Fischerspooner 'Odyssey'

download it here! :

http://www.nostalg1c.org/2manydjs/

i think perhaps it was the way they were marketed that did the damage too what with that advert everywhere that said '1977 i feel love, 1983 blue monday...' i mean it was asking for trouble.

i shall be listening to the new 'stuff' with arms very much folded.

Tuesday, November 2, 2004

Rockism
[posted by: Casey Spooner]

yeah. I fall for all these illusions of purity and genius. I am rockist because I want to believe that great artists are conduits for truth. And because they truly commited to a path of internal truth they can be a barometer of the times. They give voice to collective urges that cut through the bullshit of the world and offer a brief bit of solace and real human contact. At the same time I have felt this contact from different things. Things that were pop. Things that were art. Things that were classic. Things that were trash. Things that weren't necessarily meant to be meaningful. Obviously, the rock style of music gets in the way for me though. There's no risk in using this language and everyone acts like it is so tough and intense. It is easy. It comes with this false sheen of rebellion when it is one of the most organized and hierarchical systems of modern music. And rockers can be the most condescending and dismissive bunch. It is such a double standard. I think it is a cycle of abuse. Rockers have to work to establish credibility to their peers and so therefore they expect the same from others. It is how I imagine the classical music world to be. There are rules that are tried and true and they must not be broken. That is the part about Rock that gets me. conformist rebellion. nothing rock and roll about rock and roll. (and it knows it.) It is so much more exciting and interesting to be able to enjoy music without the weight of "taste". Yes, I believe in the appreciation of challenging and forward forms but also in simple and classic forms. That's what rock is now. a simple and classic form. As for lip synch, I am only an advocate for it if it is being used as a theatrical device. If it is being used to complicate the language of performance. Otherwise it really is a cheap sham to conceal false musical integrity. We have always been very clear about this. I have never felt uncomfortable or compromised by the criticism of our show because we couldn't be more blatant and more honest. We hide nothing. If people can't see or understand that then it is their shortcoming and inability to see beyond their own prejudice. I think in the long run it will be appreciated as a unique idea that is beautiful and interesting. A reflection of the times and technology. Making something new is always going to be met with criticism because it ultimately turns worlds upside down. It makes people very uncomfortable to have their systems of meaning challenged. This does raise issues about the new show. What are we doing? Are we being pulled into more traditional ways of thinking about music because it is now a business. Is that bad? Should I only sing live? Should we build that perfect illusion of rock god. What the hell are we saying? Why are we making music? Where is this going? Are we just aping a new genre? What do I want to see when I go see a show. Do I want to go see a rock show? What is the best live event you've ever seen. Why? We really need to rebuild this idea from the ground up. back it up and start again. The first real rock show I ever show was in Athens, Ga. and it was a band called The Fleshtones. It was a rockabilly band and they were amazing to my 18 year old suburban little mind. I really felt like I had found my world. A crowded dingy club with the most intense energy I had ever experienced. It was packed with a group of people that I felt like I shared something in common with. I was hooked. Through the years the style of music changed (rock, house, performance art, electro) but the feeling was always the same. Sharing something with a group of people at a finite moment. Alive as an observer and a participant. An affirmation. BUT>>>>>> My bigger question is....why is everyone preoccupied with this notion of "new". it is very American. very capitalistic. very 20th century. Maybe there is nothing wrong with not being "new" which most of the time isn't actually "new" at all. Maybe we keep saying the same things the same way for a reason. Because it works. I mean, the Egyptians didn't change styles for two thousand years. more later. CS

???

I thought "Emerge" was brilliant. Fischerspooner were very important in making electroclash what it was, as much to those who hated as anything else.

I look forward to the album nonetheless.

OTM. I fall in love with him in the Emerge 2000 video. Then his nose starts bleeding and I kinda freak out.

I experienced Fischerspooner nostalgia over Christmas break. I was amazed. Wonderful, though.

Does anyone else understand what they mean by "a coherent AOR record"? The very concept frightens me.

i really, really like the original. i'd almost say i prefer it to 'emerge' which i always thought was horribly overrated.

I understand the the ramifications of AOR. What confuses me is whether Fischerspooner's proclamation is to be interpreted ironically.

There's something both mindbending and moderately boring about that Boredoms cover: you kind of just sit there and listen and go, umm, "Geez, they really are covering the Boredoms. Yep, yep, that right there is them covering the Boredoms. Huh."

"i have been in prague, and i am still here, putting vocals on the new album. the world has so many wonders to it. the czech people are a very interesting society. i do enjoy it. this album is dark musically already, but when mixed with the tone in the air of prague it becomes somewhat horrifying. wes, ross, and myself have set up protools and a beta 57 microphone in an old apartment right near the charles bridge. this is where i am connecting with the darkness. some days are explosive others just plain heavy from the gothic aesthetic of this city in general. we have gone to the other side a few times with absinthe to discover the unknown. as it seems the unknown is quite demanding these days. we have watched no television or listened to no radio. we walk everywhere we go on cobblestone streets. the beggers bow down, as if they were praying, and hold their hands out for money. much different than the states. the weather is very cold and unforgiving. the perfect call for where my head needed to be. as for updates on this site or anywhere else, you know we are finishing our new album which we consider the best of limp bizkit. definitely the heaviest and most consistant in intention. so i can only emphasize that this needs room to grow its wings on its own and does not need to have its innocense and freedom taken away by every detail that could be provided along the way until it is ready to take off on its own. that time is very near. we have created a monster that cannot be kept down for long. it's time to gather the troops. what do you think?"

I dont know what to think of the new video. I like Fischerspooner a lot, but i dont think i like this video or the song (aside from Casey's Adam Ant jacket). I mean its a little bit cool and i get it, but it feels like it was done by someone not really related to FS. Will it be on MTV?

(I don't care for the sound of the sequnced riff and thought the beats were kind of lame)

anyway i like this album! it's a real pleasant surprise

NYC art/pop duo Fischerspooner has added David Byrne
to the list of contributors to their long-awaited sophomore album,
Odyssey, which will be released on April 5.

"Get Confused," a last-minute addition to the album, was built around
a set of previously-written lyrics Byrne personally contributed to
Fischerspooner.

The song went through many incarnations throughout the Odyssey
recording sessions, but Warren Fischer only recently hit upon the
dark, sparse and psychedelic production treatment that befit them,
and he and Casey Spooner decided to add the song to the album at the
eleventh hour. The track's vocals are provided by Mira Billotte,
lead singer of the band White Magic.

Byrne joins the ranks of Linda Perry, Mirwais and Susan Sontag as
Odyssey contributors, along with noted culture critic, art theorist
and MacArthur Fellow Dave Hickey, who has penned the album's liner
notes.

i mean i do like the LCDS record better, but not 3 stars' worth.

The "visualizer" on the limited edition is probably the lamest bonus feature thing I've ever seen, though. OOH THE PRITY COLERS! At least the Beck DVD had some effort put into it...