Wasting Light- Foo Fighters

World’s biggest rock band goes back to basics for career-defining seventh...

For a man who has made a career out of escaping a very large shadow, Dave Grohl has made some odd decisions on Foo Fighters’ latest. Namely, he’s employed the services of three key Nirvana players: touring guitarist Pat Smear has returned full time, Krist Novoselic plays accordion on one track, while behind the desk sits Nevermind producer Butch Vig.

After successfully finding distance and becoming a bonafide rock god at 2008’s Wembley shows, it seems a strange time for Dave Grohl to return to those days. However, Wasting Life isn’t an album about dining out on the past: it’s about accepting it. It’s a shame then that the work of Vig and Novoselic have hogged headlines ahead of release. The big news here really is that this is the best adult hard rock album since Queens Of The Stone Age’s Songs For The Deaf nearly a decade ago, as well as being the most complete Foo Fighters album yet.

Despite unhappy rumblings in the camp in the run up to Wasting Light’s release (mostly over the accompanying documentary Back & Forth), this is the most unified the band have sounded. Dave is still very much leader of the pack, but the return of Pat Smear has clearly had a big impact, as when it wants to rock out, the guitars on Wasting Light are huge. Those disappointed by the lacklustre, disjointed and strangely weightless first single Rope have nothing to worry about as it’s the weakest thing here. Everything else carries real power and strength, without ever quite being the balls-to-the-wall hardcore that was talked up during recording. The only concession to this claim is gleeful screamer White Limo: coming in with big riffs, and throaty vocals- the Foos are having a blast. Bridge Burning is the other big, exhilarating track, and is a wonderful statement of intent: the band are tight, and it stands out a mile in an era lacking big rock anthems.

Elsewhere, the best moments find Grohl opening up as a songwriter. Always afraid to show us the real Dave behind the “nicest man in rock” enigma, posturing is forced out as a mood of often tender reflection bounce off the big guitars. These Days finds Dave in conversation with himself, showing a man plagued by self-doubt and tragedy: “I said it's alright/Easy for you to say”. Dear Rosemary, a duet with Bob Mould from Grohl heroes Husker Du, finds vocals at their most nakedly emotional.

Best of the lot stands as I Should Have Known: a restrained and heartbreaking lament to a friend Grohl lost to overdose in 2008. Novoselic’s appearance on it will raise obvious misinterpretations, but the maturity and emotion in the melodies allow it to rise above this, while it’s lingering regret (“I can not forgive you yet”) make it a definite Everlong beater, and possibly the best song the band have recorded.

It’s far from a perfect album- the usual Foo filler makes an appearance. Tracks like Back & Forth and Arlandria carry pretty McCartney-esque hooks, but amongst other stronger material they come up lacking. Despite this, it’s a powerful album for a band who have always been better at singles. During its best moments, Wasting Light makes you forget the heavy weight of events past that hangs over everything Dave Grohl his done since 1994. Which is probably the whole point anyway.

4/5

Best Tracks:

I Should Have Known

Bridge Burning

Dear Rosemary

White Limo