I’m sure I’ve mentioned it before in 1 o’ these installments, but Linkin Park is 1 o’ the few nu-metal bands that people generally consider to not be embarrassing anymo’, which, to be cynically blunt, has a lot to do with the lead singer’s suicide — let’s be real: if it hadn’t happened, half o’ these posers out there would still be meming ’bout the crawling that was occurring inside his skin. I am the exception, ’course: I was defending them long before, as I defend bands that still haven’t become appreciated like classic Three Days Grace — but not that latest single they released with the original singer back in the band: that song like o’erproduced trash & I have no idea what they did to poor Adam Gontier’s voice.

Anyway, it’s 2024 & Linkin Park recently released their 1st album since Bennington’s passing with a new singer, Emily Armstrong. Said singer has some controversy surrounding Scientology & supporting or seeming to support that guy from That 70s Show who was sentenced to 30 years in jail for rape. It seems e’ery nu metal band needs to have some member doing something cringe, whether it be signing IDF missiles, bitching ’bout not being able to buy Dr. Seuss books on ebay & WAP for making a better song than his band will e’er make, participating in that shitty Nostalgia Critic review ’bout The Wall, & the billions o’ stupid things that guy from Trapt said, so unfortunately, I can’t only review the albums by innocent people like Papa Roach, who I know have ne’er done anything wrong in their life, & it’s not like me talking ’bout any o’ these albums is glowing recommendations to give them money. As a dirty commie, I don’t believe in giving money to anyone: that’s your money; hoard that shit like the gnomes do.

1. From Zero (Intro)

Linkin Park oft starts albums with throw’way intro tracks, going all the way back to Meteora starting with sounds o’ throwing shit around for some reason. I ne’er understood it as a kid & I still don’t now. This 1 is probably the weakest o’ them all: half o’ it is generic chanting & then the rest is some background clip o’ who I assume is the new lead singer trying to figure out why the album is named “From Zero”. ¿Who cares? ¿Does anyone know why the 2nd album is called “Meteora” or what that e’en means? In the past 20 years o’ that album’s existence I’ve ne’er heard anyone ask why, ’cause nobody cares: it sounds cool, that’s why.

Grade: F

2. The Emptiness Machine

The 1st single comes surprisingly right out the gate on this album. I like the calm way the song starts with low piano notes, muffled drum beats, & Mike Shinoda’s melodic singing, contrasted with the mo’ bombastic 2nd verse introducing the new lead singer, Emily Armstrong.

Not surprisingly, the Genius annotations are full o’ theorizing ’bout this song’s vague lyrics ’bout the vague “you” being nothing but critical o’ the protagonists & how they just “want to be part o’ something”, &, yeah, that could be the case… but Linkin Park has been writing ’bout this kind o’ stuff from the beginning — just compare to the lyrics o’ “Numb”, which, if it had come out on this album, would get the same theorizing, with lines ’bout feeling numb ( ’cause o’ the loss o’ Chester Bennington ) or struggling with the feeling o’ being “put under the pressure of walking in your shoes” — yeah, imagine the implications o’ Armstrong singing that line. Seriously, try out this game with all kinds o’ songs like “Papercut” or “Somewhere I Belong”.

In short, unless a line really sticks out, I’m not going to put much thought into it & treat it as the same abstract angst they’ve been writing since Hybrid Theory.

Grade: A

3. Cut the Bridge

I’m not so fond o’ the chorus for this song, which just sounds like melody-less shouting, which is too bad, as I do like the menacing way Armstrong sings the prechorus, which stands out much mo’. I must say that I’m happy Linkin Park didn’t try to make Armstrong sing like Bennington but allowed her to sing in her own style.

I know I mentioned I wasn’t going to focus on lyrics much, but this is different. ¿What the hell are with the verses Mike be spittin’?

& I can’t even tell if you’ve been tellin’ me a lie
every time you start it’s like the 4th day of July
reckless like you’re makin’ rockets just to blow up in the sky

1st, maybe this isn’t Shinoda’s fault, but I can’t hear a rhyme o’ “lie” & “July” without hearing that wack bar from Drake in “Slime You Out”: “July, that’s when I found out you lied”. 2nd… ¿What is this metaphor? ¿Shooting off fireworks on the 4th o’ July, a day for setting off fireworks, is the most “reckless” example you could think of? I guess it’s creative, a’least.

& then that’s followed by, “feelin’ like it’s chemical, all under my skin like it’s medical”, which doesn’t e’en make sense: ¿how is something being under someone’s skin inherently “medical”? I’ve ne’er thought Mike Shinoda was Nas or anything, but this kind o’ lyrical-spherical whiteboy nu-metal rapping is mo’ on the level o’ a Jacoby Shaddix.

Grade: D

4. Heavy Is the Crown

All right, here’s a much better song. While I wouldn’t consider the lyrics brilliant, they’re much better than “Cut the Bridge”’s, as is Shinoda’s flow, especially the subtle twists to the rhythm done @ the beginning o’ the 2nd verse. I also find the line @ the end o’ the prechorus, “’cause I’m tired of explaining what the joke is”, a genuinely clever twist on that cliché line that I’ve ne’er heard used in the context o’ what sounds like a failing relationship.

But the best part o’ this song is the opening mix o’ electronic symphony & electric guitar which sounds like what you’d find in 1 o’ the best songs o’ Meteora.

Grade: A

5. Over Each Over

But this song is less interesting — not quite as bad as “Cut the Bridge”, but not interesting. Honestly, it sounds like a lot o’ the generic post-grunge stuff I’d hear on the radio station literally just called “The Rock” @ the end o’ when I still listened to the radio, with the o’erproduced electronic loudness that doesn’t seem to know what tone it wants to portray & the way Armstrong o’ersings e’erything. Also, the constant refrain o’ “over each other” gets kind o’ grating.

Also, I swear the background talk noise clip @ the end where Mike Shinoda tells Emily Armstrong to “get her screaming pants on” is the worst thing I’ve e’er heard on a Linkin Park album.

Grade: D

6. Casualty

There are some vocal flourishes I like in this song — especially Mike Shinoda’s raspy singing, which I’ve ne’er heard on any other album before — & the slight back & forth the 2 singers had in the prechorus — tho I wish there was more o’ that. I also like a few o’ the record scratches; but for the most part the music just sounds like walls o’ heavy riffs & this song is clearly trying too hard to be the “heavy” song on the album without much else inspiration. While I appreciate the desire to add variety, it comes off as Linkin Park failing to play to their strengths & failing to bring what this kind o’ genre brings better. If I want this kind o’ wall o’ yelling & riffing, I’d rather stick with Lamb of God, who have mo’ rhythm & riff variation.

Grade: C

7. Overflow

Whereas the other songs that deviated from Linkin Park’s older sound sounded mo’ like pale, watered-down imitations of other styles, this song’s deviation sounds much mo’ creative & unique — with the exception o’ the main light tone in the background, which sounds kind o’ like the main notes to “Crawling”; but given that’s the only thing ’bout this song that sounds similar to that song, it’s actually mo’ interesting that they made the callback, if ’twas intentional. Mike Shinoda’s rapping sounds much mo’ modern than his usual ol’ school Run-DMC flow & fits the ethereal tone o’ this song; same with Armstrong’s dour singing on the chorus.

Grade: A

8. Two Faced

This is a Hybrid Theory style banger with plenty o’ catchy hooks, including the great idea o’ having the verses & choruses break into 2 catchy hooks each. In fact, it perhaps sounds a bit too much like Hybrid Theory, with the bridge sounding very similar to the famous “¡SHUT UP WHEN I’M TALKING TO YOU!” bridge o’ “One Step Closer”. Granted, Armstrong does a great job with her version, especially with the various ways she whispers, “I can’t hear myself think” early on. & I’m a sucker for any song that ends with record scratching whilin’ out — it’s been too long since Mr. Hahn, who is truly the best member o’ the group, got to work his magic again.

Grade: B

9. Stained

While most o’ this album sounds like nostalgic throwbacks to noughties nu-metal, this song sounds like a throwback to 2010s “indie” electronic rock, including the millennial whoas. ¿Has it been long enough for those to go from being a hated cliché to fond nostalgic memory? Eh, as goofy as it is, it is kinda catchy. This song’s all right.

Grade: B

10. IGYEIH

Musically, this is very middle-o’-the-road — a “Runaway”, you could say. If you ask me, “¿What the hell is ‘Runaway’? ¿You mean the Kanye West song?”, that answers your question: it’s the Hybrid Theory song you don’t remember. I guess there is that weird squeaky sound in the background sometimes. It’s kind o’ annoying, tho, so I’d hardly consider it a +.

Lyrically, this song is mixed. There are some lines I would actually call pretty good, like the good ol’ emo line, “I write all the memories down all over my skin”, which is a metaphor I’m surprised I haven’t heard before ( for tattoos, yes; cutting oneself, no ); but then we get goofy-ass lines like, “The clock keeps ticking, the rules aren’t written” — ¿what rules? ¿what the fuck are you talking ’bout? — or “I give you everything I have, all you give me is your ugliness”. O, no, don’t give me your ugliness. & while “Forgotten doesn’t mean that it’s forgiven this time” is a relatively clever line, unfortunately I haven’t forgotten you used that same line on the previous song.

Grade: C

11. Good Things Go

For most o’ the song I didn’t have anything to say ’bout this song, ’twas so middle-o’-the-road, but then the bridge came on & Mike decided to rap like some mediocre modern rapper who for some reason making sounds like, “eh” & “oh” ’tween lines sounds cool. He should’ve gone all the way & made those weird sounds that mumble rappers always did, like, “¡brrrrddddup!” or “¡shoo shoo!”. That’s the new kind o’ nu-metal we’ve been needing all this time: mumble rap metal.

But, yeah, otherwise this is a very tepid sad song with standard low notes, ’cept for maybe the crescendoing melody @ the end o’ the chorus being somewhat catchy, only to be ruined by the lame lyrics, “sometimes bad things take the place where good things go”.

Grade: C

Final Verdict

E’en tho I’ve come across as somewhat dismissive in some o’ these song reviews, o’erall this album is better than I would’ve expected, especially given the circumstances. Since their 1st 2 classic albums Linkin Park has struggled to evolve, sometimes with disappointing results that seem to be tied too closely to trends, sometimes with interesting surprises. This album is probably Linkin Park doing their best balance o’ hearkening back to their ol’ sound while still sounding distinct itself & not sounding too much like a sad self bootleg. It’s pretty far from my favorite o’ their albums, but not @ the bottom, either.

In fact, I’d say my biggest complaint ’bout this album is its cover, with its random pink bubbling liquid o’er some random surface, which reminds me too much o’ Metallica’s Load album cover with blood & semen mixed together — no, I’m not exaggerating: that’s really what it is.

Final Grade: B