Foster The People: Torches

Foster The People
Torches
Rating: Yeah Daddy Make Me Want It

Foster the People received a lot of online buzz for their first single "Pumped Up Kicks" which also featured heavily on KROQ's programming. That song, a catchy, upbeat ode to a high school gun toting psycho, sort of sums up the band in a way; there is something familiar and inviting about them (their music travels in indie pop/dance punk/rock styles of contemporaries like Cut Copy, Phoenix, and MGMT) while adding an odd twist to a lyric or a melody that keeps things fresh. When they are on their game, they put forth excellent sing-a-long singles that stand tall alongside their brethren, but too often, their tracks are done in my lazy songwriting and tepid melodies. There is definitely enough here for interest, but it almost seems that the album was put out too soon to capitalize on the success of "Pumped Up Kicks." A little more time in the studio would have probably benefitted the album.

"Pumped Up Kicks" is most listener's likely entry point to the band, and it is a fine single, though I am still bewildered that it is so successful as it is merely a catchy pop song, with a rather morbid subject matter.



It is not even the best song on the album. Album opener "Helena Beat" is far catchier, Mark Foster's falsetto (which thankfully is used sparingly) careens around a frothy, spacey disco track.



Unfortunately, the album is front loaded with all the good tracks. "Call It What You Want" coasts along on a piano driven melody that seals the deal with a catchy as shit chorus.



"Waste" is a lovely almost ballad, with Foster strangely sounding like a forlorn Lykke Li. It is a simple melody bouyed by some interesting effects in the background. Killer chorus as well.



Deep into the album there are a couple of standout tracks. "Hustling (Life On The Nickel)" is a dense slow burner, with lots of squeltchy electronic effects.



"Miss You" is another standout, using a darker musical palatte with proto-electro percussion, buzzing synths, and Foster's haunting vocals.



But too often, the band regurgitates the same melodies and structures, which lends the album a monotone quality over the long haul. Not to say the other tracks aren't catchy, as they are like the flu, it's just that some of the tracks are not as distinguishable over the better tracks.

"I Would Do Anything For You" borrows almost the same beat and melody from "Pumped Up Kicks" just giving it a lighter, 70s yacht music feel that doesn't suit the band at all.



"Color On The Walls (Don't Stop)" just never goes anywhere, sticking to an annoying pattern filled with odd animal noises as percussion that grates on one's nerves. "Warrant" starts off promisingly with an angelic choir of synths, but gets bogged down with an overly simple, traditional musical bed of pianos and drums. The song tries to build to an anthemic chorus, which instead comes off anemic.

Torches comes with enough good will and skill to not fully go off the rails. Sticking to a tight template, the band definitely knows its way around a hook, and given more time and less pressure to get something out on the market, I think there is enough here to show that this is a band to look out for in the future.

Rating Guide

Chilfos: masterpiece; coolest thing I've heard in ages.

Woof Daddy: excellent; just a hair away from being a masterpiece.

Grrrr: very good; will definitely be considered for my top releases of the year.

Yeah Daddy Make Me Want It: good; definitely invites further listens and peaks one's interest for more material.

Meh: not horrible, but certainly not great; could have either been polished, trimmed, or re-thought.

Jeez Lady: what the hell happened? Just plain bad. They should hang their heads in shame and be forced to listen to Lady Gaga ad nauseam as penance.

Tragicistani: so bad, armed villagers with pitchforks and torches should run the artist out of the country for inflicting this abomination on the human race.