In a moment that thrilled longtime fans and reignited excitement within the music world, Linkin Park made their triumphant return in early September with the announcement of a show at a (then secret) location. The band’s comeback show, marked more than just a performance—it was a poignant statement of resilience and evolution, showcasing their renewed spirit and creative energy. With the later release of their second single, “Heavy Is The Crown,” Linkin Park once again proved their ability to push boundaries while staying true to their core identity.
Shortly after this electrifying show and the release of “Heavy Is The Crown”, I had the opportunity to ask a few questions to Linkin Park’s own Michael Shinoda and new band member Emily Armstrong. In an insightful conversation, they shared behind-the-scenes stories about the creation of Von Null an (read our review Hier) and the collaborative dynamics that shaped their latest sound. From writing sessions to the intricate recording process, Mike and Emily opened up about what it took to craft an album that stands as both a tribute to the past and a bold step into their future.
As we celebrate the release of Von Null an today November 15th, we invite you to delve into this interview where Mike and Emily reflect on their journey, and the experiences that have defined this new chapter for Linkin Park.
AltWire [Derek Oswald]: Having two new band members means bringing two new dramatically different creative energies to the studio. Mike, in what ways did working with Colin and Emily inspire you and the rest of the original band creatively? What fun new things did they bring to the table?
Mike Shinoda [Linkin Park]: For people who have been fans of LP for a long time, I think you’d appreciate that Colin and Emily came into the process as super capable artists who, in part, wanted to help Linkin Park become real again. When they showed up, they were so supportive and encouraging. They’d say things like “I’m just here to help” and “I’m just happy to be here”—I remember one conversation in particular where Colin was basically like, “I just want Linkin Park to be back in the world again, and I’ll do anything I can do to help make that happen.” He was totally unaware that we were considering to ask him to join the band!
AW: Adding on to that, you’ve mentioned that you and Colin think very similarly in the studio. What were some of the most rewarding parts of making this record? What fun experiments did both of you try?
Emily Armstrong [Linkin Park]: I love the feeling when a small idea becomes a big concept. What everyone in the room comes up with, together, to reach a complete idea. It’s pretty impressive to witness, or be a part of.
MS: It’s funny to try and “plan” that kind of magic, because you never know how the day will go. In making our schedule, I tried to keep it loose and create a lot of variety. Sometimes working with a bunch of people, sometimes just a couple of us. I booked us at different studios, to try and capture different sounds and see if the change of scenery might inspire different things. Sometimes we might have a plan for the day, but then a sound—like the one in the beginning of Heavy Is The Crown—might completely pull us in, and we’d end up spending the whole day chasing a new idea. One day we might start a song with a phrase, like “Why do bad things take the place where good things go” and another day we’d spend the whole time sending sounds through speakers and guitar pedals.
AW: Linkin Park album cycles are traditionally very productive periods, resulting in hundreds of demos and partially finished song ideas. How many demos were made for this album before inevitably whittling it down to 10 songs?
MS: So many, in various stages of completion. Not sure what the number was.
AW: Obviously you didn’t know how big it would be upon release, but in the studio writing it, did you think “The Emptiness Machine” was going to be a great single-worthy song?
MS: I occasionally get a feeling that a song is extra special. I had that feeling on “In The End”, “Castle Of Glass”, “What I’ve Done”, and others. Historically, it hasn’t always meant the song will be super successful, it just means I love it and I’m proud of it, and I’d be happy if we put as much focus on it as we can. I had a strong feeling like that about “The Emptiness Machine”, and made sure to always keep an ear out when other people flagged that as a potential single.
AW: Branching off the previous question, both Linkin Park and Dead Sara had some very successful songs. For both of you, what are some common go to tricks you rely on to help craft a memorable and catchy song?
EA: I’m still learning that part! But honestly, I always just went with my gut and what I would want to sing as a performer.
MS: I generally say, when you’re writing, “people will like this” is not as good as “I like this.” The worst case scenario for me would be to write a song that people like, but I don’t like.
AW: Emily, Preparing for the set list has allowed you to not only look back over the band’s entire discography but some of their deeper more obscure cuts as well. What Chester era song is your absolute favorite and which yet to be unreleased From Zero track are you most excited about?
EA: I’d have to say “Waiting For The End”. That’s my favorite LP song. And as far as Von Null an, I’m most excited for “Overflow.”
AW: Emily, what are some of the unique differences in the writing process with Linkin Park versus previous sessions with Dead Sara when it comes to crafting new music?
EA: For sure. As Die tote Sara, we would typically just write in a room together playing live, essentially molding a song together before figuring out the rest, when we get to the recording part of it. Vibe first, then lyrics last. LP has a more professional and successful way of writing songs! [laughs]
AW: Heavy Is The Crown is the theme song for Worlds 2024, and a version of it was included in the Netflix show Arcane. How did this collaboration come about?
MS: Before LP had really started back up, Christian [Linke] Und Alex [Yee] from Arcane asked me if I’d write some things for Arcane, which I was excited to do. That was when I wrote the lyrics that became the chorus. Many months later, the band was in the studio, with a ton of momentum and a pretty clear vision of what we were doing, and I tried those words over a new demo we were making. As soon as Em sang it, everyone knew it was going to be great. A little while later, I played it for the Riot [Games] team—and it turned out they had already been working on a “medieval” launch concept for Worlds. The coincidence of their concept and our “Crown” lyric was too good to ignore!
AW: Let’s talk about that beast of a scream Emily did on HITC! Emily or Mike, how did that part come about? Was it always planned to be an extended scream or was it one of those serendipitous studio moments?
MS: I did actually plan a long “Given Up” style scream, as an easter egg or “nod” to one of the most iconic vocals Chester sang. Emily did slightly longer and shorter takes of that scream, but the one we used was just a tiny bit shorter. For one, it fit the song better, but also it felt like by using the shorter one, we were kinda showing respect to the Chester vocal. I know it’s hard to imagine, but I bet the Chester scream or the Emily scream could have been longer, honestly, with unlimited of takes in a studio environment. But we did what felt right for each of the two songs.
AW: Finally, Mike, your musical journey has been one that’s taken you through some brightness and darkness that few could actually conceptualize. How do you view the impact your music has made in so many peoples’ lives, in helping them through hard times, as well as your overall legacy as a band?
MS: To borrow some words from Colin: “I’m just happy to be here.”
Linkin Park’s From Zero is now available on all streaming services and available for purchase worldwide.
LISTEN TO “TWO FACED”:
