Wasting Light

Foo Fighters - Wasting Light

Foo Fighters have been one of my favorite bands since I saw them open for Mike Watt before their first album was even released. But over their past two albums, they had kind of reached a point where the singles were good, but the rest of the albums were a little too close to MOR classic rock for my tastes. I never even got around to buying Echoes, Silence, Patience & Grace, which is something considering what a completest I normally am. Although the news of them working with producer Butch Vig (who you might remember also produced a little known album by Dave Grohl's old band) was encouraging, he had also done the two new tracks on for their Greatest Hits album, and "Wheels" left me kind of empty.

Then in February one of my friends sent me a link to the Foos website, which had a 30 second preview of "Bridge Building," and I've got to say, it definitely got me paying attention. That song opens Wasting Light, and pretty much sets the tone for what's to come... an almost unrelenting wall of hard rock and crunching guitars. It's not that they've suddenly stopped writing hooks, but the songs are backed by a much harder edge than they've had recently. Part of that can be attributed to the return to full time status of Pat Smear, which means most of the songs have at least three guitarists on them, and on songs like "Rope," it allows for three distinct simultaneous guitar parts. And when there are only two parts, like on "White Limo," there is a lot more OOMPH. Basically this is the hardest the Grohl has rocked since his Probot side project, and the best Foo Fighters album since their sophomore effort, Colour & The Shape. Call it a welcome return to form.

I'll also warn you that buying the Best Buy exclusive expanded version is pretty much a waste of money. The remix of "Rope" is unlistenable for most rock fans, and the other track, "Better Off," is hardly essential. So unless you like owning videos that are otherwise available on Youtube, save a couple of bucks and just buy the standard edition.

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No D In Threesome

Interpol, w/ School Of Seven Bells
Ryman Auditorium, Nashville, TN
Monday, May 2, 2011

I've always made it a point to get to concerts in time to see the opening act, even if I'm not familiar with them before hand. There are a lot of reasons for this. Part of it is I've played in bands off and on since high school, so I know how much it sucks to play to a half empty room. But I've also discovered some of my favorite bands by seeing them open for someone else. Of course it's not always that way. Sometimes you have to sit through 45 minutes of pure crap, as was the case last time I saw Interpol at the Ryman, and Liars opened.

This time more than made up for that though, as School Of Seven Bells were fantastic. They definitely have a bit of a shoegazer vibe, falling somewhere on the musical venn diagram between Curve and The Cocteau Twins. Guitarist Benjamin Curtis (ex-Secret Machines) looked like a dead ringer for Joe Jonas, but his guitar playing was a perfect combination of Kevin Shields and The Edge. With last falls departure of founding member Claudia Deheza, her twin sister Alejandra was left to cover vocals on her own, but the songs definitely didn't suffer from the lack of harmonies. And the addition of live drums gave the songs an extra kick from the loops that make up most of their recorded output. It certainly had a different feel than their albums, but it sounded equally great.

I was curious to see whether I'd enjoy Interpol as much as I did last time for two reasons. One was that bassist Carlos Dengler had departed just after releasing their latest self titled album. The other was that I found that album, Interpol, to be a huge letdown. So I was kind of surprised that either the new songs sound a lot better live, or they just seem cooler when surrounded by selections from the rest of their catalog. Opening with "Success," the eighteen song set was equally divided between their four albums, with the early b-side "Specialist" thrown in for good measure. The highlight of the set came exactly at the halfway point with "Lights," the one standout track from their new album which sounded even more incredible live.

Throughout the evening, guitarist Daniel Kessler's epileptic Fred Astaire moves had his roadie playing cord wrangler, and Paul Banks exuded the kind of slightly goofy charm that reminds you of that guy in high school who seemed to move effortlessly through all the various cliques and was friends with everyone. Casual fans might not have even noticed that Carlos D is no longer in the band, as touring bassist Brad Truax had the same wide legged, low slung stance that Dengler often had. But there were a few moments, like on the verses of "Evil," where the bass wasn't quite as locked in with the drums as you'd want it to be. Granted, its probably not something most people would notice, but when you've spent your whole life in the rhythm section like I have, these are the things you hear. But aside from being nit picky, it's also totally forgivable, as Truax has only been playing with the band for a few weeks. And when they send you home with a killer version of "Slow Hands," it's hard to complain about anything.

School Of Seven Bells - "Windstorm" (mp3) from Disconnect From Desire

photo courtesy of Nashville Metromix