Foo Fighters - Wasting Light, a review

Far from an energy-saving plea; the Foos' 7th outing sees them at their loudest, and perhaps their best?

Having appreciated them for considerably longer than the majority of those I currently write about, not to mention their side projects and former bands, it's with great pleasure that album number 7 arrived. From the promotional pieces earlier this year (White Limo's video featuring Lemmy!) to the track itself the 4 year wait wasn't likely to have been a disappointment - and from the very first listen of this record I can confirm that. With former guitarist Pat Smear now firmly back in the lineup for his first record since 1997, this could be the best lineup yet.

The opener 'Bridge Burning' immediately pulses with inanely simple riff hooks and Grohl's token screamed aggression that we've come to miss in Them Crooked Vultures, and allusions to bridge-burning are sadly universal, not particularly evident of a musician feud at all. Lead single 'Rope' was something of a disappointment at first, being something of a lighter track - but there's a kind of early 90s vibe to it with its hesitant twangs and short, frequent riffs. The chorus is still a little bit unexciting, especially compared to other tracks on offer, but it fulfils the role of pandering to the soft-rock enthusiasts of Radio 1 who'd find metal threatening.


With 'Dear Rosemary' there's a slight influence of Josh Homme perhaps, following years of collaborations with the Queens of the Stone Age frontman (most frequently with Them Crooked Vultures of course) - the track is more romantic than your typical FF output; Grohl sounds more pleading than roaring. There's then distortion aplenty with 'White Limo', complete with insane music video (it makes Gorillaz's Stylo cameo look wimpy) and classic early 90s sounds - it's just fantastic. Grohl is virtually unrecognisable, whilst Chris and Pat conjure insanely catchy riffs that blow dust off anything that surrounds.

The Pretender's mixer, Drew Hester, returns for 'Arlandria', already a firm favourite with its radio-friendly hooks and brilliant chorus, likely to grow to be a fan favourite. 'These Days' is comparatively a little bit boring, not really destined for anything other than filler. 'Back and Forth' is comparatively better but still not particularly a highlight - but by all means a good track. Things improve with 'A Matter of Time', playing off unconventional structure and a more rhythmic approach. 'Miss the Misery' returns to a heavier sound, another pretty decent but not brilliant track.


Instead it falls down to the final two tracks to stand out - 'I Should Have Known' welcomes in fellow former Nirvana bandmate Krist Novoselic on bass and accordion - and casts the band in poignant, reflective mood, one that's sure to conjure plenty "is it about Kurt?" rumours with lyrics such as "No I cannot forgive you yet" and painful regrets. It's a brilliant track, and almost impossible to follow, but the middle section of 'Walk' is perhaps their most energetic, most frightening and most fantastic yet. Beginning all soft and pleasant, it packs a heck of a chorus that would really be enough to round things off, but it's those 3 verses running on from each other that really stand out, leaving you almost floored with its punch - "I never wanna die!" a fantastic proclamation that is sure to be unforgettable live.

The sheer fact of the matter is that most bands by album number 7, as well as side ventures and a huge back catalogue of squabbles, history and notoriety, will have by now run out of ideas - but this sees the band at their most energetic, their darkest and it's just a phenomenon to behold.

Rating: 8.5/10
Highlights: Walk, I Should Have Known, White Limo, Arlandria, Bridge Burning
Avoid: These Days and Back & Forth are the weakest, but by no means need to be avoided.