Foo Fighters - Wasting Light 
Ive always been a pretty big Foo fan, so, naturally, have been waiting a fucking lifetime for Wasting Light. And no, it isn’t what I was expecting at all. It’s better in every single way.
It seems that over the years FF had begun to embrace the mainstream more and more, with each release sounding slightly more sterile and poppy. Not to knock those efforts though, as ESPG was a favourite album of mine for about two years. It’s just that none of these ready for radio releases could even compare to the FF’s early work. So to say that WL is a step in the right direction is an understatement in every respect.
Gone is the crystal clear production and shining examples of pop-writing sensibility in a rock format of recent releases, instead being replaced by a pissed off sounding Mr Grohl and co. venting like sweet fuckery and recording the outcome. Considering that the album was recorded in Dave’s basement on an analogue tape, the production is great, yet also retains the feeling of a band jamming, having a great time and producing some exceptional music.
Replacing the poppy, near-ballads of their last few releases with pissed off, punk-fueled rock anthems wasn’t the only change to take place on WL, as the music now has a very prominent psychedelic influence. Whether it’s the Rush and Led Zeppelin esque Rope, or the drug addled, violent and bastard son of Kansas and Journey in the form of Miss The Misery, WL is pretty darn trippy throughout. Even the fuzzed out album highlight White Limo sounds like an early (and furious) QOTSA.
It’s not just these influences that add some welcome variety to WL, as the “Jonny Cash for the 21st century tones” of I Should Have Known resonate with you for hours after it’s final note.
But what shines above all on this truly epic release is the instrumentation. Dave Grohl’s vocal performance and song writing is amongst the best in the last decade here, showing himself as one of the greatest songwriters of all time. But it’s Taylor Hawkins that steals the show on WL. Providing some of the greatest drum fills and tracks I’ve heard in a long, long time, he plays with both awesome technicality and exceptional groove.
I really can’t do justice to what an exceptional example of furious, metal-driven stadium rock this, and I’ve decided not to bore you all with needless hyperbole today, so just go buy it. Now.