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Linkin Park is a band that needs no introduction.
A behemoth of the alternative and nu-metal scene, they are arguably one of the biggest bands of the 21st century. Their music has not only won multiple awards, but many tracks also shine a spotlight on mental health issues and personal problems and social issues.
When lead singer Chester Bennington passed away in 2017, the band announced a hiatus that many fans thought would be the end of their discography. It wasn’t until seven years later, this September, that Linkin Park reformed. Now with Emily Armstrong taking up the vocalist mantle, and Colin Brittain replacing drummer Rob Bourdon.
Armstrong, previously most known as lead singer and rhythm guitarist of rock band Dead Sara, has taken to the project with passion. Though both she and the band have made a point to state that her inclusion, and the band's return to music, is not an attempt to replace Bennington. Just a collaboration formed naturally over time. The reception from fans has been mostly positive, with many just happy to hear from the band again. Though some have doubted the decision.
Announced alongside this lineup change was ‘From Zero’. The first project to come out of the new Linkin Park lineup and, as a result, an album with a point to prove. The response to this release would shape if fans continued to support the band, or if the loss of their lead singer was too much to overcome.
‘From Zero’ opens with a re-introduction. We hear Armstrong saying “from zero, like from nothing?” before cutting into ‘The Emptiness Machine’. The album and introduction are an intentional reference by co-lead vocalist and rapper of the group Mike Shinoda to a previous project before Linkin Park.
In an interview Shinoda stated, “Before Linkin Park, our first band name was Xero…Sonically and emotionally, it is about past, present, and future—embracing our signature sound, but new and full of life.”
The use of voice messages to open the album, and between songs such as in the outro of ‘Over Each Other’ and ‘Two Faced’ also adds a casual conversational tone to the production of the tracks that just feels fun.
As the first real song on the album ‘The Emptiness Machine’ has a lot to carry, and yet it packs a confident punch. Between Shinoda and Amrstrong’s vocals, the familiar quintessentially Linkin Park sound, and the rest of the band’s ability to create a strong soundscape it’s a song that makes you want to scream along with the lyrics:
The song is a cry to action, and one of the strongest on the album.
The next track, ‘Cut the Bridge’ is equally engaging, though the bits that stand out the most are the full-band backing vocals and Shinoda’s segments. The chorus, while good, is not the most interesting area compared to other tracks that utilise Armstrong’s voice better. Still ‘Cut the Bridge’ feels cohesive. It’s a decent segway between ‘The Emptiness Machine’ and ‘Heavy is the Crown’.
‘Heavy is the Crown’ is another of the strongest tracks on the album. It definitely feels like one of the most classically-Linkin Park songs on the project between the rap, screaming and strong instrumental backing. If anything the only room for improvement would be bringing the screaming in earlier, instead of getting through two choruses first, as the song notably improves after the drop.
‘Heavy is the Crown’ has also been included in the Arcane Season 2 soundtrack, and was allegedly inspired by the character of Caitlyn Kiramman. The track was also chosen as the official anthem of the 2024 League of Legends World Championship, and performed at the Finals Opening Ceremony. Watching clips of the performance, it’s clear to see why. The song sounds electric in a live performance setting.
‘Over Each Other’ is by comparison a more melancholy track, with a stronger focus on Armstong’s vocals compared to the previous three tracks in a way that makes you appreciate the notable subduedness of the rest of the band. This centralising of Arsmtrong’s vocals allows the narrative to take centre stage, a passionate reflection on a toxic relationship.
‘Casualty’ immediately breaks this sombre tone by bringing back the drums; the introduction of Colin Brittain can really be felt here alongside the contributions of DJ Joe Hahn, lead guitarist Brad Delson and bassist Dave Farrel. There is not much to add, it’s a good song to scream to, more suited to a pit than a regular playlist. Given its placement in the overall album, it feels more like an interlude than a stand-alone track.
‘Overflow’, oddly enough, feels like it would also do well on the Arcane soundtrack.
Again, the tone is reflective, sandwiching the screaming of ‘Casualty’ between two of the most softer tracks of the album in a way that feels almost cathartic. With lyrics such as ”Turnin' from a whitе sky /To a black hole /Turnin' from the sunlight / To a shadow / I know I can't make it stop / I know I'm out of control” the song feels like it would not be out of place on several of their older albums.
‘Two Faced’ is another song that feels familiar, despite being brand new, with direct references to ‘One Step Closer’ in the line “That's when I figured out where it led /
Beginnin' to realise that you put me over the edge”. The band feels completely in sync in a way that just works, even down to the voice message at the end of “we’re all on the same page right now”.
‘Stained’ in comparison is unremarkable compared to the rest of the album. There’s nothing wrong with it, but not much right either. While ‘IGYEIH’ or 'I Gave You Everything I Have' feels a lot stronger, sonically and due to its ties to the rest of the discography. Opening with a sample of ‘Step Up’ from ‘Hybrid Theory’, and making references to ‘In The End’ through the clock imagery. The range within the track alone is impressive.
Finally, ‘From Zero’ ends on ‘Good Things Go’. As a parting track this is more reflective, hinting on themes of grief and regret while talking about isolation and depression. The sombreness of this track, combined with the two vocal leads sharing the chorus, feels correct. And ends the project on a collaborative note that ties into the emotional struggles of the band’s renewal without feeling contrived or inappropriate.
It ends with:
”Only you could save me from my lack of self-control / And I won't make excuses for the pain I caused us both / So thank you for always standing by me even though / Sometimes bad things take the place where good things go.”
If ‘From Zero’ sets the path for the band's future, then the Linkin Park legacy is in good hands.
While not every track is an instant hit, there is a clear foundation and a definite through line between ‘From Zero’ and classics such as ‘Hybrid Theory’, ‘Minutes to Midnight’ and ‘Meteora’. It’s a strong return to form for the band, with a few immediate new favourites, despite the occasional rough edges.
Words: Q Cummins
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