The first album from the new line-up of Linkin Park is difficult to review. It’s a great listen, but the legacy of Chester Bennington, who died in 2017, is very evident. Many people around my age grew up with his unique vocals, which could go from sweetly melodic, to gravelly power-singing, to enraged screaming, all in one song. His performance meant a lot to many people, and if some fans won’t listen to the new music, saying that it’s not Linkin Park without him, that’s understandable.

However, the band has never been about one person. Originally named Xero, they would likely have not been as successful without Chester’s star quality, but they all have a significant role in the music, particularly the multi-talented Mike Shinoda, who produced this album. It was co-produced by Colin Brittain (the drummer who replaces Rob Bourdon, who left) and guitarist Brad Delson, while I’m sure that Joe Hahn and Phoenix had a lot to contribute too. That brings us to new vocalist Emily Armstrong. She has a powerful rock-star voice and a lot of energy, which really suits the songs. Her screaming is not as full-on and the melodic parts not as soft as Chester was able to do, but most songs are reminiscent of early Linkin Park which should please the old-school fans, as well as bring in new fans. If, like me, you loved Hybrid Theory and Meteora, but the band had fallen off your music radar by the time Minutes to Midnight was released, you should definitely check out From Zero. I think it will also encourage people to explore the back catalogue and realise that like all good bands, Linkin Park developed their style and experimented. Moreover, we apparently have a Y2K revival going on; popular bands from the early 2000s are back in the spotlight and even ‘nu-metal’, once scoffed at by the press and music snobs, has been reappraised. Linkin Park, though, were different from anyone else. Their concept wasn’t completely new, but their commercial appeal was, and moreover no ‘parental advisory’ sticker was required (that changed later!) so it was easier for younger fans to get their hands on the music. The band also had a strong presence on the web, at the same time that more people were getting online.

My favourite track on From Zero is ‘The Emptiness Machine’, which has the genius idea of the first verse sung by Mike, before introducing Emily for the next. It’s the first proper song on there, so this is impactful. Other favourites include ‘Overflow’, which has an interesting trip-hop style and reverb, and ‘Over Each Other’, a rock ballad which showcases Emily’s brilliant voice. At first, I wasn’t keen on ‘Casualty,’ which is one for the scream-fans, but it’s grown on me. ‘Heavy is the Crown’ is another good one, reminiscent of Meteora track ‘Faint’, while ‘Two Faced’ has tones of Hybrid Theory‘s ‘One Step Closer’. I would have liked a little more variation in the styles, but I think it was a canny move to release an album with similarities to earlier songs, to maximise the interest in the rebirth of the band. I hope the next album will push the boundaries further, but this one has, I’m sure, made a lot of fans happy.