If you’re reading this, then you probably don’t need any more than a potted history of the last seven years in the history of the US rock-behemoths Linkin Park.
They became one of the biggest bands on the planet, then one of their singers sadly committed suicide (Chester Bennington), what followed was understandable radio silence, interrupted temporarily by a solo album from the other vocalist, (Mike Shinoda, whose heart really didn’t seem into that record), but then there’s murmurings of a reunion, talk of a hunt for a new vocalist, and then the grand return with the aforementioned new singer announced.
However, social media then erupts in its usual faux outrage as Emily Armstrong has to audacity to be female.
So, it soon felt that it went from the second most-awaited musical reunion of the year, it now feels like there’s people just waiting and wishing them to fail.
So here we are with From Zero, their response.
There’s a weird short intro then we’re straight into the big comeback single, ‘The Emptiness Machine’, which has all the traits of the old LP and could have been off any of their previous albums. ‘Cut The Bridge’ is a catchy stomper before the previously released Faint-aping ‘Heavy Is The Crown’ and ‘Over Each Other’ keep up the frantic pace, telling though it is that it has taken until this third single before they showcased Armstrong as the main vocalist on a track.
The first half fizzles out somewhat with the try-too-hard ‘Casualty’, which sounds like something they messed about with in the studio, but somehow made it on the album, but at least it ends the run of back-to-basic tracks that have seemingly been front-loaded to ensure they are playing it very safe as to somehow not further enrage the fanbase.
It’s then as if they take a collective deep breath before the second half as there’s a real sense that they have now taken themselves outside of their self imposed comfort zone, starting with the sparse, almost industrial ‘Overflow’ before ‘Two Faced ‘ sees some trademark Shinoda rapping over some trademark scratching, but without the sensation of past glories, more future ones to come.
‘IGYEIH’ is the highlight, with Armstrong sagely announcing that “I’m not the enemy, you make me out to be” an apt message for whoever is listening, before closing out with the sombre ‘Good Things Go’.
For album that has been so long in the making to such an expectant audience, it does feel a bit lightweight with the whole thing clocking in at around 30 minutes, but maybe we are just getting used to the more overblown album these days, and it works as both a statement of intent of their future and an olive branch to the haters, full of short, sharp shocks.
The elephant in the room is how the older fanbase will accept (or not) Armstrong’s vocal changing the sound, but the spirit is still as noticeable in the other parts of the outfit, and it’s an easy transition.
If you’re still reading this, then you should love it, but there’s an overriding feeling that it’s the next album will be the acid test to how (and if) the new line up will survive and thrive. But for now, just enjoy the fact that they have made it back.
