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Week 47: Linkin Park- From Zero

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When I was in college, back in the early-2000s, people listened to Linkin Park a lot: them and Papa Roach. I didn’t get into the band until the 2010s and could appreciate the late Chester Bennington’s vocal range. I was young and naïve, so I saw him as “The singer who screams down the microphone”. When I listened to the band properly, I grew to appreciate their lyrics and, as mentioned, Chester’s singing. As we all know, Chester passed on over seven years ago. Whether you believe in the narrative or conspiracy theories is another thing. I have more than shared my opinion on Chester’s passing among friends and social media. I will leave my opinions aside for the review. The band has had various guest vocalists since his passing while they have performed and finally settled on former Dead Sara vocalist Emily Armstrong, who has proved a hit with the fans during the live shows. She joins with co-vocalist/rapper Mike Shinoda and new drummer Colin Brittain. Although Emily proved to be a hit when the band performed live, the reaction to her taking Chester’s place was mixed. I believe his estate was none too pleased with this decision. I wasn’t sure at first because this is like Metallica without James Hetfield or Lars Ulrich. It usually ends in a disaster because it isn’t the same without the heartbeat. I can understand people’s reservations about Emily becoming a full member, but to me, she reminds me of a female version of Chester.

I hope she is given time to grow. She is a fantastic vocalist, but it is hard to see past Chester’s legacy. Should the band have packed up and started a new project? Hmmm…I don’t know. It probably would have been a better idea, but the band’s decision to carry on is one that we, as fans and critics, should understand and respect. It’s not an easy path, but it’s one they’ve chosen to take.

What I’ve noticed about “From Zero’ is, well, nothing. This sounds like the Linkin Park we all know and love. The only difference is a female taking over vocal duties. It hasn’t tread any new ground, but is now really the time to be experimental? I’d say no. They need to stick to a tried and tested formula while they make this transition. And it’s crucial for us, the fans, to be a part of this journey. It also needs to be this way to see how people react to hearing the first album without Chester. Unfortunately, this record will always be based on what it was then and what it is now.

My highlights were ‘IGYEIH’, ‘Over Each Other’, and ‘Good Things Go’. Emily especially stands out with her angst-ridden vocals. As for the rest, my concentration wavered, and I felt they lacked that energy I usually see from the band. The majority of the tracks are too short. They don’t get a chance to get going before they are over. This album might be ideal for those with a short attention span, but I personally prefer a record that keeps my interest with longer, more elaborate songs, with at least 4-5 verses.

I wanted to like this album, and I have listened to it a few times, but I can’t get into it. Yes, it treads familiar ground, but the tracks are far too short, as mentioned. I don’t want to hear songs that are ideal for TikTok. I prefer longer songs that have more substance.

I’m afraid I will have to give “From Zero’ a low mark. It just doesn’t do it for me and has nothing to do with Emily. I thought she was excellent. Despite that, those who review it will all be guilty of measuring it against the former guise of the band, and I am no different. It isn’t fair, but you can’t help doing it. As mentioned earlier, when a band loses such a key member, it seldom feels the same or works out. Queen probably being the only exception. I hope the band continue as Linkin Park regardless and gives everyone time to transition. Their live shows have been amazing with Emily, so I am sure this will work out. You can’t really measure them on this record. Let them be more experimental on what follows. Then, we will know if the legacy remains intact, and I believe they have the potential to do so. And on a final note, why was the album so short? It lasted almost 32 minutes. They might as well have released this over 4 EPs.

Song recommendations: ‘IGYEIH’, ‘Over Each Other’, ‘Good Things Go’

5/10

Week 38: Kylie- TENSION

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What is this? Like my third review of a Kylie album? I’ve lost track. My most recent review of hers was ‘Disco’, which came out amid one of the lockdowns, and the music within made you yearn to return to the dance floor, be it at clubs, wedding receptions, bars or parties. I also enjoyed listening to it and found it the perfect tonic to escape the drab reality we were all subjected to. However, it could have gone better with the younger generation, which could mean that with streaming services widely available, they can steer clear of radio and television music channels and avoid going to shops to listen. Therefore, they can choose who they want to listen to and become trapped in that mindset. I grew up on everything mentioned in the previous sentence, so my taste has become eclectic. Listening to the radio and watching Later…with Jools Holland gave me an open mind to music. I don’t believe that on these streaming services, the algorithm would recommend Kylie Minogue to a youngster listening to BTS, so therefore, you can see why Kylie hasn’t been as popular with the younger generation (yet.)

I first heard ‘Padam Padam’ on the Graham Norton Show (I think.), which was four months ago when the track was released, and it is still as popular now as it was then. The younger generation will certainly know this one, as the staff of Hobbycraft did a dance for it on TikTok. What is refreshing about the track is that it is uplifting, fun and humourous.

The record is reminiscent of the Europop/Eurodance you would hear on Euro Trash. It may be cheesy, but it is fucking fun and uplifting. We all need to lighten up once in a while. The title track flirts with Kylie going for the Daft Punk approach of using robotic vocals; the saxophone swoons on ‘You Still Get Me High’ and ‘Vegas High’, which have that Europop sound. ‘Hands’ reminded me of Madonna’s ‘Vogue’—especially the rapping verses. 

There is no way in hell that  “Tension” is nothing more than to promote her upcoming Las Vegas residence shows; I am not having it. It is far too professional just to be regarded as a throwaway. It is Kylie at her best, touching on all sorts of emotions, and it deserves its number-one placing. I do not believe “Tension” got there by sales alone; I reckon that the younger generation heard ‘Padam Padam’, streamed her, and fell in love with the music. The TikTok video would have also drawn their attention. I also love the cover art. Nice and vibrant

Song recommendations: ‘Hands’. ‘Vegas High’, ‘Padam Padam’

8/10

Week 11: Rex Orange County- WHO CARES?

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I first came across Alex O’Connor, or Rex Orange County, while playing FIFA 18 and his song ‘Never Enough’. I liked it, but I was invested in setting up the squad, tactics, formation, and playing the game rather than paying attention to the songs. The next time I came across him on Later…with Jools Holland in autumn 2019. I only knew who he was once I heard his vocals. Why? Because on FIFA 18, I avoid looking at who the songs are by. If they sound good, I keep them, and if they sound shit, well… they go. I was impressed by his live performances of the songs and then sought out his live performances via YouTube. I was further impressed and added him to my gargantuan list of artists/bands I like. Apparently, in the 21st century, he is like Paul McCartney to the kids. It is a stretch, but there is no doubt that Rex is talented.




The first thing that struck me about Rex’s fourth album, “Who Cares?” was how short it was. Before listening, I saw that the total time was under 35 minutes. I have heard records this long, so songs can be uploaded for teasing videos to Tik-Tok, and therefore, get those watching to buy and download the stream. It is a clever marketing strategy, but an album should be an album to me. From what I witnessed, those who use TikTok usually have a short attention span. 


An album was designed to be a long play and hold your concentration. My highlight was ‘OPEN A WINDOW’ with Tyler the Creator.




The album is happy-go-lucky, as usual. Something Rex is known for. Of course, there are moments of swearing and some songs about his recent split, but overall, Rex remains. It isn’t necessarily bad, but maybe Rex needs to face adversity to bring out the all-rounder we know that is hidden within him.




Song recommendations: ‘OPEN A WINDOW’, ‘ONE IN A MILLION’, ‘THE SHADE’

Week 9: Central Cee- 23

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First and foremost, I am not a great lover of Drill. Yes, I saw the Noisey documentary from 2019 with Mike Skinner from the Streets and didn’t like what I heard. However, I heard about Drill in 2019 through an associate who was mad about it. I didn’t like the bullshit lyrics I heard about wetting a man up in a club or jooking man on road. I know about these sorts of bars, and I am guilty of writing them for clashes during the early years of Grime, which now make me recoil in horror. I still have the bars in one of my many Bibles, but I will look to amend them for my venture into Spoken Word. Drill is like the underground and darker version of Grime. People used to bitch and moan about what the Grime artists would say. Some have resulted in killings, like Esco Barz, the younger brother of retired footballer Jermain Defoe. I was never a fan of these MC battles, and when Esco was killed, it turned me off them completely. Drill has seen many artists from that genre serving time for murder, attempted murder, assault and other forms of crime. The genre pretty much encourages it. 


I remember showing a 22-year-old man my poems; the subject was current affairs. He responded, “You got bars still, but we youngsters don’t want to hear that. We want to hear about man getting jooked up.” This horrified me, but at the same time, I thought, “That’s bollocks”, and I am going to tell you why just shortly, but first…Central Cee is a young Drill artist hailing from Shepheard’s Bush, which is a stone’s throw away from QPR in White City. Central Cee, or Cench, has been around longer than you would assume. It is also unusual to see a mixtape become No.1 on the album chart. So this West Londoner started first to get noticed last year, and it is easy to understand why Central Cee isn’t your run-of-the-mill Drill artist; he goes deep on the subjects and doesn’t bang on about wetting or jooking man up. His topics are diverse. I first heard ‘Obsessed with You’ in February, and it opened my eyes to the fact not all Drill glorifies violence. I was listening to a Grime artist until it was pointed out that Cench is Drill. I was stunned.


“23” opens with ‘Khabib’, which I enjoyed. It then went into ‘Ungrateful’, where Cench says, ‘God, I don’t wanna seem ungrateful, but I don’t wanna live’—quite a big statement for a young man to express. The song talks about his trials and tribulations in life and his frustrations. Already, he had my attention because this seemed out of the norm from other Drill artists I had heard before. The record is short, with many of the 15 songs lasting a few minutes, including four staying under two. I don’t know why that is. Is all this getting songs viral via videos on TikTok the reason? He packs in as much information and hard-hitting messages despite the disappointing track lengths as possible. I will use a track, a prime example, ‘Obsessed with You,’ a track I have heard in its original guise, and a Drum n Bass remix by Hedex (I think.). This track is also proving popular among his fans and the mainstream. ‘Obsessed with You’ features PinkPantheress, who is well-known for her short viral songs on TikTok. It is a shame she is reduced to sounding like a Chipmunk. You can tell she can sing, but the vocal effect mars her talent. It is about Cench calling out to a former lover and what he did wrong. You don’t usually hear anything like this in Drill. 


Cench is more Grime-headed for me. His potential is yet to shine through, but it is undoubtedly there. He is at the forefront of steering Drill into a new direction and changing the opinion of those who look down on it for its glorification of violence.


However, my favourite track is ‘Lil Bro’, which features Lil Bro. They converse with Lil Bro, playing the role of Cench’s Lil Bro, where he says to Cench he wants to be a drug dealer. Cench tells him about the pitfalls of going into that and how it would hurt his mother, even though Lil Bro has no choice. Cench tells him there are better alternatives. He says to lil Bro, ‘It’s London City/not Compton’. He also discusses the trials and tribulations of fame, the misconceptions of gang culture, and the dangers of becoming a drug dealer. It is an eye-opening track; hopefully, the majority will take away a lot from it. Again, Drill artist? Are you sure? In the final track, ‘End of the Beginning, ‘ Cench uses many voice notes from his close friends, encouraging him to move with the music and giving him sound advice littered with motivational quotes with Cench rapping over a Trap beat.


“23” will undoubtedly change your perception of Drill. Cench has brought a realness to a scene known for its violent episodes. I have enjoyed listening to Cench since that moment earlier this year. He is one to watch in 2022 where he plans to improve his game. His mixtape getting to No.1 will already have A&R personnel scouting him at venues. 


As for the young man telling me that youngsters don’t want to hear life stories and me thinking it’s bollocks, Cench proves that it is indeed bollocks. Look at what he has spoken about across this record. It isn’t about “Wetting man up” or “Jooking man up”; it is much deeper and touches on life stories. There is finally room for it in Drill, and it is welcomed. Hopefully, it opens the eyes of those who are into Drill.




Song recommendations: ‘Lil Bro’, ‘Ungrateful’, ‘Obsessed with You’




9/10