When listeners first sink their teeth into the Foo Fighters' Echoes, Silence, Patience and Grace, they are presented with the hard candy shell often found in classic Foo Fighters tunes. What listeners may not know is that a savory, soft and unexpectedly bittersweet center is what makes their sixth studio album unique.
After spanning the great divide between acoustic and alternative rock in 2005's In Your Honor, Foo Fighters further cross the boundaries of rock music in their latest album to include a smooth balance of southern comfort, bluegrass instrumental and ’70s-esque ballads. Echoes, Silence, Patience and Grace's unconventional set list might initially create melodic whiplash, but soon blends into the ever-expanding spectrum of the Foo Fighters' sound.
The first single, "The Pretender," hooks fans by reuniting them with the jolting guitar riffs and abrasive vocals that have been gold for classic Foo Fighters tunes. The song is followed by a similar hard-hitting track titled "Let it Die." Both songs begin with the harmonic plucking of a guitar against the subdued vocals of frontman Dave Grohl, but evolve into a synchronized electrical storm with the unified assistance of Taylor Hawkins pounding on a dominant snare, Nate Mendel on a punching bass guitar and Chris Shiflett rounding out the dynamic guitars.
The earth-shattering amplitude found on the first three tracks transpires into a mellow disposition that makes a point of being more poignant than aggressive. In fact, it is Grohl's enchanting voice that carries tracks like "Stranger Things Happened Before." Grohl sings, "I'm the same, I'm the same, I'm the same/ What do you want me to be?" with such vulnerable conviction that the words take a gridiron hold. Unfortunately, the enriched talent of the band behind the song simmers into a lucid backdrop.
The most eye-catching title on the album is "Cheer Up, Boys (Your Makeup is Running)." The title seems to be a one-shot jab at the emo invasion, but the song strays surprisingly far from its sarcastic title. The buoyant tune, reminiscent of the band's third album, Nothing Left to Lose, is about a reawakening, rather than a mockery, with lyrics such as "There's a world out there don’t you deny me/ give me one last wish/ there's a world out there."
The Foo Fighters take their first hop toward experimental sounds with "Summer's End," which is slightly tinged with some smooth southern rock, fit with a twangy guitar solo. Even as the band dabbles in foreign genres, they attach a piece of their own personal sound. The Foo Fighters continue their innovative streak with "Ballad of the Beaconsfield Miners," an instrumental piece with guest artist KaKi King that overlays plucky guitars to create a stimulating bluegrass song. Their final jump into musical expansion comes in "Statues." The gentle ’70s-esque ballad replaces a hard-hitting guitar with the slick ivory of a piano, evoking early Billy Joel.
The final cut, "Home," finds itself contingent on the theme of return that closes many Foo Fighters albums. Unlike those songs, though, "Home" provokes a deep-rooted honesty rarely exhibited by Grohl. He exposes himself lyrically to show his yearning to be with those he loves. "Wish I were with you but I couldn’t stay/ Every direction leads me away/ Pray for tomorrow but for today/ And all I want is to be home."
The Foo Fighters instrumental talents have not grown in this album, but their ability to craft great music has certainly been broadened. Although the band falls back on some dependent notions, they continue to break musical barriers. Echoes, Silence, Patience and Grace will fall short for those listeners who are solely interested in head-banging, but those who listen with an open mind will be pleasantly surprised.
4 out of 5 star
