“You heard this yet?” Kellie says, holding up a copy of the new Linkin Park.
“Not yet,” I say. “I was leaving it til after exams because I knew I’d analyse it obsessively.”
She smiles, for she understands.
I slam the door of her new Audi, admiring the interior.
She slips the CD into the drive.
It’s dark as we zip along the motorway. The steely exterior of the car glints in the moonlight. She turns the stereo up, for we both know a long drive is the best way of listening to new music.
I lean back.
It opens with beautiful guitars. It is not very Linkin Park. It is, if everything were stripped away, a ballad. The rap starts earlier than I expect. It makes me listen to the urgency of what he is saying.
I listen intently for a few moments, staring into my lap.
I smile at the lyrics. It’s about song writing, the importance of music, politics, war, all in one, and how similar those messages are. Messages of unity, realism, opening people’s eyes.
The swear words are perfectly placed. They punctuate the verses with their bite.
Verse one ends and the chorus, which is almost instrumental, slows it down, with almost choral singing standing melodic against the background of the structured rap.
In verse two the rhythm is syncopated; the words fill in the gaps rather than falling directly on the beat. He begins to use shorter words, bike, fuck, bus, and they shock and pierce the fabric of the smooth rap.
He talks about the war, Bush, Iraq. I feel goosebumps all over my skin. He articulates my political views so perfectly, using a couple of verses and a drumbeat.
How these words must unite people.
The track ends and I am almost breathless, not yet ready to commit to a new song.
If only music really did unite people in this way.
HandsHeldHigh.m4a