“Leave Out All the Rest” ( Minutes to Midnight)Ī full decade before they courted sell-out accusations on 2017 No. Ultimately, Bennington’s legacy will be the songs - gorgeous, thrashing pop-metal assaults that were as heavy and visceral as Korn but as immaculately produced and structurally unimpeachable as *NSYNC - and the fact that, while critics of the early ’00s were scouring every grungy New York club for the New Rock Revolution, Linkin Park were actually providing it, with music that pushed rock into the 2000s unafraid, rather than trying to chain it to memories of the prior century.ġ5. Read Linkin Park Frontman Chester Bennington's Final Billboard Interview: On Aging, Family… Subtlety would never be his strong suit, but his voice was more malleable than he was often given credit for: Had he come up a decade earlier, he could’ve growled with James Hetfield and Dave Mustaine had he come up a half-decade later, he could’ve out-emoted Chris Carrabba and Patrick Stump standing on his head. He was the band’s not-so-secret weapon, capable of unleashing holy hell at a measure’s notice, making their songs captivating even when they otherwise sounded like they were just spinning their Xbox controllers.īut it wasn’t always about brute force with Bennington: His yawp had a piercing clarity to it, too, which helped facilitate Linkin Park’s eventual evolution away from the nu-metal moment that birthed them into more straightforward stadium rock, and in recent days, to something more resembling alt-pop. But that’s not to say that he was inessential, or indeed that he was anything less than epochal: His shredded-throat shrieking was the whiny, guttural, unignorable voice of a musical generation, as inextricable to the sound of ’00s rock as, well, Chris Cornell’s voice was to the ’90s. Linkin Park's Chester Bennington Dead at 41Ĭhester Bennignton, who was found dead Thursday (July 20) at age 41 of an apparent suicide, didn’t dominate Linkin Park the way most frontmen of his time did - at their best, the band’s nervous system was directed in equal parts by Bennington’s paint-scraping primal scream, Mike Shinoda’s keep-calm-and-carry-on rhyming and Joe Hahn’s lucid-nightmare samples and soundscapes.
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