On their seventh outing, Linkin Park have veered so far off-course from their nu-metal, alternative rock roots that the band are almost unrecognisable, save for lead singer Chester Bennington's distinctive vocals.
The 10-track album is more pop than rock and makes one wonder: Where is the angst and aggression? Where are the power chords that made Linkin Park the Diamond-selling, chart-topping band of 2000? The edge, angst and energy of the past have all but evaporated into a mass of insipid, forgettable pop songs.
Halfway Right, with Bennington on lead vocals, is an uninspired, bland number and I wish he would scream the line, "I scream at myself when there's nobody else to fight", instead of giving it the limp delivery he does.
Rapper and co-vocalist Mike Shinoda's quickfire raps and clever lyrical play are gone. He sings on tracks including Sorry For Now. Lyrically, it is a regret-filled song by an absent father ("Oh I'll be sorry for now, that I couldn't be around/There will be a day, that you will understand"), but the inexplicable electronic touches make for an upbeat, Sam Willows-type pop song instead.
Good Goodbye is perhaps the only saving grace and this is only thanks to guest vocals from rappers Pusha T and Stormzy, adding some much needed punch.
Sure, bands' sounds evolve over the years. But some transition better than others - British rock trio Muse, for example, have experimented with electronic elements in their music, but have kept to their DNA of operatic build-ups and blistering guitar solos.
While One More Light might push Linkin Park's personal boundaries, it might also end up pushing die-hard fans away.