“From Zero” is Linkin Park’s first album since the tragic passing of their lead vocalist Chester Bennington. While it doesn’t venture far sonically from their established discography, the introduction of Emily Armstrong as the new lead singer injects a blend of excitement and familiarity. With a gritty growl that stands in parallel to Linkin Park’s stadium-rock sound, Armstrong’s appearance results in a fascinating mashup, where the band’s sonic traditions — electronic flourishes, thunderous riffs and heartfelt hooks — collide with the raw energy of a female lead who’s unafraid to experiment alongside them.
The opening track, “The Emptiness Machine” sets the tone with its driving guitars and pounding rhythm section, creating the kind of anthemic sound Linkin Park has always excelled at. Armstrong’s voice is a standout here — gritty and commanding, but never overwhelming the instrumentation. Her delivery, particularly in the chorus, brings a natural energy that meshes well with Mike Shinoda’s rap verses, creating a dynamic exchange that feels organic and powerful.
However, not every experiment sticks. “Cut the Bridge” is one of those tracks that feels like it’s going through the motions. The looping hook, while catchy in theory, grows tiresome by the second chorus, and the production doesn’t do much to elevate it. Armstrong does her best to inject some life into the song, but even her grit can’t disguise its lack of direction. “Hidden, you’re wrapped around my neck just like a tentacle / Actin’ like the truth and your opinion are identical,” Shinoda raps, but the lyrics, paired with a string-heavy backdrop, come off as oddly theatrical, creating this discount Hamilton vibe that feels out of place.
Thankfully, the album picks up again with “Heavy Is the Crown,” a track that leans into the band’s heavier roots. As the guitars hit harder, the rhythm is tighter and Armstrong absolutely shines brighter. Her vocal performance is sharp and full of intensity, delivering lyrics with a force that demands attention. “This is what you asked for, heavy is the crown / Fire in the sunrise, ashes rainin’ down,” she sings, almost as if addressing the weight of Bennington’s legacy. It’s a standout moment that balances power and emotion, as she strives to prove her legitimacy as the band’s new vocalist to fans and critics alike.
In contrast, “Overflow” slows things down and offers a quieter, more reflective side of the album. With some Radiohead-esque electronic chords as backing, Armstrong’s voice softens here, blending with the mellow production to create a hauntingly beautiful track. The song gradually builds toward an ethereal crescendo, with layers of synth and subtle percussion adding a sense of movement without overwhelming the track’s delicate core, allowing the vocals to remain the emotional anchor while creating a soundscape that feels both intimate and expansive.
The album reaches its peak when it strips down to its rawest elements: Armstrong’s commanding growl, Shinoda’s sharp verses and crushing guitar riffs that link back to Linkin Park’s heaviest moments. Tracks like “Two Faced,“ “Casualty” and “IGYEIH” embody this dynamic perfectly. “Two Faced” is a standout, with its driving rhythm and Armstrong’s biting delivery towards the end, while “Casualty” is an energetic anthem with a relentless metal riff, Shinoda’s rapid-fire bars and his gritty, aggressive shouting, too. Meanwhile, “IGYEIH” takes a more atmospheric approach, balancing haunting melodies with moments of explosive release. The insanely catchy Shinoda pre-chorus “And the clock keeps tickin’ / the rules aren’t written” complements a well-written, powerful Armstrong chorus. Together, these tracks highlight why this iteration of Linkin Park still has plenty of fire left, combining old-school grit with a renewed energy.
The rest of the tracks are a mixed bag. “Over Each Other” and “Stained” both serve as power ballad tracks, with pop-oriented production styles that come across as safe rather than bold. While the melodies are pleasant, both of these tracks are too generically “Linkin Park” to stick in the same way as the album’s stronger moments, making it feel more like filler. Similarly, “Good Things Go,” the closing track, delivers a reflective and subdued finish, but its understated production and chord progression lack the punch or memorability needed to leave a lasting impression. While these songs aren’t without merit, they don’t quite reach the emotional or sonic heights set by the album’s standout moments.
In conclusion, while “From Zero” isn’t a radical departure for Linkin Park, it doesn’t need to be. With Armstrong stepping into the spotlight, the band finds a way to keep their sound fresh without abandoning what made them iconic in the first place. It’s an album that leans on familiarity while letting Armstrong’s voice push just enough boundaries to feel new. This album can be rated a solid 7/10.
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Album cover courtesy of Warner Records
