Linkin Park's Mike Shinoda says fans should expect something a bit different when the group releases its third album next year. "There is an element to the album that will be familiar to people simply because it's the same guys making the music," he tells Billboard.com. "But at the same time, these guys have grown up quite a bit, and we definitely have a different mind state about making songs.
"Most importantly, we want to make stuff that's hopefully cutting edge and different," he continues. "I feel like we did what we wanted to do with 'Hybrid Theory' and 'Meteora,' and now it's time to step outside the box and try something new."
Shinoda says the band and producer Rick Rubin have narrowed about 100 song ideas down to 18 and will probably trim further before the album is finished. The MC says recording is "going really well" and that working with Rubin is "amazing ... really awesome."
"The thing about Rick that I love is he's unpredictable," Shinoda says. "He'll listen to a song and throw out an idea that seems completely out of nowhere, but it makes a lot of sense and it makes the song better." Shinoda adds that Rubin has steered band members towards recordings by Pink Floyd, Elton John, King Crimson and Emerson, Lake & Palmer as reference points for different emotions and feels for the new songs. "The Moog (synthesizer) has been sitting in the studio since day one," Shinoda says with a laugh.
While Linkin Park continues to work on the album, Shinoda is stepping out for the first-ever gallery showing of his visual art. "Diamonds Spades Hearts Clubs" opens Sunday (Nov. 19) at Gallery 1988 in Los Angeles. The exhibit features 10 paintings he did for "The Rising Tied," the 2005 debut by his side project, Fort Minor, plus other original works and five collaborative paintings with other artists, including Linkin Park DJ Joe Hahn.
"I always wanted to do a gallery show," says Shinoda, who will sign autographs at Sunday's opening reception. "Every single person coming to this thing has no idea what they're walking into. Nobody has seen all this work up at the same time in this way. You may have the Fort Minor album, but seeing a six-inch representation of the artwork is far different than seeing a 24-inch painting on the wall. When you come and see the layers of paint and the real thing in front of you, it'll make more sense."
"Most importantly, we want to make stuff that's hopefully cutting edge and different," he continues. "I feel like we did what we wanted to do with 'Hybrid Theory' and 'Meteora,' and now it's time to step outside the box and try something new."
Shinoda says the band and producer Rick Rubin have narrowed about 100 song ideas down to 18 and will probably trim further before the album is finished. The MC says recording is "going really well" and that working with Rubin is "amazing ... really awesome."
"The thing about Rick that I love is he's unpredictable," Shinoda says. "He'll listen to a song and throw out an idea that seems completely out of nowhere, but it makes a lot of sense and it makes the song better." Shinoda adds that Rubin has steered band members towards recordings by Pink Floyd, Elton John, King Crimson and Emerson, Lake & Palmer as reference points for different emotions and feels for the new songs. "The Moog (synthesizer) has been sitting in the studio since day one," Shinoda says with a laugh.
While Linkin Park continues to work on the album, Shinoda is stepping out for the first-ever gallery showing of his visual art. "Diamonds Spades Hearts Clubs" opens Sunday (Nov. 19) at Gallery 1988 in Los Angeles. The exhibit features 10 paintings he did for "The Rising Tied," the 2005 debut by his side project, Fort Minor, plus other original works and five collaborative paintings with other artists, including Linkin Park DJ Joe Hahn.
"I always wanted to do a gallery show," says Shinoda, who will sign autographs at Sunday's opening reception. "Every single person coming to this thing has no idea what they're walking into. Nobody has seen all this work up at the same time in this way. You may have the Fort Minor album, but seeing a six-inch representation of the artwork is far different than seeing a 24-inch painting on the wall. When you come and see the layers of paint and the real thing in front of you, it'll make more sense."
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