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  • Live Review: Linkin Park "A Thousand Suns" Laser Light Exhibition — The Music Box, Hollywood

    Wed, 08 Sep 2010 18:27:24

    Live Review: Linkin Park "A Thousand Suns" Laser Light Exhibition — The Music Box, Hollywood - Linkin Park create the music equivalent of <i>Avatar</i> with their "A Thousand Suns" Laser Light Exhibition at The Music Box in Hollywood...ARTISTdirect.com editor and <i>Dolor</i> author Rick Florino re-caps!

    Linkin Park Photos

    • Linkin Park - CLARKSTON, MI - AUGUST 30: Chester Bennington of Linkin Park performs during the Carnivores Tour on August 30, 2014 in Clarkston, United States.
    • Linkin Park - CLARKSTON, MI - AUGUST 30: Mike Shinoda (L) and Chester Bennington of Linkin Park performs during the Carnivores Tour on August 30, 2014 in Clarkston, United States.
    • Linkin Park - CLARKSTON, MI - AUGUST 30: Mike Shinoda of Linkin Park performs during the Carnivores Tour on August 30, 2014 in Clarkston, United States.

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    At one point during "When They Come For Me," an incendiary rager on Linkin Park's A Thousand Suns, Mike Shinoda yells, "Try to catch up, motherfucker!"

    After seeing Linkin Park's A Thousand Suns Laser Light Exhibition last night at The Music Box in Los Angeles, it's clear that motherfuckers have a whole lot of catching up to do. In fact, the experience of seeing the album played in its entirety synced with a mind-bending 3-D laser show truly solidified A Thousand Suns as the rock 'n' roll equivalent of Avatar.

    From the initial countdown, 3D visuals began to converge with the propulsive and powerful new tunes, making for an unforgettable sensory experience. Stars shone in the background while lasers zeroed in on the planet during "Burning in the Skies." Chester Bennington's vocals soared elegantly as the visuals made for a genuine rapture, during the track's final crescendo.

    The set got dreamy during "Robot Boy" and "Waiting for the End," both of which illuminated how intricate A Thousand Suns is. Rob Bourdon's beats bolted down the sonic delirium of Mr. Hahn's perplexingly poignant synths and samples, while Brad Delson's looped riffs swirled in unison to the visual vibrancy popping out of the digital galaxy at the forefront of the stage. Phoenix's bass bounced through "Blackout," as the monstrous cinematic-style heat collided with the sound. "Wretches and Kings," having been recently streamed online, ignited a fiery crowd response with dancing and bobbing and weaving across the floor. The song sounds like M.I.A. meets Nine Inch Nails with its progressively funked-out industrial sheen and syncopated assault. "Iridescent" allowed the audience to sail deeper into space with Linkin Park before landing in the final Tron-ed out marathon that is "The Catalyst."

    During the last track, "The Messenger," the power of A Thousand Suns was at its clearest. All of the lasers zeroed in on an "LP," as Bennington's voice reached heavenly heights with the visuals on a poetic segue out. Applause erupted and all convention was burned away in a haze of lasers, synths, rhymes, beats and lyrical poetry…

    Motherfuckers best get a running start to catch up because Linkin Park have taken rock beyond outer space…

    —Rick Florino
    09.08.10


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