Wasting Light

Did You Know?

• The first CD copies contained a small section of the original analog master tape.
• The album's art direction used no computer graphics, relying on copy machines, transparent ink, and X-Acto blades.
• The band played a secret gig at Paladino's bar in Tarzana, California, on the day the album was finished, debuting four new songs.

Background

After the tour for Echoes, Silence, Patience & Grace ended in 2008, Foo Fighters began recording at Grandmaster Recorders in Hollywood but abandoned the sessions for a break. Two songs from those sessions, "Wheels" and "Word Forward", were later re-recorded for their 2009 Greatest Hits album. That recording reunited frontman Dave Grohl with Butch Vig, who had produced Nirvana's Nevermind. Grohl wanted Wasting Light to be a defining album for the band, comparable to AC/DC's Back in Black or Metallica's Black Album, and hired Vig for his ability to streamline material. While touring with Them Crooked Vultures in 2010, Grohl developed demos and worked on them with drummer Taylor Hawkins. Guitarist Pat Smear, who had left after The Colour and the Shape (1997) but had been a touring member since 2006, returned as a permanent member. Grohl chose to record in his garage in Encino, Los Angeles, rather than a modern studio, viewing it as a way to make a primal-sounding record and subvert expectations. The band used entirely analog equipment until post-mastering, as Grohl felt digital recording had become too artificial. Hawkins believed an analog approach would help the band reclaim artistic freedom.

Recording

Recording began on September 6, 2010, and lasted eleven weeks, with each week focused on a single song. Grohl's garage was fitted with microphones, sound baffles, and a carpet under the drum kit; a crash cymbal with holes drilled in it reduced cymbal bleed. A makeshift control room was built in a tent in the backyard, with cameras and a television linking it to the garage. The equipment was the same used for There Is Nothing Left to Lose and One by One at Grohl's former home in Alexandria, Virginia. Sessions started with Grohl's rhythm guitar and Hawkins' drumming to establish a foundation; click tracks were used but not strictly followed to allow for groove. Grohl recorded vocals in the control room or an isolation booth, often screaming to the point of headaches to achieve maximum emotional impact.

Composition

Grohl stated that Wasting Light would return to a rawer, heavier sound after the experimentation of previous albums, aiming for tight, catchy songs rather than the longer, multi-section pieces he played with Them Crooked Vultures. Hawkins appreciated the album's straightforwardness. Grohl described it as the band's heaviest effort, saying at age 42 he felt it might be his last chance to make such a record. Vig followed three criteria: hooky, heavy, and analog. Critics described the album's sound as alternative rock, post-grunge, and hard rock. The three guitarists balanced Grohl's rhythm playing, Shiflett's melodic style, and Smear's aggressive baritone guitar parts, which added heaviness. Hawkins incorporated many buzz rolls into his drum fills at Vig's suggestion, a trademark of drummer Ian Paice.

Critical reception

Wasting Light received generally positive reviews. On Metacritic it scored 78 out of 100 based on 37 reviews. Andrew Perry of The Daily Telegraph called it the band's best album, tough but accessible. Stephen Thomas Erlewine of AllMusic deemed it the fiercest album they had made. Mikael Wood of Spin said it was Grohl's most memorable set of songs since The Colour and the Shape. Rob Parker of NME praised its sound on headphones. Paul Brannigan of Q called it the most life-affirming album of Grohl's career. David Fricke of Rolling Stone commended Grohl's themes and Vig's production. Kyle Ryan of The A.V. Club noted a lack of filler. Mixed reviews came from Slant Magazine's Kevin Liedel, who criticized a growing aversion to anthemic songs; Dave Simpson of The Guardian, who found an undue arena influence; Greg Kot of the Chicago Tribune, who felt the songs were not innovative; Pitchfork's David Bevan, who found no strong hooks; and Andy Gill of The Independent, who criticized bombast and a loss of diversity.