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“I ate it all; plastic, diamonds and sugar-coated arsenic as we danced in honey and sea-salt sprinkled laxative. Coral blossomed portraits in Rembrandt light; cheekbones high and fashionable. Snap! goes the moment; a photograph is time travel, like the light of dead stars painting us with their warm, titanic blood. Parasitic kaleidoscopes and psychotropic glow worms stop me dead in my tracks. Aphids sucking the red off a rose, but for beauty I will gladly feed my life into the mouths of rainbows; their technicolor teeth cutting prisms and smiling benevolently on the pallid hue of the working class hero.”

There’s a moment in ‘Goats in Trees’ where you hear this weird crackly instrument, shifting vocal thing during an instrumental part. It’s from this Buddhist prayer machine, and the vocals come in and duck back out. It’s only about one second, but to me, that one second, and the feeling of a Buddhist prayer, brings such a strong identity to that song. We would have never found that if we hadn’t just been messing around in the studio with any weird instrument we could find. We were just searching for something. We didn’t know what it was, but I think the whole record was made in that spirit. This record came out of wanderlust.
—  Mark Foster