Foo Fighters - Wasting Light (14/04/2011)
Foo Fighters - Wasting Light
It’s been a few years in between drinks but
Wasting Light, the seventh studio album from
legendary rock act Foo Fighters will no doubt
feature in many ‘best of’ lists for 2011. Hyped beyond belief with viral
videos, charity gigs and even labeled with a sticker stating ‘Please play at
maximum volume,’ Wasting Light is everything we
have come to expect from the band and even a little bit more.
The back to basics approach of recording in Dave Grohl’s garage straight to analogue tape gives the album an authenticity of nostalgia. ‘Leaked’ online by the band a few days before it’s official release, I avoided streaming this album digitally as I felt it to be a record that would be truly appreciated when played in it’s most physical form. This approach only made the first listen more memorable, especially when played at maximum volume as intended by the band.
The opening track Bridge Burning offers one of the Foo’s strongest tracks written yet, a collision of classic style and trademark riffs. Expected to be set opener when the Wasting Light world tour takes to the road, it’s begins the album with familiarity, with lead single Rope demonstrating that after pursuing solo and side projects, Foo Fighters haven’t lost their touch.
The full potential of the analog recording method shines through with the brilliant White Limo, while tracks such as These Days and Dear Rosemary provide insights into Foo Fighters down tempo side, with it’s maturity and guest vocals from Bob Mould of Hüsker Dü. Turn up the amp to 11 and blast Arlandria, a track that builds with force each second.
The latter half of the album is somewhat slower paced, leading Wasting Light to a respectable close. Foo Fighters have often been criticised for their attempts at thematic material involving failed romances and growing up in an ever-changing world. But what we need to realise is that each album chronicles the different aspects of the Foo Fighters lives. When looked at from this perspective, the meaning of Wasting Light can be seen for what it really is; a record by a band who have a dynamic approach to music that changes with each album.
The true shining light here is I Should Have Known. Drawing comparisons (to a small extent) to Powderfinger, this blast into the past features Krist Novoselic, Nirvana’s former bass player. It imprints onto the listener as Grohl screams through “No, I cannot forgive you yet.” However, it’s with Walk that Foo Fighters declare that Wasting Light is their triumphant return to the spotlight.
Wasting Light is a raw, down to the bone record that deserves acclaim. It’s Foo Fighters fiercest effort yet, one that will stand above and be revered much like The Colour and the Shape. While it may not become overly commercially successful with the masses, like all great albums Wasting Light will go down a classic with die hard fans and rock enthusiasts alike.
Luke Sutton
The back to basics approach of recording in Dave Grohl’s garage straight to analogue tape gives the album an authenticity of nostalgia. ‘Leaked’ online by the band a few days before it’s official release, I avoided streaming this album digitally as I felt it to be a record that would be truly appreciated when played in it’s most physical form. This approach only made the first listen more memorable, especially when played at maximum volume as intended by the band.
The opening track Bridge Burning offers one of the Foo’s strongest tracks written yet, a collision of classic style and trademark riffs. Expected to be set opener when the Wasting Light world tour takes to the road, it’s begins the album with familiarity, with lead single Rope demonstrating that after pursuing solo and side projects, Foo Fighters haven’t lost their touch.
The full potential of the analog recording method shines through with the brilliant White Limo, while tracks such as These Days and Dear Rosemary provide insights into Foo Fighters down tempo side, with it’s maturity and guest vocals from Bob Mould of Hüsker Dü. Turn up the amp to 11 and blast Arlandria, a track that builds with force each second.
The latter half of the album is somewhat slower paced, leading Wasting Light to a respectable close. Foo Fighters have often been criticised for their attempts at thematic material involving failed romances and growing up in an ever-changing world. But what we need to realise is that each album chronicles the different aspects of the Foo Fighters lives. When looked at from this perspective, the meaning of Wasting Light can be seen for what it really is; a record by a band who have a dynamic approach to music that changes with each album.
The true shining light here is I Should Have Known. Drawing comparisons (to a small extent) to Powderfinger, this blast into the past features Krist Novoselic, Nirvana’s former bass player. It imprints onto the listener as Grohl screams through “No, I cannot forgive you yet.” However, it’s with Walk that Foo Fighters declare that Wasting Light is their triumphant return to the spotlight.
Wasting Light is a raw, down to the bone record that deserves acclaim. It’s Foo Fighters fiercest effort yet, one that will stand above and be revered much like The Colour and the Shape. While it may not become overly commercially successful with the masses, like all great albums Wasting Light will go down a classic with die hard fans and rock enthusiasts alike.
Luke Sutton