When is it right to judge a book by it’s cover? A track by it’s title? An artist by the ‘radiator-trimmed, private-school, retro, drum rim-mounted spaceship’ he’s wearing on his head? (I want one!) Does ‘artistic’ live packaging devalue our impression of the music being performed? In this case no. Not really.

The third album from Fischerspooner, the Euroclash performance-art troupe headed by Warren Fischer and Casey Spooner, is serious quality all the way. They are however walking a fine line between genius and fashion victim. Entertainment was created as the soundtrack to Fischerspooner’s performance art. It’s quality electronica-pop in the artistic sense, but it all sticks to a very distinctive style, with more 80s keyboards, sequencers and drum machines than you can poke your stupendous shoulderpads at. There are relentless synthesized basslines and terribly clever vox pops inserted in strategic positions. And I have to say the production itself is brilliant, making the most of totally 2009 digital studio tricks that would make the Depeche Mode of 1989 cry into their West Coast Coolers.

Several tracks do stand out from the rest. The Best Revenge, the first track on the album, sets up the theme with a whole lot of vintage keyboard sounds. Clever effects tricks on the vocals tart up some earnest, considered lyrics. And the whole thing is accessorized with some Supa80’s trumpet and sax. Danse en France is cool and funny. A wicked little storyline proves that everything is sexier in French. This track has been remixed into a euro-dancefloor killa by D.I.M. and it’s a good choice. It’s hard to resist the novelty of chopped up Frenchie vocals. So chic!

Across the entire album, you definitely notice the prominence in the mix of the vocal tracks. The lyrics are obviously a very important part of the story, but there’s more to it, as Casey divulged to ITM a few weeks back (check it out HERE if you don’t believe me!). The collaboration’s unusual songwriting process involves starting out with lyrics, vocal lines and grabs, and then constructing the beds and beats around them. The vocals certainly have a message… I’m not sure what exactly, and they jump out at you.

There’s one other track I should mention, that I hated at first but has slowly seduced it’s way into my head, and won’t let go! Money Can’t Dance grates initially, with hilarious lyrics like “Ain’t got no arms, Ain’t got no legs”. You can picture headless manequins being paraded around the stage. But the sweet, relentless Depeche Modery of the beats is begging for a remix.

I did find tho, that the very stylized retro-electro theme doesn’t maintain your attention for long. What works for John Paul Gaultier for Paris Fashion Week doesn’t really translate into a long-form musical collection. Even for the mighty JPG, stick too rigidly to a colour, a hem-length, a cohesive theme, and suddenly all your models start to look exactly the same. Alas, that’s what has happened to Entertainment. It’s shiny and glamorous and fashionable, but the sameness of the tracks starts to wear down the joy pretty quickly.

Compelling awesome music? Or just a fashion fad? It’s certainly intriguing, and makes me well curious about the live show that goes with this. If you get off on the Presets’ electro with a big smack of 80s retro, this one’s for you!