In their first long-form work since 2017, indie-pop band Foster the People returns to the music scene with the same devastating lyrics juxtaposed against the upbeat melodies that characterized their rapid rise to fame in the early 2010s. In a refreshing addition to their catalog, the band released their fourth studio album “Paradise State of Mind” on Aug. 16.
Across 11 tracks, frontman and primary songwriter Mark Foster remains vulnerable about the darkest parts of his inner life while experimenting with a new sound for the band. “Paradise State of Mind” marks a significant inflection point, following a long break in a seemingly endless routine of touring, as well as the departure of drummer Mark Pontius, the band’s only other remaining founding member.
The album is more exploratory than much of the band’s previous work. Nonetheless, it seamlessly blends a wide variety of genres. Drawing on late seventies and early eighties disco and funk, while evoking galactic techno beats, the band creates a sound that is simultaneously nostalgic and futuristic.
In an interview with Forbes, Foster cited a three-hour-long conversation with Nile Rodgers, founder of the legendary disco group Chic, as one of the primary influences for the album. The early days of Chic were defined by hope in the dark times brought by the mid-seventies economic recession. Foster, who similarly felt overwhelmed by the state of the world yet optimistic about the future, used Chic and similar music of the time as a jumping-off point for the album’s sound.
“I’m surrounded by darkness, everywhere you look right now on social media, in the news, when you’re talking to friends, fear feels omnipresent,” Foster told Forbes.
The album is the result of acknowledging that darkness, embracing it and choosing to focus on the light.
The album’s title track and opener, “See You In The Afterlife,” encapsulate the primary themes of the work. The two songs act as a thesis for the album, reinforcing that the key to satisfaction is to let go of all the clutter in one’s mind and enjoy the world in front of us. “See You In The Afterlife” is a groovy endeavor into Foster’s anxieties about the current state of the world and his choice to live life in spite of ego, greed and cruelty.
“Paradise State Of Mind” attempts to recreate the band’s most recognizable sound, that of their 2010 breakout hit, “Pumped Up Kicks.” The titular song is an ode to joy itself, reminding listeners that happiness does not need to be questioned or repressed.
The fourth track, “Let Go,” maintains this carefree look on life. Existence is a true luxury in this song, neither taken for granted nor worried over. Foster is exceptionally hopeful in this piece, enthusiastically looking forward to his future — be it his personal life or the revival of Foster the People.
Sonically and thematically, the album looks to the past just as much as it does to the future. Tracks like “Take Me Back” and “A Diamond To Be Born” reflect on the joys of childhood and the blissful ignorance of growing up.
“Take Me Back” feels reminiscent of an afternoon spent gushing about the “good times” of the past, filled with unapologetic self-love and faith in the future. As the album’s closer, “A Diamond To Be Born” fully leans into childlike hope and ideation, while touching on the concept of pressure reinterpreted as motivation.
The final pre-release single, “Chasing Low Vibrations,” explores the acceptance of the past, but in a more regretful tone. However, Foster still remains hopeful that everything will turn out okay. This go-with-the-flow attitude stays relevant throughout the album, even when acknowledging past missteps.
While many of the songs seem to warn against the consequences of indulging in existential thoughts, the album remains deeply contemplative. In “Sometimes I Wanna Be Bad,” Foster doesn’t just succumb to negative feelings, but he takes comfort in them. Loneliness becomes a friend, and feelings become a bad influence.
A significant feature of the album is its focus on otherworldly spaces, highlighted by the energetic lead single “Lost In Space” and the ever-dreamy “The Holy Shangri-La.” The tracks convey an attempt to tether onto someone in a world full of upheaval. While “Lost In Space” depicts finding peace in the frenetic chaos of space, “The Holy Shangri-La” speaks of grasping onto it before what seems like an inevitable end.
Although the flirtatious “Feed Me” and desperate “Glitchzig” may be considered low points of the album, they are still thought-provoking explorations into new genres and themes for the band. The former is a unique take on love and pleasure fully immersed in the digital world, while the latter is a tale of surviving the depths of the mind.
Running themes of the afterlife, subconscious and paradise — as well as consistent sonic atmosphere and feeling — make “Paradise State of Mind” not only a standout in Foster the People’s catalog but also one of the most well-executed comeback records in recent years. The album strikes a perfect balance of diverse and cohesive, remorseful and sanguine, whimsical and grounded attributes. If “Paradise State of Mind” marks a full return to music for Foster the People, audiences should stay tuned to this most recent project and any future work.
Camille Robinson is an Arts & Entertainment Intern for the summer 2024 quarter. She can be reached at camilllr@uci.edu.
Edited by Lillian Dunn and Ben De Guzman
