By Leah Simons
Dave Grohl enters the confessional. He knows he’s done wrong and is seeking redemption. Your Favourite Toy, Foo Fighters’ 12th studio album, attempts to offer it. Thematically overflowing with hauntings of the past and the present and explorations of both society and self should create the perfect listen. But instead of a meaningful dissection of life beyond turmoil, we’re met with an album that’s… very Foo Fighters.
That’s not necessarily an insult. And I should say, I do like the band – they’re brilliant live. But, as the case with most artists, I feel indifferent to most of their more recent output. 2023’s But Here We Are managed to change that. Born of the devastating passing of Taylor Hawkins a year prior, it marked a new era for the band, who had to reinvent themselves out of necessity. And the album proved that, against all odds, Foo Fighters could write genuinely great songs and echo the prowess of their early days.
Your Favourite Toy manages to unravel this. Relying solely on shoving punchy-to-the-point-of-tedious guitar riffs in your face to push past half-assed lyricism, what Pitchfork described as the “leanest, meanest Foo Fighters album” is arguably trying too hard to materialize any anger Grohl had whilst having to bite his tongue as the “nicest guy in rock.” If only someone could tell him that he’s not an angsty teenager going through a phase but a grown man.
The Review
‘Caught In The Echo’ is our first glimpse of this and, as the opener, its immediacy suggests it might get tiresome. It feels like it could sit on any Foo Fighters record; not because it’s recaptured the sound that’s carved their legacy thus far, but because it sounds like any old subpar Foo Fighters song. Headache-inducing vocals get masked behind this grating riff and you can just about make out that lyrics are toying with life’s toil.
Nine more songs to go. ‘Of All People,’ pulls apart a unique story whereby Grohl bumps into his old drug dealer. A shock to the system, he pens a rapid-fire evaluation of the situation, demanding answers as to how this figure from his past can “live happily ever after?” And it’s here that we really remember that we’re not quite dealing with Shakespeare’s reincarnation. It calls back to what I wrote earlier; stories which should be interesting become tainted by unoriginality. “I heard your voice today and then I stopped to cry/I had to ask myself, why, oh, why?” It’s not brilliant, is it?
‘Window’ along with ‘If You Only Knew’ and ‘Unconditional’ give us slight respite from the thrash and thrill of their contemporaries. As exciting as it is to describe them: they’re fine. They certainly have moments of note. The chorus of ‘Window’ introduces this sloping chord progression which introduces grit but its tired verses cry out for excitement. ‘If You Only Knew’ copies Oasis’ homework but doesn’t quite get an A*. And ‘Unconditional,’ reaches out with thematic honesty akin to But Here We Are, but without sure grasp.
Alas, a highlight! Title track ‘Your Favourite Toy’is one of two personal favourites from the album (and where I can take a break from being harsh.) Everything slots into place: all instruments are fierce in play without being overzealous. And, whilst yes, Grohl’s angst is back again, lyrically it feels that it feels less primary school and more rock. And that pace change in the latter half of the song conjures new life to it.
‘Spit Shine’ begs the question: what is he on about? Not because I can’t decipher its meaning but more, I can’t decipher what’s being said. This distorted voice filter covers over the vocals and makes for a grating listen. Mix this with that looping riff which feels like it’s never-ending – it’s not for me. I will say however, the chorus is a bit of an earworm… a bit.
‘Child Actor’ and closer ‘Asking For a Friend’ are my favourites from the album. Glistening with metaphor, ‘Child Actor,’ takes a look at an industry that leaves people out to dry. It’s lyrically one of Your Favourite Toy’s shining moments. Poignant moments are found within rhetorical questions which mimic a plea: “Was I good enough?” ‘Asking For a Friend’ almost grows into a soundtrack of grunge. Sitting as the longest song, its harsher, grittier tone makes for an exciting listen, something which has not only been scarce throughout this album but throughout most of Foo Fighters’ newer music. It’s refreshing to end the album on a high.
Sometimes it works…
Speaking to John Kennedy on writing the album, Foo Fighters stated they “demoed about 50 songs” and essentially picked the 10 songs which worked together. It’s certainly a method which comes through on the record. Sometimes it works, sometimes it doesn’t. But I suppose that with a band with such status, their appeal has been marked by what’s gone before. It’s perhaps asking a lot to greet those highs again.
Discussion: Do established artists need to release new albums? With music journalists Leah Simons, Izzy Hurcum and Freya Hoare
