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Entertainment *

Fischerspooner
1 disc

1. Best Revenge, The
2. We Are Electric
3. Money Can't Dance
4. In a Modern World
5. Supply & Demand
6. Amuse Bouche
7. Infidels of the World Unite
8. Door Train Home
9. Danse en France
10. To the Moon
Additional Info

Manufacturer Part Number (MPN): 341762
Credits

Producer Jeff Saltzman; Nicolas Vernhes; Tony Hoffer; Warren Fischer
Engineer Gabriel Espinosa
Lyricists: Myriam Laouichi; Casey Spooner.
Personnel: Casey Spooner (vocals, keyboards, xylophone); Warren Fischer (vocals, programming); Natalie Weiss, Leslie Meils, Heather Porcaro, Adrian Hartley, Astrid Suryanto (vocals); Kyle Johnson, Nicolas Vernhes (guitar, programming); Robert Aaron (flute, alto saxophone, tenor saxophone, baritone saxophone, pocket trumpet); David Palmer (keyboards); Guy Licata (drums, timbales); Chris Reynolds (drums); Gabriel Olegavich (programming).
Audio Mixer: Dave Way.
Recording information: Rare Book Room; Sunset sound; The Carriage House; The Hearse; The Study.
Photographer: Dusan Reljin.
Unknown Contributor Role: Nasir Mazhar.
Although their throbbing synth-disco masterpiece "Emerge" was a huge hit for the then unknown performance art/synth pop duo, Fischerspooner, by some accounts, seemed destined to implode under the flurry of hype surrounding electroclash, a scene the group helped usher in during the early `00s. Principals Casey Spooner and Warren Fischer have since evolved the group into a multimedia art project as much as an actual band, keeping the frequency of music releases to a slower yet deliberate pace. Only their third album in eight years, ENTERTAINMENT indicates a further maturation in the group's sound, reflecting the synth pop classicism of Depeche Mode and Pet Shop Boys more than the mindless hedonism of electro-house. Aided by the Killers' producer, Jeff Salzman, songs like "The Best Revenge," with its stadium-sized drums, brassy horn-inflections and saxophone solos, sound as big and meticulously detailed as Fischerspooner's extravagant stage show. Meanwhile, "Money Can't Dance" takes a slightly cynical view of the late `00s economic climate, with Spooner decrying, in his weedy cabaret croon, currency's inability to cut a rug.
Critic Reviews

Q (Magazine) (p.122) - 3 stars out of 5 -- "[O]pener 'The Best Revenge' and 'In A Modern World' are accomplished slices of tuneful electro-pop reminiscent of early Depeche Mode."