On the Shelf 194: Fischerspooner
Mar. 28th, 2018 07:56 am![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
bedsitter23I have a soft spot for music in the 2003-2005 time frame. I bring it up because Fischerspooner has returned with their first new record in a decade.
Electronic music usually gets short shrift. With rare exception (and usually from the British press), truly great artists like OMD, Gary Numan, the Pet Shop Boys, The Prodigy and Daft Punk generally get passed over for two guitars-bass-and drum bands. Even pioneers like Kraftwerk, New Order and Depeche Mode usually get bumped out of the conversation which praises guitar-centric bands like U2 and The Clash. Revolutionary industrial bands like Ministry, Frontline Assembly and KMFDM get excluded for the same reason, and some really inventive techno bands took a back seat to the Blur-Oasis rock bands of their day. Sure, Moby had his day, but the press hasn't been interested in him for years, despite his continuing to release great music.
2003-2005 was Fischerspooner's high point and they were heralded as the banner carriers for a new wave inspired genre which included a variety of bands on a spectrum of rock to dance. Helping hold the banner were Peaches, Chicks on Speed, The Faint, Ladytron, Adult., Soviet, Rokysopp, Miss Kittin, and Felix da Housecat. Goldfrap was in the influence, as was Le Tigre. The Killers certainly were born of the same sensibilities as was Lady Gaga. There were plenty of other things going on that drew from the same pool of influence as well- whether it was New York indie (the Strokes, Yeah Yeah Yeahs, Interpol) or UK indie (Franz Ferdinand, Kaiser Chiefs, Editors, Bloc Party, Maximo Park, the Futureheads). Not to mention it was also a high point for darkwave (VNV Nation, She Wants Revenge, Apoptygma Berzerk)
Naively in retrospect, I thought Fischerspooner would grab the audience in a big way, including those who normally trended towards guitar rock. I say naive, as I look back at those old reviews, and there were a lot of harsh critics, and they were compared to Sigue Sigue Sputnik. Slate called #1 the worst album of the year and Q threw it on a list of worst albums of all time along with Milli Vanilli, Vanilla Ice, Billy Ray Cyrus, William Shatner and Music from the Elder.
Indeed, perhaps I might not be able to make a case for that first album #1, though i think it's great, it's a very, for lack of a better word, "gay" album. 2005's "Odyssey" though, I still will make a case for with songs like "Never Win", "A Kick in the Teeth" and "Just Let Go". Those particular songs would sound great on any number of branded playlists.
A decade has passed since we heard from the band. One can't help but notice the fact that EDM has went mainstream. Although there is nothing similar to any of those great electroclash bands of the oughts, the Top 40 is dominated by the likes of the Chainsmokers, Tiesto, Zedd, Martin Garrix, Diplo and many others.
Sir, at once sounds like the band, but also fresh. But it is a different band. Much has been made of the fact that Michael Stipe has produced the album. Indeed, as expected, there is an intense focus on the lyrics. However, we are forgetting that the band always was interested in lyrics ("We need a War" anyone).
Unsurprisingly, the album is a bit of a downer, even if follows through on the sound of their debut. No longer the carefree partygoer of their 20s, but the 30 year old who has since experienced all of the scene has offered. The band takes it to obvious lyrical extremes withe the closer which could be a modern day City of Night.
Reviews have been mixed. I don't have any delusions that this will cross over. It is very much Non-Stop Erotic Cabaret, indeed perhaps one of the most appropriately categorized album of those words since the Soft Cell album of that time.
That will be the dividing line. It's not as accessible as Odyssey, and is very much in line with their debut- a heavy breathing, behind the club exit experience.
I did like the review from NPR that calls this the best Depeche Mode album of the 2000s. Indeed, the last few DM albums haven't clicked with me like this album, which at least seems fresh.
All of the sex and erotica can be hard to sell, and it reminds me of 90s era Prince at times (take the song "Discrete"). Indeed, it sounds much of like Prince was recording in the 90s sonically, but also metaphorically, not as effortless as 80s Prince, but much more listenable than oughts-Prince.
Personally, given the question every reviewer seems to attach to this record, "Was it worth the wait?". i will say Yes. I will say it is good to have them back, for sure. Also, this probably won't appeal to anyone outside of their tightest band of fanbase, but I am someone that falls in that category.
There are plenty of nsfw lyrics on the album, so be warned when streaming tracks. Also, you may be forced to explain that album cover.
Electronic music usually gets short shrift. With rare exception (and usually from the British press), truly great artists like OMD, Gary Numan, the Pet Shop Boys, The Prodigy and Daft Punk generally get passed over for two guitars-bass-and drum bands. Even pioneers like Kraftwerk, New Order and Depeche Mode usually get bumped out of the conversation which praises guitar-centric bands like U2 and The Clash. Revolutionary industrial bands like Ministry, Frontline Assembly and KMFDM get excluded for the same reason, and some really inventive techno bands took a back seat to the Blur-Oasis rock bands of their day. Sure, Moby had his day, but the press hasn't been interested in him for years, despite his continuing to release great music.
2003-2005 was Fischerspooner's high point and they were heralded as the banner carriers for a new wave inspired genre which included a variety of bands on a spectrum of rock to dance. Helping hold the banner were Peaches, Chicks on Speed, The Faint, Ladytron, Adult., Soviet, Rokysopp, Miss Kittin, and Felix da Housecat. Goldfrap was in the influence, as was Le Tigre. The Killers certainly were born of the same sensibilities as was Lady Gaga. There were plenty of other things going on that drew from the same pool of influence as well- whether it was New York indie (the Strokes, Yeah Yeah Yeahs, Interpol) or UK indie (Franz Ferdinand, Kaiser Chiefs, Editors, Bloc Party, Maximo Park, the Futureheads). Not to mention it was also a high point for darkwave (VNV Nation, She Wants Revenge, Apoptygma Berzerk)
Naively in retrospect, I thought Fischerspooner would grab the audience in a big way, including those who normally trended towards guitar rock. I say naive, as I look back at those old reviews, and there were a lot of harsh critics, and they were compared to Sigue Sigue Sputnik. Slate called #1 the worst album of the year and Q threw it on a list of worst albums of all time along with Milli Vanilli, Vanilla Ice, Billy Ray Cyrus, William Shatner and Music from the Elder.
Indeed, perhaps I might not be able to make a case for that first album #1, though i think it's great, it's a very, for lack of a better word, "gay" album. 2005's "Odyssey" though, I still will make a case for with songs like "Never Win", "A Kick in the Teeth" and "Just Let Go". Those particular songs would sound great on any number of branded playlists.
A decade has passed since we heard from the band. One can't help but notice the fact that EDM has went mainstream. Although there is nothing similar to any of those great electroclash bands of the oughts, the Top 40 is dominated by the likes of the Chainsmokers, Tiesto, Zedd, Martin Garrix, Diplo and many others.
Sir, at once sounds like the band, but also fresh. But it is a different band. Much has been made of the fact that Michael Stipe has produced the album. Indeed, as expected, there is an intense focus on the lyrics. However, we are forgetting that the band always was interested in lyrics ("We need a War" anyone).
Unsurprisingly, the album is a bit of a downer, even if follows through on the sound of their debut. No longer the carefree partygoer of their 20s, but the 30 year old who has since experienced all of the scene has offered. The band takes it to obvious lyrical extremes withe the closer which could be a modern day City of Night.
Reviews have been mixed. I don't have any delusions that this will cross over. It is very much Non-Stop Erotic Cabaret, indeed perhaps one of the most appropriately categorized album of those words since the Soft Cell album of that time.
That will be the dividing line. It's not as accessible as Odyssey, and is very much in line with their debut- a heavy breathing, behind the club exit experience.
I did like the review from NPR that calls this the best Depeche Mode album of the 2000s. Indeed, the last few DM albums haven't clicked with me like this album, which at least seems fresh.
All of the sex and erotica can be hard to sell, and it reminds me of 90s era Prince at times (take the song "Discrete"). Indeed, it sounds much of like Prince was recording in the 90s sonically, but also metaphorically, not as effortless as 80s Prince, but much more listenable than oughts-Prince.
Personally, given the question every reviewer seems to attach to this record, "Was it worth the wait?". i will say Yes. I will say it is good to have them back, for sure. Also, this probably won't appeal to anyone outside of their tightest band of fanbase, but I am someone that falls in that category.
There are plenty of nsfw lyrics on the album, so be warned when streaming tracks. Also, you may be forced to explain that album cover.
