Can an indie breakout band catapulted to fame by a 2010 smash hit survive in today's market, saturated by new artists and fan favorites? We're about to find out with the release of Foster the People's newest album Supermodel, which came out on March 18 after a nearly five-month delay. The band uses the same formula as was used on their 2011 debut Torches to create a mediocre sophomore effort with colorful yet disjointed songs and weak, uninspired lyrics. It's not bad music, but with the indie pop genre continually expanding and changing with the times, this album just can't stand up to other recent albums.
Do you remember the first time you heard Foster the People's breakthrough indie-to-pop smash hit "Pumped Up Kicks"? I do. I recall driving down the highway with my windows down and the radio blasting when I first heard that undeniably catchy tune. I remember how happy and carefree the song made me feel. Just a couple of weeks later, I looked up the lyrics to the song and learned its true meaning: a story about a high school shooting. How can a song that sounds so exuberant have such morbid subject matter? To answer this question, we can look to the background of the band's founder.
Before forming Foster the People in 2009, Mark Foster (vocals, multi-instrumentalist) was a struggling jingle writer in L.A. At the time, Foster was working on marketing toothpastes and cereals and yearned to tackle topics of far greater weight. However, this job certainly helped to shape Foster's musical style and explains why he writes such catchy tunes that everyone ends up humming in the shower – even when the lyrics hold grave messages.
The band's sound on Supermodel is glossy and blissful, mixing various genres together into a bowl of euphoric pop. The album is filled with the same chart-friendly indie pop featured on their debut album with the exception of a few tracks that stray from the formula with mixed success. As one reviewer at SPIN put it, "It's hard to think outside a box you built yourself."
The album opener, "Are You What You Want To Be?" has a spacey Moroccan feel with Afrobeat-infused verses and arena-ready power choruses. The heavy piano chords and rhythmic vocals work well and serve as a predictable (albeit fun) way to start.
Supermodel's first dud is "Ask Yourself," a shapeless, derivative track with lyrics that could be mistaken for sad amateur poetry on paper (Foster sings: "I've tried to live like the way that you wanted me to / Never needed the proof, just followed the rules"). But thankfully, the abbreviated chords, syncopated claps and reverberated synths of the single "Coming of Age" follow and give the listener a much needed boost. The song still feels somewhat expected, but relative to other tracks on the album, its old-school vibes (nods to Fitz and the Tantrums) and gleeful simplicity make it a highlight. Similarly, "Best Friend" has a '70s disco-funk vibe and just enough dance floor swagger to be one of this summer's radio jams.
The few times that Foster the People does, in fact, stray from their predictable path leads to varied success. On "Nevermind" and "Goats in Trees," Foster's lyrics fall short over the bare, acoustic tone, hindering the listener from being fully immersed in the songs. However, on a later track entitled "Fire Escape," elusive metaphor and stripped down guitar allow for a stand-out track. Foster croons, "I am a fire escape, my spine's made of iron, my heart pumps that old red paint." The stark contrast between the level of maturity and sincerity in this song relative to others is astounding. It is clear that at least in this case, deviating from the norm paid off for Foster.
Another evident highlight is "Pseudologia Fantastica," a twirling psychedelic cut with ambient vocals and galactic synth textures. The song is weird, and I mean that in the best way possible. It is filled with interesting twists, a meaningful message about a war veteran returning home and just enough static feedback to entice fans of MGMT and other more predominantly electronic artists.
The last song I'd like to mention is the shortest on the album, but to me, the most effective.
"The Angelic Welcome of Mr. Jones" lasts just 33 seconds, but its beautiful cascading harmonies a la Fleet Foxes and Local Natives leave me yearning for more.
I am glad that the band included this track and hope they continue to explore alternative styles going forward.
Overall, Supermodel is a vibrant, supersaturated collection of predictable pop songs with some real flaws and a few pleasant surprises. Foster the People makes a formidable effort, but the result is just marginally meeting expectations.
As bands continue to blur the lines between genres, it becomes increasingly difficult for bands to differentiate themselves and create memorable albums.
Tracks from Supermodel will surely make their way onto Top 40 and alternative radio in the coming months, making for fun, easy listening for beautiful weather and happy times, but come the end of summer and facing of hundreds of other indie pop releases, Supermodel will be forgotten.
– By Jason Charles
Read More
Trending
