Rating: 4/5
Linkin Park makes its triumphant return with From Zero, proving naysayers wrong and launching the band into a new era.
When nu metal mainstay Linkin Park announced their return to music seven years after the suicide of lead singer Chester Bennington, controversy arose. With new singer Emily Armstrong at the helm beside Mike Shinoda, many were worried that a return would disrespect Bennington’s legacy.
On Nov. 15, however, the band released their eighth studio album, the first since One More Light in 2017. From Zero is no magnum opus, but it is an exciting return for Linkin Park, especially as they kick off a world tour beginning in December. While I have my qualms, I like a whole lot of this album.
Hearing Linkin Park’s chainsaw-ripping sound returning in a new album is wondrous; From Zero shows that this band has kept the ability to consistently reach unmatched highs. Some of my favourite songs feature this hardcore sound, and coincidentally most of these songs are the previously released singles.
“Heavy is the Crown” is the best song on this album, lyrically interesting and confidently dramatic, combining playful instrumentals with an increasingly aggressive chorus. “Two Faced” is also hard, with Meteora-style, alternative sounds and an aggressive breakdown paying homage to “One Step Closer.” The song’s ending highlights the almost psychotic timbre Armstrong can achieve with her screaming, which works well in most cases, especially here. “Emptiness Machine” acts primarily as an introduction to Armstrong’s role in the band but continues to be high-energy and poignant, even if it feels a bit short and almost formulaic on repeat listens.
“Cut the Bridge” is a thumping anthem that will surely make audiences chant their hearts out, but while “IGYEIH” starts off strong, Armstrong’s visceral, repetitive screaming of “From now on I don’t need you” feels excessive and disjointed. Similarly, in “Casualty,” we get a gruffer tone of singing from Shinoda that falls flat amidst Armstrong’s fully embodied verses.
In fact, Shinoda doesn’t shine all that much in From Zero. His rhythmic singing compliments Armstrong’s heavier tone and even her more melodic sections — more on that in a moment — but I wish we got to see more of his rapping. To me, this is a staple of Linkin Park, especially in their early albums but even in their more traditionally rock albums, like Minutes to Midnight and The Hunting Party. Anyone can sing, but the hip hop element that Shinoda brought to the table was part of what made Linkin Park truly special, especially when paired with Bennington’s visceral voice.
I think the same pairing would still apply for Shinoda and Armstrong, but I can understand why Shinoda takes a bit of a backseat role here. From Zero needed to establish her as a worthy successor to Bennington, and if Shinoda took the spotlight from her, fans would likely question why they needed to bring her on at all.
This focus on Armstrong largely works to their benefit, especially in the songs I’ve mentioned, but in some cases it doesn’t. “Over Each Other” is a good song and highlights Armstrong’s melodic capabilities, but it doesn’t fit into this album. The depth is there, but the tone presents a disjunct between the intense “Heavy Is the Crown” and “Casualty.” I usually skip it, even if it stands as an impressive piece on its own. The better focus on Armstrong is “IGYEIH,” but even that isn’t a perfect song.
Similarly, there are better versions of the Linkin Park’s poignant, lyrical style on From Zero, namely “Overflow,” “Stained” and “Good Things Go.” Each of these songs play with sound in interesting and incredibly atmospheric ways, demonstrating Armstrong’s ability to sing without screaming while still feeling inherently like Linkin Park.
From Zero is a brilliant return for the band, even with its flaws. You can tell Armstrong and Shinoda are still figuring out their lyrical rapport, but this is bound to happen with a band as prominent as Linkin Park. What From Zero makes clear is that Armstrong is a great fit, with the potential to bring the band to new highs as they continue to work and grow together.
Anyone who says that Armstrong doesn’t work here is kidding themselves. Her voice is different than Bennington’s, but her timbre and range make her a worthy successor, with the capability to bring something new to the band.
Some fans are upset, saying From Zero doesn’t sound like Linkin Park, but those fans are wrong; Linkin Park has never just been one sound. One More Light and A Thousand Suns don’t sound like Hybrid Theory or Meteora, but they still embody the energy and weight of this excellent band. Linkin Park’s catalogue of songs is complicated and varied, the result of constant experimentation and growth.
While From Zero hearkens back to early Linkin Park sounds in order to connect itself with its own canon, it does experiment with new ideas, something I hope the band continues to do as they produce new music.
Linkin Park’s announced return was a spark of excitement, and From Zero has nurtured that spark into a steadily burning flame. Even if the new band has a few things to learn going forward, From Zero marks the start of a new chapter for Linkin Park.
Chester Bennington can never be replaced, but Emily Armstrong is proving that Linkin Park still has a future without him.