Vol. 60
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Full Pelt Magazine
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Linkin Park
From Zero
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LINKIN PARK – FROM ZERO – ALBUM REVIEW
The mere fact that on the cusp of 2025, seven years post the tragic passing of Chester Bennington, we’re reviewing an album of brand-new Linkin Park material is of course surreal and highly emotive.
As you’d expect with any decision to continue after the loss of an iconic and much-loved singer, the move hasn’t been without controversy. But, as we’ve seen with the pre-release singles and their return to the stage, nobody can argue the fact that Emily Armstrong sure can sing (and indeed scream!); but this isn’t blasting out a rendition of ‘Numb’… so how does Linkin Park 2.0 hold up on record?
A somewhat unnecessary intro isn’t the best start to ‘From Zero’, but as soon as the familiar strains of comeback single, ‘The Emptiness Machine’ kick in a sense of hope and intrigue takes over. From there, the gravity of what this record is helps to both elevate and hold back the songs.
This isn’t old Linkin Park, but it never truly could be, and it’s certainly not ‘not Linkin Park’ as many will say. Armstrong intertwines with Mike Shinoda as well as Bennington ever did and vocally, she manages to both pay homage to Bennington and offer something new (well beyond the tired gender trope).
That could be the overarching takeaway from this record in fact, the past is acknowledged, and key elements of the Linkin Park identity are here and turned up to eleven, but ultimately is feels like the foundations for what will no doubt come in the future.
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This, in terms of keeping old school fans warm, is perhaps therefore a little safer than Linkin Park themselves would actually have ever embraced. This is a band remember that were happy to abandon their early fame producing sound in favour of the greater sonic experimentation in their later records.
The reality though is the likes of ‘Heavy is the Crown’, ‘Over Each Other’, ‘Casualty’ and ‘Two Faced’ make this the best Linkin Park album since 2007’s ‘Minutes to Midnight’. That said there is definitely room for improvement with some questionable moments and some distracting extras.
Realistically you can say that this record had no right to be this good. As painful as it is that Chester is no longer with us, it’s great for fans of the band that the Linkin Park legacy continues into this new era. If this is just the start, then we can’t wait to hear what comes next!
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Vol. 59
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The Virginmarys
The House Beyond The Fires
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THE VIRGINMARYS – THE HOUSE BEYOND THE FIRES
Since breaking through with their debut album, ‘King of Conflict’ in 2013, The Virginmarys have spent a decade earning themselves a hardcore fanbase with stunning albums and intense live shows.
Even whilst transitioning from a trio to a duo, the band has proven themselves time and again and have shown themselves as artists that just do not miss. Every release to this point has been a bombastic rock n roll explosion and now they are back again with their latest album, ‘The House Beyond The Fires’.
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So, is now the time that the band miss?
Spoiler alert – no!
Of course not, the string of tracks previewed either live or as a single had probably indicated that fans anyway, but to put it in black and white – this is The Virginmarys at their very best yet again.
There’s an impassioned ferocity that runs throughout these eleven songs as the duo provide a scathing commentary on the state of the world. There is a fire that burns in both the sonic onslaught and the frank lyricism on this commanding record. The fast pace makes for a blistering collection which needs to be played loud and ideally heard live!
All of the previously unheard tracks, ‘White Knuckle Riding’, ‘My Nettle’, ‘Dance To The City’ and ‘Urban Seagull’ are single quality and there genuinely isn’t a bad moment within any of the thirty-nine gloriously rambunctious minutes.
Their dedicated fanbase must feel like they are in on some powerful secret, because it’s truly unfathomable how this band isn’t absolutely massive!
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Vol. 58
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The Cure
Songs of a Lost World
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THE CURE – SONGS OF A LOST WORLD – ALBUM REVIEW
It’s important to note that this review is written by someone who, despite such a passion for music that they write reviews of albums, has never gotten into The Cure. I can’t actually say that it’s not for a lack of trying, because the reality is that I’ve never tried!
Something always felt a little intimidating about trying to dig into their near five-decade long career. Where would I start and what order would I go in? What if I didn’t like what I heard? What if I did?!
Well, with the band releasing their first new album in sixteen long years and facing the reality that with the members of the band in their mid to late sixties, ‘Songs of A Lost World’, could be their last ever, it feels like a now or never situation!
At just eight tracks, but a fifty-minute run time, on the face of it this album can again look rather intimidating, especially when you clock the 10+ minute album closer, ‘Endsong’! Musically though the album is instantly welcoming as the band usher you into this lost world of theirs.
Whilst the album is easy to listen to in the sense that it doesn’t turn you away, it has to be said that thematically it is heavy listening with a foreboding darkness shrouding the lyrics focused on mortality and loss.
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Given the fact that this could be their last album, many of the words sung so hauntingly by Robert Smith feel very apt. This despite the fact that the majority of the album was recorded and ready to go five years ago.
There is something mesmeric about this album though, and it’s no surprise that both the band themselves and the music press are confident that it’s up there with their best ever work.
Perhaps in hindsight, for someone unqualified in their back catalogue, but with a knowledge of their biggest mainstream hits, this probably wasn’t the best place to start a deep dive into the musical journey of The Cure.
That said, if this album was presented to me with no name attached, no burden of history or pre-judgement of quality then I’d still be saying this is a magnificent, reflective and absorbing collection which is well worth investing some of your time towards.
So, if like me, you feel a little intimidated when considering a jump into The Cure or ‘Songs of A Lost World’, then I’d suggest you just throw away those inhibitions and explore this lost world!
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Vol. 57
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Interlaker
Interlaker
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INTERLAKER – INTERLAKER – ALBUM REVIEW
The sheer talent of David Jakes deserves to be heard, but his crippling anxiety for the stage life ultimately led to him stepping away from Lonely The Brave in March 2018, whilst they were at the peak of their powers.
For Jack Wrench, he has shown himself to be an incredibly skilled drummer with Arcane Roots, but his own time in the limelight came to end in late 2018 as the band played their final shows.
Fast forward to spring 2022 and the two musicians linked up on Instagram and bonded over shared influences. Soon the duo found themselves sharing new music and a special collaboration was born!
Since then, Interlaker have released a steady stream of atmospheric singles and even wowed a few crowds by bringing these songs to life on stage.
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Given the pedigree of the musical chops on display, it should be no surprise that their self-titled debut album is an even bigger dose of magnificent alt-rock radiance.
Early releases ‘The Hunger’ and ‘Ghostride’ ease listeners into this collection, before the duo flex their creative muscles even further. Each of the ten tracks on the album are engaging and full of sonic gravitas. Once you’re sucked in, you aren’t going anywhere!
As far as debut albums go, this one is simply gargantuan and you can’t but hope that it signals only the beginning of what promises to be a spectacular journey for two supremely talented musicians.
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Kids In Glass Houses
Pink Flamingo
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KIDS IN GLASS HOUSES – PINK FLAMINGO – ALBUM REVIEW
There was naturally an air of sadness when Kids In Glass Houses split in 2014, but equally there was a sense of things running their course. Like many of their peers, momentum had slowed, and the unforgiving music industry was taking its toll.
A wave of bands hyped as the next big thing, because just another thing and the world seemed to be moving on without them. The funny thing though is that what is once thrown aside and labelled out of time eventually turns into nostalgia and again following trend Kids In Glass Houses emerged from their self-imposed hiatus in 2023 to celebrate the fifteenth anniversary of debut record ‘Smart Casual’.
That reunion hype continued past those original shows and eventually led to news of new music on the way. Well, now that music is here as they release their fifth studio album, ‘Pink Flamingo’!
The first thing to note about this album is that it’s anything but a standard “we’re back” type of release. It seems that even though they are technically still riding that wave of nostalgic momentum, they are keen to pick up where they left off rather than go all the way back to the beginning.
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There is a clear desire to expand on their sound and do something new and purposeful rather than just rely on what brought them to the dance in the first place. It’s ironic though that it’s a different breed of nostalgia that provides the soundscape for this album. Much love exists of late for the music of the 1980’s and that influence is worn with pride on this collection.
This does mean that much of the guitar driven impetus of their earlier work is sidelined and a more measured synth-laden sound surrounds each of these delicately crafted songs. You have to admire the ambition of the band, but with that there is a risk that ‘Pink Flamingo’ ultimately feels like it just tries too hard.
A similar sonic transformation has killed the momentum of a number of similar acts in recent years – Deaf Havana we’re looking at you! This album however is well produced and comes at a different career point for Kids In Glass Houses.
This album certainly deserves your respect and attention, it’s far from a bad album, indeed it’s a pretty damn good album – time though will tell if it’s the right album at the right time for a band looking to re-establish themselves in what is now an even harder industry than the one they left!
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Razorlight
Planet Nowhere
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RAZORLIGHT – PLANET NOWHERE – ALBUM REVIEW
On the back of their first two albums, you would have expected Razorlight to go on to be a sustainable big hitter in the industry. Alas, everything started to go down hill thereafter and eventually would lead to frontman Johnny Borrell being the sole remaining original member and their record label refusing to release their much delayed fourth album.
After a decade of decline, Borrell managed to commence CPR on the lifeless corpse of Razorlight around 2018 with the release of ‘Olympus Sleeping’ coming at a good time for indie nostalgia. Subsequently the gradual re-introduction of the classic line-up raised the groups stock once again; and bigger and better shows followed as a result.
With that nostalgic feeling assisting, the question mark remained however over whether that original magic could be recaptured in the studio. ‘Planet Nowhere’ is the first new album from the classic Razorlight line-up since 2008. Meaning that despite numerous attempts, ‘Olympus Sleeping’ now sits as the only Razorlight album not to feature the line-up of Borrell, Andy Burrows, Björn Ågren and Carl Dalemo.
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Despite that sixteen-year gap, it’s evident from opening track, ‘Zombie Love’, that the quirky charm that set Razorlight apart from many of their contemporaries remains intact. As the album progresses it’s interesting to note that feeling of recaptured magic, mixed with an expected aura of added maturity.
It would be disappointing if this was just a rerun of their best work, but equally as off putting if it was an escape from what brought them to fame. You have to say that the quartet have done well to find a balance between past, present and future.
Their renewed vivacity is clear, and this is a fun album which is helped by the relatively short track list and run-time. That said this is no masterpiece and won’t even be regarded as the best album to be released this week, let alone trouble any of the album of the year lists that are peering over the horizon.
‘Planet Nowhere’ is a jolly romp and that’s really all that it needs to be. Lapsed fans of the band won’t regret allocating some time to check this album out, but odds are ‘Up All Night’ will be back on the record player soon after.
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