Foo Fighters: Album By Album

At the beginning of 1994, Nirvana was at the top of the world. The three-piece grunge collective based out of Aberdeen, WA was comprised of drummer Dave Grohl, bassist Krist Novoselic, and guitarist/vocalist Kurt Cobain. Just a few months prior to the start of 1994, the band has released their grimy, complex third album, In Utero. Platinum records kept rolling in, and the band were not just a household name, but a worldwide name. Nearly six months later, Kurt Cobain died by suicide. In an instant, Nirvana ended.

Everyone grieves in their own way. For Dave Grohl, music has been the answer to everything: happiness, sadness, angst, and every emotion under the rainbow. It took a long time, but Grohl eventually found himself behind the drumkit again, playing drums for Mike Watt’s 1995 solo record Ball-Hog or Tugboat? He began to wonder if playing music would be a cathartic experience, a way to exorcise some of the feelings of turmoil that had been rattling around since April 1994. He booked six days at a recording studio in Seattle, recorded a handful of songs, and put them out as a solo project, just for fun. In an effort to hide his identity, he chose the name Foo Fighters.

Foo Fighters is a band born out of grief, out of sadness, and one that thrives under immense pressure and unconventional circumstances. Since the late 90s, Grohl has assembled some of the greatest musicians in the world - guitarists Chris Shiflett and Pat Smear, bassist Nate Mendel, and the late drummer Taylor Hawkins - and created albums that expand upon the convention of high-energy rock and roll. Grohl may be the name that everyone thinks of when the words Foo Fighters are seen on stadium marquees, but his tireless effort and dedication to his craft has yielded results from some of the world’s finest musicians. Nearly every release in their catalog boasts an arena-ready anthem and an introspective ballad. Grohl’s lyrics have tackled themes of loss, love, and triumph, but it’s not as cut and dry as that. The Foo Fighters are a band that have, against all odds, stood the test of time.

Join us as we take a look into the band’s intricate catalog.

Foo Fighters
Release Date: July 4th, 1995
Label: Roswell Records/Capitol Records
Producers: Dave Grohl, Barrett Jones

Dave Grohl: vocals, guitars, bass, drums, production
Greg Dulli: additional guitar on song “X-Static”

In October of 1994, Dave Grohl stepped through the doors of Robert Lang Studios in Seattle with producer Barrett Jones. A week later, he emerged with timid but promising debut album. Foo Fighters was the first time that Grohl had released music solely of his own creation - years of playing in bands like Scream and Nirvana allowed him to master the art of understanding a band democracy, recording, playing live shows, but this was the first time that it was just him.

Grohl recorded every instrument himself, recording around four songs a day, frantically running from room to room in the studio to pick up the next instrument. There is a frenetic energy that abounds on Foo Fighters, even with Grohl still clearly trying to find his voice as a songwriter. Self-conscious about the sound of his voice, he employed the usage of quadruple tracking his vocals and adding effects (on songs like “Floaty”, for example) to cover up what he seemed to feel were inadequacies. Other than production work from Jones, the only other musician to appear on Foo Fighters was Greg Dulli, the guitarist for the Afghan Wings, who lent a guitar track on the song “X-Static”.

In order to remain anonymous, Grohl chose the name Foo Fighters - a moniker that was used by World War II pilots to describe various UFOs - to make it seem like it was a full band performing. After recording a rough mix of the album, Grohl created 100 cassette copies of the session and handed them out to people for feedback. Soon after, the recordings began to circulate amongst heads in the industry, and label interest began to grow. Eventually, a deal was made with Capitol Records, a more thorough remix was done, and the album was released in July 1995.

Foo Fighters is a faux-therapy session, a stream of consciousness laid out on reel-to-reel tape for nearly an hour as one of the world’s most famous drummers figured out how the hell he was going to be able to move through life after a truly devastating moment. Some of the lyrics on the album are gibberish nonsense, a fact that Grohl has stated in interviews years later, but decades removed, they reveal some truth to his psyche and what he was processing at the time. It’s a staggeringly impressive debut album, marking the end of the grunge movement that had captivated the world. But it was barely a taste of what would come.

The Colour and The Shape
Release Date: May 20th, 1997
Label: Roswell Records/Capitol Records
Producer: Gil Norton

Dave Grohl: vocals, guitar, drums
Pat Smear: guitar
Nate Mendel: bass

The success of Foo Fighters began to catch fire, at what some might dub an inconvenient time. During the recording of the debut, Grohl was invited to be the drummer of Tom Petty and the Heartbreakers on Saturday Night Live (you know, something casual). The performance went so well that Petty invited him to be a full-time member. But Petty found out about Grohl’s new project, and encouraged him to move on with his solo project. A lineup of tour dates to promote the album led to Grohl recruiting live members, including bassist Nate Mendel and drummer William Goldsmith (formerly of Sunny Day Real Estate) and Germs guitarist Pat Smear.

The Colour and the Shape is where the Foo Fighters became the Foo Fighters. In comparison to the debut, one could call Colour a true-blue hour-long therapy session, where as Foo Fighters was the pre-screening prior to meeting with the therapist. With a structured track list, a semblance of a full lineup, and even better songs in tow, things were about to get a little more serious. The band grouped with producer Gil Norton for The Colour and the Shape, pushing them harder than they’d ever been pushed from a recording standpoint, with Grohl and Norton spending two weeks in pre-production. But the first session in November 1996 at Bear Creek Studio in Washington didn’t yield the best results. Frustrated by many things, including the drum tracks produced by William Goldsmith, the band regrouped and took the holidays off. A majority of songs recorded during this time were thrown out. During this off time, Grohl returned to Virginia and recorded two songs in Washington, DC - “Walking After You” and an acoustic version of “Everlong”.

In February 1997, the band returned to Grandmaster Recorders in Hollywood and got to work re-recording nearly everything. This time around, Goldsmith didn’t return, and Grohl took on the duties of laying down drum tracks. At the end of the day, only “Doll” and “Up In Arms” featuring drumming contributions from Goldsmith. Tensions between the two rose, and Grohl has since expressed remorse for how he handled the situation at the time. The drummer left the band, leaving the spot vacant prior to the forthcoming tour. Budgets were rising, as studio time at Grandmaster was costly. and the pressure was on. Add in that the song’s lyrical content was mainly stemming from Grohl’s divorce from his first wife, photographer Jennifer Youngblood, and you have what could have turned into a recipe for disaster.

Instead, The Colour and the Shape emerged as one of the band’s finest pieces of work, and one of the best recordings in rock history. Starting off with the chaotic energy of “Doll” and “Monkey Wrench” before finally assuming clarity and composure by the end of “New Way Home”, it marked the beginning of the “post-grunge” movement. Stadium ready anthems like “My Hero” and “Everlong” are standouts here, and they continue to be setlist centerpieces to this day. The album has since been certified platinum in the United States.

The promotional campaign for The Colour and the Shape began to ramp up, and drummer Taylor Hawkins was soon introduced as the newest member of the band, after serving drum duties for Alanis Morissette on her Jagged Little Pill tour. But due to exhaustion, Pat Smear would later step down in September 1997, introducing his replacement, Franz Stahl (formerly of Scream, Grohl’s old band).

There Is Nothing Left To Lose
Release Date: November 2nd, 1999
Label: Roswell Records/RCA
Producers: Foo Fighters, Adam Kasper

Dave Grohl: vocals, guitar, drums, percussion, loops, Mellotron (“Next Year”), talk box (“Generator”)
Nate Mendel: bass
Taylor Hawkins: drums, percussion

After touring for nearly two years, Foo Fighters were ready to enter the studio. Well, almost. Prior to entering the studio in March of 1999, Grohl decided that it was time to part ways with guitarist Franz Stahl. This would leave the band as a three-piece, featuring himself, bassist Nate Mendel, and drummer Taylor Hawkins. Despite the massive success of The Colour and the Shape, the band parted ways with Capitol Records after friend and label president Gary Gersh left. Grohl began to develop a hatred of Los Angeles, the artificial facades, the fake nature of the industry, the party scene, and yearned for something different. Opting to move away from all that and truly hunker down to produce a great album, Grohl purchased a home in his hometown of Alexandria, Virginia and created a studio in the basement with producer Adam Kasper. Noting the process as incredibly relaxed and fun, the result was There Is Nothing Left To Lose, the band’s third album and one helluvah way to cap off the millenium. Outside the confines of Studio 606 (the name that Grohl dubbed the house in Virginia), rock was in disarray as nu metal was thriving and the genre was scattered about in all directions.

On There Is Nothing Left To Lose, there is focus, even as it tends to sound more experimental than previous Foo Fighters efforts. Softer moments about on Nothing, yet songs like “Breakout” and “Learn To Fly” cement themselves in the echelons of rock history with hooks that stay in your head for days while simultaneously making you want to sing and bang your head. There is something beautiful about the simplicity of the recording sessions, and clearly the Recording Academy noticed: the Foo Fighters would walk away with a win for Best Rock Album at the 2001 Grammy Awards.

One By One
Release Date: October 22nd, 2002
Label: Roswell Records/RCA
Producers: Foo Fighters, Adam Kasper, Nick Raskulinecz

Dave Grohl: vocals, guitar, piano (“Come Back”)
Nate Mendel: bass
Taylor Hawkins: drums, percussion, lead vocals (“Life of Illusion”)
Chris Shiflett: guitar, lead vocals (“Danny Says”)

A repetitive three-note palm mute signals the beginning of One By One, the fourth Foo Fighters album. The opening track, “All My Life”, finds Grohl practically whispering into the microphone before all hell breaks lose. It still ranks among some of the heaviest songs in the Foo Fighters’ catalog, putting even some metal bands to shame in the way that it can work a festival crowd into a frenzy. It took a long road to get to the creation of One By One, but the results are astounding.

Writing for One By One began in 2000, as the band were touring in support of There Is Nothing Left To Lose. By the second quarter of 2001, the band were overseas performing at European festivals. During this time, Hawkins overdosed, which left him in a coma for two weeks. After a period of rest and recuperation, the band returned to Studio 606 in Virginia along with producer Adam Kasper and recording engineer Nick Raskulinecz. Four months, two studios, over $1,000,000, and dozens of internal arguments later, One By One was….still not complete. Each band member noted how dissatisfied they were with the songs, and tensions were rising. By April of 2002, the recordings were discarded and they decided to take a break after their already-booked Coachella performance. Grohl believed it might be the last they ever play. But they ended up enjoying the show, and after some work, set aside their frustrations and got back to writing the album.

Raskulinecz was promoted to producer of the album, helping the band rerecord the songs that they felt had potential, along with new compositions like “Times Like These”, “Low” and “Disenchanted Lullaby”. Over a twelve-day period, Grohl and Hawkins returned to Virginia to re-record songs. The results produced the heaviest album in the band’s career, along with some of the best songs they’d ever written. “Times Like These”, an anthem of resiliency written in response to these moments of tension, punctuate an album of “tortured love songs”, as described in interviews by Grohl.

When you put immense pressure on a piece of coal, it turns into a diamond. Foo Fighters managed to do just that with the pressure they faced during the recording of One By One. It nearly destroyed the band in the process, but thankfully, that wouldn’t end up being the case. Their next album would take nearly three years to make, and mark an ambitious new chapter in their career.

In Your Honor
Release Date: June 14th, 2005
Label: Roswell Records/RCA
Producers: Foo Fighters, Nick Raskulinecz

Dave Grohl: vocals, rhythm guitar, drums (“Cold Day In The Sun”)
Nate Mendel: bass
Taylor Hawkins: drums, percussion, lead vocals and rhythm guitar (“Cold Day In The Sun”)
Chris Shiflett: lead guitar

The pressure and spontaneous nature of One By One wasn’t going to suit the Foo Fighters this time around. No, they would need to do something bigger, something that no one would expect. How about…a double album, with one side filled with electric songs and the other filled with acoustic songs? That’s not out of character, right? Grohl, unsure of the next direction to take the band in, began to write and write and write, amassing nearly five hours’ worth of music. After whittling down these demos to twenty solidly written songs, the band created In Your Honor, their most ambitious work to date, a double-album that demonstrates two very distinct sides of the Foo Fighters.

Tracks were recorded over three months at the newly build Studio 606 West in Los Angeles, CA, and the songs were meticulously planned out. Grohl has stated the album demonstrated the band’s artistic freedom, finding them writing some of the most memorable choruses in modern rock (look no further than Disc 1’s “Best of You”, while showcasing their abilities as songwriters (look no further than the Norah Jones bossa nova collaboration “Virginia Moon”). Taylor Hawkins even takes the lead, switching positions with Grohl and delivering vocals on Disc 2’s “Cold Day in the Sun”. There’s even a reminder of the past - “Friend of a Friend” was written as early as the 1990s, capturing a moment in time in which Kurt Cobain and Grohl lived together.

Echoes, Silence, Patience & Grace
Release Date: September 25th, 2007
Label: Roswell Records/RCA
Producer: Gil Norton

Dave Grohl: vocals, guitar, piano (“Summer’s End”, “Statues”, “Home”)
Nate Mendel: bass
Taylor Hawkins: drums, piano (“Summer’s End”), backing vocals (“Erase/Replace”, “Cheer Up, Boys (your Make Up Is Running)”, “But, Honestly”)
Chris Shiflett: lead and rhythm guitar

There are some who might say that In Your Honor was almost too ambitious. The critically acclaimed double album did come in close to an hour and a half in its running time. But the lessons and songwriting exercises showcased on Honor were necessary to create Echoes, Silence, Patience & Grace. The synthesis of their acoustic experimentations with stadium-ready rock met its match, as the band reunited with Gil Norton for the first time in years. A lot needed to happen to get to this point, but Echoes stands out amongst the Foo Fighters discography as a bonafide masterpiece. It borders on theatrical, jumping from Tom Petty-esque compositions to skull-shattering rock entries. The tone is set with lead single “The Pretender”, blending string and symphonic elements in with crunchy guitar riffs and pop sensibilities, and it’s natural predecessor to an album like In Your Honor.

Norton continued to push the band out of their comfort zone. although there was noticeably less tension than during the recording of The Colour and the Shape. Instead of internal struggles, the band had someone questioning everything, pushing them to their creative brinks while producing some of the best sounding work in their catalog. Songs would be played hundreds of times, every note analyzed, with Grohl sometimes writing in the back of the studio for up to 14 hours a day. This time around, Grohl took a particular interest in working out some of the lyrics before the songs were finalized. A good deal of the lyrical material on Echoes focuses on the birth of Grohl’s daughter, Violet.

Elsewhere, Echoes also features the first entirely instrumental track, “Balled of the Beaconsfield Miners”, written after Grohl met one of the miners trapped in the Beaconsfield mine collapse. Grohl was moved after meeting him, as he found out that, during the incident, the trapped miner requested an iPod with In Your Honor on it.

For the first time in the band’s history, after nearly four months of recording, the band felt no need to re-record anything. the album would go on to win two Grammy Awards, and has since been certified Platinum in the United States.

Wasting Light
Release Date: April 12th, 2011
Label: Roswell Records/RCA
Producers: Foo Fighters, Butch Vig

Dave Grohl: vocals, guitar
Pat Smear: guitars
Nate Mendel: bass
Taylor Hawkins: drums, percussion, backing vocals
Chris Shiflett: guitars

For a band like Foo Fighters, there’s no shortage of outstanding albums. But there is one in particular that seems to stand out amongst the crowd. Reuniting for the first time since the recording of Nirvana’s Nevermind, the Foos recruited legendary producer Butch Vig to help them bring their next album to life. Three months of recording at the tail end of 2010 produced Wasting Light. an album that is recorded entirely devoid of digital techniques, and perhaps the best release in the band’s collective discography. There is something incredibly special about the sound of Wasting Light - this is a band at the top of the world, firing on all cylinders to produce a collection of songs that is truly spectacular.

In order to achieve the desired effect of this album, the band had to rehearse for three weeks, getting every part down perfectly as the equipment they would be using did not allow for a lot of re-editing in post-production. Consequentially, producer Vig had to go and relearn techniques that were considered outdated at the time of recording. Embracing the flaws and imperfections that come with the rock and roll genre, Grohl found himself abandoning the pastiche of fancy LA recording studios, opting to write and record in the garage of his Encino, CA home. The band that could pack stadiums went back to the basics - even the album artwork was made with only traditional techniques - and the results are honest and breathtaking at times.

Throughout the eleven songs on Wasting Light, the band fluctuate between fun angst (“Rope”., “White Limo”) and emotional poignancy (“These Days”, “I Should Have Known”, “Walk”). The lyrics mainly deal with the concept of time, capturing a very specific moment in history. For the first time in awhile, it didn’t seem like there was a great deal of tension - everyone had families, good home lives, and Grohl worked to distill this into the lyrics on Wasting Light. The album captures the feeling of wanting to hold onto these moments, while also acknowledging the fragility of life.

Wasting Light is regarded as one of the best Foo Fighters albums, nominated for five Grammy Awards and winning four: “Best Rock Album”, “Best Hard Rock/Metal Performance” (“White Limo”), “Best Rock Performance”, and “Best Rock Song” (“Walk)”.

If the Foo Fighters never release another album, they will still always have Wasting Light, a introspective and shining beacon of honesty in their discography, and perhaps one of the best albums ever written. It’s perfect.

Sonic Highways
Release Date: November 10th, 2014
Label: Roswell Records/RCA
Producers: Foo Fighters, Butch Vig

Dave Grohl: vocals, rhythm guitar, acoustic guitar, cymbals, EBow (“Subterranean”)
Pat Smear: guitars
Nate Mendel: bass
Taylor Hawkins: drums, percussion, backing vocals
Chris Shiflett: lead guitar, backing vocals (“In The Clear”)

By this point in time, the Foo Fighters couldn’t get bigger if they tried - they were (and still are) amongst the biggest rock bands in the world, packing out arenas and stadiums all over, with some shows running as long as three hours, Grohl’s voice reduced to a rasp as he screams his way through their history. When you’re the biggest band in the world, you have the freedom to try new things and see what works. By this point, the Foos had experiment with so many styles of music that they needed to mix things up. Enter Sonic Highways.

Reuniting once more with Butch Vig, Sonic Highways introduced a unique concept to the band’s recording process - the album would be comprised of eight songs, each written and recorded in a different U.S. city over a period of eight weeks. Each song would feature a nod to that city’s musical heritage, along with collaborations from musicians that are linked to said location. Chicago, Washington DC, Nashville, Austin, Los Angeles, New Orleans, Seattle, and New York City were the locations of choice, with each song possessing a unique flavor different from the other.

At the same time, Grohl documented the sessions, along with interviewing musicians, recording engineers, producers, and anyone else who could give insight into the city’s musical upbringing. The result was the Sonic Highways documentary, a stunning look into the history of music (check it out, it really is a fantastic docuseries).

Sonic Highways is a unique and memorable entry in the band’s history. They’ve already cemented their place in Rock and Roll Valhalla at this point, so why not try something new? It pushed them out of their comfort zone in a different way. The change of locales each week really did showcase a unique aspect of their band - their ability to adapt to the everchanging situations of the outside world.

Concrete and Gold
Release Date: September 15th, 2017
Label: Roswell Records/RCA
Producers: Foo Fighters, Greg Kurstin

Dave Grohl: vocals, guitar
Chris Shiflett: guitars
Pat Smear: guitars
Nate Mendel: bass
Taylor Hawkins: drums, percussion, backing vocals, lead vocals (“Sunday Rain”)
Rami Jaffee: piano, synthesizer, Melltron, keyboards

Nearly four years after the release of Sonic Highways, Dave Grohl was getting concerned with the state of America. Writing for the band’s next entry, Concrete and Gold, would begin in December of 2016. Just a month before that, Donald Trump would be elected as President of the United States. Grohl has never hid his political interests before, having been inspired to write the songs from In Your Honor after spending time on the presidential campaign trail with Democratic nominee John Kerry in the early 2000s. Concrete and Gold would hit audiences in September of 2017. Thematically, it’s a juxtaposition of ideas - while an overall theme of hope ran through the record, moments of tension and anxiety emerged in songs like “Run”, “The Sky Is A Neighborhood”, and “The Line”. The lyrics aren’t necessarily political, but Grohl tries to capture the feeling of uncertainty that was in the air at the time of writing the album.

Working for the first time with producer Greg Kurstin, the band worked to blend “hard rock extremes and pop sensibilities”. It took a while to get here, however - during the touring cycle for Sonic Highways, Grohl off of a stage in Sweden and broke his leg. Performing atop a ”Foo Fighters” throne for the duration of the dates, the band would continue touring before announcing an indefinite hiatus of sorts, as Grohl was still struggling to recover from the injury. He even made a plan to stop playing music for a year to focus on recovery - six months later, that plan went out the window when he wrote the lyrics to “Run”.

The pairing with Kurstin was interesting, as he had only worked with pop artists like Sia, Halsey, and Adele, but the juxtaposition worked. Concrete and Gold would go on to receive great reviews from critics and fans alike, and Grohl (sans cast and throne) was free to roam about the stage. The time off found the band refreshed and ready to get back out on the road. Upon its release, the album hit number one on the Billboard 200, Top Hard Rock Albums, Top Alternative Albums, and Top Rock Albums charts.

Medicine at Midnight
Release Date: February 5th, 2021
Label: Roswell Records/RCA
Producers: Foo Fighters, Greg Kurstin

Dave Grohl: lead vocals, guitar
Pat Smear: guitars
Chris Shiflett: guitars
Nate Mendel: bass
Taylor Hawkins: drums, percussion
Rami Jaffee: keyboards. piano

Sometimes, it can be sad to look back Medicine at Midnight. Not because of the album itself, but because it would be the last time that the world would get to experience the Foo Fighters as we’ve come to know them over the last two decades. Recorded in October 2019 and ready to be released upon the world sometime in mid-2020, Medicine at Midnight had to be postponed due to the ongoing COVID-19 pandemic. The world was in lockdown, unsure of how to deal with a situation of this magnitude. But the Foo Fighters continued to subvert expectations upon its release in February 2021, incorporating elements of dance-rock, funk, and pop into the album than their usual stadium rock bravado. Teaming once again with Kurstin, the band proved to fans that they still can and will try anything almost once.

Recording took place at a large, old house from the 1940s somewhere in Encino, CA. While the Concrete and Gold sessions took some time, given the hangout nature that would find the band barbecuing and drinking with the other artists around them during the recording, this album wrapped rather quickly, without conflict and serious bravado. But that didn’t exactly explain the weird happenings that took place around the house.

In an interview, Grohl recalled that something was off. Guitars would be detuned overnight, or the mixing board settings would be reset from the previous night, despite no one having tampered with the board. Recording sessions would be opened and full tracks would be missing. Weird sounds started to be picked up on mics. This is not exactly the atmosphere you’d think of when capturing an album that takes inspiration from an entry like David Bowie’s Let’s Dance, yet it revealed the band’s most “danceable” record.

Medicine at Midnight represents a moment in time that captures the Foo Fighters in a relaxed environment. For several albums, those moments of angst and turmoil dissipated. Yet, life likes to throw curveballs, in the most unexpected (and horrific) of ways.

But Here We Are
Release Date: June 2nd, 2023
Label: Roswell Records/RCA
Producers: Foo Fighters, Greg Kurstin

Dave Grohl: lead vocals, guitars, drums
Nate Mendel: bass
Chris Shiflett: guitars
Pat Smear: guitars
Rami Jaffee: keyboards, piano
Violet Grohl: vocals (“Show Me How”)

On March 25th, 2022, the Foo Fighters released a statement that Taylor Hawkins had passed away. For anyone reading the statement, it was a complete shock. It came out of nowhere, and you could feel a collective sadness throughout the world. It seemed impossible that a giant such as Hawkins would leave this world before the rest of us. Touring plans were suspended indefinitely. Just a few months later, Grohl would lose his mother, Virginia.

But Here We Are has parallels to the Foo Fighters in the sense that they are both albums about processing grief. This time around, Foo Fighters is an established band that has Grammys, accolades, dozens of world tours, and millions of fans around the world. In 1995, there were no expectations with Foo Fighters. There was a certain freedom. But Here We Are is an album that finds a band confronting their sadness head-on, and working through the grief rather than letting it consume them. It is a brutally honest album, and one that the band has described as the “first chapter of the band’s new life”.

The band reunited with Kurstin in late 2022 to record. Instead of recruiting a studio drummer or friend to fill in, Grohl stepped behind the kit once more to play all of the drum parts. There is an energy on But Here We Are that is unlike any I’ve ever heard on a Foo Fighters album. It is the sound of a band of brothers working through grief-stricken emotions and an unprecedented situation, and it is strikingly beautiful. The last two songs, “The Teacher” and “Rest”, may be the most emotionally heavy songs Grohl has ever written, a send-off to both Hawkins and his mother, with the lyrics “you can rest now” reverberating out of the speakers with assured confidence and profound sadness. Yet even in times like these, the Foo Fighters show how resilient they are, and you can’t help but revel in the excellence of their art.