Song must contain sung/screamed/rapped vocals, must be a track on standard edition of a studio album

Buildups and payoffs are fundamental to art for me, and musically this is one of my favorites ever.

Literally only bad thing about this track is that it isn't the Rock am Ring 2007 performance.

The energy makes me feel like I could fistfight a panther.

The chord progression in the chorus is so simple but I love it.

I don't know if I've ever identified with the lyrics, but the delivery speaks to something so incredibly primal.

Chester soars at the end and it's magic.

An absolute monster of a comeback single.

That flute loop is still one of the sickest things I've ever heard in my life.

Is it the longest scream in music? No. Is it the most cathartic? Probably.

This song makes me want to seize the means of production.

It's like if "Little Things" was on A Thousand Suns.

This remains one of the most anthemic songs I've ever heard.

This song has only become more of an emotional trigger over the years.

Brad really flexed his creative muscles on this album, and Rob's primal drums underpin the track so well.

This song was built to open pits.

Lots of Hybrid Theory tracks (especially this one) improve with live tweaks, so the originals sometimes feel slight.

Rob's drum work in the last minute does a lot more for the song than I think people realize.

Rakim makes being one of the best sound easy.

Proof that Emily doesn't need to fill any shoes because she brought her own--and they're steel toe boots.

Beautiful vocal work from both guys.

The added percussion gives this track such a unique feel.

"Battle Axe" is right.

The way the vocals progress from Mike solo, through layers of interplay, and into Chester solo doesn't get enough credit.

As angry as it seems, the music video just makes it a ton of fun.

There are few songs in their discography I relate to more on a lyrical level.

Joe nails the intro so hard.

Claustrophobic in the best way.

Some of my favorite songs are the most minimal. Mike's voice is so honest here.

The distortion on Chester's voice is delicious.

One of the best of their more ballad-y tracks.

I love how the solo lets the song unwind from its more traditional front half.

Chester's screams are so grimy and I love it.

This song had to walk so the remix could gut punch your mother.

There's something very Kurt Cobain about the outro that I love.

This song is always better than I remember.

Chester knew how to punch up a finale like few others.

I don't know what they used to make Chester sound like a buzz saw, but more please.

Chester's bridge and chorus are so powerful they make Mike's verses feel almost unnecessary.

Really beautiful, and I love the way it keeps building.

Chester's wispy backing vocals during the pre-chorus are really lovely.

Chester sounds almost small in the verses, which works well thematically.

Cocky Mike rap verses never get old.

Well-composed but overplayed.

It's cool hearing how Chester adds grit to his voice in a really measured way over the course of several lines.

Mike's singing has gotten way stronger over the years.

It could have been really cheesy, but Chester nails the delivery.

I'm glad Emily has her own song on the album, and it's a more hopeful message than a lot of their discography.

Chester's bright vocals on this are really a delight.

The breakdown does a lot for this song.

The screaming of the single word "powerless" is really haunting.

The aggression in Mike's voice is surprising and fun.

The greyest song they ever wrote, in a good way.

That "oo-waa" sample deserves a medal.

Converse to "Somewhere I Belong", I find Mike's verses a lot more interesting than what Chester is doing.

Chester's wordless vocals at the end remind me of Pearl Jam's "Jeremy".

Brad's vocals are a really nice contrast to Mike's ill verses.

The phrase "climbing through tomorrow" basically makes the song for me.

I enjoy the experimental sound here, but I don't know if I'd seek it out on its own.

Cody B. Ware's verse on the remix is bonkers, so the original feels a bit slight.

That intro groove is stellar.

Joe's atmospheric work here is really phenomenal.

The urban imagery in the verses feels very "Mike" to me.

A song that I feel works way better in context than on its own.

This song first felt like a big step back from A Thousand Suns, but it grew on me.

Daron Malakian's guitar work is so iconic.

"Leave Out All the Rest"'s less interesting sibling.

I mean, it got me to listen to more Kiiara.

A surprising epilogue track, but definitely unique.

Ironically, I feel like Mike's great verses get lost in the mix a little.

Mike's verses are fun, but this is sort of a filler track overall for me.

The turn in the final chorus is nice.

Some good attitude on this one.

It got flak for being earnest, but they could have just said nothing.

Probably the most uninteresting moment of the album, but still catchy.

Kind of cheesy, but not awful.

I love hearing the count at the start.

Another showcase of Mike's vocals, but less interesting to me.

The punk influence doesn't do it for me on this one.

Probably the least adventurous song on The Hunting Party.

It's just kind of "there".

One of the few songs where I don't really know what they were going for.

I like Chester's openness with substance use, but as a song it doesn't click for me.