In the past, bands have usually gone for live or unplugged records. For a young band coming off a blockbuster debut, a Project lets it recuperate and stall for time, but it also allows it to (1) prove that the group is, like, so totally still down creatively, and (2) clock some serious next-album dollars before actually having to write next-album songs. It’s not so much an album as it is a capital-P Project, the kind of record that rock stars make when they get caught short of new material between albums. Shinoda is the mastermind here, overseeing the project (along with Linkin Park DJ Joseph “Chairman” Hahn) to turn down the rock vocals, de-emphasize the riffs and cut a host of illustrious underground hip-hop names in on the action. On Reanimation, Linkin Park rework their music from the inside out. Musically and lyrically, “In the End” sums up everything that makes Linkin Park stand out so far ahead of the pack. “In the End,” their biggest and best hit, is really the flip side of Limp Bizkit’s “Nookie,” a breakup song from an embattled young dude who finds out the hard way that nice guys have girl troubles, too, just like the Fred Dursts of the world. Brad Delson’s flash guitar, Mike Shinoda’s low-key rapping and Chester Bennington’s Freddie Mercury-has-risen-from-the-grave vocals fuse into intensely emotional songs of teen angst. Nobody ever accused them of having the most original sound around, but what sets them apart is how they shape all their heavy influences into something fresh and tuneful. But Linkin Park’s remix album is something new, just because they’re the biggest band ever to try this shit, with the best-selling album of 2001, Hybrid Theory, still riding high on the charts and the radio.

hoodie rockers didn’t invent the idea of a rap-metal band dabbling in hip-hop remixes any more than Puffy invented marketing, Martha Stewart invented insider trading or Shakira invented the midriff. Linkin Park: they invented the remix! Well, not exactly - these gazillion-selling L.A.

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