Mark Foster’s return to India after over a decade was nothing short of momentous. The setting? A private, intimate gig at Soho House Mumbai. For Foster (and bandmate Isom Innis), this wasn’t just another stop on a tour; it was a reflective one-day homecoming to a country he last visited during an accidental festival trip in Rajasthan. This time, he brought with him Paradise State of Mind, an album that marks a significant evolution in Foster the People’s sound and philosophy.
Paradise State of Mind channels the vibe of the late ’70s and early ’80s, drawing on Giorgio Moroder’s iconic synth work and the sleek grooves Nile Rodgers is known for—Rodgers even helped Foster get his creative bearings on this album. But this isn’t just a retro tribute; it’s a personal project born from the isolation and soul-searching of the pandemic. Foster described the album as a way to process his thoughts during a time when everything felt especially heavy. The result? Disco-laced tracks like “See You in the Afterlife” that encourage dancing through the dark, balanced with unconventional cuts like “Glitchzig,” where Foster lets his imagination run wild.
The Soho House gig wasn’t just about showcasing new music; it was about creating a space for connection. The intimate setting allowed Foster to engage with fans on a deeper level, something he cherished, especially after years of larger-than-life festival performances. “DJing here feels pure,” Foster reflected, describing the experience of performing in a stripped-down, more personal environment. It was clear this night wasn’t just another gig—it was a shared moment between an artist and an audience.
هذه القصة مأخوذة من طبعة November 2024 من RollingStone India.
ابدأ النسخة التجريبية المجانية من Magzter GOLD لمدة 7 أيام للوصول إلى آلاف القصص المتميزة المنسقة وأكثر من 9,000 مجلة وصحيفة.
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هذه القصة مأخوذة من طبعة November 2024 من RollingStone India.
ابدأ النسخة التجريبية المجانية من Magzter GOLD لمدة 7 أيام للوصول إلى آلاف القصص المتميزة المنسقة وأكثر من 9,000 مجلة وصحيفة.
بالفعل مشترك? تسجيل الدخول
DANCE-FLOOR BLISS AND THE SEARCH FOR (POST-) HUMAN CONNECTION
Over the course of roughly a decade, CARIBOU, the electronic-leaning project from Canadian musician and composer Dan Snaith, has released intricate, sonically inventive records that cradle rhythm and history. On \"Home,\" from 2020's Suddenly, he coos softly alongside a frenetic flip of Gloria Barnes' 1971 single of the same name. There, the subtle cracks and gestures in his voice manage to breathe life into the digitally-manipulated sample. Caribou's music has so far thrived on this quality — Snaith's seemingly boundless musical curiosity and his ability to crystalize big ideas into euphoric moments of dance-floor bliss. It's why his choice to use artificial intelligence on his vocals for his latest album, Honey, feels like a misstep. Here, Snaith's voice is transformed in character and identity, at times creating revelatory moments, like on \"Come Find Me,\" where he's reimagined as a treacly-toned young woman, though in small enough doses for it to work. Elsewhere, like on the rap-adjacent \"Campfire,\" where Snaith renders himself as the sort of rapper you might hear on a Caribou track (think Definitive Jux vibes), the concept breaks down.
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