"My friends were going out last night and I still haven't heard from them," he sings in See You in the Afterlife, a tune that has scary newspaper headlines, an empty Colosseum and even a reference to the war in Ukraine. It's like we've all been hypnotised.
It's been seven years since 2017’s album Sacred Hearts Club and Foster and his bandmates haven't lost a step, making thoughtful, first-rate pop for a jangled, insecure era with the 11-track Paradise State Of Mind, the majority written with Isom Innis and with Foster producing the lion's share for the first time.
Like the last collection, Foster the People has glistening pop beside complex tuners, with many of the songs eventually dipping into experimental territory or heavy distortion, like the unconventional flute solo on Sometimes I Wanna Be Bad and the hard-to-love Glitchzig, which goes through a half-dozen time signatures, shrieking trumpet and elements of antiseptic Kraftwerk.
Highlights include Lost in Space, filled with a falsetto chorus and hand-claps, which sounds like it was designed for a roller rink in the ’70s – with unsteady lyrics like "I let the darkness in to teach me" – and Let Go, which starts out like a dreamy blast of positive vibes until the last third, when what can only be described as heavenly robots hijack the song, singing, "To be broken is to be set free".
The heavily distorted, synthetic-sounding Feed Me is like a sexy come-on in the digital era – "I want to hack your code and be your anti-hero/Turn you on and let my one activate your zero" – while Foster reveals perhaps his motivation for all this wonderful, creepy weirdness on the last song, A Diamond to be Born.
"I look at myself through a broken lens," he sings in the song, so spacey that it's almost a prayer. "Try my best to keep from unravelling". You and us both, brother. Along the way, he's given us another diamond. — AP
Summary:
Foster delivers another diamond
