Linkin Park “Burn It Down” Reviews
Linkin Park’s “Burn It Down” single reviews from various sources
From Rolling Stone
On the first single from Linkin Park’s forthcoming Living Things, Chester Bennington unpacks, yet again, his propensity for screwing things up. Before zooming into the anguished yowl we’ve come to demand of a Linkin Park chorus, Bennington delivers some of his prettiest verses ever – and he does it over a burbling synth groove that wouldn’t be out of place in an industrial-friendly rave. (Mike Shinoda is, per Linkin Park tradition, on hand for a quickie run of unassuming rhymes.) There’s a certain poetry to the “Burn It Down” approach, which draws a sharp line between the smooth and the rough — and leaves open the option of just dancing the night away. In the end, the fire down below comes out on top.
From Artist Direct
“We can’t wait to burn it to the ground,” screams Chester Bennington on Linkin Park’s brand new single, “Burn it Down”.
The first spark from the group’s forthcoming fifth album, Living Things [Due out June 26], is one of the most incendiary tracks of 2012. The song is classic Linkin Park, yet there’s a new fire. An organ swell mounts in tandem with Joe Hahn’s psychedelic keyboard sounds just as drums start to slowly kick in. Brad Delson’s riffing weaves in and out of the electronics masterfully as a bass line from Dave “Phoenix” Farrell pulsates underneath. Bennington sounds pristine on the verse following Rob Bourdon’s beat with a danceable swagger. “Burn It Down” certainly has its heavy moments but there’s a tight rhythm that’s like 22nd century funk. After another unforgettable hook from Bennington, Mike Shinoda blasts through a vigorous lyrical jab claiming, “I played soldier, you played king.” Shinoda brandishes the finesse of a prizefighter when he’s behind the mic and his punch is even more potent than ever.
Like they have since Hybrid Theory, Linkin Park raze the paradigms and erect their own in its place. This is the fieriest they’ve ever been. If it’s any indication, Living Things is already a contender for album of the year.
One thing is for sure when it comes to Linkin Park: While they definitely have a signature sound, they’ve certainly experimented sonically in recent years. On the band’s latest single, ‘Burn It Down,’ the group continues to integrate new sounds into their music, but at the same time there’s a familiar feeling that harkens back to Linkin Park’s ‘Hybrid Theory’ days.
‘Burn It Down,’ which is the lead single off the band’s upcoming ‘Living Things’ album (out June 26), is the most recent step in Linkin Park’s move to incorporate electronic sounds into their music. The song features a heavy, robotic beat and a broad synth hook that lends a thickness and edge to the track.
Bennington’s lyrics still rebel against some ambiguous kind of tyrant, with his characteristic lyrical musings: “Oh can you feel it / When you take a look in the sky / All that I steal is / The one thing I couldn’t find / And you were there / And begun / Waiting to let me go,” he croons in the first verse.
Bennington’s soaring voice fits the atmospheric aesthetic of the track, which builds and builds into an anthemic, moody chorus. “We’re building it up / Break it back down / We’re building it up / Burn it down / Can’t wait / Burn it to collide.”
While Linkin Park dropped their nu metal shades long ago, they still offer a touch of rap with their rock, and ‘Burn It Down’ features Shinoda spitting out a catchy rhyme in the bridge.
Linkin Park took their sweet time getting ‘Burn It Down’ out, but that wait was worth it, as they deliver a unique song packed with subdued rhythms, riffs and raps, draped in a sea of atmospheric electronics. Want to catch ‘Burn It Down’ live? The guys just announced a 2012 trek with Incubus
Still, “Burn It Down” is a worthy follow-up to previous announcement lead singles like “What I’ve Done” and “The Catalyst” (you can even throw Transformers contribution “New Divide” in there), and it should keep the band a presence on mainstream rock radio—where they’ll be one of the few acts remaining that don’t sound hopelessly behind the times. Credit Linkin Park that even if their integration of new sounds isn’t entirely without awkwardness, it’s probably the reason that we’re still talking about them at all. Full review
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