FOR a band whose songs were anthems for angsty teenagers back in the 90s, From Zero is an album that was supposed to give Linkin Park the grand entry that it deserved into mainstream music after going radio silent for a decade.
A seminal debut with Hybrid Theory in 2000, Linkin Park was not shy in announcing its banging arrival to the nu-metal and rock scene. The band then released a statement album Meteora that gave it its “innovative” quality.
The band then went on to release One More Light in 2017, its seventh studio album, before going into an indefinite hiatus after the untimely passing of frontman Chester Bennington.
With a discography that spans two decades, the band enjoyed a successful career, earning its place in mainstream media for the nu-metal genre. However, like any popular music act, Linkin Park was not without its critics.
The quality that made the band had its fans at odds for constantly experimenting with its sound instead of showcasing a steady evolution.
Seven years later, on Sept 4 this year, the band gave nostalgia-ridden, burnout millennials a new lease of life when it announced its frontwoman Emily Armstrong and its comeback album the next day.
From Zero is meant to set the precedent for the band’s future in a new era of music, in which EDM and Lo-Fi dominate. But, did the album deliver what it was predestined to do?
Nostalgic sound
The album opens with a 0.22-second track From Zero (Intro) – an exchange between two unspecified individuals, foreshadowing the rest of the album.
Off the bat, Linkin Park welcomes fans home with The Emptiness Machine, the refrain revs up to Mike Shinoda passing the figurative mic to Armstrong as she takes the chorus. Sonically, it is a classic Linkin Park song with a massive hook that is radio-ready but after several plays, the track, which is a reminiscence of Meteora, will just be another run-of-the-mill song.
Shinoda’s and Armstrong’s vocal distinction is the only standout quality of From Zero. The interesting disparity between Shinoda’s baritone vocals and Armstrong’s soprano is a welcomed surprise.
Their opposing vocal colours complement each other, which makes this new chapter interesting, signalling a departure from the band’s old sound.
Over Each Other, entirely sung by Armstrong, demonstrates the divergence from Linkin Park’s former sound as fans are treated to her soft falsettos while still keeping the band’s melodic essence.
In an exclusive press conference with Linkin Park, Armstrong noted the experience with the band is surreal, adding that she takes one day at a time. The lead singer certainly has big shoes to fill and it is early to tell if she has delivered but throughout the album, Armstrong manages to show off her expansive range from falsettos to a screamo in Casualty.
However, the powerhouse still lacks the frontwoman quality that the mega band needs. That said, it is only fair to give Armstrong the benefit of the doubt.
The album closes with an alternative indie track Good Things Go, beckoning the new era of Linkin Park with a looming sense of familiarity.
From the first track to the last, the band takes fans on a sonic journey that pays homage to its previous albums, from Meteora to One More Light.
But, that is all about it – next to Linkin Park’s older albums, especially its first two albums, From Zero pales in comparison.
