A bit of Heart, not much soul

The Irish Times - Friday - The Ticket - - MUSIC REVIEWS - LOUISE BRU­TON

FOS­TER THE PEOPLE Sa­cred Hearts Club Columbia

With a de­but sin­gle as dis­tinc­tive as 2010’s Pumped Up Kicks, there’s pres­sure to forge a new sound so Fos­ter the People throw out mul­ti­ple per­son­al­i­ties on their third al­bum Sa­cred

Hearts Club, hop­ing that some­thing sticks. Crash­ing in with jagged gui­tars on Pay the

Man, the Los An­ge­les group also weave in light pop songs like Sit

Next to Me and Do­ing it for the Money – which would be per­fect for a Chan­nel 4 Rac­ing high­lights reel. These wear down the rough edges on harsher tracks, such as the un­for­tu­nately named Loyal Like Sid and Nancy. In a time where trends re­ally mat­ter, it’s easy to view this al­bum as an as­sess­ment of what the people want, based on spread­sheets, stream­ing data and fraz­zled chart sci­en­tists. With lots of big artists re­ly­ing on pseudo hit fac­to­ries, with dozens of song­writ­ers thrash­ing out demos to artists all at once, pray­ing for a chart-top­per, Fos­ter the People feel more like a pro­duc­tion group than a ful­ly­formed band.

With found­ing Fos­ter Mark’s back­ground in com­mer­cial jin­gle writ­ing, he has a knack for cre­at­ing an in­stantly recog­nis­able song. But a lot of this al­bum sounds like bor­rowed hooks and styles. Static Space Lover sounds like Beach Boys di­luted by Tame Im­pala, Pay the Man is a dis­tant cousin of Sleigh Bells’s

Crown on the Ground and the preppy rock of Lo­tus Eater could be­long to Vam­pire Week­end.

Over-fa­mil­iar­ity and jar­ring gen­res aside, Sa­cred Hearts Club fol­lows the cur­rent trend for morally-con­scious pop songs with up­lift­ing cho­ruses that at­tempt to dis­tract from bad news head­lines. It’s an easy, breezy af­fair but the short-lived bursts of joy can’t make up for the band’s lack of iden­tity.

Newspapers in English

Newspapers from Ireland

© PressReader. All rights reserved.