I found "Wake" to be an interesting intro for them. It was much longer and more complex than "Intro" on [REANIMATION] or "Foreword" on "Meteora." Though it's short, I'll keep it since it makes a good introduction.
"Given Up" was the most unlike what I remembered of LiNkiN Park that I'd ever heard by that point. The difference isn't just in their style of writing/recording/mixing, it's also the far more blatant use of profanimaty (which I'm glad they finally started doing.) Finally, they're "cutting-loose!"
"Bleed it Out" is one of the tracks about which I can haz gripe. It's emotionally intense all the way through, but I the first time I heard it, I waited the whole time for it to "kick it in high-gear" with a stronger rhythm guitar sound and heavier drumming, only for that to never happen. It's like waiting for the shoe that never drops. Otherwise I would totally have bought this song.
"Shadow of the Day" trumps "Leave Out All the Rest" in its accepting, releasing and contemplative-ness. I love this song. Lyrically, it has the message of someone enlightened enough to have stepped back from the drama and looked at a situation objectively. It says, "Hey look, I'm done fighting with you and I'm leaving. You can keep on like you do, but it's going to end badly. Either give it up, or wind-up getting-yours in the end. Bye, now." Randomly, something about the guitar solo is just so American. I somehow keep picturing a flag flying on a sunny day when it hits that high octave... Okay, whatever. o.O Good riffs, though. And I love how it gently passes into the next track.
"What I've Done" is all about self-forgiveness. This is part of the completion of the cycle of self-actualization to which I've referred in my review of "Meteora." People grow from lashing out at others and projecting their own faults onto them, to turning their most brutal inquiries inside, accepting responsibility for themselves, then forgiving themselves and being kinder to themselves and others. It's been great to see this manifest in the boys of LP.
"No More Sorrow" is a brutal, heavy song and I love it. I think it was intended to be addressed to politicians, but I find it highly applicable to religion as well and that's what I'm thinking when I hear it. The guitars are crunchy and there's a nice strained, wailing quality about that signature-riff in the beginning.
I'm running out of room here, so I'm just going to finish by saying this is a 4/5-star album for me. Not an instant classic, but generally worth hearing.