Megadeth — Dystopia [album review]

Released on January 22nd

Megadeth has always tackled dark subject matter in their songs, so a loosely structured concept album about a bleak dystopian future isn’t quite the creative leap that it might be for other bands. Hell, their very name is taken from a politician’s made-up word to describe nuclear annihilation (minus an “a”...for that metal touch). On new album Dystopia, Megadeth frontman/singer/guitarist Dave Mustaine delivers pretty much start-to-finish lyrical doom and gloom — “Fatal Illusion”, “Death From Within”, “Bullet To The Brain”, “Conquer Or Die”, “Lying In State”, and “Last Dying Wish” are just a few of the sunny titles conjured up for the group’s 15th studio album. That apocalyptic outlook was no doubt informed by Mustaine’s extremely cynical view of politicians (including crackpot birther beliefs and accusations that President Obama was behind the 2012 Colorado movie theatre mass shooting), as well as the particularly difficult 2014 that Megadeth experienced. That year saw Mustaine’s Alzheimer’s-afflicted mother-in-law go missing for weeks before being found dead, bassist Dave Ellefson’s brother passing away, a highly public dispute with an Australian concert promoter that lead to cancelled shows, drummer Shawn Drover and guitarist Chris Broderick quitting the band within hours of each other, and more cancelled shows due to complications from Mustaine’s previous back surgery.

The revolving door of Megadeth musicians finds Lamb Of God drummer Chris Adler and guitar whiz Kiko Loureiro (from Brazilian band Angra) as the newest members of the group. Who knows how long they’ll be able to weather Mustaine’s legendarily volatile personality. For now, however, they prove to be a great addition to the mix, based on Dystopia’s highly impressive results. Loureiro and Mustaine work very efficiently off each other trading shredding guitar leads, as does the Ellefson/Adler rhythm section. Burners like “Lying In State”, “The Threat Is Real”, and “Fatal Illusion” (featuring a fantastically nimble solo bass line from Ellefson) are Megadeth at their thrashiest best. The title track, “Death From Within”, “Bullet To The Brain”, and “Post American World” dial down the tempos (which tend to change more than a few times in many of Dystopia’s songs) without sacrificing much heaviness. “Look Who’s Talking” and “Last Dying Wish” provide a brief respite from Mustaine’s love-it-or-hate-it singing voice with equally sneering spoken lyrics à la So Far, So Good...So What!’s “In My Darkest Hour” and Countdown To Extinction’s “Sweating Bullets”. The ambitious six minute “Poisonous Shadows” instills a symphonic element that was no doubt inspired by Mustaine’s 2014 collaboration with the San Diego Symphony and also features a guitar intro that appears to be a reworking of Countdown To Extinction’s “Foreclosure Of A Dream” intro. Instrumental “Conquer Or Die” gives Loureiro an opportunity to show off his profound classical guitar skills before the rest of the band comes in, although Dystopia wouldn’t have been weakened if the track had been omitted. An inspired cover of hardcore punk band Fear’s “Foreign Policy” closes the album and serves as a bit of callback to Mustaine’s one-off side project MD.45, which he did with Fear frontman Lee Ving back in 1996.

The best line I’ve read about Dystopia was from a Boston Globe writer who came up with the clever “riffing is their business...and business is good” (a reference to Megadeth’s debut album title for the uninitiated). Is it ever. Their latest release is loaded with great headbanging riffs and an intensity that was sorely missing from their last release, 2013’s disappointing Super Collider. Unlike that album, Dystopia completely jettisons aspirations of radio play and amps up the aggressiveness and anger that suits MegaDave and his cohorts exceedingly well this time around. The weakest component is the inconsistent narrative consisting of themes like solidarity among the downtrodden, failed states, authoritarian rule, American jingoism, and xenophobic paranoia (that inconsistency is further exemplified by a song like “Death From Within”, which is about Greek mythology’s Trojan War). Dystopia shines in spite of its thematic deficiencies, representing one of Megadeth’s best efforts since their 80s peak.

Rating: A-

Related Mediaboy Musings posts: my January 2010 review of Megadeth’s Endgame album and my February 2012 review of their Th1rt3en album 

Anthrax — For All Kings [album review]

Released today

Full-length studio album number 11 from thrash metal pioneers Anthrax proves that the resurgency displayed on their last full-length album, 2011’s Worship Music (which I reviewed here), definitely wasn’t a fluke. For All Kings packs its hour-long running time with one monster song after another, picking up right where its predecessor left off in terms of top drawer material from beginning to end. Critics (and there were plenty when the album got leaked a couple of months early) might opine that this latest collection of songs is merely just “more of the same” from Anthrax, an argument I actually can’t disagree with on one level. True, the band barely deviate from the sound of their last album, but why mess with a winning formula? Especially when the results in both cases are this superb.

Pulling double duty as Anthrax’s new lead guitarist, while also retaining membership in his longtime band Shadows Fall, is Joe Donais. He comfortably slides into his role alongside Anthrax founder Scott Ian (guitar), longtime members Frank Bello (bass) and Charlie Benante (drums), and their “classic era” vocalist, Joey Belladonna. The musicianship on For All Kings, as expected, is tight and formidable, particularly on the epic “Blood Eagle Wings”, mood-swinging opener “You Gotta Believe”, the pummeling “Suzerain”, and punk-fuelled album closer “Zero Tolerance”. It’s not all breakneck speed thrashers, however, as the band modulates things nicely with less frenetically-paced songs like “Monster At The End”, “Defend/Avenge”, and the surprisingly accessible “Breathing Lightning”. Pissed off lyrics that focus on Anthrax topical staples like social injustice run throughout the album. The evocative You’re just a bag of blood and I’m holding the nail (from “You Gotta Believe”) and the religious extremism-condemning lyrics from “Evil Twin” (inspired by 2015’s Charlie Hebdo attack) stand out amongst the album’s overall strong lyrics.

The overwhelmingly negative reaction to the album by metal fans on a couple of the online forums that I perused shortly after the album leaked completely baffles me. A common refrain was that “Breathing Lightning” was too commercial. While that track may be more melodic than most of Anthrax’s material, it’s still plenty heavy, leading me to believe that the folks spouting that criticism are the same close-minded people who think “Enter Sandman” is lightweight.

With Worship Music and now For All Kings, Anthrax have completely defied the music industry standard by releasing the two best albums in their discography three-and-a-half decades into their career. If ever an album was befitting of the well-worn “all killer, no filler” label, then For All Kings is it. Belladonna, who returned to Anthrax in 2010, and the rest of the group are clearly firing on all cylinders creatively at this point in their lengthy career, despite a surprising story from 2014 that places their future together in question. Belladonna said in the interview that he’d never really found his place in the band and that he’s “only allowed so much friendship” from the other members. My options for buying new music from metal bands are painfully slim these days (very few newer bands resonate with me), so here’s hoping the long-time acts like Anthrax keep rolling on.

Rating: A

David Bowie — Blackstar [album review]

Released on January 8th

It was eerily like the perpetually forward-thinking David Bowie had it all planned. ★ (pronounced “Blackstar”), his 25th studio album released on his 69th birthday, had to be viewed in a completely different light when he died from cancer just two days later. His stunning loss and Blackstar’s universally glowing reviews translated into the icon’s best chart success since the 80s, making it his first ever number one album in America. It topped the UK album charts for three weeks straight before being dethroned…by one of his own compilation albums. Bowie also tied Elvis Presley’s record for the most simultaneous entries in the UK top 100 albums chart with 12 (Presley also set that record right after he died). Following Bowie’s death, he also shattered Vevo’s previous one-day high-mark for a music artist’s streamed video views with 51 million views from his catalog on January 11th. Adele previously held the record with 36 million views in one day after dropping her “Hello” video in October.

Blackstar finds Bowie steering himself back to more of the experimentation he’s built his entire career upon after the relatively “traditional” tone of his previous release, 2013’s unexpected The Next Day (which I reviewed here). Bowie set aside his regular stable of world-class musicians and turned to a New York-based jazz quartet lead by saxophonist Donny McCaslin to back him on his final album. That pairing inspired much speculation about this being a “Bowie jazz album”, which isn’t quite accurate...much to my relief.

Strong jazz elements do run throughout Blackstar, mostly via the front-and-centre placement of McCaslin’s saxophone, which plays a strong supporting role on “Dollar Days”, “‘Tis A Pity She Was A Whore”, and “Sue (Or In A Season Of Crime)”. The two latter tracks originally appeared on the “Sue” single that was released in 2014 for Bowie’s Nothing Has Changed compilation album. They both benefit from Blackstar’s reworked versions — “‘Tis A Pity She Was A Whore” softens the original’s drum sound to much greater effect and the frenzied “Sue” re-employs the original version’s drum ‘n’ bass-style percussion, while wisely significantly dialing down its overly grand horns and shaving almost three minutes off of the original’s drawn-out running time. Speaking of lengthy running times, the title track runs just a hair shy of ten minutes, but it’s essentially two very different-sounding songs joined together, eventually winding its way back to the musical thread established during the song’s first half. The ominous “Lazarus” (made even more haunting by its brilliant accompanying video) keeps a measured pace and the song’s spare musical arrangement effectively accentuates the intermittent distorted notes from guitarist Ben Monder. “Girl Loves Me” was my least favourite Blackstar track (partly because of the gibberish lyrics sung in Nadsat, an invented language from A Clockwork Orange), although Bowie does adopt an interesting singing style where he raises his pitch at the end of most of his vocal lines. After somewhat of a mid-album letdown, Blackstar goes out on a high note with superb album closers “Dollar Days” and “I Can’t Give Everything Away” (featuring a standout guitar solo from Monder).

Blackstar certainly isn’t the most cohesive album, but it’s for damn sure always interesting, right down to the visually compelling CD jacket and liner notes featuring shiny black text on a black background. It’s yet another bold and challenging Bowie release that rewards patient listeners. Lyrically, Blackstar is a fairly dark album full of bleak themes, with numerous references to death that are obviously painful to hear now (including Look up here, I’m in heaven from “Lazarus”, a refrain of I’m dying to from “Dollar Days” that sounds eerily like I’m dying too, and merely the title of “I Can’t Give Everything Away”). Bowie bows out on a respectably high note worthy of his legacy, somehow pulling off the bizarrely unique and beautiful feat of incorporating his death into his final piece of art.

Rating: B+

The Hateful Eight [film review]

Released theatrically on December 31st

It's a testament to Quentin Tarantino's unpredictable creative choices that I managed to stick with The Hateful Eight for the duration of its almost three hour running time, despite the major issues I had with it. The movie's title comes from both the fact it's Tarantino's eighth directorial feature (he also wrote the screenplay), as well as the number of principal cast, consisting of Samuel L. Jackson, Kurt Russell, Tim Roth, Jennifer Jason Leigh, Bruce Dern, Michael Madsen, Walton Goggins, and Demián Bechir. 

Even more so than The Big Short (which I recently reviewed here), the aptly titled Hateful Eight gives you absolutely no one to root for amongst the motley crew of thieves, liars, and killers who occupy this murder mystery Western. That shouldn't necessarily be a deal-breaker in terms of whether or not a movie can be enjoyed, but it certainly ups the challenge level for viewers. When you add in inconsistent character development, some baffling acting choices, overly gratuitous violence, and a flagrant number of utterances of the n-word, well, the only thing that kept me from bailing out early was a perverse curiosity to see where the unpredictable Tarantino ultimately landed this bloated, slow-cooking mess. 

The majority of the film, which is set in Wyoming in the decade following the end of the Civil War, unfolds over the course of a day within a drafty roadhouse named Minnie's Haberdashery, where the converging characters are forced to wait out a nasty snowstorm. Russell's character (John Ruth) is a bounty hunter of great repute, with his latest captured fugitive (Leigh's Daisy Domergue character) shackled to his wrist and destined for the local town of Red Rock for a likely date with the hangman, who just happens to also be at Minnie's (Roth's Oswaldo Mobray character). Also present are Dern's former Southern General character (Sanford Smithers), Goggins' incumbent Red Rock Sheriff character (Chris Mannix), and Madsen's and Bechir's characters, who both have relatively small roles. Jackson's character (Marquis Warren) does most of the film's heavy lifting. He's a former Union officer who's also now in the bounty hunting business and Warren becomes the focal point of the proceedings, partly because of his threatening smarts, but mostly because of the colour of his skin.

The obviously incendiary subject of race less than a decade after the abolition of slavery fuels the tensions between Warren and nearly everyone else in the establishment, permeating the film's narrative to an overbearing degree. I don't expect Tarantino to sugarcoat matters and not reflect the ugliness of the era, but I also don't need to hear the n-word used as ridiculously excessively as it's used throughout this film - roughly 65 times and occasionally numerous times in just one sentence (note: I never censor my writing on this blog, but I find "ni--er" to be the most loathsome word in the English language, so "n-word" will suffice for me). I was surprised to read that it was actually used far more in Tarantino's last film, the slavery-themed Django Unchained - well over 100 times (both counts come from online articles written by folks who are tallying these kinds of things so I very thankfully don't have to). Again, I obviously expect to hear the word in a film set in the slavery era, but Tarantino's overuse of it throughout his filmography and in these two films, in particular, is downright bizarre, distracting, and deeply off-putting.

The Hateful Eight consistently offers up plenty of head scratching moments meant to throw the viewer off-balance, a staple of Tarantino's work that mostly misses here more than it hits. Roth's character exaggerates his Britishness to the hilt, Tarantino regular Zoe Bell shows up briefly and appears to be (over)acting in a completely different movie, Russell's character essentially seems to be doing a bad John Wayne impression and at one point erupts in a fit of rage for no good reason, and Dern's character confusingly does a complete 180 in terms of how he treats Jackson's character. Other curiosities include a woefully miscast big-name actor who shows up in The Hateful Eight's final act, plus Tarantino providing his own narration at seemingly random moments. Then there's the self-indulgent exterior scene towards the film's end of a horse and buggy and its occupants travelling through the countryside, which drags on interminably.

There is some clever writing, compelling intrigue, and some fine acting performances nestled within The Hateful Eight's framework, it's just not nearly enough to overcome the overwhelmingly odious atmosphere of a film that tiredly pummels the viewer with its desire to shock. Even the unmemorable score feels like a wasted opportunity, considering Tarantino enlisted Spaghetti Western legend Ennio Morricone to compose his first Western score in over three decades. My experience could have been worse, though - I could have had to endure the film's even longer "Roadshow version". That version played in limited release in the extinct Ultra Panavision 70mm format, which few people other than Tarantino probably care much about.

Rating: C-

The Revenant [film review]

Released theatrically on January 8th

The Revenant, which leads this year's Oscar nominations with 12, may well be the least colourful film you'll ever see. Director Alejandro G. Iñárritu follows up 2014's much-celebrated Birdman with a loosely factual man-versus-nature epic tale set on the 1820s American frontier, based on the 2002 book by Michael Punke, The Revenant: A Novel Of Revenge ("revenant" means "a person who returns after death"). Iñárritu and his cinematographer, Emmanuel Lubezki, took the unusual and incredibly ambitious step to shoot the film entirely in natural light, a decision fraught with all sorts of peril considering 90% of it was to be shot outdoors on real locations just outside of Calgary in the winter. As a result, almost all of the film is set amongst stark white frozen landscapes beneath grey skies, adding an extremely effective element of bleakness to the struggle of the film's protagonist, Hugh Glass. As Iñárritu matter-of-factly told The Hollywood Reporter, "If we ended up in greenscreen with coffee and everybody having a good time, everybody will be happy, but most likely the film would be a piece of shit."  

Glass, a real-life fur trapper and frontiersman, is portrayed by Leonardo DiCaprio in one of the strongest leading performances I've seen in a film in some time, a feat made even more notable by the fact that the actor relies on a strict economy of dialogue for the role. DiCaprio's character experiences the most brutal weather conditions I've ever seen a Hollywood star endure on screen, which weren't simulated in Iñárritu's winning quest for authenticity...and a shit-free cinematic experience. The A-lister spends just about his entire screen time in conditions that are cold, wet, or frequently both. Forming the core of The Revenant's story is Glass' struggle to survive the elements and exact revenge on the men from his fur trapping expedition who harmed a member of his family and left him to die following a bear attack. That attack is one of the most extraordinarily constructed CGI scenes I've ever seen (you may be detecting a pattern here in my opinion of this film). It lasts a little less than five minutes, is edge-of-your-seat gripping, very difficult to watch, and somehow never shows its technical seams. You will absolutely believe DiCaprio and a 700 pound grizzly shared screen time in a life-or-death battle. Iñárritu and his team's technical prowess extends to many other scenes throughout the movie that employ complicated tracking shots and CGI wizardry, as well as unique camera shots that come off as refreshing and not gimmicky (one of them has the camera in so tight on an actor's face that his breath fogs up the lens). The Revenant also benefits from solid supporting work turned in by the always-reliable Tom Hardy as the brutish John Fitzgerald (Glass' main adversary), Will Poulter as a member of the fur trappers, and Duane Howard as a Native American seeking his own vengeance. 

Despite a climax that falls a little flat and the credulity-straining levels of physical and environmental abuse that DiCaprio's character is subjected to (which conversely make for highly entertaining viewing), The Revenant stands as a compelling piece of work from a bold filmmaker, with a standout and vanity-free performance from DiCaprio.

Rating: A

The Big Short [film review]

Released theatrically on December 23rd

Lingering fatigue from the numerous documentaries and television shows I'd watched on the 2008 global financial collapse almost made me take a pass on The Big Short, which deals with that subject. Despite its many fascinating details, everything about the collapse and the insane levels of reckless greed that caused it to happen make me want to take a long shower after watching anything on the topic. The film's A-list-heavy cast, including Brad Pitt, Ryan Gosling, Christian Bale, and Steve Carell ultimately roped me in, however, in director Adam McKay's adaptation of author Michael Lewis' 2010 bestseller The Big Short: Inside The Doomsday Machine.   

McKay is best known for his lowbrow comedies starring Will Ferrell (the Anchorman movies, The Other Guys, and Talladega Nights: The Ballad Of Ricky Bobby), so he seems like an odd choice to helm a film examining the lead-up to the financial crisis that's being marketed mostly as a drama with comedic undertones. The Big Short's comedic elements actually play a much larger role than the advertising would suggest, most of it flavoured with the black tone appropriate to the bleak subject material and the repugnant high finance world the movie inhabits. The laughs are more miss than hit, with Gosling's slimy Wall Street banker character (and the film's narrator) getting the funniest lines, while McKay's regular usage of fourth-wall-breaking interactions and enlistment of celebrity cameos (including Selena Gomez, Anthony Bourdain, and Margot Robbie) to simplify explanations of economic terms and practices quickly wears thin and doesn't pack nearly the irreverent and humorous punch that the director hopes for. Carell's Mark Baum character, a shrewd hedge fund manager who's one of the mostly real-life people The Big Short portrays, is supposed to be the film's moral compass, but between his anger management issues and generally insufferable personality, it's awfully difficult to empathize with the man (which a hollow subplot involving Baum's recently deceased brother also calls upon). Pitt, appearing in his second film adaptation of a Lewis book after starring in 2011's Moneyball, fares better in a decent supporting role as an ultra laid-back and paranoid former trader who reluctantly returns to the finance world to shepherd a pair of low-level traders. Bale's Michael Burry character, a forward-thinking money manager with one eye who's socially awkward, is by far the best reason to invest any time in The Big Short, a movie that's seriously light on likeable characters. The film's pulse elevates whenever his eccentric character is on screen, such as in the scene where the metal-loving Burry works out his stress by pounding his drum set to Pantera's "By Demons Be Driven". 

The way-stranger-than-fiction subject matter will inevitably lead to a great film on the '08 collapse, but The Big Short isn't it (and perhaps it's already been done with 2011's highly acclaimed Margin Call, which I haven't seen). Cue the showers. 

Rating: C

Darlene Love — Introducing Darlene Love [album review]

Released on September 18th

In case Darlene Love's name doesn't ring familiar, here's a quick bio: the 74-year-old established herself as a member of producer Phil Spector's stable of musicians in the early 60s, where she was lead singer of girl group The Blossoms, who were the actual recording artists on the 1962 hit song "He's A Rebel" (Spector credited the recording to The Crystals, another of his groups). Love also sang background vocals on classics such as The Crystals' "Da Doo Ron Ron", The Ronettes' "Be My Baby", Frank Sinatra's "That's Life", "Monster Mash", and songs recorded by names like Sam Cooke, Elvis Presley, Tom Jones, and The Beach Boys. Her 1963 solo hit "Christmas (Baby Please Come Home)" stands as probably her best-known song and her performances of it on David Letterman's NBC and CBS shows became a late-December tradition every year from 1986 until 2014 (except in 2007 due to a television writers strike). That song and those performances even managed to always stir something resembling Christmas spirit in this otherwise grinch-prone writer. Recent years have seen Love's talent get proper recognition, with a 2011 induction into the Rock and Roll Hall of Fame and she was the centrepiece of 2013's outstanding 20 Feet From Stardom documentary. You might also recognize her as the wife of Danny Glover's character in the four Lethal Weapon films.

The latest chapter in Love's career resurgence is the ironically titled Introducing Darlene Love, her first album of (mostly) secular material in almost 30 years. E Street Band guitarist Steven Van Zandt quite capably assumes the Spector role on this project...minus the crazy. He produced, did the musical arrangements, plays guitar on numerous tracks, wrote three songs, and released it on his Wicked Cool Records label (in partnership with Columbia Records). The album's standout song, "Among The Believers", is one of his compositions (appearing originally on his second solo album) and, as the leadoff track, firmly establishes Introducing's overall tone: huge-sounding production, unapologetically bombastic vocals, and positive vibes. Love is the beneficiary of the songwriting services of the Boss from Van Zandt's "day job", Bruce Springsteen, on "Night Closing In" and "Just Another Lonely Mile". Springsteen has been a vocal supporter of Love's for years and he doesn't let her down with these excellent contributions, especially the latter track. It sounds like it could have comfortably resided on his 60s pop-leaning album from 2009, Working On A Dream. A really out-of-left-field song choice is "Little Liar", Joan Jett's late 80s power ballad hit, which sounds far better here with Love's powerhouse vocals and much deeper production. The epic six-and-a-half minute version of the Jimmy Webb-penned "Who Under Heaven" stands out as one of the album's finest tracks, as does a highly spirited take on Ike and Tina Turner's "River Deep, Mountain High", a song that Love has a history with. It was originally slated by Spector to be recorded by the singer, only to have him change his mind and offer it to the Turners instead. Elvis Costello also contributes a couple of songs, the first-rate "Forbidden Nights" and one of Introducing's only weak tracks, the duet "Still Too Soon To Know", featuring some rather croaky vocals from Bill Medley of The Righteous Brothers. 

Introducing Darlene Love emerged as one of the best albums I heard in 2015 and it's certainly the most uplifting collection of music I purchased during the year. Van Zandt's monstrous production, frequently comprised of lush orchestration, capably replicates and celebrates Spector's famed Wall of Sound and delivers a veritable ten course meal for headphone enthusiasts. And Love uses her dynamic vocal instrument to deftly move between various genres, from 80s rock, to her wheelhouse area of 60s pop and soul, to the full-on gospel she embraces on the album's final two tracks, "Marvelous" and "Jesus Is The Rock (That Keeps Me Rollin')". Nice to meet you, Miss Love.

Rating: A-

Foo Fighters - Saint Cecilia [album review]

Released on November 23rd

A mysterious countdown clock posted on the Foo Fighters' website in late October eventually resulted in the surprise release three weeks later of a free five song EP titled Saint Cecilia. The album takes its name both from the patroness saint of music and the Hotel Saint Cecilia in Austin, Texas, where the project was recorded over the course of a couple of weeks. Frontman/lead singer/guitarist Dave Grohl got the urge to record some songs upon the group's arrival in Austin for shows in early October, with the original intention of releasing the EP free to fans as a thank you for their support during the two years the band had been promoting 2014's Sonic Highways album and companion HBO documentary series. That gesture was amended following the recent Paris terrorist attacks, which caused the Foo Fighters to cancel a concert in that city three days after the attack, along with the final few dates of their world tour. The attack additionally hit a little closer to home for Grohl, as he's got strong ties with Eagles of Death Metal, who were playing at one of the locations targeted by the terrorists. The EP was subsequently dedicated to the victims and donations were encouraged on their behalf, with Grohl writing on the band's website and in the EP's liner notes that the musical gift was also "to remind us that music is life and that hope and healing go hand in hand with song".

Musically, Saint Cecilia falls neatly in line with Sonic Highways - in fact, all five tracks sound like they could have been recorded during that album's sessions. They're actually constructed from (as Grohl writes) "songs that were lost in the shuffle over the years…pieces left on the cutting room floor from every album". None of it deviates much from the Foo's signature sound, built on a heavy application of quiet-loud dynamics, deep melodies embedded amongst heavy guitars and drums, and punk spirit. The title track matches the quality level of the Foo Fighter's best work, making smart use of their three guitar attack (in addition to Grohl there's Pat Smear and Chris Shiflett) over Grohl's lyrics asking for healing and to be brought "home to your house of broken bones". Those are undoubtedly references to Grohl's leg break suffered during a Gothenburg show in June, which he commendably ended up finishing after being temporarily patched up (and thus making the most likeable guy in rock even more likeable). "Sean" delivers a concise two minutes and 11 seconds of urgent, pop-punk satisfaction, while the moody "Iron Rooster" retreats in the opposite direction feel-wise with its creeping pace and includes guest guitar from bluesman Gary Clark Jr., in addition to some thought-provoking lyrics that use a rooster weathervane as a metaphor for living a conformist life (trust me, it works). The highly aggressive "Savior Breath" finds Grohl in his finest vocal-shredding mode (I have no idea what he means when he threatens to "ride my lungs on you", but it sounds absolutely filthy) and showcases Taylor Hawkins' powerful drumming skills, which also shine on the pounding album closer "The Neverending Sigh". That last song has been hanging around in the Foo's archives for two decades now and I don't know to what extent the track has evolved over the years, but if it hasn't changed much then one wonders what kept it from replacing some of the dodgier material that overpopulated the band's studio albums from the 2000s.

Saint Cecilia keeps the Foo Fighters' hot streak going, following the excellent Sonic Highways and 2011's superb Wasting Light (which I reviewed here). The EP is much more than a "stopgap" release comprised of middling material and there's no reason not to own it if you're a fan of the band. You certainly can't beat the price. 

Rating: A

Download the Saint Cecila EP for free here

Related Mediaboy Musings posts: my November 2009 review of the Foo Fighters' Greatest Hits album, August 2011 review of the Foo Fighters' Back And Forth documentary, and April 2013 review of Grohl's Sound City documentary