Qua aanschaf is het zeker een aanrader. Maar luister ook eens naar Miss Kittin & The Hacker, Legowelt, Vive La Fete etc.
Als je die kant op wilt, kan je beter de nieuwe Zoot Woman aanschaffen, met gelijknamige titel.
Andere tips in het genre :
Codec & Flexor - Tubed
Electric Six - Fire
Chicks On Speed - 99 cents
The Faint - Danse macabre
(niet allemaal even recent overigens)
Van Fischerspooner kan ik ook het ietwat ranzige Megacolon aanraden!
Fischerspooner is goed
Emerge
. . . n e l l a c a s a . . .
quote:ik ook
Op zondag 5 oktober 2003 17:10 schreef Conflict het volgende:
Ik heb ze op Lowlands gezien. Briljant optreden!
ik ben sowieso al een electro freak en kende ze al een tijdje maar na het optreden was ik 100% verkocht .. gelijk de cd en dvd gekocht zeker de moeite waard om te kopen!
ff een zooi info:
quote:
Their electronically driven songs are served up in an assault of pop theatrics. Theyre the subject of magazine features and gossip items around the world. Theyve remixed and collaborated with Kylie Minogue, done a command performance for David Bowie, and have worked with the world's top photographers, including Karl Lagerfeld, Terry Richardson, Jurgen Teller, and Stefane Sednaoui. Their notorious performances are star-studded, elaborately choreographed spectacles with wardrobe pieces by Jeremy Scott, Hedi Slimane and other top designers. They are represented by one of New York's premier art gallerists, Jeffrey Deitch.WHO THE HELL ARE THEY?
Warren Fischer and Casey Spooner met while attending The School of the Art Institute of Chicago. Warren, a film major and a voracious music junkie into everything from classical violin to hardcore punk, studied avant-garde composition and collaborated with arch-experimentalist Jim O'Rourke (Sonic Youth, Wilco). Casey started as a painter but found his niche in performance and video production. Meeting in a film class, they soon created performance art pieces with Casey reciting spoken word and Warren on violin.
Years later, Warren and Casey reconnected in New York and decided to collaborate on a video project. The only thing that worked was the digital soundtrack Warren had composed, so the duo ditched the film and wrote their first song. Inspired by Third-World electronic pop, one of the first elements to shape the duo's unique style, the song was a melodic monologue about the sexual advances of an "Indian Cab Driver." Fischerspooner's one-song performance debut, staged at a showcase inside an East Village Starbucks, was a riotous smash. Casey wore wraparound sunglasses and struck exaggerated poses as Warren dutifully pushed the button on the CD player for the backing track.
For each of their successive compositions, the duo tried to experiment with the borders of electronic music -- "The 15th," a melancholy take on the post-punk-era Wire classic; "Tone Poem," a minimal synth ballad written around lyrics Casey found handwritten inside the cover of an 1895 physics textbook; "Turn On," a sexy romp partially inspired by explorers Lewis and Clark. But don't call it retro, "I hate nostalgia," says Spooner, "it's a lie and a one-dimensional perception of the past."
Show by show, talented friends were invited to join the growing line-up of dancers, singers, filmmakers, and wardrobe, lighting, and set designers. The performance venues were eclectic: Windows on the World at the World Trade Center, a runway on Orchard Street, St. Mark's Church, the Limelight nightclub, inside a recreated apartment installed within an art gallery. At one show, the group performed inside a custom-built, elevated glass box and literally blew all the buildings circuits during the encore.In 2000, Fischerspooner did a marathon series of performances at Gavin Browns Chelsea gallery. Five nights in a row, six times a night for twenty-minute sets, the gallery became a throbbing fantasia of sexy beats, shimmering bodies and smoky illusions. Fans clamored to find the limited edition, eight-song CD (all of it included on #1), while art critics raved that Fischerspooner were generating some of the worlds most exciting work.
Fischerspooners pulsing first single, "Emerge," is lyrically based on an early treatment of the groups mission statement. First released as a white label, the track caught the attention of DJ Hell of International Deejay Gigolo records in Munich, who released a limited version of the CD that quickly became an underground hit in Germany. By Hell's invitation, the group traveled to Berlin for their first European shows during the city's massive Love Parade music festival.
2001 opened with three colossal performances sponsored by the Art Production Fund inside an old bank that was soon to become a Los Angeles hotel. The FS experience had blossomed: 12 dancers, snow falling on the audience, glitter explosions, a tuxedo with ten-foot tails, a topless Courtney Love playing drums at the after-party. The site also doubled as the location for the hypnotic, seven-minute video for "Sweetness", a modern exploration of the myth of Cupid.
The immediate success of "Emerge" in the European club scene fueled a series of dates across the continent: the Sonar festival in Barcelona; a Gigolo Records bash in Munich; another Berlin show; and a wild 4 a.m. appearance at the venerable Transmusicale festival in Rennes, France where Casey proclaimed the death of Michael Jackson, Madonna and Britney Spears to over 4,000 screaming fans.
In 2002 their debut album, #1, was released in the U.K. to a flurry of publicity. NME called FS, "The best thing to happen to music since electricity," and intense media coverage followed, including a performance of "Emerge" on BBC's "Top of the Pops."For three sold-out nights in May at Deitch Projects Gallery in New York, Fischerspooner launched their new show -- incorporating video, new choreography, more snow, more glitter and the premiere of the elegantly sinister "L.A. Song." A week later, the whole ensemble was on a plane to make their U.K. debut. Two weeks after that, by personal request of David Bowie, Fischerspooner jetted back to London to appear in the Bowie-curated Meltdown Festival at London's Royal Festival Hall. The staid, traditional British music venue, usually reserved for philharmonic orchestras was turned upside downCasey dove off the stage and surfed the crowd, pyrotechnics exploded, and a heckler was dragged onstage and given a good spanking by Casey, to the great delight of front-row fans like Boy George.
Aussie pop princess Kylie Minogue loved Fischerspooner's hit remix of her single "Come Into My World" so much that she invited Casey to perform a special version of it with her on BBCs "Top of the Pops" in a tawdry performance that set the British tabloids into overdrive. The year wound down with two sold-out shows at New York rock palace Irving Plaza in November, and an exclusive performance in the private home of a noted art collector during the Art Basel Miami Beach international art show.
SO NOW WHAT?
On February 25th, 2003, Capitol Records will release the U.S. version of #1 with bonus remixes and videos, as well as an additional full-length DVD featuring videos for "Emerge," "The 15th" and "Sweetness," group documentary, projections from their live performances, commentary, biographical info, as well as the album in its entirety.
Also in 2003: a feature-length documentary chronicling the duo's evolution, remixes for other big pop stars, new videos and films, a performance at Miamis Winter Music Conference, an exclusive show at the 2003 Venice Biennale art fair, among many other planned performances, and in conjunction with downtown NYC gallery Deitch Projects, the launch of their Brooklyn-based performance and production space FS Studios.
For further information on Fischerspooner contact Jason Roth at 212.253.3190 or jason.roth@capitolrecords.com.
quote:ja inderdaad, heb ze op lowlands ff gezien
Op zondag 5 oktober 2003 17:09 schreef superheist het volgende:
ze waren zeer leuk op pukkelpop! goeie show, en ook wel grappig dat ze gewoon zeiden dat ze aan het playbacken waren
en gewoon serieus elke keer voor een liedje " Lets press play" zeggen
Op zondag 22 juni 2014 12:30 schreef 3rdRock het volgende:
pas als jullie gaan trouwen. nu ben je gewoon die Oom Rubber die met onze mama leuke dingen doet :)
quote:Ik houd er wel van
Op zondag 5 oktober 2003 15:10 schreef teknomist het volgende:
Liefhebbers van Electro ?
. . . n e l l a c a s a . . .
Sweetness vin ik persoonlijk wel goed nummer
de clips van emerge zijn ook meesterlijk
the 15th is ook een mooi nummer...
het album is echt een aanraader
Ik denk niet dat ik helemaal electro moe ben, maar draai het ook weinig meer, die nummers als Emerge zijn gewoon niet erg duurzaam denk ik zo.quote:Op dinsdag 21 september 2004 11:43 schreef DaisyDuke het volgende:
Zo, oud topic... vind er nu eigenlijk niets meer aan, beetje electro moe denk ik....
hij blijft geniaal..
wist je dat de clip van the 15th helemaal achterstevoren isquote:Op dinsdag 21 september 2004 06:26 schreef melanie_the_miss het volgende:
ficherspooner is gewoon goed.
de clips van emerge zijn ook meesterlijk
the 15th is ook een mooi nummer...
het album is echt een aanraader
en de clip van sweetnes vind ik echt meesterlijk..
fischerspooner heeft gewoon een keer een live show neergezet van meer dan een miljoen euro
Maar, is dat Kittin die ik hoor zingen op het einde?
quote:FISCHERSPOONER’S ODYSSEY
TO BE RELEASED APRIL 5
NYC ART-POP DUO TAKES A VAST LEAP FORWARD
REMIX 12” OF LEAD SINGLE “JUST LET GO” OUT NOW!
(New York, NY) – Odyssey, the long-awaited follow-up to NYC art-pop duo Fischerspooner’s groundbreaking debut, #1, will be released on April 5th worldwide.
Due to overwhelming response from Radio 1, KCRW, KROQ and DJ’s and clubs around the globe, Capitol Records has commercially released a remix 12” of lead single “Just Let Go” featuring mixes by Thin White Duke (aka Jacques Lu Cont) and Tommie Sunshine, out now.
#1 was a shot heard around the world, an end-of-the millennium musical statement of pure digital and visual style, written in part to accompany Fischerspooner’s epic pop performances. Rolling Stone called it “an alternate galaxy hit” and NME called it “the best thing to happen to music since electricity.”
A daunting act to follow, but Warren Fischer and Casey Spooner had something even bigger up their sleeves. Odyssey would be a vast musical leap forward, and its realization would take over two years and stretch the duo to their physical and creative breaking point.
For their second album, Fischerspooner had a new agenda – to create a cohesive album of songs that were more expressive and emotional than their predecessors, aiming for a rich, warm sound in contrast to the crisp surfaces and digital conceptualism of #1. Inspired musically by classic and psychedelic rock, the familiar Fischerspooner sound is now suffused with analog sounds, live instruments and a lush new ambience. Like the albums that inspired it, Odyssey is a bona fide headphone album, layered with hidden sounds and ideas that reward the close listener. “I was thinking of songs I remembered hearing on the radio as a kid,” says Fischer. “That warm seventies FM sound coming off the radio from bands like The Beatles or Pink Floyd.”
To that end, Fischerspooner created a “virtual band,” bringing session musicians into studios in Brooklyn where Fischer worked with longtime engineer and collaborator Nicholas Vernhes (Fiery Furnaces, Black Dice). In a similar departure from the previous album, Spooner began to reveal more emotion and personal perspective in his lyrics and vocals, thematically pulling from classical and romantic ideas from all eras.
The pair also decided to creatively step outside of their inner circle for the first time with a wish list of likeminded collaborators. Fischer traveled to Los Angeles to work with producer Tony Hoffer (Beck, Air) at the legendary Sunset Sound Studios. And Spooner reached out to the unlikely pairing of hit songwriter Linda Perry and pre-eminent intellectual Susan Sontag in a bid to reflect the twin pillars of their inspiration – high art and pop culture.
“When I approached Susan, it was September 2003” says Casey. “I went to her house and had this fantasy that we would pick something to work on together from my notebook of ideas.” Instead, after a brief discussion, she disappeared into her library and returned fifteen minutes later with a printed sheet of lyrics titled ‘We Need A War.’ “I read them and said ‘I don’t think I can say the word ‘’war.’ I’m not comfortable saying it.” Sontag responded, “You need to get comfortable saying it. Your president approved eighty billion dollars for a war in Iraq yesterday.”
But as the emotional and physical toll of many months in the studio began to take hold, tensions over creative balance began to swell. Where #1 was created sporadically, the Odyssey sessions found the two working together intensely in the studio for long stretches, constantly pushing each other further. “We both went a little crazy making the album,” says Spooner. “We really had to grow and change as artists, and change is never easy.”
In the album’s finishing stages the two looked to French producer Mirwais (Madonna’s Ray of Light, among others) to help with the final touches. Also adding to the final inspiration was a weekly, private Salon series hosted throughout the summer of 2004 to preview new music, visual ideas and choreography to the Williamsburg art scene that originally spawned the project.
Odyssey, so named for the unexpected emotional and artistic journey it took to make, is a sonic leap forward -- sounding like nothing before it but still unmistakably Fischerspooner.
FISCHERSPOONER, ODYSSEY
1. Just Let Go
2. Cloud
3. Never Win
4. A Kick in the Teeth
5. Everything to Gain
6. We Need a War
7. Wednesday
8. Happy
9. Ritz 107
10. All We Are
11. Circle (Vision Creation New Sun)
Het is inderdaad onmiskenbaar Fischerspooner, maar wel met een 80's sound, zeg maar. Mijn favorieten zijn 'Cloud' en 'Never Win', beide mede-geproduceerd door Mirwais. Zeer coole tracks. De laatste van deze twee doet zelfs vaag denken aan 'Another Brick In The Wall' van Pink Floyd.
Ook 'Just Let Go', 'Kick In The Teeth' en 'All We Are' klinken leuk. 'Ritz 107' klinkt als een modern klaasiek stuk met electronisvhe instrumenten. 'Circle' is chaos, maar wel leuke chaos.
Het valt me op dat de liedjes en vocalen ook redelijk melodieus zijn. Aanrader wat mij betreft! Vooral op de discman c.q. mp3speler of iets anders waar je een koptelefoon aan kan sluiten...
Euh, het album geluisterd?quote:Op maandag 31 januari 2005 21:58 schreef MadGuy het volgende:
Ik heb net het nieuw album geluisterd en ik ben verliefd!
Het is inderdaad onmiskenbaar Fischerspooner, maar wel met een 80's sound, zeg maar. Mijn favorieten zijn 'Cloud' en 'Never Win', beide mede-geproduceerd door Mirwais. Zeer coole tracks. De laatste van deze twee doet zelfs vaag denken aan 'Another Brick In The Wall' van Pink Floyd.
Ook 'Just Let Go', 'Kick In The Teeth' en 'All We Are' klinken leuk. 'Ritz 107' klinkt als een modern klaasiek stuk met electronisvhe instrumenten. 'Circle' is chaos, maar wel leuke chaos.
Het valt me op dat de liedjes en vocalen ook redelijk melodieus zijn. Aanrader wat mij betreft! Vooral op de discman c.q. mp3speler of iets anders waar je een koptelefoon aan kan sluiten...
oeh, ik wil em ook, zou je even willen mailen waar je em vandaan hebt ? mail staat in profielquote:
You've got mail!quote:Op dinsdag 1 februari 2005 13:08 schreef superheist het volgende:
[..]
oeh, ik wil em ook, zou je even willen mailen waar je em vandaan hebt ? mail staat in profiel
.nitespeed@hotmail.com
[ Bericht 86% gewijzigd door EllyFlorax op 01-02-2005 19:16:35 (dubbelpost ivm traag forum) ]
ikbengeweldig@gmail.com
Bedankt!
..!Fischerspooner - Just Let Go
"Just, let it goooooo!"
Thanks [14.gif]!
The new direction FS has taken becomes quite clear instantly. It's the FS we know, but now they use real instruments and guitars frequently, to create a richer and warmer sound. Combined with trademark bleeps and electro sounds. But it's all much more 80's remniscent and still undeniably linked to the present. This blows both of the previously released remixes COMPLETELY out of the water. It starts out with an unearthy looped soft bubble bleep and soon the beat, percussion is mixed in and then FS enters the building. But this time like I said with real guitars. Btw, the real track is much faster paced then the remixes. It has a very classic feel. During the break a wonderfull electrobuzz melody is added. The song really builds to a breathtaking climax in which rock and electro work to an overwhelming opening. We are home!
02. Cloud - 3:32
Guitar...stop...guitar, ride into song. Mirwais co-produced this song. But don't think you'll hear American Life like sounds though. No sir! Guitars are there and electro sounds, but that's it. It's more flowing and full, the sounds themselves flow from one to the other, like the chorus and the verses. "I lost myself" Casey sings over a wallpaper of hi-pitch buzzing melodies. More pop then you'd expect from FS.
03. Never Win - 3:59
The influence isn't hard to discover. Everyone who hears this Mirwais produced track has one thing on his mind. Pink Floyd. A perfect mix of guitars, electro and poppy melody/vocals. Overall the slap-bass handclap beat combined with the Pink Floyd influence works like a charm. "good or bad, it's all gonna add up in the end, but you can never win" - break - and then sonically we enter an arcade game. Richly flavoured bleeps and ploinks mix into the fantastic climax. Make it a single and watch the world dance to it all through the summer!
04. A Kick In The Teeth - 4:21
The intro reminded me of the intro of "Emerge". The dark slowly louder sound of a looped bubble bleep. But then, guitars and a soft voice. And we are back in arcade game land again. Imagine an arcade game that tells you a sad story, like an epic digital drama, and then it builds to a uplifting chorus, rich in sound. And we return to a sparse sound for another verse. This cycle repeats itself to create a wonderfull feeling of melancholy for the 21st century. This might be the best combination of real percussion and an electronically created beat so far. It makes your heart soar.
05. Everything To Gain - 4:13
Starts with a menacing sound of a constant high speed bleep. Then hard real percussion is added and a slightly unsettling organ sound. Vocals are echoing while sighs slide in and out. This is yet more proof that FS wanted to combine their electronic toolkit with real live instruments and see what would happen. Kind of unsettling and weird, yet catchy.
06. We Need A War - 3:40
Lyrics by the late Susan Sontag, and sounds that are apparently based on the idea of recreating the percussion of "Sympathy For The Devil" digitally. Very beat driven, high energy and a beautiful epic guitar sound in the middle with a fantastic choris line produced by dreamy female vocals. Building up to an impressive sonic climax in which all come together! The guitars are definately the highlight in this track.
07. Wednesday - 3:27
As the song begins it's like you are transported back to the days of disco and "Ring My Bell" is stuck in the cd-player. Ploink! guitar-riffs and drums are added. Casey repeats "I feel like I'm still there". I can't help but feel how much richer and fuller the sound of this album is compared to FS's first album. They seem to have grabbed Disco by the neck and shoved rock, punk and electro down it's throat, and it like what it tasted like!
08. Happy - 4:00
Stomping beat/percussion from the get-go. Soon bleeps are added and Fischerspooner are in overdrive again. Very full sound, with a very deep slapbass! Very happy feeling and uplifting and veeeery high energy. Fischerspooner on prozac and locked in a room with big drums, hammering away.
09. Ritz 107 - 4:36
Enter time machine and exit in the 17th century where you are asked to play a tune fit for the time on your keyboard, so you create a classically sounding clavichord tune and sing a slow, epic ballad. To add some drama, you add some strings, real and a string sounding buzzing synth. The track is gentle and crisp and light as air. Dreamy and soft. Imagine this as a soundtrack for times when snow is falling softly on an already frozen landscape.
10. All We Are - 4:40
We start with notes of a piano, drifting by followed by pauses. Then the gaps are slowly filled up by drums and real percussion. The sound that made you think you were in for a ballad pick up and create a mid-tempo song. Soft and muted in the beginning. And then the chorus enters with a country-sounding guitar and lush piano sounds which make you think Air, Zero 7 and Fischerspooner were at a festival and the first two acts couldn't make it and FS was asked to fill the gap. Epic sound, lush, friendly and inviting. Like a warm blanket. "We are as one and one is all we are!" And who would think a fuzz bleep would mix so well with a harp and violins. Breahttaking climax!
11. Circle (Vision Creation New Sun) - 6:34
Deja vu opens this track, it slowly picks up pace and then...well, I'll just not tell you too much, this one you need to experience for yourself. Dance-driven, weird, catchy and yet odd. A perfect closing track though and the best sound to close a record with, especially a record like this, I've ever heard! ( for the music-freaks, think Super Furry Animals, No Sympathy! )
Well, this album is just perfect and mark my words, this will be a HUGE record this year. I can't to see what beauty's will get the honour of being released of singles with the full video treatment as there is much to choose from. They have grown and built on their sound and really made a new interesting sound that is still Fischerspooner but not an easy repetition or another copy of the electroclash trick we heard so many bands do. I applaud Fischerspooner for this album!
ROB
[ Bericht 29% gewijzigd door IrfieJ op 02-02-2005 21:04:00 ]
Ik vind de plaat goed en wil graag mensen laten delen in mijn vreugde. Ik zou het ook hartstikke leuk vinden om hier met meerdere mensen over te kunnen discussiëren.
Misschien moet ik subtiel mijn mail adres in mijn profiel zetten, zodat men mij vandaar kan mailen (maw, onderhuids gebeurt het toch wel, of je dat nu fout vindt of niet)...
[ Bericht 13% gewijzigd door MadGuy op 02-02-2005 19:29:55 ]
paar tracks gehoord nog niets echt iets bijzonders gehoord... ik vind #1 nog steeds beter...
oordeel niet te vroeg, heb't album nu zo'n 20 keer geluisterd, het blijft fascinerenquote:Op woensdag 2 februari 2005 21:03 schreef IrfieJ het volgende:
klinkt heel erg fisherspooner...
paar tracks gehoord nog niets echt iets bijzonders gehoord... ik vind #1 nog steeds beter...
p.s. 't is Warren Fischer met SCH ;-)
promo foto's
En de link naar de video voor 'Just Let Go':
Klikkerdeklikwatzienik
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