Foo Fighters
Echoes, Silence, Patience & Grace

THE REVIEW

Released less than four days ago, "Echoes, Silence, Patience & Grace" is the latest album from Dave Grohl's band, the famous Foo Fighters, former Nirvana. The prolific post-grunge, alternative rock band, or however one might define them, delivers a good work characterized by fresh and incisive songs, but also by a couple of excellent ballads.

The album kicks off with "The Pretender", an excellent first single and, at least in the opinion of the writer, the best track in the lineup. It's a high-energy piece, essentially grunge, starting quietly with melodic verses and choruses where the synergy between voice and guitar achieves enviable strength. "Let It Die" is instead an extremely melodic track that plays heavily on the interplay between the first part performed exclusively with acoustic guitar and the second characterized by a top-notch electric crescendo that vaguely recalls Zeppelin's alternations or the more inspired Pearl Jam. "Erase/Replace", with its hard and tight riffs, makes us appreciate how Grohl plays the guitar as, being a good drummer, he knew how to play the drums, alternating power with a good dose of melody. "Long Road To Ruin" is a glam rock ballad, which can closely resemble some moments of Mother Love Bone and which will surely make its mark in the singles market. "Come Alive" is modeled on the lines of "Let It Die", being almost entirely performed with acoustic guitar, which is, in the final beats of the piece, joined and accompanied by bass, drums, and electric guitar.

"Stranger Things Have Happened" is another almost entirely acoustic moment of the album, enhanced by an excellent guitar solo and Dave Grohl's warm voice. The punk rock roots return with "Cheer Up, Boys (Your Make Up Is Running)", another testament to the band's great ability to blend melody and power. "Summer's End" shines thanks to various guitar overdubs that lend brilliance and verve to a very enjoyable piece that ushers the listener into what can be considered the second part of the album, characterized by a slight decline from the band. "Ballad Of The Beaconsfield Miners" is an acoustic divertissement dedicated to a Tasmanian miner trapped in his mine while "Statues" is, although qualitatively inferior to the rest of the album, an interesting southern rock powered by a good piano and a seductive voice. The work concludes with "But, Honestly" and "Home", the former a classic melodic rock complete with piano, the latter a ballad performed by Grohl solo on piano. This last track is the weakest of the album and, perhaps, would have fared better if included as a bonus track or ghost track.

Nonetheless, it is a good work, absolutely above average, but sometimes lacks cohesion. The tracks, although very good, sometimes clash with each other due to excessive diversity, managing to surprise the listener from time to time, but not allowing them to be fully enjoyed at first listen. In any case, the album is certainly worthy of time and attention, but to be fully appreciated it requires at least a couple of listens.