{"id":97573,"date":"2024-11-15T10:00:55","date_gmt":"2024-11-15T10:00:55","guid":{"rendered":"https:\/\/alreadyheard.com\/staging\/?p=97573"},"modified":"2024-11-15T01:22:27","modified_gmt":"2024-11-15T01:22:27","slug":"newmusicfriday-november-15th-2024","status":"publish","type":"post","link":"https:\/\/alreadyheard.com\/staging\/newmusicfriday-november-15th-2024\/","title":{"rendered":"#NewMusicFriday: November 15th 2024"},"content":{"rendered":"
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Content Breakdown<\/h3>\n

Linkin Park – From Zero<\/a>
\nPoppy – Negative Spaces<\/a>
\nHeart To Gold – Free Help<\/a>
\nWhat is out on this #NewMusicFriday?<\/a>
\nTake me to the Playlist<\/a><\/p>\n<\/div>\n

There was always one release that was going to lead this week’s #NewMusicFriday\u00a0<\/b>round-up – the return of\u00a0Linkin Park<\/strong>. As I said in my review<\/a>, ‘From Zero’<\/em> is sure to divide some longtime fans but it’s great to have them back.\u00a0Another notable release today is\u00a0‘Negative Spaces’<\/em> by\u00a0Poppy<\/strong><\/a>. It sees the genre-fluid artist come into her own with some assistance from Jordan Fish (ex-Bring Me The Horizon).<\/p>\n

Today’s list consists of 40 releases, meaning there’s much more to get stuck into besides\u00a0Linkin Park<\/strong> and\u00a0Poppy<\/strong>. For starters,\u00a0Less Than Jake<\/strong> and\u00a0Zebrahead<\/strong> both look to brighten up a grey November with EP releases.\u00a0Chelsea Wolfe\u00a0<\/strong>strips back a selection of cuts from\u00a0‘She Reaches Out To She Reaches Out To She’<\/em> with her\u00a0‘Unbound<\/em>‘ EP.\u00a0Cultdreams<\/strong> make a welcomed return with\u00a0‘Love Won\u2019t Let Me Go & Death Consumes Me’<\/em>. It sees the punk\/shoegaze duo explore their synth-pop side. While Fightmilk<\/strong>‘s ‘No Souvenirs’<\/em> proves to be a joyful collection of carefree indie-punk.<\/p>\n

When it comes to less familiar names there are new releases from\u00a0Heart To Gold\u00a0<\/strong>(review here<\/a>), anthemic rocker\u00a0Letdown<\/strong>, Irish instrumentalists\u00a0Overhead, The Albatross<\/strong>, and riff merchants Obeyer<\/strong>. While Brighton’s Small Pond Records looks to put the spotlight on a host of up-and-coming independent bands with ‘\u2026Presents: Emerging Vol. 4’.<\/em><\/p>\n

Beyond that, there’s a live album from\u00a0Nickelback<\/strong>, an alt-country solo record from\u00a0Bayside<\/strong>‘s Anthony Raneri,\u00a0St Vincent<\/strong>‘s Spanish reworking of\u00a0‘All Born Screaming’<\/em>, and much more.<\/p>\n

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\"Linkin
Photo Credit: James Minchin III<\/figcaption><\/figure>\n

Linkin Park – From Zero<\/h2>\n

So here it is\u2014the return of Linkin Park<\/strong>. The comeback has raised a fair few questions. One is whether it should even be released under the Linkin Park<\/strong> moniker. The unexpected and sudden death of vocalist Chester Bennington in 2017, means for some this isn’t the Linkin Park <\/strong>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 \u201cPhoenix\u201d 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.<\/p>\n

‘From Zero’<\/em> is a fitting title. After all, it’s a relaunch, a fresh start, and a new chapter for Linkin Park<\/strong>. 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’<\/em>, bursts with tension and is the sound of a band reinvigorated. Armstrong’s introduction is controlled, explosive and impressionable.\u00a0\u00a0Tracks such as ‘Cut The Bridge’<\/em> and ‘Heavy Is The Crown’ <\/em>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.<\/p>\n

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.\u00a0‘Over Each Other’\u00a0<\/em>allows her to take centre stage with a measured and emotive display, battling the steely pounding by her bandmates before ‘Casualty’ <\/em>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,”\u00a0<\/em>her raspy screams pierce through one of Linkin Park<\/strong>‘s most industrialist and heaviest songs to date. Later on, the penultimate track,\u00a0 ‘IGYEIH’\u00a0<\/em>exemplifies her ability to step up to deliver powerful, soaring choruses with an impressive vocal range.<\/p>\n

For all the familiar strengths\u00a0‘From Zero’<\/em>, it does fall into the familiar Linkin Park\u00a0<\/strong>trope of providing a couple of forgettable cuts.\u00a0‘Overflow’<\/em> paints a dystopian world of confusion that leans heavily into atmospheric 808 beats.\u00a0‘Stained’<\/em> has all the markings of a typical Linkin Park<\/strong> song yet lacks conviction that makes other numbers here more memorable. For example,\u00a0‘Two Faced’<\/em> utilises ‘Hybrid Theory’<\/em>s mix of turntable scratches and heavy, razor-sharp guitars, and strides with a marching tempo and confidence.<\/p>\n

The album comes to an end with\u00a0‘Good Things Go’<\/em>. 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.<\/p>\n

There’s no doubt\u00a0‘From Zero’<\/em> will divide fans. Purely based on the personnel involved, while others will be grateful that Linkin Park\u00a0<\/strong>merely exists again. And that’s how you feel after listening to\u00a0‘From Zero’ <\/em> – 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’\u00a0<\/em>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\u00a0Linkin Park<\/strong> always had.<\/p>\n

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\"Poppy
Photo Credit: Sam Cannon<\/figcaption><\/figure>\n

Poppy – Negative Spaces<\/h2>\n

The evolution of Poppy<\/b> has been an intriguing one. From debuting as a viral android art project through to her expansive genre-smashing discography. Along the way, she’s embraced bubblegum pop, ambient, synth-pop, and electronica, yet it’s considerably her flourishes into metal where she’s succeeded.<\/p>\n

Sparked by 2018’s ‘X’<\/em> crushing foray into heavy metal, 2020’s\u00a0‘I Disagree’<\/em> doubled down taking a confident pop-metal route with impressive results. Its 2021 follow-up,\u00a0‘Flux’<\/em>, leaned into a streamlined rock before last year’s\u00a0‘Zig’<\/em> diverted into electronica. No matter what she produces, it’s clear Poppy\u00a0<\/strong>does it with ease and finesse. And if anything, she’s certainly productive with\u00a0‘Negative Spaces’<\/em> serving as her fourth album in five years, with a handful of EPs and a soundtrack scattered in between.<\/p>\n

‘Negative Spaces’\u00a0<\/em>is considerably the album that could define\u00a0Poppy<\/strong>. At its core is an artist who’s creatively thriving, utilising her vulnerability to create lyrically raw songs.\u00a0‘Have You Had Enough?’<\/em> and\u00a0‘The Cost of Giving Up’<\/em> stylistically set the tone early as\u00a0Poppy’<\/strong>s gliding melodies (and occasional screams) are supported by hulking slabs of crushing metalcore. Yet\u00a0‘They’re All Around Us’<\/em> bulldozes through with complete and utter disregard.<\/p>\n

‘crystallized’<\/em> pulsates with a helplessly infectious 80s synth-pop vibe yet sees Poppy<\/strong> experience inner turmoil, expressing a need to never be alone again. Looking for purpose and acceptance, whether that be by God or a man coming through the speaker. It’s a mindset that continues on\u00a0‘Vital’<\/em>. Sheltered by its solid rock ballad cloud, it sees her fight her way out of a “vicious cycle”<\/em>.<\/p>\n

While its pre-release singles ‘They’re All Around Us’<\/em> and The Cost of Giving Up’<\/em> gave some the impression that this was to be\u00a0Poppy<\/strong>‘s “metalcore” album, that’s not entirely the case. Sure, there are distorted blasts such as ‘nothing’ <\/em>and\u00a0‘the center’s falling out’<\/em> but in contrast, there’s a clear willingness to maintain her genre-fluid approach.\u00a0Alongside the aforementioned ‘crystallized’<\/em>, there’s\u00a0‘push’<\/em>s blend of euphoric trance and pounding dance-rock. Whereas\u00a0‘yesterday’<\/em>, ‘hey there’<\/em> and\u00a0‘tomorrow’<\/em> serve as experimental and serene interludes that maintain the fragile conscious.<\/p>\n

The title track allows her to stride with confidence. Complemented by carefree “wo-oh”<\/em>s, it’s a bold, stomping and straight-up catchy rock number with plenty of longevity.\u00a0‘new way out’<\/em> is a late highlight, partly thanks to its industrial march, rising chorus, and crushing breakdowns.<\/p>\n

Poppy<\/strong>‘s journey comes to ahead with\u00a0‘halo’<\/em>. After confessing her purpose isn’t just for her on\u00a0‘tomorrow’<\/em>,\u00a0‘halo’<\/em> succulently breezes in with sliding guitars and a steady tempo. As it builds, you get a sense that\u00a0Poppy<\/strong> has found comfort in who she is, ending the album on an optimistic high.<\/p>\n

On the evidence of\u00a0‘Negative<\/em> Spaces’, it’s clear that Poppy<\/strong> has come into her own, solidifying her position as an authentic artist. The combination of its introspective narrative and simultaneous tonal shifts makes ‘Narrative Spaces’<\/em> her most engaging album so far. Furthermore, when paired with the production work of Jordan Fish (ex-Bring Me the Horizon), you’re left with a sonic juggernaut that is bold and, for the most part, cohesive.<\/p>\n

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\"Heart<\/p>\n

Heart To Gold – Free Help<\/h2>\n

For some, including me,\u00a0Heart To Gold<\/strong> is a new band. However, on the evidence of ‘Free Help’<\/em>, their third album, they’re a trio thriving having utilised time of the road to create a resonating and introspective set of songs.<\/p>\n

Hailing from Minneapolis,\u00a0Heart To Gold<\/strong> consists of vocalist and guitarist Grant Whiteoak, bassist Jim Kiser, and drummer\u00a0Blake Kuether. Formed in 2017, they’ve been fine-tuning their brand of explosive melodic and emotive punk. However,\u00a0‘Free Help’<\/em> considerably sees them stepping up a gear, branching out to deliver a larger, anthemic sound. This is partly achieved through the help of Will Yip. Straight away,\u00a0‘Surrounded’<\/em> and\u00a0‘TNT’<\/em> both thrive on distorted guitars, an energetic rhythm section, and soaring melodies.<\/p>\n

There’s no doubt that H2G<\/strong> have found their footing in delivering big, guitar-driven moments such as\u00a0‘Mother Falcon’ <\/em>and the jangly bursts of\u00a0‘Mostly’<\/em>. Yet it’s threaded together by Whiteoak’s introspective songwriting as he explores maturity and how the touring life has shaped him as a person.\u00a0‘Belonging (Slow)’\u00a0<\/em>pulls this into sharp focus with its harmonious, stripped-back pacing and lyrically longing of uncertainty. Likewise,\u00a0‘Can’t Feel Me’<\/em>, treads a narrative of experiencing the“highest of<\/em> highs” and “lowest of lows”<\/em> with melancholy seasoning and an overall powerful build. Later on,\u00a0‘Pandora’<\/em> melts with fuzzy guitars and lyrical uncertainty.\u00a0Even when they’re not reining things in, ‘Get It Back’<\/em> sharply gallops, with its Midwest swaggering, maintains Grant’s self-doubts. Whereas\u00a0‘Blow Up The Spot’<\/em> sturdily thrives with\u00a0Kuether\u2019s punctuating drum work.<\/p>\n

As a unit, Whiteoak, Kiser, and Kuether prove to be solid, and at times, versatile. The reflective narrative is complemented by a well-executed mix of melodic punk, arena rock, and 90s alt-rock. Closer,\u00a0‘#F’<\/em> dwells on ringing, drifting guitars, grounded percussion, and a steady bass line, brilliantly building to Whiteoak’s soaring note change, bringing a change of pace.<\/p>\n

Whether this is your first time hearing\u00a0Heart To Gold<\/strong>, or you’ve followed them for the past seven years, will find a lot to like about\u00a0‘Free Help<\/em>‘. <\/em>It has traces of a band comfortably expanding out from the lo-fi punk of 2022’s\u00a0‘Tom’<\/em>, utilising their melodic flair and pairing it with an almost fearless execution. Simultaneously, the three-piece doesn’t sacrifice the sense of community they’ve built through their DIY mindset. This results in a satisfying album that deserves plenty of repeated listens.<\/p>\n

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What is out on #NewMusicFriday?<\/h2>\n

Linkin Park – From Zero
\nPoppy – Negative Spaces
\nNickelback – Live From Nashville
\nLess Than Jake – Uncharted
\nChelsea Wolfe – Unbound EP
\nKoyo – Mile A Minute
\nZebrahead – I EP
\nCultdreams – Love Won\u2019t Let Me Go & Death Consumes Me
\nAnthony Raneri – Everyday Royalty
\nTiny Moving Parts – Deep In The Blue
\nHeart To Gold – Free Help
\nLetdown. – Be Ok
\nOverhead, The Albatross – I Leave You This
\nFightmilk – No Souvenirs
\nObeyer – Chemical Wall
\nSt Vincent – Todos Nacen Gritando
\nVarious – Small Pond Presents: Emerging Vol. 4
\nHollowKin – Confessions & Failures
\nIn Her Own Words – Left In The Dark
\nStill – A Theft
\nSeptaria – A*
\nWizard Must Die – L’Or des Fous
\nSergeant Thunderhoof – The Ghost of Badon Hill
\nThe Rattlebacks – Sidewinder
\nThrown Into Exile – Passageways
\nWussy – Cincinnati Ohio
\nYellfire – Dear Gods
\nSunnsetter – Heaven Hang Over Me
\nSylvaine – Silent Chamber, Noisy Heart (10th Anniversary Edition)
\nThe Tale Untold – Counterculture
\nAmerican Thrills – Milestone
\nBeyond Unbroken – Destruction
\nDriftwould – Driftwould
\nEuphoria. Again. – Waiting On Time To Fly
\nKnives FL – One Cut Away From Love
\nLament – The Sound Of Sadness And Strength
\nPainted Vein – Dripping Only Black
\nSave Your Last Breath – Regicide
\nSpider God – Possess The Devil
\nSpliced – EVOL<\/p>\n

If you think I’ve missed something or have a new album\/EP\/song to tell us about, tell us about it here<\/a>.<\/em><\/p>\n