elite moments marred by a few blips

Seven years on from Chester Bennington’s tragic death, the mere existence of a new Linkin Park album feels surreal – even having had two months for the news to sink in. For some fans, it’s simply magical to have them back – now helmed by vocalist Emily Armstrong and new drummer Colin Brittain.

Although Armstrong’s introduction to the band was mired with controversy due to her former ties to convicted rapist Danny Masterson (which she promptly addressed) and Scientology, her impeccable vocals on comeback single ‘The Emptiness Machine’ immediately proved that she’s up to the task: spearheading the band’s new chapter and serving as the vehicle for this legendary, much-loved live act to persist.

Deservedly the biggest rock song of 2024, it builds with scintillating tension as Mike Shinoda’s soul-baring vocals usher in their thick, signature wall of sound – before Armstrong flexes her muscles. Shinoda sounds invigorated on ‘Heavy Is The Crown’ (“Waving that sword when the pen won’t miss”), which harkens back to the raw precision of ‘Faint’, while the glorious stadium pop-rock of ‘Over Each Other’ hits like the emotional behemoths that Bring Me The Horizon have been whipping up in recent years.

Three safe, heavyweight singles are backed up by a confusingly hit-and-miss album. ‘Cut The Bridge’ is underwhelming and structurally abrupt – including a marching chorus which demands to be hit harder – while Shinoda’s flow is uncharacteristically lethargic during the bridge (which they, ironically, should have cut). Dark-pop cut ‘Overflow’ feels like a leftover from 2017’s weak ‘One More Light’ – which might sound more natural with 808s over its robotic verse – but Armstrong’s haunting delivery recovers its dystopian chorus.

‘Two Faced’, meanwhile, stakes its claim for the band’s best riff since ‘One Step Closer’, as those signature turntable scratches pierce through the bridge and Armstrong momentarily morphs into Korn’s croaky Jonathan Davis (“I can’t hear myself think”). ‘IGYEIH’ seems to affirm that no one executes this classic style better than Linkin Park, but the cringeworthy ‘Casualty’ forces out cheap heaviness for heaviness’ sake, complete with a lazy riff and tinny snare production. That’s not to mention Shinoda’s horrible growls, unintentionally living up to the lyrics: “Put through the paces / But I got left behind.”

Crucially, ‘From Zero’ must be viewed as a reset, exemplified by its title which pays homage to the band’s former name: Xero. Therefore, any inevitable comparisons to their largely masterful discography must bear in mind the place from which ‘From Zero’ was born: an organic desire from Brad Delson, Dave Farrell, Joe Hahn and Shinoda to create together as Linkin Park once more. The global rock scene is surely a better place when Linkin Park are in it, and the elite moments on ‘From Zero’ – despite its shortcomings – confirm why.