Last Week's Album

Foster the People’s lead singer/frontman/mastermind, Mark Foster, used to write commercial jingles. But not every song fits neatly into a 30-second TV spot about cell phone plans or banking options. So Foster formed a three-piece with Cubbie Fink on bass and Mark Pontius on percussion, and continued writing instant hooks with universal appeal and nimble piano plays. Together, the trio brings the jam to the jingle on their first album, Torches.

Sounds Like:
MGMT; Maroon 5; Peter, Bjorn and John

Torches opens up with “Helena Beat,” a blazing frenzy of synth and electric guitar and handclaps and foot stomps. They shoulda called it “Helluva Beat” cuz this song makes you wanna dance like you think you’re MJ. A boomerang flies off into the air, followed by an onslaught of full-throttle synth and crunchy guitar. Foster takes “a sip of something poison,” sending him into a drunken dancefloor romp. The group keeps ‘em comin’ smooth and sweet with “Pumped Up Kicks.” Kids, I’m calling it right now — this is the song of the summer for 2011. Roll the windows down and pick a long, slow street to cruise on a Saturday trip to the apartment pool. And turn it up loud as you pull up to the party with this soaked-in-cool-sweat hit soundtracking your entrance. Nevermind the school shoot-up premise. And continuing the streak of bouncey bubblegum ballads, “Call It What You Want” opens with a muted-dog-bark synth followed by effected children’s laughing. Then we hear for the first time Foster’s signature piano jam jingle — a quick ascend or descend of the keys that he sprinkles after a good vocal line. The high hats, piano chords, freestyle verses and chorus choir make this one another dance hit like the album opener.

Best Lyric:
“I reason with my cigarette / And say your hair’s on fire, you must have lost your wits” - Pumped Up Kicks

“Don’t Stop” is aight. Its Marcy Playground verses and Maroon Five chorus sound haphazardly thrown together, and the creepy baby laughs don’t help. I wouldn’t stop here for very long. The build at the end almost makes it worth it until it fades out too quick.

“Waste” starts to slow things down with a spoons-and-drums beat behind a modern-day-311-esque verse that flames into a MGMT-sounding chorus (and later bridge). “Everyday that you wanna waste / You can / And everyday that you wanna wake up / You can” Foster falsetto-ly sings above bells and drum loops. “I Would Do Anything for You” continues the mellow jam mood. Until the chorus. Fockin’ Foster the People breaks into a pop chorus and another piano jingle jam by their frontman. Its extended here and used to good affect, giving the track a fast and furious undertone. “Ooh la la I’ve fallen in love” isn’t the best line I’ve ever heard, but the song’s delivery makes it so freakin’ sweet. Bubblegum pop at its best.

Key Tracks:
Helena Beat, Pumped Up Kicks, Houdini

“Houdini” is well, magical. Opening with hand claps tends to have that effect. “Sometimes I wanna disappear,” Foster finishes on the first verse-chorus sleight of hand before making his voice vanish so just the piano, horns, synth and drums that make this track can shine in all their glory. The most experimental verses are brought light on “Life On the Nickel.” A nice ‘n trashy, crunchy beat over synth blips and an interesting video game/tribal breakdown, but the “I’m awesome” chorus may make you wanna hit “Next” before you get that far. The breakneck speed on “Miss You” makes its swing beat impossibly cheery (and danceable) despite some very moody vocals and synth.

                                 Music Video for “Pumped Up Kicks”

Foster the People sets it all ablaze on the last two tracks. “Warrant” unrolls itself slowly, with a lengthy choral opening backed by synth organ. While listening to its musical chorus, you may find it hard to suppress your jazz hands. “Got to get away / There’s a war inside head / Got to get away / They want me alive or dead,” Foster belts a disco dirge before another killer piano jingle jam. He croons into a fuzzed out microphone, sounding like Cody ChesnuTT fronting The Strokes. Finally, the band saves “Broken Jaw” for the barnburner slot on the album, right where it belongs. You’re instantly hooked by the upbeat reggae piano and the swaying ambush of the “yeah, yeah…” chorus. It breaks it down on an 80s arcade soundtrack, complete with darting synth, power-ups piano. Then they break it down again to simply echoing astral vocals, before galloping military drums stoke the coals back to a flame and Foster croons his freakin’ face off. MGMT meets Radiohead. Damn.

Overall Rating: 
    

Some people say too much of a good thing is a bad thing. Yet commercials usually tell us quite to opposite: that you can never have to much of a good thing. On Torches, Foster and his people give us a lot of a lot of good things — pianos and synthesizers, drum loops and sound effects — but I’m not concerned with the consequences. These jingles have me jamming, and I’m buying what they’re selling. And it’s their debut album. I think it’s time Foster the People said goodbye to the small screen and hello to the big stage.