Long awaited review of Foster the People's newest album | Pat Propst
On July 21st 2017, alternative pop-rock outfit Foster The People released their third studio album, Sacred Hearts Club. It wouldn’t be until more than seven years later that we would see the release of their next project, Paradise State of Mind. To say this album was a long time coming would be an understatement, considering the band’s previous three albums had all released within three years of each other. At one point in 2019, it seemed like the band was gearing up for another record, releasing a steady stream of singles, all with a similar sound and style of cover artwork attached to them. Whether this was meant to be the rollout for another LP may never be known, but after radio silence from the band for years, the announcement of Paradise State of Mind came as quite a shock for longtime fans.
Known for a strong start on all of their albums, Foster The People makes no exception with the opening song “See You In The Afterlife.” This track has all the makings of a hit, following the trend the band established on their previous album, Sacred Hearts Club. While some might be averse to a more pop-oriented approach, none of their more decidedly formulaic songs lack soul. The sound of “See You In The Afterlife” may be conducive to the Billboard Hot 100, but Foster The People’s trademark of “happy sound, sad lyrics” remains intact here, harkening back to the days of Torches and their breakout hit, “Pumped Up Kicks.”
Everything old is new again on Paradise State of Mind, a record brimming with the personality Foster The People fans have come to know and expect, but now with a distinctly retro twist. Disco is back in the form of “Lost In Space,” a glittery nod to the bygone era of afros and fab prose. Sounding like it was ripped right out of Casey Kasem’s American Top 40, this track is chock full of synthesizers, violins, and voice modulation as front man Mark Foster carries on about how he’s “lost without you–” lost in space, no less. The accompanying music video is no less of a throwback, featuring Foster front and center in a groovy getup with the surrounding dancers following suit.
On the more modern end of the record but still sounding like it would be right at home on any other Foster The People album is “Take Me Back,” a song the band themselves describe as about “returning to innocence and feeling joy again.” There’s not many better ways to describe this summery hit that feels almost illegal to play with the windows rolled up. Released as one of the lead singles for Paradise State of Mind, “Take Me Back” is a return to form for the group, feeling equal parts fresh and nostalgic. The crowning jewel of this cut is without a doubt the chorus, featuring a hefty bassline underpinning bright synths and Foster’s trademark delivery. Just like the name suggests, this track does take you back, and in this case, hindsight is rose-tinted.
“Let Go” takes on a similar tone to “Take Me Back,” but with the added motif of not letting things in the past keep you down. “Don’t worry, cause in time you’ll come around,” says Foster over a lush array of instruments you can’t help but relax to. In particular, “Let Go” fits comfortably into the niche filled by the singles the band released during 2018 all the way through 2020. Right as you get settled in, though, the song takes a sharp turn. The latter half of the track sports a grandiose instrumental backed by Foster’s voice sounding like something out of a Daft Punk record. This subversion isn’t necessarily a bad thing, though; it’s a good example of the experimentation that often takes place on the project.
Nestled in the middle of the tracklist, Paradise State of Mind’s title track makes the previous songs sound like merely a lead up to it, and rightfully so. Longtime fans can practically hear every era of the band come together in this unbelievable ode to the past decade plus the group has been active, and all the changes that the outfit has undergone. Focusing far more on pure instrumentation as opposed to the previous keyboard and synth-laden tracks, “Paradise State Of Mind” feels like it could’ve been in the vault since the days of 2014’s Supermodel. That said, it absolutely belongs on this record and is a solid contender for one of the band’s best songs, period.
As the penultimate track, “Chasing Low Vibrations” feels like “Take Me Back”’s older brother, or perhaps some added context to the nostalgic trip. Melancholy yet hopeful, this song slows it down as the album comes to a close, lingering on some of the sadder moments of Foster’s life lately. Not all is lost, though, as the front man makes known his desire to move forward from the failures of the past and on to better days, days like the ones he used to have as outlined in “Take Me Back.” It’s a bittersweet and intimate experience that could’ve just as easily been the outro.
For all of its triumphs, Paradise State of Mind came at a cost for the band, as two members involved in the making of the previous album left the group. Original drummer Mark Pontius left in late 2021 to focus on raising his son, leaving Mark Foster as the only remaining original member. Touring member turned full-timer Sean Cimino quietly left the outfit at an unspecified time during 2024 but continued to work alongside current member Isom Innis on their side project Peel, releasing Acid Star earlier this year. Despite having half the manpower of Sacred Hearts Club, Foster and Innis showed up and out on the group’s most magical and mature record to date. Like all good records, Paradise State of Mind is over far too soon, but the wait leading up to it was worth every single second.
Pat Propst
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