So here it is—the return of Linkin Park. The comeback has raised a fair few questions. One is whether it should even be released under the Linkin Park moniker. The unexpected and sudden death of vocalist Chester Bennington in 2017, means for some this isn’t the Linkin Park they remember. Add to the fact that drummer Rob Bourdon hasn’t joined for this new chapter, and Brad Delson has decided to be a studio-only member. The weight and emotional impact of Bennington’s passing, as well as his distinctive vocals, meant that for a selection of fans, he couldn’t (and probably shouldn’t) be replaced. However, Delson, Mike Shinoda, Dave “Phoenix” Farrell, and Joe Hahn have decided to start anew with Emily Armstrong taking on the heavy responsibility of replacing Bennington. While Colin Brittain has come in to take over from Bourdon.

‘From Zero’ is a fitting title. After all, it’s a relaunch, a fresh start, and a new chapter for Linkin Park. It’s an aim that the six-piece collective pulls off. However, stylistically it uses the band’s past as the foundation to build on. Yet this is far from a cash-in for nostalgic reasons. First single, ‘The Emptiness Machine’, bursts with tension and is the sound of a band reinvigorated. Armstrong’s introduction is controlled, explosive and impressionable.  Tracks such as ‘Cut The Bridge’ and ‘Heavy Is The Crown’ are delivered with familiarity. Shinoda’s sharp wordplay is complemented by punchy stadium rock instrumentation. Whereas Armstrong manages to stand her ground with a distinct voice.

Taking over the role of one of modern rock’s most iconic voices was never going to be an easy task. However, you never get the impression Emily wants to imitate the late Chester Bennington. ‘Over Each Other’ allows her to take centre stage with a measured and emotive display, battling the steely pounding by her bandmates before ‘Casualty’ opens up with plenty of vigour. “Let me out! Set me free. I know all the secrets that you keep. I won’t be your casualty,” her raspy screams pierce through one of Linkin Park‘s most industrialist and heaviest songs to date. Later on, the penultimate track,  ‘IGYEIH’ exemplifies her ability to step up to deliver powerful, soaring choruses with an impressive vocal range.

For all the familiar strengths ‘From Zero’, it does fall into the familiar Linkin Park trope of providing a couple of forgettable cuts. ‘Overflow’ paints a dystopian world of confusion that leans heavily into atmospheric 808 beats. ‘Stained’ has all the markings of a typical Linkin Park song yet lacks conviction that makes other numbers here more memorable. For example, ‘Two Faced’ utilises ‘Hybrid Theory’s mix of turntable scratches and heavy, razor-sharp guitars, and strides with a marching tempo and confidence.

The album comes to an end with ‘Good Things Go’. It’s here that the duel vocal work of Armstrong and Shinoda especially shines. The steady chord progression allows the pair to succulently complement each other, while collectively never outstretching themselves. Although it never quite gives that grandiose finale, it feels like a weight is lifted off the shoulders off of everyone involved.

There’s no doubt ‘From Zero’ will divide fans. Purely based on the personnel involved, while others will be grateful that Linkin Park merely exists again. And that’s how you feel after listening to ‘From Zero’ – thankful. It’s the sound of a band picking themselves up, dusting themselves off, and moving on with new people, and more importantly, a new purpose. ‘From Zero’ isn’t the sound of a band wanting to conquer the world like they once did. It’s merely the sound of a band that reconnected with fresh ideas, yet at its core carries the same powerful essence Linkin Park always had.

‘From Zero’ by Linkin Park is available now on Warner Music Group.