When listening to Wasting Light, attention can be captured throughout as it remarkably achieves its own personality. The performances of Nirvana’s Krist Novoselic on bass (“I Should Have Known”), as well as Pat Smear and Bob Mould’s guitars in “White Limo” and “Dear Rosemary,” respectively, give a special brightness to the album. Foo Fighters’ commitment to maintain quality in their music is quite noticeable on Wasting Light. It raises a sensation of listening to their earlier songs and is sure to be a warranty of satisfaction for their usual listeners. Lyrical voice, high creativity and a good flow of engaging songs assure excellence throughout this record.
Applying techniques of recording the album on an analog tape instead of using digital resources was a wise decision. The sound production goes back to basics, so to speak, due to the use of equipment that produced subtle distortion in sound on many of the songs. The decision to rid of the softness and polished production allowed the return to a garage rock sound and this was done quite remarkably. Not surprisingly, Butch Vig’s work on this record alone earned him a nomination for Producer of the Year. For the 54th Grammy Awards, Wasting Light achieved six nominations: Album of the Year; Best Rock Performance – “Walk”; Best Hard Rock/Metal Performance – “White Limo”; Best Rock Song – “Walk”; Best Rock Album; and Best Long Form Video – “Back and Forth.”
The perspective of releasing good albums are somehow guaranteed by innovational strategies related to diversifying musical composition through the assimilation of different elements. Foo Fighters accomplished this in Wasting Light. An honest shift in production techniques, as well as the wise inclusion of knowledgeable roots musicians to support the new project, helped make the band get their desired and much pleasurable sound. When the formula is right, there’s no reason to change it in their next achievement.
Reviewer: Edla Lundgren
IRC: Bill Pulice
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