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Wasting Light

Wasting Light

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In fact, said garage was built with the arena in mind, and as a result Wasting Light sounds just as mammoth and capable of knocking out teeth as anything Foo Fighters have recorded since the late 90s. This is not the case here with Grohl and co regularly turning up with extra ingredients and crafting them perfectly into bigger and better songs. I was eagerly awaiting the new release from the Foo Fighters and when I heard it was recorded in Grohl's garage and it would have a rawer sound than we are used to, I was even more excited. According to Grohl, the analog strategy would make the record "sound rawer and somewhat imperfect; [7] Chris Shiflett agreed that "rock n'roll is about flaws and imperfections".

On December 21, 2010, the same day the album was finished, the band played a secret gig at the Tarzana, California bar Paladino’s, on which four songs from the new record made their live debuts. Smear would usually play his parts on a baritone guitar, which would both contrast with Grohl and Shiflett and add a heavier sound – as Grohl declared, "if we ever felt like a section wasn't heavy enough, we put the fuckin' baritone on it, and it became huge. Wasting Light was preceded by the successful single " Rope", which became only the second song ever to debut at number one on Billboard 's Rock Songs chart. You can change your choices at any time by visiting Cookie preferences, as described in the Cookie notice. The important thing to know about Wasting Light as an album is that the writing itself seems to have received more attention to detail than anything Foo Fighters have produced in the last decade.Rope” has a chopped surge that evokes mid-Seventies Led Zeppelin, then straightens out for a later-vintage payoff: a ragged alt-rock glow with rough-boy harmonies. In Canada, the album debuted at number one on the Canadian Albums Chart, selling 21,000 copies in its first week. Five songs on the album were licensed for ESPN [49] and two others were featured in movies, [6] "Miss the Misery" in Real Steel [50] and "Walk" in Thor. Greg Kot of the Chicago Tribune felt that, although it is "competently" performed, the songs are not innovative and suffer from "clichés", including "hardcore punk screed", "streamlined rocker", and "melodramatic power ballad".

This week, coupled with Wasting Light, their seventh full-length, Foo Fighters have been screening their new, somewhat revisionist, sometimes 3-D retrospective documentary, Back and Forth. Given the album was recorded in a garage, the band held a contest for which some shows of the promotional tour would be performed in eight fans' garages. Grohl wanted to create an album that would "define" Foo Fighters, as he felt Back in Black defined AC/DC or the Black Album defined Metallica: "It might not be their best album, but it's the one people identify the band with the most .

As evidenced by the opening roar of "Bridge Burning" and "Rope" or metallic uppercuts of "White Limo", the new, three-guitar attack in place provides a wallop that wasn't there before. On tour in 2010 with Them Crooked Vultures, Grohl developed songs and recorded demos, which he took to Foo Fighters drummer Taylor Hawkins for development. The band committed to not changing what they recorded; according to Smear, "Whatever we did, we didn’t change it. Dear Rosemary' is one of the Foo's more serious efforts - perhaps a distant cousin of 'Hey, Johnny Park! Another part of the promotional campaign was a contest held by Fuse TV where fans created their own videos for the Wasting Light tracks.

While Wasting Light features a host of worthy set-openers, few prove to be as sticky or memorable as any number of their previous singles. The producer said that during recording he "had to force my brain to fire different synapses" to remember how to deal with the analog equipment and the lack of a digital display. Advance word on Wasting Light is strong, with a number of its creators’ devotees describing the set as being the group’s best album since 1997’s The Colour and the Shape.

The frontman said this was helped by the environment – "a lot of retrospection and introspection and nostalgia going back to the way we used to make records" - [17] and working with Vig again, which "made me think a lot about starting over, and rebirth, and making your way through tragedy and coming out the other side.

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