Linkin Park From Zero
Verdict: A successful return after tragedy.
What’s the story?
Seven years after the death of the inimitable Chester Bennington, the surviving members of Linkin Park reunited and introduced new vocalist Emily Armstrong. Reactions were immediate, and opposing views – tied to the perception of what Linkin Park is as a band and how much Bennington›s heart and soul played into that – cast a shadow on this new project, the aptly titled ‘reboot’ From Zero.
Worth a listen?
The revamped lineup’s first effort together is without a doubt a well-executed, aggressively hungry and potent sonic statement from a group of survivors intent on keeping their vision alive. The melodic guitar attack and familiar chord progressions, the futuristic production, turntable acrobatics and the catchy rhythms all provide a high-octane backbone that’s instantly familiar to anyone who has ever heard even a single Linkin Park song. Enter formidable singer Armstrong. The excellent lead single The Emptiness Machine is an exciting unveiling, a by-the-numbers LP assault that justifies her hiring with those throat-shredding howls. Across these near-dozen tracks, her vocal attack is a thing to behold, clean vocals cutting with a scalpel’s precision and screams that can crack the sky and split the earth in a way that scratches a certain nostalgic itch. From Zero is a decent effort that contains all the band’s hallmarks, even if it’s not the exact same Linkin Park that is known and loved
Gwen Stefani
Bouquet
The middle-of-the-road contemporary country of Gwen Stefani›s fifth album, Bouquet, is far removed from the electrifying pop of her earlier solo work, let alone the energy and attitude she brought to No Doubt. Based around a loose, running theme of flower metaphors and references, Bouquet is a collection of toned-down, affable tunes with glints of country twang embroidered into their hyper-clean production. As basic, personality-free country-rock records go, Bouquet is perfectly serviceable. Coming from Stefani, however, the embrace of mediocrity feels especially glaring.
Kim Deal
Nobody Loves You More
Deal wrote and recorded her debut solo album over the course of a pivotal decade during which she departed from Pixies, cared for – and then grieved – her parents. Not long after the album was finished, her dear friend and collaborator Steve Albini also died. Deal responds to all these changes by getting more overtly personal than ever before. On Summerland, she strums a ukulele gifted to her by Albini as she croons about vacations with her parents in the Florida Keys as starry-eyed strings swell behind her. That the album doesn›t settle into just one emotional or musical groove is the perfect tribute to her legacy of always finding new ways to express herself. Nobody Loves You More is some of her finest music yet, and while any of these songs would›ve been a standout with one of her other projects, it›s all the sweeter that they›re hers alone.
Kendrick Lamar
GNX
GNX›s first order is to yank rap back to its regional roots: the album›s sound is as L.A. as California Love. This album is an exceptional representation of the modern west coast music scene. It is a nostalgic, yet ahead of its time, mosaic of all of the creative, varying influences and styles from classic and new west coast rap & hip hop, along with synths and vocals of new and old neo-soul and R&B. It’s soulful, then it’s serious, then it’s goofy – yet it’s not overwhelming.
