I’ve seen so many amazing concerts there, from Kanye to Bjork to Danny Elfman’s Nightmare Before Christmas. You can do the math and assemble something that is technically perfect.but what you’re looking for is that other, amorphous, spontaneous element of inspiration.īaltin: As a Los Angeles guy what does it mean to play the Hollywood Bowl? People have different takes on that-after all, it’s basically hunting for magic.
#Who wrote linkin park one more light album how to#
But we also talked about songwriting philosophy, what makes a good song, and how to get it there. Shinoda: I learned a bunch of nerdy technical things that most of your readers won’t be interested in-plug in chains, microphone choices, that kind of thing.
What are a couple of the things you learned from others that stood out? For example, when a song was sounding too “regular,” Rick would always ask us, “What can you guys do that other artists or bands can’t?” And we’d look at the song from that perspective, which might help us come up with a unique and exciting solution.īaltin: Brad said you guys learned a lot from the collaborations on this album. It’s often about asking the right question. We don’t know everything, but the tools we’ve gotten along the way from folks we’ve worked with, Rick especially, have helped us in our process. Mike Shinoda: On the last two albums, Brad and I both said, “If we ever felt like we didn’t know what to do next on this album, we’ll call Rick.” At the end of the day, we felt like we knew where the album needed to go, so we never brought in an outside producer. The best of those comprises One More Light.īaltin: What did you take from this record?ĭelson: That I love making music and this is one of the most fun records we’ve ever made and I’m really excited to share it with people on May 19.īaltin: When it came time to co-produce were there particular things you learned from Rick you found yourself putting into play on this album? Anything that once you began working surprised you in a good way? What style is this? What style of song is this?” And that was also really fun. Those were the songs that we actually had to…we were in the unique predicament of, “Okay, we’ve got the song, but we don’t have the arrangement or have the music. And then we ultimately had the challenge of just whittling down to which of those were our favorites, got it down to 20, then 14, and eventually we chose our favorite 10. And we got into the habit of just writing the song first and we wrote about 70 of those, complete songs, but very bare bones. For whatever reason we woke up on the precipice of this and said, “Hey, remember that idea, just write songs? What if we actually tried that?” We dove in and the first couple of things we did we were super excited about, opened up our process to tons of collaborators whether they were co-producers, people to perform or sing, people who composed songs, so wide open and really learning from other people, being in the room from other super-talented people. And we started working with Rick Rubin, he challenged us to try and approach it from the other direction, starting with the songs, the content, the words, the melody and we thought, “Wow, that’s a great idea.” And we totally didn’t do it. And when you sit that song next to any of the new songs presented in that same way, the melodies, the emotion, it’s surprising how similar it is to some of those very first songs.īaltin: Are there older songs you’d revamp and rearrange just to keep it fresh for you guys also?ĭelson: What’s really cool about One More Light, the way we historically work is music first, so some kind of instrumental bed and that will inspire, often times, the melody and then words, often times, come last. Chester and Mike have been doing a stripped-down version of “Crawling” on the piano. And in terms of what’s the relationship between some of the newer stuff and some of the older stuff there is much more through line than you’d imagine. And then really I think to make it great you can’t just be playing song A, song B, song C, the music has to be woven together into a patchwork that feels holistic. So, in order to do that, we have to figure out how everything fits together.īaltin: Have you figured out what those old songs are yet?ĭelson: Certainly, when you put together a show you star with great songs, those are the building blocks. And it’s nice to really start with a blank canvas and think about, “Today, what are our favorite songs from our catalog we want to share? What are the songs from the new album we want to share?” When we perform we really want to tell a story, we want to weave the material together in such a way that brings the audience on a journey. We never obviously want to repeat ourselves, whether it’s the studio or on the road. Brad Delson: We always want to take a fresh view of the show at the start of any touring cycle.
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