Hybrid Theory is the debut studio album by American rock band Linkin Park, released on October 24, 2000, through Warner Bros. Records. Recorded at NRG Recordings in North Hollywood, California, and produced by Don Gilmore, the album's lyrical themes deal with problems lead vocalist Chester Bennington experienced during his adolescence, including drug abuse and the constant fighting and divorce of his parents. Hybrid Theory takes its title from the previous name of the band as well as the concept of music theory and combining different styles. This is also the only album on which bassist Dave Farrell does not play. Four singles were released from Hybrid Theory: "One Step Closer", "In the End", "Crawling" and "Papercut", all of them being responsible for launching Linkin Park into mainstream popularity. While "In the End" was the most successful of the four, all of the singles in the album remain some of the band's most successful songs to date. Although "Runaway", "Points of Authority", and "My December" from the special edition bonus disc album were not released as singles, they were minor hits on alternative rock radio stations thanks to the success of all of the band's singles and the album; "Runaway" has also made several appearances on radio stations. Generally receiving positive reviews from critics upon its release, Hybrid Theory became a strong commercial success. Peaking at number two on the US Billboard 200, it is certified 12× Platinum by the Recording Industry Association of America (RIAA). It also reached the top 10 in 15 other countries and has sold 27 million copies worldwide, making it the best-selling debut album since Guns N' Roses's Appetite for Destruction (1987) and the best-selling rock album of the 21st century. At the 44th Grammy Awards, it won Best Hard Rock Performance for "Crawling". In 2002, Linkin Park released the remix album Reanimation. It included the songs of Hybrid Theory remixed and reinterpreted by nu metal and underground hip hop artists. Contributors to the album included Black Thought, Pharoahe Monch, Jonathan Davis, Stephen Carpenter, and Aaron Lewis. The sound of later Linkin Park albums would involve experimentation with classical instruments such as strings and piano, both of which, along with the same elements of electronica from Hybrid Theory, are prominently included in the band's second studio album, Meteora.On August 13, 2020, Warner Records announced a re-release of Hybrid Theory for its 20th anniversary. A previously unreleased demo song, "She Couldn't", was put out at the same time.Wikipedia
Hard-hitting but melodic, this is another album that I think younger me would have really loved. I like it now but it has a ... not juvenile, that seems pejorative, and that's definitely not what I'm going for ... but maybe youthful(?) feel to it that doesn't hold the same appeal as it would have a couple or so decades ago. Still, high marks!
If I listened to this rap metal style when I was much younger I may have fallen for the soft/quiet -> hard/loud -> soft/quiet changes within most of the songs, but now I find it to be cliched and just plain gimmicky. So... nope.
I bought this album shortly after its release and listened to it for several years, but then it sort of disappeared from my radar. I don’t really have the rage in me that I still managed then. So what’s it like to come back to this almost 20 years later? It’s great! I remembered right away what I love about Linkin Park… they know how to rock but also have great hooks and modulation to hold my interest. I like their lyrics and the personal themes. Great vocals. Really great to hear this again today. “The End” is an awesome song and is kind of the perfection of the Linkin Park formula, but there are lots of other songs I very much like on this album including “Papercut,” “Points of Authority,” “Crawling,” “Runaway,” “Forgotten” and “Pushing Me Away.” Even though the last twenty years have softened my edges, I guess I still have room for some angry, angsty, cathartic hard rock. Linkin Park’s ability to modulate with softer passages is just the right kind of heavy for me.
4.5 stars. What a debut album! Every track is solid from start to end. Bennington's singing with Shinodah's rapping blends so well. Album is harder/heavier than I remember. "A Place For My Head" is a microcosm for the album and the band.
Give me rap-rock or rap-metal crossover albums anytime. Give me a *bit* of nu-metal, even. Give me heavy guitar riffs, true rebellion, sharp politically-minded lyrics. Or, on the contrary, give me brutally sincere descriptions of personal malaise. Anything that finds an artistically relevant way to scream: "I'm alive, this world is fucked up, I suffer, but I'm alive!". Give me Rage Against The Machine, System Of A Down, Deftones, the "Judgment Night" motion picture soundtrack... Even the early Korn albums can work out... But don't give me this overbloated, overproduced turd of a record. Heck, turds have taste at least, or so I hear. :) As you can, I won't mince words about this band (and first album). But I've got my reasons. To me, *Hybrid Theory* is indeed the epitome of blandness--nothing in it *feels* honest or authentic. You might tell me Chester Bennington's lyrics drew from his difficult childhood experience, I just can't find a way to *care* about them. Because the end results here are just plain corny--there's none of the strong imagery delivered by his pal Chino Moreno, for instance, or the latter's intense, dynamic performance throughout Deftones' discography. The so-called "rebellion" or "malaise" in Linkin' Park's lyrics actually amount to pointing at nothing in particular, with vague references about "bad memories" and the likes. And those lyrics are just *one* ingredient among others in a mechanical formula. They just have nothing to say. And they even manage to say it badly. The same goes for the cheesy, dated rapping, or the vocal lines for the choruses and singing parts, which are *always* predictable--unimaginative melodies copied-and-pasted over unimaginative guitar riffs, so slick and clean they actually sound like synths. Because no, the instrumentation is not good either, as competent the performers (or production tools) are. The band does the same thing all over again, mostly, with the same sort of lazy, overdone tricks being applied from start to finish. Guitar saturation is here used to raze everything to the same orderly level, devoid of any true *life*. A paradox of sorts, which owes more to protools shenanigans than any thought-out concept behind the music. Which makes sense, given that saturation is also used here to hide the lack of any shred of meaningful idea. That's probably what's "Hybrid" in the "Theory" here--this thing being *both* lifeless AND brainless. Even the electronic/abstract hip hop asides suck, minus the very short "Cure For The Itch", maybe--but to be fair, this minor track towards the end is nothing but a secondhand attempt at a DJ Shadow-like instrumental... And just as everything in the album--that awful cover, for instance--its inclusion in the tracklisting looks like a decision made by a corporate committee, not one made by a real, genuine band showing personality. And just like everything else, it's a stylistic dead end. *Hybrid Theory* made millions, admittedly (not necessarily a sure sign of quality, but OK). It sold a hold a huge lot. Yet it's a dead-end nonetheless. Void. Sterile. We can just all be glad and grateful that teens or kids these days are not listening to such crap anymore. At least, they'll make *fresh* mistakes of their own... In the light of Bennington's still recent suicide, this personal judgment about what is merely a piece of art here might sound harsh, of course, even exaggerated. May the man rest in peace, God bless his soul, and so on... May people who go through what he had to go through, just like Chris Cornell or Kurt Cobain, or anybody else, find the help they need to survive. To be honest, I wish that this band had at least provided Bennington that catharsis he so direly needed to get better. And this aside obviously goes beyond any personal tastes about music. One could have hoped that years after their first commercial success, Linkin' Park's singer might have found some meaning in his life. But things don't always work out that way, even when you manage to "make it". Friends who knew Bennington seem to say he was a good person. I don't know, I didn't know him. But I just hope that fans who are reading this understand I have nothing against the man. I simply didn't like the artist, and the band he was part in. These things happen... As for the rest, be aware that hope comes in many forms, and that if music, good or bad, can't save you, you can *still* find other ways out--through reaching out to friends or a family genuinely caring for you, or through mental health professionals. Anything that can help you get better. But I'd rather hear about who Chester Bennington was as a person rather than having to listen to his music again. It's not for me. In a way, critics' accusations that the band had "sold out" for 2017's pop-oriented *One More Light*--that they now suddenly sounded "as if they were selected by committee", to be more precise--were totally and absolutely nonsensical to my ears. Because to me, they've *always* been this way. A few yellings and heavy guitar riffs here and there couldn't hide the fact that they've never been the sharpest knife in the drawer, musically speaking. And Bennington's offensive public replies to those misguided critics did not only show how fragile his mental state was, but also how lost he was as to the sort of audience his band had entertained for all these years. And there's probably a good reason for that. Because a) that audience had never been picky for sure. And b) it was dwindling album after album anyway. In all honesty, it's a bit of a mystery *who* this music is aimed at today, in 2022 (both for what it was in 2017 AND what it had been in 2000). And this, also, makes me kinda sad... Not for Bennington, this time, but for the standards generally followed by this list of records. So next, please... Number of albums left to review or just listen to: 887 Number of albums from the list I find relevant enough to be mandatory listens: 59 Albums from the list I *might* include in mine later on: 29 Albums from the list I will certainly *not* include in mine (many others are more important): 26 (including this one)
I've really enjoyed this album for a long time. In listening to it again, i certainly heard more Limp Bizkit in it than i remembered, and they certainly took different trajectories. Fred is a bit of an embarrassment while Chester improved with time. There are still enough energetic creative aggressive items on here to make it a home run.
Bold and unpredictable. This album doesn't fall into any one category. Lyrically powerful and musically frenetic and energetic. Definitely listenable to again and again.
IN THE END NOTHING EVEN MATTERS
Another one for the memories! I was always more of a Meteora fan, but Hybrid Theory has a really big place in my heart. Song 'In The End' is extremely catchy, and I know the lyrics still after twenty-ish years. Album starts on a high note with 'Papercut' and it actually just gets better. All around, it's a very even record. With this debut album, Linkin Park position themselves on the Mount Olymp of the Nu Metal wave, and for some (like me), on the very top of it.
This is a good album… The album opens with papercut a song that isn’t necessarily one of my favourites but it’s definitely the sum of all the sounds that you will get on this record. One step closer is a brilliant early album single for this band I love the lyrics to this song from the well crafted verses to the screamy yet catchy chorus! The chorus in with you is so climactic absolutely amazing tune. Points of authority is slightly more tame than the first three songs but it’s still an impressive song. The verses of crawling are very poppy i’am not too sure of they work too well for this band ( or at least at this point).Runaway also feels exactly the same. By myself has this real scream to it’s guitars that make it a really quality song. Most popular single in the end acts as the album’s climax it’s a grand song very different to the rest of the album being piano based what a song! The guitars on a place for my head are amazing just enough to make this one of the albums best. Forgotten is my favourite song on the album literally every aspect of the song impresses me pre chorus, verses, chorus, bridge all perfection! Other than the MR HANNNNNN bit cure for the itch is a cool instrumental but nothing that I would seek out. The album closes with pushing me away it’s really good it’s similar to those more “ mid” songs( crawling, runaway) with the audio dynamics but this is just so much better feels like a grand heavy finale to a near perfect album. Anyway, while this album does have lows it’s still a 5/5 as it’s very hard to deny it’s power.
just an alround great album with all time greatest "crawling" and obviously "in the end" still consider it one of the best choices i made by going to their concert a month before chester took his own life
I mean, LP is one of my favorite bands of all time. Something I will call out beyond the vocal chemistry between Chester and Mike is Joe Hahn, most notably on Cure for the Itch. His presence is the thing that ties the sounds all together in my opinion, with the Nu-Metal presence of electronic and rap sometimes coming across as jarring for other acts.
This is the zenith of teenage angst, and the best representation of nu-metal on the list IMO. They balance the metal and hip-hop/electronic elements perfectly. And I know they get a good deal of hate and are seen as posers/sellouts for not cursing, but feeling like the emotional impact is less because someone isn't using naughty words just sounds like edgy middle schooler criticism (though, this is definitely an album aimed at that demographic, so perhaps there is some point there). Shits rad yo. Tight, fun, genre-blending angst.
What the hell is this? Turntable scratching, power guitar, electronica, rapping, piano, and lots and lots of screaming. Do I like it? I think I do... Wild.
Очень цельный альбом, что сильно понравилось. И музыка не звучит излишне попсовой, как мне раньше представлялось в детстве.
Reminds me of junior high!
Started out as a three but it grew on me. How could it not? Just some angry boys having fun. Kind of like a low rent Rage Against the Machine.
Great Album. I used to listen to this all the time when it came out. Now, 22 years later, Some of the songs, I don't remember, but there are some real classics here: In the End, Papercut, One Step Closer, Crawling, My December. 4/5
Didn’t age as well as I thought but still really fun. Guitars were way more present and heavier than I remembered.
4.5/5 good album <3
I tried so hard and got so farrrrr
-"One Step Closer" is nice and heavy, very easy to sing along to on your first listen. I also really like the chorus. Maybe it's the alternating lines with long, extended notes and then faster lines? It's cool -"Crawling" has the classic "Crawling in my skin / These sounds, they will not heal" -The vocal distortions on the screams throughout "By Myself" are pretty crazy -"In the End" doesn't really stand out as a track other than the fact I am already very familiar with it. Maybe it's just the most digestible, which made it the most popular track? I'd say I like "One Step Closer" or "Crawling" more. Not a bad song, just not sure why it's the mega-popular one over the others -Big heavy intro in "A Place for My Head" -Basically all solid tracks. Keeps great energy throughout without getting boring. Lots of fun riffs and vocal melodies. Solid album
an absolute classic ™
recommended on 20th of july - nice
Linkin Park's first album remains their absolute best, and it set a great journey for the subsequent albums as well as the groundwork for their evolution into being a softer band. In a way, listeners got to see a band grow mature from the young and hype-capable to the older and more intentional. Hybrid Theory came at a time when metal/rapcore fatigue started to set in with bands like POD and Limp Bizkit. While with POD, clean lyrics and meaningful messaging were broad in their appeal, their over-exposure up and to their sophomore album with Atlantic wore out the original audience reasonably quickly. Limp Bizkit, even at the height of their popularity, remained 18+ with narrower demographic appeal with a push towards douchebags being loud, giving ballcaps a bad name, to some just weird imagery in their songs. Between all that, Hybrid Theory is released and scratches a certain itch that had been growing. There was a bit of a pendulum swing or crises of identity with listeners in the early aughts between emo and hardcore, two extremes that sort of defined the bipolar nature of 17-19 year olds at the time. Hybrid Theory managed to catch both the aggression and angst giving the people stuck in the middle a stable ground of sorts, which if honesty is the best policy, a very needed element for this crowd. Chester's vocals are a clean scream with lyrics easily understood, and Mike Shinoda's rap contributions are equally clear with a clean delivery. This combination, while not necessarily original was a better marriage between the rock and rap genres than their contemporaries. Musically, the band hit hard where it needed to, and it carefully matched lyrics with its energy. Well-rounded, well-sung, well-rapped, well-played, Hybrid Theory changed the game quite a bit.
Linkin Park's first and greatest effort, only coming close with their next album Meteora. Tons of hits, melodic yet hard, and somehow are able to maintain the momentum from track to track. You can hear influences of KoRn in songs like "Runaway." The duo vocalists are an incredible combo, characterizing their unique sound and appealing to different audiences that it's no wonder they were so mainstream. I was going to say it's greatest weakness was that it loses its momentum in the last few tracks, but then I realized the last track is actually "Pushing Me Away" which is actually a decent finish right when "Cure for the Itch" chills the mood. I describe the melody as electronic in form, industrial in the types of samples and effects, hip hop in their style of usage, and doom metal in the medium they use to create these effects ("A Place for My Head" being the most metal). What I'm trying to say is that I can understand why most nu metal and post-grunge bands would suck in the coming years if they tried mimicking this style without properly understanding how it's used. The melodies are mostly boring, but there are some iconic themes stuck in my head after 2 decades. Maybe other people interpret it differently, but this style of rock is like nothing else, with the closest analogue being the intensity and heaviness of industrial and thrash or doom metal. Favorites: One Step Closer, Points of Authority, Crawling, In the End
Not for me. That being said you cant deny their catchiness. damn them.
Never gonna be a personal fav but I think this album earned 4 stars.
It did not age like fine wine, but the hits still stands. I'm hesitating between a 3 and a 4, but the nostalgia factor just won't let me give it less.
I heard of Linkin Park and have heard some singles. They have never really grabbed my fancy. This album didn't really either. I will admit that there is some similarity in sound to some other bands from the 90s with that kind of hard rap-rock style that I could enjoy. Discovering this now just didn't really win me over.
pretty good rock-rap.
I was all in for nu-metal back in the day. Particularly Papa Roach who i think i saw 3 times in a single year when I should have been studying for my university finals. Linkin Park though..... not much fun, and listening back my feelings are tainted by the untimely death of the frontman too. A bit too serious, not enough fun.
I could get into some of it, but other parts were a bit too shouty for me
The nostalgia is strong with this one. It's hard to listen to Crawling and not be taken back to those intensely angsty teenage years, which is exactly what Linkin Park is made for. The nu metal style sounds a bit dated now and the album tracks are hit and miss, but the singles still hold up well. I personally think Meteora is a stronger album, but I'll give Hybrid Theory 3.5 stars.
I remember this album's popularity. Understanding the whisper, rap, emotional scream that complimented the youthful angst coming out of the 90's. Soft Korn. It presents a higher production quality, which made it more accessible and wider distribution than some of the harder underground acts of the time.
A respectably cool blend of rapping singing and shouting but way too emo for me.
Reminds me of playing Tony hawk in the basement
Fuck... I guess I kind of enjoyed this. It's not good, but it's pretty catchy. Definitely some guilty pleasure shit. Real time capsule from my early 20s. Not anything I ever listened to then but you really couldn't avoid these guys - their music was everywhere.
I bought this album back in 2000 when I was 12, this was probably the peak of nu metal. Sadly I kept listening to this genre for way to long into my teenage years. Listening back as a 34 year old man, this music really does nothing for me. Agree it should be on the list and an extra star for nostalgic reasons. But happy to keep Nu metal in the late 90’s early 00’s where it belongs.
I can't call myself the biggest fan of Linkin Park, but this certainly has some hard-hitting tracks. "Paper Cut" and the infamous "Crawling" are probably my faves off of this.
I have a lot of ambivalence here. While I liked the singles a lot when this album dropped, I've grown very tired of them. I find them to be way too teen angst heavy to be enjoyable. Speaking objectively though One Step Closer does have a nice groove. I just wish it didn't have the "shut up when I'm talking to you" part that makes me cringe so hard that I think my teeth will shatter. On the positive side a lot of the deeper cuts are pretty enjoyable. Papercut is a solid opener. Almost all of the non-singles are decent the exception being Cure For The Itch. I didn't need that. Overall it's not a bad listen. I just don't know how much I will ever really go back to it. I prefer Meteora if I feel like listening to this band, which honestly isn't all that much.
6/10. Kinda fun to listen to, but I can't take it seriously after having seen it edited over club penguin game play.
Ágætis aldamótarokk þarna. Ég er nokkuð viss um að þetta hefði verið on constantly hjá dóttur minni ef hún hefði ekki verið 4ra ára þegar þetta kom út.
Some great hits but my metal has not aged well
This album is very nostalgic for me, but lets be honest, its not great. 3/5 for the memories
A great album that turns out to be a classic of my generation. I don't think it aged that well and I'm not sure it will stand the test of time. Who knows?
Well, 1001 has told me that I don't like metal and I'm not crazy about rap, so I guess the writing's on the wall when it comes to a fusion of rap and metal. It's astonishing how many albums this sold!!! I guess if I was 14 when listening to their first album and my parents were listening to Fleetwood Mac, I could be drawn in. Some of the intros are catchy especially when the drums kick in.
I was 16 when this album came out and I wasn’t the biggest fan of nu-metal to start with. I was into stuff like Pantera, Sepultura, Faith no More, Alice in Chains, NOFX etc – 90s heavy/alternative but not nu-metal – but I also had an appreciation for bands like Korn, Limp Bizkit and Slipknot. I’d been into metal since about 91 so I had the feel of the genre: Korn basically invented the shit, Limp Bizkit popularised it, and Slipknot made it so fucking unpalatable to your parents that you just had to applaud them. Lots of previously "pure"-metal bands were trying to get in on it. But Korn etc all had one thing in common: their songs were organic, there was a legit “what we’re doing isn’t grunge, it’s not standard metal, but we still want a place” attitude. It never felt (at the time) like they were music school kids, writing from a how-to guide, or anything like that. It was popular in the mainstream, but it seemed it'd stuck its head in by force of sheer popularity, and had kinda beaten the odds in that sense. This was still like 98-99 so it was only a year or two into nu-metal’s mainstream run. Those bands (Korn, Slipknot, Limp Bizkit, Deftones etc) really worked for their recognition. Linkin Park’s first album was different. Even as a teenager I picked up on it. When that first “I’m about to break!” song came out I knew it was some kinda changing of the guard moment. It wasn’t nu-metal; it was radio rock pretending to be nu-metal. I remember in 2000 asking my mum to buy me In Flames’ Colony album, and she said “you sure you don’t want maybe Linkin Park instead?”. And that was because Linkin Park had worked out the market: create family-friendly rock with an angsty facade that parents didn’t find threatening. It ticked their boxes and (hopefully) also yours. It was loud, but also commercial as shit, with songs that could've been ANY genre if you'd tweaked them a bit. Most of Hybrid Theory would've made a great Shania Twain record. Not that there’s anything wrong with that (my Slippery When Wet review hopefully explains that) but it was also dishonestly subversive. It pretended to be something it wasn’t. And it’s telling that Linkin Park became the biggest band out of the whole movement, and that radio rock has never really (as of 2022) moved much past their blueprint. Nu-metal is long gone but Linkin Park's style isn't. Sure we’ve dialled back the rap-rock these days, but the core of their song structures, choruses and vague angst remain. That whole “nothin’ but rock” radio movement has been boring and stale ever since. And I blame Linkin Park. Is that a legacy? Probably. But I’m giving it 2/5.
Having two “lead” vocalists, one singer and one rapper, who play off each other is interesting. And there are quite a few of the heavy guitar riffs that I can get into. But those are not enough. I cannot get past the screaming choruses, chorii (?). Whatever the plural of chorus is, I wish there weren’t any on this album. Every time the the screaming starts, I want to run to turn this album off. The verses earn Stinkin’ Park an additional star for Hybrid Theory.
Never actively listened to this before, though I'm sure I heard it incidentally back in its day. I was surprised this album wasn't longer, as it is peak CD era, but man it sure feels longer than it is. I gave it a fair shake but can't get into it... at all. This is cringe for me.
In the End is a great single and some other songs has that crossover potential that other bands like Evanescence exploited to great effect, but all in all I think the album is really weak and hasn't aged well at all. I guess you can see value in it if you were into them when you were a teen, but listening to it out of its time context is just awkward.
I thought I might like this as accessible pop-metal, but it's so boring and generic that I actually hated it. Rating: 1.5/5 Playlist track: In the End Date listened: 20/06/22
Not my cup of tea. Don't like the vocals...actually, REALLY don't like the vocals. Don't like the crunchy guitar sound and overall production. Don't like the rap / rock hybrid style. Also find it curious that the "hit" In the End really sounds nothing like the rest of the album, vocals toned down, production toned down, find it kind of disingenuous. 1 star
I realized I was old when Linkin Park became a band that everyone loved. Spare me another venture of white suburban rap over heavy bass-y guitar metal riffs. I realize that Chester Copperpot was a big influence over a generation that followed mine and it seems he had a terrible childhood and wrote some amazing poetry. Sure there are some neat effects, and unique sounds in the production of this album. But I witnessed, and even enjoyed RUN DMC / Aerosmith, Public Enemy / Anthrax and the Beasties, but when the popularity of 311 hit, I knew I wasn't the intended audience of the garbage that would follow. Chalk that up to age I suppose, but aside from reggae, this has to be my least favorite genre.
The worst. This album actually made me angry.