The concept of death is something I’ve never really been comfortable with, and I often have a difficult time discussing the topic with others. The reality is that it’s a part of life, and when it comes, it can rip through the very fabric of our well-being. On the eleventh studio album from Foo Fighters, Dave Grohl found himself at an uncomfortable, but yet all-too-familiar crossroads where he would be faced with the death of a band member. He and his bandmates have crafted an incredible tribute to the late Taylor Hawkins with a record that he surely would have been proud of. The album was produced by the band and Greg Kurstin, who was at the helm of three other Foo Fighters records. But Here We Are tugs on all the right heartstrings and recognizes that the most important step after a tragedy is the one moving forward.

On the opening song and lead single, “Rescued,” Grohl sings still in utter shock with the lyrics of, “It came in a flash / It came out of nowhere / It happened so fast / And then it was over.” His ability to keep his composure through the comprehension of his enormous loss of a great friend makes this tragedy seem larger than life itself. The build up to the chorus is equally remarkable as Grohl admits, “We’re all free to some degree / To dance under the lights / I’m just waiting to be rescued / Bring me back to life.” The band rallies around their fallen drummer and makes a memorable opening statement.

On the 10th studio album from Foo Fighters, they clearly are having a blast. Their latest record is called Medicine At Midnight and is one of their most accessible albums to date. The nine song set clocks in 37 minutes and was produced by Greg Kurstin and the band as well. While the past few Foo Fighters records never had a long lasting impact with me, Medicine At Midnight is one of those “lightning in a bottle” type of moments that feels like something important right from the first listen. In recent interviews, Foo Fighters front-man Dave Grohl likened the direction of this album to David Bowie’s Let’s Dance record by stating, “It’s filled with anthemic, huge, sing-along rock songs. It’s almost like a dance record—not like a EDM, disco, modern dance record. It’s got groove, man.” It’s hard to not share the same optimism for the record after hearing these tracks that are filled with vibrant pop elements that are still fully enriched in Foo Fighters’ long history of making solid rock songs.

If I were to use a simile to describe the Foo Fighters, I would definitely exclaim that they’re like a fine wine. With the release of their sixth studio album Echoes, Silence, Patience, & Grace, the Foo is a band that just gets better with age. Produced by Gil Norton, the same man who produced the defining record of the Foo’s career (1996 The Colour And The Shape), Echoes is a hauntingly beautiful display of how good this band is.

Don’t let the opening track (also the first single), “The Pretender,” fool you, Echoes is not as rip-roaring as that track is. This is very recognizable on “Let It Die,” a song that repeatedly tip toes the line behind quiet and loud. The verses are paced by the gentle strumming of the guitar, while the bridge and ending feature Dave Grohl yelling his lungs out. And this particular song is what Echoes is in a nutshell. We still have the hard-hitting and fast-paced music that we all know and love about the Foo Fighters, but, overall, they show a mellow demeanor throughout the album.