Bold new chapter in the legacy of Linkin Park – A review of “From Zero”

Few thought that alternative rock heroes Linkin Park could return with a brand new album in 2024. After the tragic and untimely death of Chester Bennington, many thought the story would end there. But as we saw this fall, Linkin Park’s journey was all but over with the introduction of Emily Armstrong of Dead Sara fame as the new vocalist as well as a record full of brand new songs.

“From Zero” is a complex, fast-paced album that represents both a continuation and reinvention of the band’s sound. Marking a fresh era for the group, From Zero is the first album with both Emily Armstrong, and new drummer Colin Brittain. While embracing their classic nu-metal roots, the band has embraced a broader stylistic range and infused it with fresh, exploratory energy. The album makes 2017’s “One More Light” feel like a distant memory, which can be both good and bad depending on the context. On one hand many fans love the classic alternative metal sound, but on the other hand it feels weird to dismiss the direction that Chester took the band on his final recording.

At just under 32 minutes, “From Zero” doesn’t waste a second, with each track crafted to be impactful and memorable. The album’s brevity allows Linkin Park to focus on delivering powerful, concentrated experiences without lingering on any one sound for too long. The longest track, “Cut the Bridge,” is still under four minutes, giving the album a frenetic pace that keeps listeners engaged from start to finish. Described by Shinoda as a “compact fireball,” the album’s style feels tightly produced, with crisp transitions between heavier riffs, electronic elements, and more experimental soundscapes​.

Many fans will appreciate the nostalgic callbacks to legendary classic records “Hybrid Theory” and “Meteora” while also noting how “From Zero” reinterprets those sounds for a modern era. Armstrong and Shinoda’s dual vocals are a standout feature, often switching, layering, or echoing each other in a way that feels both fresh and unique. Shinoda’s raps continue to bring a grounded intensity to the tracks, while Armstrong’s powerful vocals bring a raw, emotional texture that fills the void left by Bennington without attempting to mimic his style​ to a T.

Tracks like “Casualty” and “Overflow” reveal the band’s creative growth. In particular, “Overflow” is a highlight that stands out due to its experimental production choices and vocal arrangements. Songs like “Good Things Go” also bring in nostalgic elements, with Hahn’s scratching reminding listeners of Linkin Park’s signature sound. Hahn’s return to a more active role on the turntables is a refreshing element for long-time fans, adding a sense of revival to the band’s classic feel. In 2024 the sounds has made it’s due comeback, however I wonder if it might become outdated in the following years to come.

Emily Armstrong’s addition to the lineup has proven to be transformative for Linkin Park – for better or the worse. Her vocal range and style complement Shinoda’s performance in a way that feels organic and exciting. Her versatility allows the band to explore new musical dynamics, particularly in harmonized sections and call-and-response moments between her and Shinoda. Though she doesn’t attempt to replace Bennington, her unique contributions have redefined the band’s sound in a way that feels like a natural evolution.

It is difficult to listen to “From Zero” without thinking about Chester and what he would have wanted. But ultimately I am sure that he would have loved to see the band do new things and experiment, especially with such an interesting choice for vocalist. At times I think about the possibility of changing the name Linkin Park to something else, but mostly because of the hurt that we all still feel from Chester’s death.

Perhaps we should aim to look at Linkin Park as they are now; a bold new direction with nods to the past, yet never falling to the traps of trying to please the fans by mimicing what once was. “From Zero” serves as the starting point for something new, and if the music on the record is an indicator, it will be a glorious new future.