Zitat des Tages von Mark Foster:
I like to write about real-life topics, and I like to write about different walks of life.
I was afraid of the sophomore slump even before our first record came out. It was a very real fear because I'd watched so many bands I'd loved in the past not deliver. I knew it was a very real thing. I didn't know why it happens, but I'd been thinking about it a lot.
I play guitar, bass, drums, piano, and pretty much any sort of stringed instrument - besides violin or cello.
We've grown up on the Beach Boys and the Beatles and Blur and Bowie and the Clash. Also E.L.O. and Hall and Oates. Those are all artists who write songs that are accessible but still left of center. It's intelligent pop. There's still something different and complex about it.
I remember, in middle school, I went to four different schools. That was a rough patch. But it's also what shaped me as a person.
I look at bands like the Beach Boys, Hall & Oates and Blur, and those are the bands I want to be in company with because their songwriting is intelligent, and yet you don't need to be a musical genius to pick it up.
We're not the corporation of Foster the People. We're a band.
'Pumped Up Kicks' is written from the perspective like Truman Capote wrote 'In Cold Blood' or Dostoevsky wrote 'Crime & Punishment.' It's psychologically breaking down someone's state of mind and diving in and walking in their shoes.
Foster the People wouldn't exist without Mophonics.
I think artists throughout the history of time have always been controversial and have been a voice to speak to public culture in a way that a politician can't because they'll lose their constituency.
Through technology and social media, we're able to create an identity online that shows people the face that we want them to see and rather than who they really are.
I wrote 'Torches' before experiencing touring as a band. I really had no idea what they would sound like live, and that was something we had to figure out along the way.
During 'Torches,' I was more concerned with communicating the spirit of the song than the actual lyrics.
I'm really into the recycling of art. That one piece of art inspires another piece of art, which inspires another piece of art. I really like that idea.
I'm not really worried about writer's block.
I truly believe that love is greater than politics.
The jingles saved my life. When I got hired to do that, I was on top. I finally was making a living doing what I loved. Before that, it was so bleak; it got so dark in L.A. I was 25, been living there for seven years trying to make it, and getting really close to getting signed with different bands and as a solo artist only to have my hopes dashed.
There are career waiters in Los Angeles, and they're making over $100,000 a year.
Once I write something, I never try to write that same style again, because I get very schizophrenic musically.
I think my inner child wants to take over the world.
I was an only child, so I was alone a lot.
I don't consider myself an entertainer. I consider myself an artist, and I think with that comes responsibility.
'Torches' opened a lot of doors. Ultimately, it turned into an experience to be reckoned with.
A timeless pop song is the hardest thing to do as a songwriter.
I've played so many gigs in front of around seven people. It's difficult to keep motivated, but it's all about growth. The love of music kept me going.
I started out with piano when I was little. That, for songwriting, is my favorite instrument.
When you're underwater with goggles on, a couple of your senses are taken away, and it becomes this purely visual thing. It's just you and yourself.
In Morocco, a Muslim country, I got to hear the call to prayer five times a day. At first it felt kind of scary, kind of dangerous, because of the propaganda towards anything Muslim in the U.S. subconsciously coming out in me. By the end of the trip, it was so beautiful, and then not hearing it when I got back to L.A. really threw me off.
'Supermodel' was a hard record for me; it was an emotional record to write. I was purging a lot of stuff with that album, and I think the one thing I didn't really consider, that I'd be supporting it for two years and living in that state of mind every night.
There are a few songwriters in bands I really relate to that write a certain type of joy, because a lot of artists don't really write joy. It's a thing only a few people do.
With 'Torches,' I wanted to make a great pop record; I wanted every song to be exciting, not to have too much space, no long pieces of music without vocals. I kind of wanted to write the perfect pop album.
I write in character a lot.
I was rambunctious - a boy's boy, full of energy. I wasn't a bad kid. I just liked to talk.
In Cleveland, music was always a big part of my life. That's really where I cut my teeth.
I didn't want to be a soul singer.
When I write a song, the music comes from my spirit, which is very playful and optimistic, but then the lyrics come from my head, which is in a different space.