Customer Reviews

Exotic Creatures of the Deep

5 star:		(10)
4 star:		(2)
3 star:		(0)
2 star:		(0)
1 star:		(0)

 

 

Every so often, these guys manage to find their ways back onto the pop charts. And this might just be the album to get them back. Bully for them if it works. It's not quite as immediately pushing-the-envelope as Hello Young Lovers or its predecessor Lil' Beethoven, but it's decidedly more accessible than either and very arguably as ambitious. And I keep finding new layers of sound and/or more strikingly funny-but-really-not lines each time I hear it. I may actually end up liking this better than HYL when all is said and done. In fact, I think I'm already there. It's a catchy thing of beauty that makes you laugh out loud yet hurts if you stop to think too long about it.

The album as a whole is appropriately framed by its closer "Likeable" and the line used in the multi-track-vocaled "Intro" and "Intro Reprise": "I don't care if you love me, just so you like me..." From there -- and to underscore the absurdly pointed hollowness that's all over this -- we veer into the electronic poppiness of "Good Morning," detailing the morning after with a woman who doesn't even speak English, and who of course the singer doesn't remember: "Thank you, God, for something rare as this / What surely must have been a holy night of bliss.... Good morning / I need you, I need you / Who are you?"

Next comes the Beach-Boys-meets-symphonic-punk "Strange Animal," which narrates the battle between a musician, an overanalytical (imagined?) fan, and all the characters in the song, ending in the songwriter killing everyone concerned and starting over. Definitely one of your more original songs about the creative process, and for that matter probably the closest thing here to the scary-good "Dick Around" from Hello Young Lovers.

Then, for the first time in years, they revisit their glam years (albeit trading in Queen for T-Rex here) in the funny-as-it-sounds-except-it's-not "I Can't Believe You Would Fall for All the Crap in This Song." When Russell sings to a would-be fan, "I want you and only you and only you, my love" you both believe him and kinda get creeped out by it. You know, like when Morrissey sings something like that. But that's too early in our story.

Then comes the quasi-classical Ron-piano-driven section. On either side of the "Intro Reprise" comes "Let the Monkey Drive" ("It's only fair / It's the monkey's car / And he hates to share") and "I've Never Been High," both of which are better than I'm letting on for some semblance of brevity's sake. "(She Got Me) Pregnant" turns the tables, even while reminding you of its unturned-tabular relevance, "You know how these girls can be / they treat you all so casually / They wine you and they dine you and expect a little la-dee-dee /And then you learn that though she's several thousand miles away / There is a part of her she's given you and now you have to deal with being / Pregnant /She got me pregnant / She got me pregNANT...."

Then comes what REALLY oughta be the hit single here (at least in Britain), and if only for its topicality, "Lighten Up, Morrissey." Veering a bit more gently into glam-land , the protagonist in the song pleads with his hero to give his girlfriend less material to work with: "I got comparisons coming out my ears / And she never can hit the pause / If only Morrissey weren't so Morrissey-esque / She might overlook my flaws... / She won't dine out with me / No, she won't dine out / Since my t-bone steak is at fault / She won't dine out with me / No, she won't dine out / With a murderer passing salt..." Anyone who either loves OR hates the guy should hear this. (And FWIW, the subject matter himself reportedly loves it.)

"This Is the Renaissance" is growing on me big-time, and turns the social observation even wryer. Although the context is different it reminds me a bit of one of my all-time favorite Sparks songs, "It Ain't 1918" (from Indiscreet), in that it starts out poking fun at the "old ways" then turns the tables to reveal how intolerant and empty the "new ways" are: "Middle ages sucked / Spent all day in prayer / Judgement Day was everyday and / Witches burning everywhere / But now we are in luck / Beauties everywhere / Paintings filled with foxy women / No one's got a cross to bear... If you like to read / Man, you are in luck / Gutenberg is cranking out The Bible with a centerfold... This is the Renaissance / Came upon us all at once...."

It tails off a bit near the end. "The Director Never Yelled `Cut'" features the lyrical repetition that figures prominently on the last two albums, but again musically it's very hard to fault - there are some truly lovely passages here -- and the verses themselves tell the story of yet another guy who doesn't measure up to his girlfriend's/"director's" standards just fine. "Photoshop" is the most obvious thing here, regarding the protagonist's plea to "photoshop me out of your life," but it's a'ight.

Then finally to "Likeable," a six-minute classical-rock-waltz-a capella paean to... well, being liked... and the ultimate hollowness therein: "Wonder what it feels like to be in love / How would you describe it -- like a push or shove? / Guess I keep pretending this is all I need / Wanting more than what I have might appear as greed / Cause I'm likeable, they all say / Wouldn't have it any other way / And there's no other reason things go my way / I'm just likeable, night and day." When the album's opening line finally reprises here, "I don't care if you love me, just so you like me / Like me, like me, like me, like me..." it's actually rather heartbreaking. (Again, not unlike my all-time favorite Sparks song, "Dance Godammit," in which the phrase "Do you want to dance?" grows from casual come-on to a desperate plea for ANY kind genuine human connection whatsoever.)

Bottom line: Once you get past the decidedly funny surface of Exotic Creatures and into the "Deep" of the music and the emotional disconnect portrayed throughout.... well anyway, if you still think it's a joke, then it's clearly a joke you're not getting.

This brand-new album and Sparks are sheer genius! Having witnessed Sparks record-defying 21 Nights concert stand in London where they performed all 20 albums in their entirety on successful nights culminating in the sold-out live World Premiere of their 21st album, Exotic Creatures Of The Deep, I can only say I'm stunned, shocked, and amazed at the boldness and inventiveness of this album and the stage performance that accompanied it at the Shepherds Bush Empire. Where other bands simply burn-out and take the easy path with tired musical output, Sparks continue to produce material that is as striking, modern and creative as their first works. This album however, goes miles beyond what the rest of the pop competition is even thinking. Don't tell me about Coldplay folks, get a copy of this one, and one for a friend that needs some pop music enlightenment. It's sheer genius. I've heard the musical Gods; It's here. it's Sparks.

Well, like Anthony down below I too was at all 21 shows, and it was amazing. And this new album is a masterpiece. It is simple as that!

I will let others debate on if it's art/pop, super pop, or even opera. The thing is once you hear this album you sort of realize that every contemporary (2008) music out there is super lazy and pointless. Essential? It will save your life buddy (or bebe).

It's hard to believe the Mael Boys could top 'Hello Young Lovers', but they do so with flying colors. Probably their strongest album ever, which is really saying something.

I have been a fan of Sparks for over 28 of their 38 years and this one is right up there as their best. Their last two CD's were great musically but lyrically they lost a lot of their imagination and were too repetitive for my taste. On ECOTD they nailed it on ALL levels: lyrics, music, and vocals. If you are not a Sparks fan then this the a great one to start it off. You won't be sorry. Carl's review describes this CD perfectly, so for more in-depth detail read his comments.

"Exotic Creatures of The Deep", Sparks 21st album, brings Russell and Ron Maels' wit and pop gymnastics together with their seclusion fed mix of opera-pop and avant garde. A fantastic combination that brings vocalist Russell Mael back in full and inspired form. The previous 2 lp's, "Li'l Beethoven", and "Hello Young Lovers", featured few moments of melody as the songs were more spoken in rhythm. "ECOTD" is a sharp, focused pop record with a few moments resembling the two prior, but, mostly we hear the sweet, melodic falsetto of Russell again. And he's never sounded better.
From the opening cut "Intro/Good Morning" though the final cut "Likable", "ECOTD" is a culmination of Everything Sparks:fun, clever, danceable, rocking, mind-blowing music.
"The Director Never Yelled Cut" has the frenetic chords and impossible piano playing from Ron, similar to "How Do I Get To Carnegie Hall" from "HYL", showing they've not stopped searching for the "lost chord", as well as laying down some of the most beautiful vocal harmonies assembled on record.
I am recent convert to the Sparks camp, but it's records like this that keep fans interested, inspired and entertained by a band that is still relevant and astonishing near 40 years into their career. A+

Sparks continue their late career strong streak with their third album of humorous minimalist pop. "Exotic Creatures Of The Deep" doesn't have the immediate strike of "Dick Around" from Hello Young Lovers or the conceptual interest of Lil' Beethoven, but is a more consistent album overall.

The experimental nature of the songs will probably throw those looking for the new-wavey aspects of hits like Sparks In Outer Space or even the delightful old quirks of Propaganda, while repeat listens will reward you. There are traces of Beach Boys, full leaps into glam, plus Russell's inimitable falsetto. This is also loaded with Sparks' trademark sense of humor, especially in the songs "I Can't Believe That You Would Fall for All The Crap In This Song," which lampoons the old fashioned lovesong with glee.

Then there's the album's best bit, "Lighten Up, Morrissey." Poor Russell can't score with the girl who's hooked on that celibate heartthrob because

"She won't have sex with me, no she won't have sex
unless it's done with a pseudonym.
She won't do sport with me, no she won't do sport.
She says it's way too masculine,
look at him!"

The outre musical humor in titles like "She Got Me Pregnant" or "I've Never Been High" actually lives up to their titles. Granted, "Exotic Creatures Of The Deep" and the last few Sparks albums may be an acquired taste, but I consider it well worth my effort to cultivate it.

Exotic Creatures of the Deep being Sparks 21st album and their 2008 is even better then Hello Young Lovers. This is a brilliant pop, rock and chamber pop album. The vocals are magnificient and the lyrics match them. The album was with mixed reviews with NME, MusicOMH and BBC giving it high marks whilst Chart Attack and Pitchfork Media gave it lower marks. For me even NME, MusicOMH and BBC give to low a grade. All the lyrics are included in the booklet and we get some strange photographs of the members with a monkey. 5/5.

Sparks was one of the few bands in which I allowed catalog gaps in collecting their material. I had the debut album up through 1977's Introducing Sparks, passed on the two Disco albums, returned for the New Wave of 1981's Whomp That Sucker up to 1984's Pulling Rabbits Out Of A Hat. After that, Sparks returned to their dance music with the forgettable Music That You Can Dance To and Interior Design albums. When Gratuitous Sax and Senseless Violins was released, I was curious and ended up purchasing the album based on the hilarious song titled 'I Thought I Told You To Wait In The Car'. Unfortunately, I found the whole album faceless and dull modern dance music, and I hated it and disposed of it.

Because of my horror at the sound of Gratuitous Sax, realizing that Sparks was still stuck in their dance music rut, I gave up on them and had no interest in anything else they released. But then Exotic Creatures of the Deep was released. I looked over the track listing, and when I saw the song titled 'Lighten Up, Morrissey', I thought it would be worth a listen. What I didn't expect was the song would return Sparks back to a rock based sound. Guitars had returned, and the drumming wasn't all dancey. I found it highly catchy and it prompted me to sample the rest of the album.

Wow! I couldn't believe how good these songs sounded in the available 30 second bits I had access to. I promptly bought the album and was blown away. Here was the Sparks that I love. Not only does Ron Mael have an endless well of dememnted and zany lyrical ideas, but the music was much more attractive and melodic with all of the quirk that made Sparks so wonderful when I first began to explore their music. Exotic Creatures of the Deep immediately reminded me of the experimentation of 1975's Indiscreet. There were the straight forward songs like 'Good Morning' and 'Lighten Up, Morrissey', but there were brilliant experimental songs such as the quirky hooks of 'She Got Me Pregnant' and 'This Is The Renaissance'. There was even an excellent harder rock song titled 'Strange Animal'. I was very impressed, not only with return of the classic and definitive Sparks sound, but to hear how amazing Russell can still sing after all of these years. This album can easily sit comfortably along side of the classic Island years. I'm definitely open to any future musical offerings from Sparks, but if they move back into dance music, they might lose me again.

That being said, after all of these years of being a Sparks fan, I decided to buy No. 1 In Heaven and Terminal Jive. Being that they were from 1979/1980, I felt there had to be something that I would enjoy, if I could overlook the typical then-popular Disco sound. Having an open mind helps because I found that I enjoy 4 of the 6 Heaven songs, and even managed to pull 3 or 4 from Jive. I still cannot stomach the sound of Gratuitous Sax, though. But if Sparks can stay somewhere within this current sound, which is still a sound that is all their own, then I will remain interested in future releases.

Kimono My House is still my high water mark album for Sparks, but all these years later they are still head and shoulders above just about everybody else, especially in cleverness. "Let the Monkey Drive" alone is five stars. Much of the other material on this album is great also. Sparks should have been much bigger than they have ever been, but it's not too late to discover them. Kimono is the best place to start, but this is also a great album!