Linkin Park, the alternative nu-metal band, has been experimenting with genres ever since they broke out into the commercial mainstream with their third studio album, “Minutes to Midnight." Understandably, a certain loud minority of the fanbase has been squawking about every sort of genre transition and anything that doesn’t sound like “Hybrid Theory” since, well, they stopped doing “Hybrid Theory” stuff. “A Thousand Suns” was considered too “weird” with only five “real” songs, “Living Things” was considered electronic pandering, and for some, “The Hunting Party” was the only thing worth listening to. Common in all of these criticisms is the refrain that Linkin Park has betrayed their original sound, and thus, their fans. I think an argument can be made that the band makes deliberate choices regardless of industry choices, and they value fan input, just not overly so. That being said, this brings us to “One More Light”, the latest studio release that dropped on the day of this writing. Let’s take a listen.

1. “Nobody Can Save Me”

The album opens with this smooth, house-pop anthem, utilizing Chester’s sweeter tones and serves as a good introduction to what we can expect from the rest of “One More Light”: hope, optimism and uplifting lyrics. It sort of emblematizes what some might think as too radical of a departure from their original influences, but I hear some of the electronica and pop they played with in “Living Things” and “Minutes to Midnight," that, for better or worse, were massively popular. It’s definitely a jam, and more easy listening than say, “Wretches and Kings” and “Guilty All the Same” from previous albums. And that’s not a bad thing folks!

2. “Good Goodbye”

In some ways, this track, released as one of the album’s premier singles, is the most familiar to Linkin Park fans — the beat resembles both the percussion in “Lost in the Echo” as well as “The Catalyst”, and features Mike Shinoda with a hard-hitting entry verse. Stormzy is an amazing find, and hearing Pusha T migrate over from GOOD music to give his fans a prelude to his own release is great fun. This track is the sort to be easily remixed for parties and the chorus is anthem-like. Again, I can’t get over Stormzy! Who is this guy? Linkin Park has collaborated before, and we’ll see with Kiiara how they love to find talent and feature it to promote new folks.

3. “Talking to Myself”

Featuring the first use of a heavy guitar riff set to yet more electronic ethereal mixing, “Talking to Myself” sounds new for Linkin Park, if not new for the industry. I may not be able to headbang to it, but the chorus definitely makes me want to clap my hands and jump around. If Chester’s voice wasn’t so iconic, I’d honestly have to ask who writes and sings this, because the electronic tone is the only thing I recognize as being from the guys. The bridge kicks total ass, by the way. Not complicated, not flashy, just a simple song that ends with an acoustic riff and makes me smile.

4. “Battle Symphony”

Another song that some rabid fans of “Hybrid Theory” and “Meteora” will probably hate, “Battle Symphony” is another feel-good song that you can tell that Chester, Mike, Mr. Han and the gang are attempting to evolve their sound and play with different beats and moods. It’s not nearly as interesting as half the tracks I heard in “A Thousand Suns," but it evokes a sense of warmth in my heart and it wins points for that.

5. “Invisible”

Maybe it’s just me, but I always love hearing Mike sing. He might not have Chester’s range, but he has talent as a vocalist. Though not as drawn out in the buildup, “Invisible” reminds me of “Iridescent” from again, “A Thousand Suns," as the gang does like to use their collective voices to empower their lyrics. I wanted to call this track the weakest track of the album, but the small piano lilt at the end went against that criticism.

6. “Heavy (feat. Kiiara)”

For a lot of folks, this is probably the most “controversial” track, that initially introduced the new feel of the album, as it was released far ahead of time as the first single and features Kiiara. Sad to say, Kiiara’s voice, though beautiful, seems too...generic? It’s not as though she detracts from the song, I like her a lot, but I’m not hearing anything from her that is distinguishing. That being said, I really like this song and Kiiara accompanies Chester very well. The swirling intensity may not be like the screaming power of “Meteora” we’re used to, but it’s powerful all the same.

7. “Sorry for Now”

Now we are getting into unknown territory here — not Mike’s singing, that’s plenty familiar, but I can see that Mr. Han is having fun with electronic beats and echoes, underlining Mike’s vocals with what is strangely reminiscent of Owl City. Again, different, but not bad. It’s soothing rather than whipping the listener into a frenzy, and it’s nice to hear that Linkin Park is equally as capable of the former as the latter (although certain tracks on “Living Things” foreshadow this kind of electronic experimentation.)

8. “Halfway Right”

Wow, Chester, you haven’t talked about drugs since...well, “Meteora”. At least that’s what I think he was talking about in the first verses. I don’t have a lot of thoughts on this one beyond my appreciation for the steadiness of the lyrics in combination with the build up to the chorus. Wait, not true — it ends spectacularly. The beat makes me kind of want to see the video to this one!

9. “One More Light”

Linkin Park has a habit of putting quieter, more meditative songs towards the end of their albums, probably not a unique composition technique, but one I’ve grown to expect and appreciate. The titular album track, in tradition with “Powerless," and “The Messenger," this song emphasizes the beauty of life, even with the shortness of it all. “Who cares if one more light goes out? I do.” indeed. This is really the track that sold me on the newest iteration of Linkin Park sound — it’s gorgeous and in line with previous works.

10. “Sharp Edges”

Acoustic riffs? Linkin Park wherefore art thou?! I would not be surprised if Linkin Park decided that they wanted to invite Ed Sheeran to one of their concerts at this point. It’s a total jam now and makes for a satisfying ending to the album.

Other reviewers gave far less glowing ratings, but I’m not hearing what’s considered the “commercialization” that Linkin Park is accused of here. This will likely turn out to be the most polarizing album since “Minutes to Midnight," but I remain invested in what Linkin Park turns out to bring in the future. There’s enough original content and tradition that convinces me that the accusations are only half-truths at best. It could be the case that I’m a tasteless fanboy, but I had fun with “One More Light” and I hope you do too.