Mike Shinoda is concerned about the state of rock music in 2014 but what is he going to do about it? Not content to write music for radio he urges guitarist and fellow band mate Bard Nelson to channel his inner adolescent in his playing. So began the process that would ultimately lead to Linkin Park’s latest studio effort, ‘The Hunting Party’.

The nu-metal veterans are to be applauded for their constant reinvention and refusal to cash in on their legacy. While most nostalgic fans might disagree, had the band continued in the direction laid out in their first two albums they would have faded into irrelevance long ago. But they’ve kept it fresh. Heavier than anything they have released to date, ‘The Hunting Party’ represents a dramatic shift away from the electronica that characterized their previous two albums. Inspired by the raw energy output from Brad Nelson, the rest of the band followed suit and have crafted a monstrously aggressive follow up to 2012’s more polished ‘Living Things’.

Opening with chaotic guitar feedback, thundering drums and a tremendous growl from lead singer Chester Bennington, Keys to the Kingdom well and truly sets the tone. As can be seen elsewhere on the album the energy modulates from vein-on-the-forehead aggression to a more benign melodic verse, in this case by Mike Shinoda.

This challenging blend of musical volatility usually works where it is present but Linkin Park are still not beyond their fatal flaw: crafting songs from the same mould. For example, Guilty All The Same sounds like the band revisiting those bygone garage days with a tone so raw you feel like you’re listening to a pre-‘Hybrid Theory’ demo tape. This gem is later devalued by Wasteland. Starting with a promising rap from Shinoda, it defies all originality and opts for a chorus that could well be a carbon copy of Guilty All The Same.

However, this pitfall is avoided on some of the albums more promising tracks including All For Nothing, Mark The Graves and Rebellion, all of which have that special something that separates them from the more predictable, and ultimately disappointing, moments on the record. Until It’s Gone has received the full traditional Linkin Park treatment but is saved from obvious comparisons to previous singles by the tremendously powerful drumming of Rob Bourdon.

The band is to be admired for its musical self-awareness and desire to follow its own creative path, irrespective of trends. Four of their six albums can be considered experimental in relation to the album that preceded it. This album is no different. This reconnection with their roots has set off a spark within them and there is no questioning the passion that is driving their performances on this record.

The issues only arise when the band chooses to rely on worn out templates for song structure. They have spent most of their career experimenting and have created some of their best work with this as their driving force. While ‘The Hunting Party’ ticks a lot of boxes, it ultimately falls short of greatness because of its occasional reliance on old tricks.