warrencasey
It took almost three years for a sophomore, full-length album to be released by the duet of Fischerspooner. Their first release, #1, was a brazen musical gesture. The music videos alone caught the rapt attention of anyone remotely interested in theater performance. Trying to replicate that result would justify the long wait for a second release.
I don’t often go in-depth when it comes to music because forming thoughts regarding artistic endeavors generally takes me considerable time. That’s why I’ve been listening to this album for the past three weeks in a nauseous continium. Hopefully, I’ll be able to unshackle my poor reviewing habits for this one. It’s worth it.
I could do no less than adore #1. And after witnessing one of their music videos, I instantly realized much of the emotional aims they had in mind in designing the tracks. #1 was brilliantly eclectic with its lyrics and maintained a wonderful electronic track to turn modern poetry into song. Odyssey, the second Fischerspooner album, is just as amazing. This time around, the band retains some ambiguity in their lyrics to apply critical thought to each moment. It’s an honorable attempt for musicians to appear like an intellectual group; Fischerspooner tries by only lifting a finger and their product is full of insightful and provoking stimulae.
The music is more tailored, however. It’s less metallic and more clear-cut; they have obviously dropped some of the more exuberant syntheses for a routinely stable structure. But to that, I have complaints. The movement towards the mild does not perturb me - it almost seems like an unlikely and daring move. You’d think, after tracks like “Mega C” and “Emerge”, Fischerspooner would follow up with equally unconventional tracks and sounds. My first listen to the album almost let me down. I was looking for those harsh sounds and striking pauses, but the tracks were milder. Honestly, I was somewhat infuriated that the sophomore release that I waited for, for three years!, wasn’t as overflowing with angst as I expected.
But it works so well. As an album, everything flows into the next. The tracks seem to have similar procedural compositions in terms of verse-bridge-chorus-outro kind of things. But every track is perfectly unique at the same time. The lyrics suggest little attachment from song-to-song, but the beat doesn’t seem to die entirely once your CD/MP3 player changes tunes.
Tracks of prominence are, well, all of them. The album is a smooth, sharp drink. The last track “O” is great and is distinctly instrumental except for a few, violent cries of the words “Creation” and “Inside” which seem just as much of an integral portion of the song as do the other five minutes of music. Oh, what am I saying? This album is spectacular. You’ll discover it impossible to not want to dance to “Never Win”. “We Need a War” is stunning, and puts a unlacquered spin on a topic of current controversy.
I hate looking over this entry. I really have no place to review music. Adam is the resource for music reviews. He says in short, brief words what I try to express in a multi-paragraph entry. Ugh. I disgust myself. I need to stick to my frivolous banter. Adam, any help?
May 26th, 2005 at 2:40 am
I’ve said it before; I say it again: Fischerspooner remains one of the most talented acts of electronic music around these days. (Never mind their live acts and videos.)
Clean. Everything is clean.
Even on tracks that have a more grungy or dirty sound (e.g., “Get Confused”), their choices remain clear and clean. I am never aurally confused or overwhelmed as a listener.
Every transition is nicely done.
Every different and disparate sound they stick in there fits—even if it’s in complete contrast to other sounds on the track. Especially if it’s in complete contrast. Those are my favorite choices.
Through-line. (The “Big V”.)
The Album, albeit perhaps softer or mellower, is complete. They pay enormous attention to details, and it shows: it all flows together quite nicely. I never get tired of listening to it in its entirety.
Dynamic Range.*
These guys understand the importance and value of Dynamic Range. In every sense of the term. In the types of sounds, and its intensity.
And they are theatrical sounding indeed. I suppose that’s why I like so much of their music. O, I can’t wait for the next album. In the meantime, #1 and Odyssey will have to hold me.
~dk
*– This is a current sore spot with me.
So many great new artists are sullied by record labels that think LOUDER IS BETTER (e.g., Jem’s album, Finally Woken). Compressors and Limiters—frequently employed during mastering—are being used in ways that ruin and destroy all dynamic range. This article explains it all nicely.