Foster The People's album "Supermodel" displays band's growth

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Think of freshman year. It's a transitional time, with plenty of varying factors thrown one's way. Wanted or not, new faces, influences and trends make an inevitable impact on the constructive school year.
Some individuals, of course, experience more success than others as they experiment within the collegiate social scene. Some seamlessly absorb the norms and thrive, attracting upperclassmen and all as the school's 'next big thing.' This comes with sporting a permissive perspective on the ever-dwindling four years ahead of 'em.
Eventually, this changes.
In 2011, Foster The People was the coolest new kid at the party. The three indie-pop rockers from Los Angeles had a whole lot going their way. Their debut album, "Torches," had a youthful flare that pleasantly mixed with evolving electronic music technology.
They had a hit number, "Pumped Up Kicks," that just about anyone would sway along to. It almost seemed effortless as "Helena Beat," "Houdini" and "Don't Stop (Color On The Walls)" followed suit, bumping through rolled-down car windows throughout the summer months.
After an extensive two-year tour across the globe and a number of premiere festivals along the way, Foster The People was wiped. They had one of the most accomplished debut albums in recent memory and would undoubtedly be under scope when their sophomore record would go under way.
On Mar. 14, Foster The People released "Supermodel." Although fans were ecstatic that the band had finally come out with a new record, some were startled. Where was the unforgettable single that praised youthful rebellion? Where were the triggering drum kits alongside upbeat jingles? With song titles like "A Beginner's Guide To Destroying The Moon," had the band resorted to punk-garage rock?
Heading into their sophomore record, Foster The People had a choice: they could record within the parameters that had been set by "Torches," or show what else they were capable of producing. They do this in "Supermodel," exploring the conceptual approach.
This is taken on through a sobering look at spotlighted life. This is immediately delved into with the up paced opening track, "Are You What You Want To Be?" After a kick drum beginning, Mark Foster whirls through doubts in front of an expeditious bass line.
This is followed by a retrospective look in "Ask Yourself" on the how life leads up to current day. Backed by an unprecedented acoustic guitar, Foster contemplates what once was, and questions the now, for better or for worse: "Well I've found the more I want, the less I've got... Is this the life you've been waiting for?"
These early feelings of contemplation are capitalized in "Coming Of Age." This atmospheric blend is one of the record's top tracks, and served as the first single. It evokes the newfound maturity that Foster sports, all with a striking guitar lick. Drummer Mark Pontius links it all together with some impressive fills.
Although these songs are clearly astray from "Torches," they are not the most unorthodox parts of the album. "Pseudologia Fantastica" ventures out on a psychedelic route, weaving together industrial guitar and eccentric keys. "A Beginner's Guide To Destroying The Moon" is the album's heaviest track, sorting through screams and what seems to be, a sampling of A$AP Rocky's "LVL."
"Goats In Trees" sounds angelic with more atmospheric backing, but emphasizes retrospection again: "I buried my guilt in there with my youth". It supposedly links to Foster's post - "Torches" trek to Morocco where goats, in fact, climb trees. "Fire Escape" is ultimately chilling, proclaiming to "save yourself" alongside a church.
"Best Friend" serves as the most identifiable Foster The People track on "Supermodel." It's the record's most obvious bit of indie pop, and is accompanied by animated horns and loops. Foster shows of his elite falsetto before the ultra-catchy "When your friend's strung out" chorus line.
Being the most familiar track, it's assumable that "Best Friend" will be blared throughout the impending summer months. If the listener takes time to embrace the range that "Supermodel" offers, they may find themselves maturing just as the band has.