Fischerspooner Albums (4)
What The Critics Say
Fischerspooner's woozy, percolating keyboard riffs and stylized camp theatrics were considerably more striking in 2001, when the group first emerged, than they are at the tail-end of a decade that's long since done the '80s-resuscitating synth-wave thing to death. Fischerspooner have been largely disregarded since the beleaguered electro-clash beachhead of their debut, despite (or perhaps because of) an entirely respectable sophomore effort, Odyssey, in 2005. But their pop-friendly brand of nu-electro has exerted such an influence on the sounds of the 2000s that this self-released third album, another four years down the line, winds up sounding unremarkably pedestrian (instead of, say, garishly dated, which is how it might have sounded ten years ago.) Which is not to say it's without its charms. Fischerspooner have always been more song-oriented than many of their contemporaries, closer in spirit to a pop/rock band than an electronic dance production outfit (it was the layered vocal hooks, as much as their trademark oscillating bassline, that made "Emerge" such a compelling signature), but they've also always reveled in superficiality, and both of those tendencies are very much apparent here. In musical terms, that means that most of Entertainment is built around the vocals, which is perfectly fine as long as you don't pay too much attention to the actual words. It works out great on upbeat, blithely meaningless cuts like the strutting glam-funk opener "The Best Revenge," which features Bowie sideman Robert Aaron on sax and trumpet, the intriguing, recession-ready electro-clash throwback "Money Can't Dance," and especially the peppy "Supply and Demand," which could pass for vintage Vince Clarke. The vague pseudo-politicking of "Infidels of the World Unite" and the vapid robotomorphism of "We Are Electric" are somewhat more tiresome, while the darker "Amuse Bouche" and "Door Train Home" come off as dreary, dirgelike trudges. The album's nadir, however, is the asinine "Danse en France," proof that inane lyrics are definitely not made better in translation, even if the Frenchmen over at Kitsuné records thought this was worth releasing as a single. A mixed bag, then, but with enough classicist synth pop pleasures to satisfy the committed and the curious. It's far from revolutionary and it's certainly not deep, but as often as not, Entertainment at least manages to live up to its title. ~ K. Ross Hoffman, All Music Guide
What The Critics Say
With the Scissor Sisters taking their campy rock revolution manifesto and running all the way up the charts with it, Fischerspooner returned in 2005 with surprisingly little hype, save that their sophomore release is "more organic" and "more rock." Odyssey is about as "rock" as New Order's synthier releases, but they're right when they say "more organic," in so much as Fischerspooner sound like a band here, one that's able to accommodate guests and deliver Linda Perry songs with conviction. Hitmaker Perry works with the duo on three breezy, "human" numbers here -- the hippy-trippy "Happy," the even more so "All We Are," and the widescreen road number "A Kick in the Teeth" -- and while they're all very pleasing, it's the handclapping funkster "Never Win" that helps the band overcome the sophomore jinx more than anything else on the album. It's the duo's "Get the Party Started," just a lot less brash and without Perry's help. If there's a "rock" influence to be found, it's in the record's pacing. Track one recalls the familiar ("Just Let Go" could be "Emerge"'s little brother), track two proves they're up to something different, track three pulls you back with an obvious hit, and then everything bounces between insular, reflective, and ambitious with spot-on pop about every third number. It feels incredibly comfortable for anyone who's enjoyed a classically constructed rock album, but the tones and temperament are still synth pop and no lover of the genre will feel betrayed. Add a cerebral set of lyrics from David Byrne for "Get Confused," a minimalist and wry poem from Susan Sontag for "We Need a War," call producer Mirwais for some help, and tack a clever Boredoms cover to the end and you've got a smart and totally successful way to follow up a "revolution or bust" debut. Odyssey is filled with vivid melodies, well-constructed soundscapes, and just the right amount of slick strangeness, but what really makes it great is that with an album so solid, it's hard to sneer at Fischerspooner. Their fabulous electro-clash revolution didn't wipe away mundane pop as promised, but Odyssey makes their transition from flag-waving fashionistas to serious, rewarding band smooth and entirely believable. ~ David Jeffries, All Music Guide
'The Other Side New York'
Release Date 1/1/2005
Tracks 30
Label Time Out
See Album Tracklist and Review
What The Critics Say
#1 is the sound of 1980 as filtered by two new wave revivalists in 2002. The nine songs here have been remastered and resequenced from Casey Spooner and Warren Fischer's original take on a debut (released in 2001 on International DJ Gigolos). Though they're known primarily for their campy, elaborate live-concerts-as-dramas, Fischerspooner prove themselves to be as talented working studio boards as they are at staging those Ziggy Stardust-style freakouts. Many listeners will be surprised by the emotional depth of the album, especially since most will have been introduced first to the ravey "Emerge." Their cover of Wire's "The 15th" might not be as suited to the dancefloor, but it's a perfect, energetic electro-pop creation and quite possibly the album's high point. And while there are plenty of moments where one wonders if Fischerspooner is channeling the Human League, Information Society, Giorgio Moroder, or Yaz, it might just be the slow songs that best showcase the duo's talent. Unlike fellow nostalgia-mongers Ladytron, it's obvious that Fischerspooner have a foot in the past and the present. The sweet, minimal "Ersatz" blends Eno, Add N to (X), and Autechre all at once. "Tone Poem" recalls and equals any one of Martin Gore's fragile ballads. Other songs simmer with modern techno glitches, mix diva vocals with vocoder rants, and paint vistas that haven't been visited since the 1980s. Remarkably varied, lush, and fascinating from start to finish, #1 is a great album. ~ Tim DiGravina, All Music Guide
