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Written by Michele Ulsohn Tuesday, 02 June 2009 06:16

The disc has a much more organic feel, while still maintaining Fischerspooner's very distinct, forward-thinking sound.

 

 

 

 

 

 

Originally formed in 1999 as the New York City-based duo of classically trained musician/programmer Warren Fischer and experimental video artist/vocalist/lyricist Casey Spooner, Fischerspooner has since evolved into a unique, multimedia live act consisting of upwards of ten members whose various vocals, instrumentation and dancing roles contribute to their highly theatrical and elaborate performances. One of the true pioneers of the electro-clash genre, Fischerspooner's futuristic yet accessible sound draws on many influences, ranging from Kraftwerk to Gary Numan to New Order.

Due to a combination of personal and financial reasons, Fischerspooner was released from their contract with Capitol Records in 2007. Their third full-length, Entertainment, is the first audio product on their own label FS Studios, which is also the name of their NYC music/video creative space.

Unlike 2003's #1 and 2005's Odyssey, both of which consist almost entirely of digitally created sounds, Entertainment utilizes many more actual instruments as standard as guitar and drums, to the less-common flute and timbales. These give the overall sound of this disc a much more organic feel, while still maintaining the very distinct, forward-thinking sound that Fischerspooner has firmly established for themselves. Jeff Saltzman (The Killers, Black Keys, The Sounds) was utilized as co-producer for the first time, giving the finished sound a slightly more rock-tinged foundation than previous releases.

The disc begins with "The Best Revenge"; not only is this the disc's catchiest and strongest track, it just might be Fischerspooner's best song ever. If any song on this release has the ability to elevate the group to a more well-known status, it is definitely that one. Other standouts include "Supply and Demand," "Infidels of the World Unite" and the humorously titled "Money Can't Dance," all of which make for great head-bopping, foot-moving music. On the slightly darker side, songs like "Amuse Bouche" have a heavier, more industrial feel, while the disc's final track "To the Moon" is a great example of the spacey and hypnotic aspect of Fischerspooner's creative output.

For any fans of electronica, this disc is a must-own for both the previously uninitiated as well as the longtime Fischerspooner fanatic. Unlike the band's previous two releases—which had equal parts "filler" and strong songs—this disc has a much heavier dose of attention-grabbing songwriting. Although their studio output can never quite match the extravagant, theatric spectacle of Fischerspooner's live performances, Entertainment is still a collection of highly listenable, highly likable material that fully lives up to its name. B+ | Michele Ulsohn

RIYL: Depeche Mode, Devo, The Faint