Whoever coined the term ‘indie dance’ has much to answer for. Since its entry into the lexicon of musical subgenres in the mid-eighties – when it was used to describe alternative guitar bands with a penchant for synthesisers, samples and electronic drumbeats – the term has been used as an umbrella to cover all manner of hybrid productions, from the punk funk of the Happy Mondays through to the big beat sound of the Chemical Brothers. It’s a lazy term that conjures up memories of baggy bandwagon jumpers like the Mock Turtles and The Soup Dragons lolloping about on Top of the Tops in oversized jeans, or fellow one-hit wonders EMF and Jesus Jones, whose ubiquitous presence on the turntables at indie discos made grunge seem like a good idea for a brief period in the early nineties. After the Prodigy made if acceptable for indie kids to like dance music and the fusion of rock and electronic music became the norm, the once catch-all indie dance label was no longer enough; the guitar synth bands of the last decade sit in bespoke pigeon holes with stylish names like electroclash and new rave. Or the awkward and contrived ‘indietronica’.
American trio Foster The People are one such band. Best known for their 2010 hit ‘Pumped Up Kicks’, the band have returned with a second album that builds on the electro dance pop of their debut, Torches, with a more ambitious and eclectic sound. Supermodel was recorded in a number of locations around the world, including Morocco, Malibu, Los Angeles and London, and this global influence is none too subtle, with frontman and main songwriter Mark Foster intent on getting the most out of his musical air miles: opener ‘Are You What You Want to Be?’ breaks out into an Afro-beat meets samba rhythm that’s reminiscent of the coda on Michael Jackson’s ‘Wanna Be Startin’ Somethin’’. ‘Ask Yourself’ is more conventional fare, a Klaxons-esque tune set to a strummed acoustic guitar and a break beat, while ‘Coming of Age’ sounds like a 21st century Beach Boys, albeit with clumsy lyrics that would embarrass a sixth form poet: “Well, I see you standing there like a rabid dog/And you got those crying eyes.” The world music influence crops up again on ‘Nevermind’, which has a Latin feel but fails to go anywhere that interesting. The album highlight arrives on ‘Best Friend’, which with its falsetto vocals, clipped guitar and descending horns wouldn’t sound out of place on MGMT’s Oracular Spectacular. Less successful is ‘The Truth’ – a song on which Foster sounds a bit like Frankie Goes to Hollywood’s Holly Johnson – until he sings one of the worst lyrics you’re likely to hear in 2014: “A blinding call to prayer has touched my feet like the call of the prophets”. Right you are, Mark.
There’s much to like on Supermodel, yet also enough filler to suggest that this would have made a far better EP than a full-on album. Fans of the band will be impressed by the anthemic numbers, a couple of which would make perfect fodder for any number of youth-oriented American TV shows or soft-drink commercials and sound destined to ring out across festivals this summer. Unfortunately, this utilitarian quality also makes things seem rather soulless in places.
‘Supermodel’ is out today (24/03/14) via Columbia Records.
Paul Sng
@sng_paul
Paul Sng
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