September 2 2014

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3 posts tagged "FischerSpooner"

A Night Out With Fischerspooner


Like much of the eastern seaboard, New York City is in the midst of cold snap. But if you think it’s a little too chilly for stargazing, think again. Fischerspooner and Animal Collective brought the galactic show inside on Friday night, setting up behind the decks at the Museum of Natural History’s Rose Planetarium for the latest installment of The Fader‘s One Step Beyond party series. Needless to say, the regulars of Bedford Avenue were out in force, but while the skinny-denim masses were still filing into the museum, FS frontman Casey Spooner snuck off with a few friends to screen the new video for the single “The Best Revenge,” which you can see below, exclusively on Michael Stipe was among the VIPs taking in the video, which was shot by Spooner’s boyfriend, Adam Dugas, over the course of the band’s rehearsals for its recent tour. “The single actually came out a while ago,” explained Spooner, following his raucous DJ set. “But we had all this footage, some of which we were using on our tour, and, you know, we like making videos.” Spooner is keeping busy in other ways, too—as he went on to say, his first-ever solo record is due out later this year. “It’s really very different from Fischerspooner,” he explained. “Much more bare-bones. I mean, I never record a vocal track for Fischerspooner that isn’t doubled or tripled in the studio. My record is more indie rock, though just as meticulous in its own way.” Expect more video premieres, in other words.

Cotton’s Candy


The It accessory for Spring 2010 just might be the cupcake headband, if Will Cotton has anything to do with it. The confection-loving artist—whose burlesque-ish ladies-in-Candy Land paintings have made him a hot commodity on the young art scene—created sugary headpieces and candy-covered PJs for Creative Time’s fundraiser-cum-slumber party last night at (where else?) the Ace Hotel. “Cotton’s paintings are so delicious, it’s just the kind of thing I want to go to bed in,” CT’s Anne Pasternak said. The whole party, in fact, was a Cotton painting come to life, with fantastical spreads of macaroons, meringue, and a whole lot of Campari. The dress code for this dessert buffet: despite all those calories, quite a bit of skin. Ruffian’s Brian Wolk showed off his skivvies (topped with a Schnabel-worthy silk smoking jacket) while partner-in-crime Claude Morais cozied up in some plaid flannels. Everyone congregated downstairs for sets by Fischerspooner and DJ-about-town Matt Creed. As bedtime approached, Luke Wilson popped in, but according to our sources, the real action was upstairs, where Jack White and Karen Elson were having a private slumber party of their own. Pillow fight, anyone?

Cotton’s limited-edition pajamas will be available at Barneys New York just in time for Valentine’s Day.

Photo: Nick Hunt / Patrick McMullan

FischerSpooner’s Next Act


The first time Warren Fischer and Casey Spooner performed together live, in 1998, their venue was a Starbucks. In the years since, the duo’s career as FischerSpooner has taken them to rather more exalted halls—the Centre Pompidou in Paris, for example, and the stage of the BBC’s Top of the Pops. For a while, FischerSpooner seemed to have a special kind of superstardom in its grasp. The band notched a hit single (“Emerge”), fomented a scene (electroclash), and got Capitol Records to sign off on their diffident, frontally pretentious, synth-driven songs. It was all very unlikely, to say the least. FischerSpooner’s biggest fans were artists and its shows played like avant-garde theater. And yet by the time their 2005 LP Odyssey rolled around, Fischer and Spooner were in the studio with Linda Perry, the woman who wrote the Christina Aguilera tune “Beautiful” (and more ignominiously, introduced the world to James Blunt). And then: silence. “It was almost like we were starting over,” says Casey Spooner of his and Fischer’s approach to their new record Entertainment, which they are releasing on their own label next month. “We’d gone through it all, from nothing to an international record label, and I guess I’d say that the experience gave us a renewed enthusiasm for doing things on our own. Not,” he adds, “that we’re in exactly the same position as when we began. We do have a larger audience now.” This evening, FischerSpooner ends its lengthy hiatus with the first of three shows at the Performing Garage in New York City. Here, Spooner talks to about partying down, packing up, and Gareth Pugh.

Help me out here. Entertainment is the kind of album I always hated to review, back when I was doing that, because it’s almost impossible to pinpoint the thing that makes it signally different from the band’s other material. The difference is there, it’s just hard to extract. So, you tell me: What makes Entertainment new, for you?
Well, let’s see…We’ve definitely gone back to a more electronic sound, with this record. And this was the first time we’ve worked with one producer from start to finish, which automatically gives the material a different energy. I don’t know, I just think there’s more of a fun spirit. I had more fun, making the thing—our producer was Jeff Saltzman, who’s also worked with bands like the Sounds and the Killers, and maybe because of his rock background, he guided my vocal performances in a new way.
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