Regarding those weird names – I don’t actually know. In other songs, he simply re-cuts his verse with a different flow and emphasis, like in “PLC.4 Mie Hæd” and “PPR:Kut.”
Shinoda in particular was not averse to redoing his verses completely, with “Enth E Nd” and “Frgt/10” being the most striking examples. Though a majority of the songs use the original vocal tracks while trashing the regular beats, the album’s extensive feature list transforms many of the songs completely, which also spurred Shinoda and singer Chester Bennington to completely re-record many of their own vocals to match the new arrangements. The end result is an album that feels like a standalone project, instead of an extra batch of promotion for an album that had already become a disgustingly fast seller in the music world. Compared to Hybrid Theory, Reanimation‘s track list is significantly jumbled up, beginning with a remix for “Points of Authority” ( Hybrid Theory’s fourth track) and ending with “Crawling” ( Hybrid Theory‘s fifth), with transitional tracks, an entirely new composition, and remixes for Hybrid Theory b-sides “My December” and “High Voltage” thrown in as well. It’s got a feeling of grandiosity to it right from the start, with “Opening” being driven by a violin and cello arrangement that makes the listener feel that what they’re listening to is a big deal. Reanimation is much more than just a straight remix album. They reached out to a surprisingly wide variety of artists from several genres that Linkin Park themselves were attached to, recorded those parts remotely, and then brought it back to the tour bus to compile. Most of it was put together during the band’s 2001 Hybrid Theory tour, with members Mike Shinoda and Joe Hahn working on the new beats in the back of their tour bus, where some of Meteora was also recorded. The album came two years after Linkin Park’s chart-conquering debut, not the follow-up that anyone expected (that would come in 2003), but rather a stopgap album to keep fans satiated while the finishing touches were put on 2003’s Meteora.
I hadn’t delved into the music world when Linkin Park released Reanimation in 2002. They could be so far-removed from the original work that they take on a life of their own, standing in an artist’s discography as a separate, nearly independent entity. They could be nothing more than promotional tools for the artist, the original songs with electronica-inspired beats shittily thrown under them. There’s no established formula for remix albums – they could be companion albums to their “original” works. The idea of the remix album has been tackled in various forms over the course of pop music’s history.
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