26 Songs, 1 Hour, 14 Minutes

EDITORS’ NOTES

This album is Mastered for iTunes. Upon learning that they would score the soundtrack to a film from the good folks who brought us Crouching Tiger, Hidden Dragon and Kung Fu Hustle, Mike Shinoda and Joseph Trapanese must have known they had their work cut out for them. The music they’ve created for The Raid: Redemption fits the story as snugly as body armor, contrasting watercolored serenity with a hyper-tense cold sweat. The opening “Prayers” sets the tone with light piano notes played over an ascending ambient pulse, before the anxiety-building “Gear Up” perfectly punctuates the protagonist’s preparation for battle. The brooding drones and industrial beats give “The Arrival” a dark beauty, akin to Vangelis’ bar-raising score for 1982’s Blade Runner. The tension comes to an apex with “We Have Company,” nearly five minutes of hard-pulsing dubstep replete with a low-wobbling bass that booms like shifting tectonic plates. The soundtrack bookends with Chino Moreno’s mechanized ballad “Razors.Out” bleeding into Get Busy Committee’s hip-hop dirge “Suicide Music.”

EDITORS’ NOTES

This album is Mastered for iTunes. Upon learning that they would score the soundtrack to a film from the good folks who brought us Crouching Tiger, Hidden Dragon and Kung Fu Hustle, Mike Shinoda and Joseph Trapanese must have known they had their work cut out for them. The music they’ve created for The Raid: Redemption fits the story as snugly as body armor, contrasting watercolored serenity with a hyper-tense cold sweat. The opening “Prayers” sets the tone with light piano notes played over an ascending ambient pulse, before the anxiety-building “Gear Up” perfectly punctuates the protagonist’s preparation for battle. The brooding drones and industrial beats give “The Arrival” a dark beauty, akin to Vangelis’ bar-raising score for 1982’s Blade Runner. The tension comes to an apex with “We Have Company,” nearly five minutes of hard-pulsing dubstep replete with a low-wobbling bass that booms like shifting tectonic plates. The soundtrack bookends with Chino Moreno’s mechanized ballad “Razors.Out” bleeding into Get Busy Committee’s hip-hop dirge “Suicide Music.”

TITLE TIME
1:44
3:58
1:55
4:51
1:45
0:47
4:22
6:19
3:09
2:27
2:32
1:49
4:37
1:15
1:17
1:02
0:32
2:56
2:28
1:01
3:45
2:34
7:05
2:20
4:34
3:44

About Mike Shinoda

As co-vocalist of rap-metal outfit Linkin Park -- owning the rapping skills to balance out Chester Bennington's tortured, emotional wail -- Mike Shinoda became one of the more recognizable faces of the nu metal scene in the early 2000s. Shinoda was born on February 11, 1977, as Michael Kenji Shinoda, and raised with his younger brother Jason in the Los Angeles suburb of Agoura Hills, California. He loved to paint and studied classical piano as a kid, eventually branching out into jazz and hip-hop, and picking up the guitar. He became friends with guitarist Brad Delson in junior high, and started the band Xero with him and another schoolmate, drummer Rob Bourdon, while in high school (the same school attended by members of Hoobastank). Following graduation, and still performing with Xero, Shinoda enrolled at Pasadena's Art Center College of Design to study graphic design and illustration. While there, he met fellow aspiring artist and musician DJ Joseph Hahn and the two struck up a friendship; Hahn eventually joined Xero on the turntables, as did Delson's college roommate, bassist Dave "Phoenix" Farrell. Shinoda graduated from art school and took a job as a graphic designer, while Xero continued to gig around the Los Angeles area; the band eventually became known as Linkin Park with the final addition of co-vocalist and Arizona transplant Chester Bennington in 1999.

The group signed to Warner Bros. soon after, and released its multi-platinum-selling debut album, Hybrid Theory, the following year. Shinoda managed to integrate his artistic background into his main gig with Linkin Park by designing the band's album artwork with Hahn and actively having a hand in much of the group's mixing, production, and other technical aspects. In addition to his work with Linkin Park, Shinoda also has production and remix credits for acts like the X-Ecutioners, Handsome Boy Modeling School, Lupe Fiasco, and Depeche Mode. He also started up a side project in 2004 dubbed Fort Minor, which allowed him to concentrate more on the hip-hop side of things, though he still blended rap with his love of rock and electronics. Fort Minor's debut album, The Rising Tied, was released in November 2005, and featured executive production by Jay-Z, who had previously worked with Shinoda and Linkin Park on the 2004 mash-up album Collision Course. The Rising Tied was a true labor of love, and Shinoda played almost every instrument on the album in addition to all of its programming and sequencing. Of course, Shinoda had to eventually return to his first priority, and in the following decade, Linkin Park released five albums (including a remix LP in 2013). On the side, he continued to develop his scoring abilities, collaborating with Ramin Djawadi (Game of Thrones theme) on the soundtrack to the Medal of Honor: Warfighter video game, and composing and producing the score for 2011's Indonesian martial arts spectacle Raid: Redemption with Joseph Trapanese (Straight Outta Compton, Insurgent, TRON). He also worked on 2014's Mall soundtrack, which was directed by DJ Hahn and contained songs by Shinoda and the guys from Linkin Park. In 2015, Shinoda contributed the theme music for the television show Into the Badlands and released "Welcome," the first Fort Minor output in a decade. ~ Corey Apar

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