Hippopotamus | ||||
---|---|---|---|---|
Studio album by | ||||
Released | September 8, 2017 | |||
Recorded | 2016 | |||
Studio | Sparks Studio, Los Angeles | |||
Genre | ||||
Length | 55:10 | |||
Label | BMG, The End | |||
Producer | Ron Mael, Russell Mael | |||
Sparks chronology | ||||
| ||||
Singles from Hippopotamus | ||||
|
Hippopotamus is the 23rd studio album by American rock group Sparks. It was released on September 8, 2017, through BMG Rights Management and The End Records, their first record issued on a major label for decades. [5]
Following the 2009 radio musical The Seduction of Ingmar Bergman and Sparks' subsequent collaboration with Franz Ferdinand in FFS, the release of Hippopotamus marked a return to the traditional Sparks format of "short, literate, witty pop songs", [6] mixing elements from the band's various stylistic periods. [7]
Hippopotamus was met with critical acclaim, [8] and entered the UK Albums Chart at no. 7, [9] Sparks' first UK top-ten appearance in over 40 years. [10]
Having spent much of the past decade working on two musicals, radio production The Seduction of Ingmar Bergman and the movie musical Annette , a collaboration with French director Leos Carax, the Mael brothers set out to return to a more traditional song-oriented, rather than narrative, pop format for their next Sparks release, [11] [5] [12] their interest in making such an album stoked by their recent collaboration with Franz Ferdinand. [13] They worked on the album over a 10-month period, starting at the beginning of 2016 and ending in October, with most of the recording done in Russell Mael's home studio in Los Angeles. [11] [12]
Stylistically, Hippopotamus was classified as baroque pop by journalist Claire Biddles, [4] and simply rock by reviewer Sandy Lewis. [1]
The video by Joseph Wallace for the single "Edith Piaf (Said It Better Than Me)" featured stop-motion puppets modelled on the Mael brothers going on a surreal adventure in 1930s' Paris. [13] [14] [15] It was well received by critics and fans as well as Sparks themselves, who have talked about plans to work with Wallace and puppet animation in future projects. [16] [17] [18]
The album was published via BMG rather than the Maels' own Lil' Beethoven label. [5] BMG had just taken on the publishing rights for Sparks' back catalogue, which had come up for renewal. [5] "Once we did a publishing deal with them," Russell Mael told PopMatters , "the record label side of BMG really was interested in listening to the new album. So they flew out from London and we played them the album and they just kind of flipped out and said, 'This is amazing, we need to do the record deal now as well.'" [5] BMG signed the album worldwide. [5] Sparks toured Europe and the United States in support of the album. [5] [1]
Aggregate scores | |
---|---|
Source | Rating |
Metacritic | 81/100 [8] |
Review scores | |
Source | Rating |
AllMusic | [19] |
Exclaim! | 8/10 [20] |
The Guardian | [21] |
The Independent | [6] |
The Irish Times | [22] |
Mojo | [23] |
Pitchfork | 7.1/10 [24] |
Q | [25] |
Record Collector | [26] |
The Times | [27] |
Hippopotamus has a score of 81 out of 100 on the review aggregator website Metacritic, based on 18 reviews, indicating "universal acclaim". [8] The album entered the UK charts at no. 7, Sparks' first top-ten appearance in the UK Albums Chart since Propaganda in 1974. [10] [28]
In a five-star review for The Independent , Andy Gill described Hippopotamus as a "glorious and inventive return from the Mael brothers ... smarter and more satisfying than ever." [6] Leigh Sanders, writing for the Express & Star , described the album as "magnificent", [29] while Dave Simpson in The Guardian called it the group's "best album in decades", with songs that had "a new emotional heft" to them. [21] Daryl Easlea's review in Record Collector noted that "Ron's lyrics, as always, locate the heart of the matter, finding the chink in the armour, the dust on the lens" and described the album as "exactly what you'd expect and more besides." [26] Q characterized it as a "straight-up Sparks LP". Reviewer Andrew Perry said that it is "laced with all the latterday narrative leanings, Broadway arrangement and pastiches" while adding, "as ever, there's much fun to be had". [25] Mojo concluded that "beautifully offset by Ron's offbeat pop-classical arrangements [...] Hippopotamus is never anything less than wildly entertaining". [23] In a review rated 8.9 out of 10, Paste praised "its multifaceted compositional creativity, coupled with its consistently fetching melodies and words". [30] In a review rated 8 out of 10, Clash noted that Hippopotamus was "wryly humorous" and "Pure vaudeville, pure theatre – and pure Sparks". [31] The Times , in another five-star review, declared: "Russell's fraught falsetto may suggest high emotion, the melodies may be affecting, but Ron's lyrics never assume that the listener is interested in the brothers' life". For reviewer Will Hodgkinson, "this is bright, witty music that lives on the margins". [27] Uncut rated it 8 out of 10. Reviewer Jason Anderson said that it "is wide and rich enough to provide no end of delights", whether it's an ode to Swedish aesthetics, "a celebration of Gallic cool or marvels too many to count". [32] Critic John McFerrin noted that several of the lyrics on Hippopotamus seemed preoccupied with mortality and ageing, suggesting that "their career as musical Peter Pans eventually has to run into difficulties they hadn't considered previously, and this ends up providing a tangible measure of genuine emotional heft to the album that wasn't typical for the band to this point". [33]
Commenting on the album's musical style, Randy Lewis, writing for the Los Angeles Times , said, "Hippopotamus brings the Mael brothers back more into the realm of rock music with the inclusion of electric guitars, bass and drums largely absent from their more orchestral-driven outings of the past decade-plus", concluding the album was "simply put, genius". [1] Rob Mesure of musicOMH judged the album "a varied and immensely satisfying set, picking elements from their different eras – from oddball, articulate rock, through synthpop, to opera – and tossing them nonchalantly together – adding a smattering of drum'n'bass (Giddy, Giddy) and cool, flatpacked Europop (Scandinavian Design) – like the assortment of objects floating in the pool of the title track ... a big, joyous beast of an album." [7]
Publication | Accolade | Year | Rank | Ref. |
---|---|---|---|---|
MOJO | Top 50 Albums of 2017 | 2017 | 15 | |
Glide | 20 Best Albums of 2017 | 2017 | N/A | |
Q Magazine | 50 Best Albums of 2017 | 2017 | 26 | |
Classic Rock Magazine | 50 Albums of the Year | 2017 | 29 | |
Uncut | 75 Best Albums of 2017 | 2017 | 69 | |
Fopp | Best Albums of 2017 | 2017 | 82 |
All tracks are written by Ron Mael and Russell Mael.
No. | Title | Length |
---|---|---|
1. | "Probably Nothing" | 1:21 |
2. | "Missionary Position" | 4:18 |
3. | "Edith Piaf (Said It Better Than Me)" | 4:32 |
4. | "Scandinavian Design" | 4:10 |
5. | "Giddy Giddy" | 3:10 |
6. | "What the Hell Is It This Time?" | 4:03 |
7. | "Unaware" | 3:54 |
8. | "Hippopotamus" | 3:47 |
9. | "Bummer" | 3:58 |
10. | "I Wish You Were Fun" | 4:04 |
11. | "So Tell Me Mrs. Lincoln Aside from That How Was the Play?" | 4:00 |
12. | "When You're a French Director" (featuring Leos Carax [40] ) | 2:45 |
13. | "The Amazing Mr. Repeat" | 2:59 |
14. | "A Little Bit Like Fun" | 3:57 |
15. | "Life with the Macbeths" (featuring Rebecca Sjöwall) | 4:12 |
No. | Title | Length |
---|---|---|
16. | "You've Earned The Right To Be A Dick" | 3:10 |
Chart (2017) | Peak position |
---|---|
Belgian Albums (Ultratop Flanders) [42] | 104 |
Belgian Albums (Ultratop Wallonia) [43] | 32 |
French Albums (SNEP) [44] | 60 |
German Albums (Offizielle Top 100) [45] | 88 |
Dutch Albums (Album Top 100) [46] | 38 |
Scottish Albums (OCC) [47] | 7 |
Swedish Albums (Sverigetopplistan) [48] | 45 |
UK Albums (OCC) [9] | 7 |
US Independent Albums (Billboard) [49] | 48 |
Ronald David Mael is an American musician, songwriter, composer and record producer. He is the keyboard player and principal songwriter in the band Sparks which he founded with vocalist, occasional songwriter and younger brother Russell Mael in 1971. Mael is known for his quirky and idiosyncratic approach to songwriting, his intricate and rhythmic keyboard playing style and for his deadpan and low key, scowling demeanour onstage often remaining motionless over his keyboard in sharp contrast to Russell's animated and hyperactive frontman antics. Ron Mael is also noted for his conservative clothes and unfashionable moustache. The Mael brothers are the founders of Lil' Beethoven Records.
Russell Craig Mael is an American singer best known as the lead singer for the band Sparks which he formed in 1971 with his elder brother Ron Mael. Mael is known for his wide vocal range, in particular his far-reaching falsetto. He has a flamboyant and hyperactive stage presence which contrasts sharply with Ron Mael's inexpressive demeanour. The band released an album with British rock band Franz Ferdinand, as the supergroup FFS, titled FFS, released in 2015. The Mael brothers are the founders of Lil' Beethoven Records.
Sparks is an American pop and rock duo formed by brothers Ron (keyboards) and Russell Mael (vocals) in Los Angeles. The duo is noted for their quirky approach to songwriting; their music is often accompanied by sophisticated and acerbic lyrics—often about women, and sometimes containing literary or cinematic references—and an idiosyncratic, theatrical stage presence, typified by the contrast between Russell's animated, hyperactive frontman antics and Ron's deadpan scowling. Russell Mael has a distinctive wide-ranging voice, while Ron Mael plays keyboards in an intricate and rhythmic style. Their frequently changing styles and visual presentations have kept the band at the forefront of modern, artful pop music.
Kimono My House is the third studio album by American rock band Sparks, released on May 1, 1974, by Island Records. The album is considered to be their commercial breakthrough, and was met with widespread acclaim.
"This Town Ain't Big Enough for Both of Us" is a song by American pop band Sparks. Written by Ron Mael, it is the opening track on their third studio album Kimono My House (1974), and was the lead single from the album. Although it did not chart on the Billboard Hot 100, "This Town Ain't Big Enough for Both of Us" achieved major success in Europe, peaking within the top ten of the charts in the Netherlands, Switzerland and the United Kingdom. In the latter country, the song peaked at number two on the UK Singles Chart, where it remained for two consecutive weeks. The song has become the highest-charting for Sparks on the UK Singles Chart, held off from the top spot by The Rubettes' bubblegum pop song "Sugar Baby Love".
Propaganda is the fourth studio album by American rock band Sparks, released on November 11, 1974. Following up their previous year's commercial breakthrough, Kimono My House, it was a moderate success in the United States and peaked at No. 9 in the U.K. in 1975. The album cover features an image of a tied-up and gagged Mael brothers, titled "Welcome on Board," which was taken by photographer Monty Coles.
Introducing Sparks is the seventh album by the American rock band Sparks, released in 1977 by Columbia Records.
Nº 1 in Heaven is the eighth studio album by American rock band Sparks. Recorded with Italian disco producer Giorgio Moroder, the album marked a change of musical direction for the group and became influential on later synth-pop bands.
Lil' Beethoven is the nineteenth studio album by the American rock band Sparks, released on October 14, 2002. The album was a radical musical departure compared to their previous works. The band only used strings, piano, and voices but no drums: the result was both classical and pop music.
Hello Young Lovers is the 20th album by Sparks. A continuation of the repetitious, orchestral sound of their previous album Lil' Beethoven, though with a much greater emphasis on guitar and drums, It is a concept album which addresses aspects of modern love.
The following is a comprehensive discography of Sparks, an American rock and pop music band formed in Los Angeles in 1970 by brothers Ron (keyboards) and Russell Mael (vocals), initially under the name Halfnelson. Best known for their quirky approach to songwriting, Sparks' music is often accompanied by cutting and acerbic lyrics, and an idiosyncratic stage presence, typified in the contrast between Russell's wide-eyed hyperactive frontman antics and Ron's sedentary scowling.
The Seduction of Ingmar Bergman is the 22nd album by American rock group Sparks, released in August 2009. The duo's first work in the radio musical genre, the album is built around an imaginary visit to Hollywood by Swedish film director Ingmar Bergman in the mid-1950s. Its storyline focuses on the divides between European and American culture, between art and commerce. Unlike other Sparks albums, the work is conceived as a single piece, to be listened to as a whole, rather than a collection of stand-alone songs.
FFS was a supergroup formed by Scottish indie rock band Franz Ferdinand and American art rock band Sparks. Their formation was announced on 9 March 2015, but the two bands had been recording since at least the mid-2000s. The group's eponymous debut studio album was recorded in late 2014 and released through the Domino Recording Company in the UK on 8 June and in the US on 9 June 2015.
FFS is the only studio album by Scottish-American supergroup FFS, consisting of members from the Scottish band Franz Ferdinand and the American band Sparks. It was released on 8 June 2015 through Domino. The album was recorded during a 15-day period in late 2014 at RAK Studios in London and was produced by Grammy Award-winning record producer John Congleton. Although the album itself was recorded in 2014, the two bands first met each other in mid-2000s. Upon release, the album received positive reviews from music critics.
The Punishment of Luxury is the thirteenth studio album by English electronic band Orchestral Manoeuvres in the Dark (OMD), and the third since their 2006 reformation. Produced by OMD, it was released on 1 September 2017 by 100% Records in the UK and White Noise elsewhere. In July of that year, the band commenced a tour of North America and Europe in support of the record.
"When Do I Get to Sing 'My Way'" is a song by American rock band Sparks, released in October 1994 as the first single from their 16th album, Gratuitous Sax & Senseless Violins (1994). It makes reference to the Frank Sinatra signature-tune "My Way" and was a top-40 hit in the United Kingdom while peaking at number seven in Germany. In the US, it reached number nine on the Billboard Hot Dance Club Play chart. In 1995, the song was re-released, this time peaking at number 32 in the UK. It's accompanying music video was directed by British music video director Sophie Muller.
A Steady Drip, Drip, Drip is the 24th studio album by American rock group Sparks. Recorded in gaps between Sparks' film projects, the album uses a full rock-group format to draw on the band's full range of musical styles and was universally acclaimed by critics, who praised both its lyrical and melodic content.
The Sparks Brothers is a 2021 British-American documentary film about Ron and Russell Mael, members of the pop and rock duo Sparks. The film, directed by Edgar Wright, and produced by Wright, Nira Park, George Hencken and Laura Richardson, premiered at the 2021 Sundance Film Festival and was theatrically released the following summer. It received critical acclaim.
Direction of the Heart is the nineteenth studio album by Scottish rock band Simple Minds, released on 21 October 2022 by BMG.
Annette is the 2021 musical romantic drama film directed by Leos Carax, starring Adam Driver and Marion Cotillard. The film featured original music composed by Ron Mael and Russell Mael of Sparks, with lyrics co-written by Carax, and two soundtracks were released for the film. The "Cannes Edition" soundtrack, consisting of 15 songs were released first ahead of the film's Cannes' debut and was preceded by two singles–"So May We Start" and "We Love Each Other So Much". The "Ultimate Edition" soundtrack was released in digitally and as a double CD shortly after and contains virtually all of the music from the film as well as demo music produced for the album.