging between the Pandavas and the Kauravas. Diplomacy has failed and the two sides are fighting for control over the throne. However, Arjuna, the great archer of the Pandavas, questions his morality in not wanting to kill his friends and family for a throne. Krishna, the Hindu god of compassion, has a conversation with Arjuna about why he is morally justified in doing so. The tale examined society, human life, and acts of war. Arjuna subtly asks questions about how to live a spiritual life without giving up society and family. In an act of war, these questions are ever-pressing.
A Thousand Suns is on track to being one of Linkin Park’s most complex albums. These subjects will give fans and critics something to bite into when exploring the landscape of
Suns. Music, obviously, is the most noticeable difference in
A Thousand Suns. Brad Delson takes a step back and lets synthesizers do all of the talking. Soundscapes, ambiance, and bass-driven synth riffs are the new norm in
Suns. Hahn takes the lead in producing interesting textures to explore in each song. Calm and serene atmospheres quickly turn into gnashing and aggressive waters at the press of a key. Breakdowns and solos are reinvented to incorporate Hahn’s electronic element throughout the album.
One of Linkin Park’s major influences is the Nine Inch Nails. That much is obvious throughout
A Thousand Suns. The album is organized and produced similarly to that of the Nails. Between most tracks, Linkin Park uses lead-ins and snippets of tracks that last about a minute. They’re usually instrumentals or samples that are used in the preceding song. Although listed for 15 tracks, there’s maybe 10 full songs on
Suns not including those leads. They’re interesting, however, especially ‘The Radiance,’ which plays an integral part in the album. ‘Fallout’ is another decent lead-in I recommend giving a chance.
‘Wretches and Kings’ is among the best
Suns has to offer. Arguably the heaviest track, the song is designed as a throwback to Public Enemy, another influence. The blaring bass and synth scratches thump through the stereo. This a song best enjoyed on full blast in my opinion. An energetic and experimental track adds a lot of character. The infectious beat and take-no-prisoners attitude has the edge of Public Enemy and the passion of Rage Against the Machine. Shinoda takes the front in driving the track where Bennington relieves the tension with a melodic chorus.
‘Blackout’ is another fun track to enjoy. Known for its appearance in the Fifa series, ‘Blackout’ packs a lot of punch despite being overlooked. Bennington’s aggressive vocals juxtaposing a light synth atmosphere from Hahn adds to the songs effect. Most attribute the swapping of rolls between Bennington and Shinoda to be the selling point. While Bennington freestyles most of the song, Shinoda calmly steps into relieve the tension with a soothing bridge. Hahn’s turntable breakdown is expertly delivered making ‘Blackout’ one of
A Thousand Suns bangers. “Push it back down, blackout, blood in your eye,” is another iconic sentiment underrated by the fan base.
“God bless us everyone we’re a broken people living under a loaded gun. And it can’t be outdone, it can’t be outmatched, it can’t be outrun, no,” are the immortal words of ‘The Catalyst.’ The first single dropped for
A Thousand Suns, ‘The Catalyst’ embodies the core of the record to the bone. The dramatic and energetic tone of ‘The Catalyst’ makes for an interesting listen to this day. The fresh spin on the traditional LP formula builds one of their most iconic songs. For a chart topping single, it’s hard to believe how buried ‘The Catalyst’ has become.
And now for the fated question: what’s wrong with
A Thousand Suns? As established in the beginning,
Suns isn’t a wasted effort. The album isn’t fundamentally broken or disoriented in any way. The album, simply stated, is nothing more than a concept record. It plays with varying themes, deliveries, and styles. The fan base was mostly the source for a lot of the album’s controversy. Most fans didn’t know what to think of it. It was hard to react to something so different from a group like Linkin Park.
Minutes to Midnight, the groups previous record, was similar to their previous work in some ways.
A Thousand Suns was a completely different ballgame.
I can’t blame fans for not knowing how to react to
Suns. It takes a while for it to grow on you, however, I don’t know if that makes the album terrible. A lot of complaints are directed towards the albums sound. Most critics reiterate the statements of the new style being ‘bad’ or ‘monochromatic.’ Other criticisms are drawn toward the five lead-in songs, in which case, those critics dock points. This is a classic example of people viewing different as bad. Most of the criticisms drawn at
A Thousand Suns are completely subjective. Anything in regards to electronic being a bad style are groundless. Aside from the obvious, there are a few criticisms to bring to light.
There is a sense of a monochromic pattern throughout
A Thousand Suns. Some songs sound similar to each other, but it’s not notable to the point of ruining the experience. Some say ‘Iridescent’ and ‘Waiting for the End’ have similar qualities. Otherwise, a lot of those complaints aren’t very apparent. Linkin Park is known for using a formula for their songs anyways. The five lead-in tracks are dependent on taste. Nine Inch Nails are known for using those in their work. I wouldn’t describe them as bad per-se, but a lot of fans found them unnecessary. Filler is nowhere to be found in
A Thousand Suns and makes for smooth sailing start-to-finish.
The lack of guitar work is another key argument to be made. Hahn is the main showcase for
Suns, but that comes at the expense of Delson and Shinoda. Neither make their presence known aside from a few riffs here and there, yet those riffs are overdubbed with synth. One could strip the entire album of guitar work and no one would notice the difference. Although it’s an electronic record anyways, the question remains as to what the point of Delson was if they weren’t going to properly utilize him in production.
That being said,
A Thousand Suns isn’t a bad album overall. It’s different, yes, but a good kind of different. Linkin Park displayed their creative side and explored a new avenue. Although some fans weren’t along for the ride, the effort wasn’t wasted. Linkin Park reinvented themselves as a creative force. Their songwriting took a step up, their music was more personal, and their themes were contemplative. They did something for themselves and fans didn’t know how to react. Fans disobeyed Linkin Park through division. Instead of being a collective group, they divided and chose sides. Instead of being a Linkin Park fan, you were either a
Hybrid Theory fan or
A Thousand Suns fan. A band preaching against division and warfare was plagued by the same issue internally. This goes to show how little fans listen to their work, moreover, is the reason why fans misinterpreted the album entirely.
Standout Tracks
Blackout
Wretches and Kings
When They Come for Me
The Catalyst
[I also recommend listening to zwieR.Z. remix of Wretches and Kings.]
