For those electronica addicts seeking a more avant garde musical experience, the outlandish and visually lavish New York City duo Fischerspooner is just the ticket.

Casey Spooner and Warren Fischer of Fischerspooner will be performing this Sunday at the Coachella Arts and Music Festival in Indio, Calif., with their extravagant company of dancers and singers all dressed in elaborate costumes of feathers and glitter.

“We’re like a Janet Jackson concert,” said Spooner. “I’ve been working with these people for years. We’re all very close, they’re an integral part. We have 15 people traveling on a 12-passenger bus, so it’s very ‘Some Like It Hot.'”

The performances resemble the colors of Cirque Du Soleil, the eccentricity of Andy Warhol’s art and the flamboyant tendencies of Ziggy Stardust (David Bowie’s alter ego) as a way of presenting the group’s electronic arrangements.

“We started making the music and we just realized there was a potential to do a lot more in the way people were presenting it live,” added Spooner. “It’s not that complicated of an idea really. I think the thing that is unique is the style of music mixed with the presentation. It’s more of a spectacle with music that would traditionally be performed by two geeky guys sitting behind a computer.”

Fischer, a Los Angeles native, and Spooner, originally from Athens, Ga., met as students at the Art Institute of Chicago. Fischer, a music enthusiast of everything from classical to punk, majored in film. Spooner, a painter, first majored in art and eventually shifted focus to performance and video production.

“Painting was a little too isolating for me,” said Spooner. “I didn’t like being alone that much in my process, and when I would stand up and discuss the reasons why I made the paintings in critiques, often times people found my public speaking more compelling than the painting itself. I don’t paint in the traditional sense but I feel that I’m still very much creating images.”

The duo became friends and began creating performance art pieces. They later parted ways and met up again in New York City. Fischerspooner began showcasing its original performances in New York City at art galleries, a church, on the street, a nightclub and even an elevator.

“Obviously people relate us to the 1980s which I find a bit frustrating but I also understand it,” said Spooner. “But at the same time, I felt our urge to make pop music and dress to embrace this idea of a decadent spectacle more had roots in a turn of the millennium paranoia, and revolting against a pessimistic and eminent disaster. It is about enjoying my mortality if it was to end at the turn of the century. Musically, I don’t think it’s quite that simple of a relationship.”

Fischerspooner released its debut album, “#1” in the U.K. in 2002 and in the U.S. under the Capitol Records label this year.

“I think that Warren’s background in classical and indie rock gives it a different quality even though the sounds may be related to the 1980s. Ultimately the structure, the chorus and the melodies aren’t related necessarily,” said Spooner. “The one sound that it is most related to, that people most cite as being 1980s, is Kraftwerk and in fact, its roots are in the 1960s and 1970s. I think the idea of new is oftentimes fiction and there’s an American obsession with newness. But there is nothing that is truly new and it shouldn’t be such a distressing situation.”

Fischerspooner’s live performances are best described as Broadway musicals where virtually all of the dancing and acting is well-rehearsed long before the act goes public.

“Our show is incredibly structured and really rigorous,” said Spooner. “We work with several choreographers and we rewrote the show which took us about three months. It’s been ongoing and we add material as we go, but the bulk of the material we wrote last spring. It’s very structured on one hand but because it’s so structured it provides us with the opportunity to do things that are more spontaneous.”