Latest news with #RonMael
Telegraph
23-05-2025
- Entertainment
- Telegraph
Sparks, Mad!, review: eccentric brilliance with pearls of wisdom
Since they first properly struck gold with 1974's piano-pounding art-glam romp, This Town Ain't Big Enough For Both Of Us, Ron and Russell Mael's 'band', Sparks (its personnel has long since consisted of just the two of them), has been an ever-present gold standard for left-field pop – perhaps the world's most successful cult act. High points along the way have included 1979's Giorgio Moroder -produced New Wave/disco hit machine No.1 In Heaven and 1994's synth-pop primer Gratuitous Sax & Senseless Violins, but perhaps the most extraordinary twist in the tale of this fraternal odd couple from Los Angeles, ever beloved in the UK, is that, now well into their late 70s, their last three non-conceptual studio albums – Hippopotamus (2017), A Steady Drip, Drip, Drip (2020) and 0223's The Girl Is Crying In Her Latte (2023) – all by some remarkable coincidence hit Number Seven on the British charts. They've remained furiously productive since the millennium, managing to squeeze in 2015's collaborative record with superfans Franz Ferdinand ('FFS'), a radio opera (2009's The Seduction Of Ingmar Bergman), a film musical (2021's Annette, which won them a César from Best Original Score), but this 28th studio album in their labyrinthine career surely delivers what most Sparks fans want from them most – a barrage of the kind of eccentric yet immediately connective synth-pop bangers, which only Chaplin-moustached keyboard maestro Ron Mael, now 79, seems capable of writing, and which Russell, 76, his sky-scraping high notes miraculously uneroded by passing time, delivers with characteristic theatrical gusto. If Mael Sr majors in operatic pop ditties with laugh-out-loud librettos of interpersonal observation and pop-cultural referencing, Mad! is veritably bulging at the seams with them. It opens with the pulsing electro assertion of Do Things My Own Way, a new anthem, perhaps, for Sparks's pathological idiosyncrasy. Further on, the glacially product-placing JanSport Backpack hilariously satirises our contemporary fixation with brand identity, often in preference over what's actually going on around us, or to us. More laughs beckon on Running Up A Tab At The Hotel For The Fab (oh, that craving to spend indiscriminately at a pricey boutique establishment!). Best of all, maybe, My Devotion offers a wonderfully goofy snapshot of unrequited love bordering on obsession: 'my devotion to you is all that I do,' gamely chirps Russell, over infectiously tootling synth lines, 'Got your name written on my shoe, and I'm thinkin' of getting' a tattoo!' He goes on, a tad creepily if he didn't sound so genuinely smitten: 'Through all the years/Rent in arrears/You never cared/Can't help but stare'! More relationship insecurity surfaces on In Daylight, which serves up the wisdom, doubtless accrued beneath unforgiving LA sunshine, 'Everybody looks great at night/Ain't no trick to look great at night', before our narrator approaches a radiant apparition to deliver the ultimate LA compliment, 'You were impressive in day light, I saw you/Sunlight oppressive, but it's working for you', then succumbs to a dose of 'we are not worthy': 'I can't approach you since daylight reveals me/So I'll just wait for the night to conceal me'. Like many of pop's greatest songsmiths, Ron Mael has a rare talent for writing lyrics which you instantly imagine applying or indeed singing in real-life conversations with fellow Mad! enthusiasts. Over circling psychodrama strings-synth, A Long Red Light, for example, brilliantly captures the stress of awaiting a change from those traffic signals which seem to be on a far more patient time-loop than all the others around town. I can just imagine singing this one to myself, the next time I'm stopped at a particular junction on my route back from Central London. For all their lifelong weirdness, Sparks are always real enough to invade your daily reality, as all great pop does, in singalongs of collectively amusing phraseology, set to memorable melodies. As such, another Number Seven, or higher, surely awaits. Best New Songs By Poppie Platt Cerrone x Christine and the Queens, Catching Feelings Following their performance at last summer's Paris Olympics, French drummer Cerrone and polymath Christine and the Queens reunite for a funky disco banger with emotional depth at its heart, as Christine (real name Rahim Redcar) sings: 'Let me be your man / Don't be afraid / Of catching feelings for me'. I-dle, Good Thing The superstar K-pop quintet return with a new name (they've dropped the precursory G) but more of the same sharply tailored, irresistibly catchy bubblegum pop. Robbie Williams featuring Tony Iommi, Rocket Perhaps the strangest duet of the year so far – in a good way. Pop's favourite bad boy teams up with the Black Sabbath axe-shredder for an energetic pop-punk anthem as far removed as his saccharine hits of yesteryear (Candy, here's looking at you) as you can imagine. Maybe Robbie will even show up as a surprise guest at July's mega-star Sabbath gig at Villa Park. Suede, Disintegrate The Britpop staples will take over the Southbank Centre with four special gigs in the autumn, showcasing tracks from their forthcoming tenth album, Antidepressants. Disintegrate offers a tantalising first taste of what to expect: Brett Anderson on typically sardonic form, howling about modern anxieties and disillusionment ('You hold your love like a weapon in your hand / You used to be alone but you're not alone / Watching from the outside') against a backdrop of moody riffs. Taylor Swift - Look What You Made Me Do (Taylor's Version) The biggest teaser yet for the album that will soon break the internet – the rerecording of Swift's 2017 revenge-epic Reputation – appeared in the most recent episode of Channel 4's The Handmaids Tale. Elisabeth Moss's quest to bring down Gilead makes Swift's battle with Kanye Swift (the original inspiration for Reputation) look tame, so it's a fitting union. White Lies, Nothing on Me
Yahoo
23-05-2025
- Entertainment
- Yahoo
Sparks Talk New Album ‘Mad!', Making a Movie Musical With John Woo & Noticing ‘Fewer' Visionaries in the Music Biz
So does Mad!, the title of Sparks' new and 26th studio album, refer to brothers Ron and Russell Mael's current temperament? Or is it simply a reference to their legendarily idiosyncratic creative comportment that's made the pair a cult darling for the past 54 years? 'Maybe a little of each,' Russell Mael tells Billboard as he travels from Philadelphia, where Sparks performed at NON-COMMvention the previous evening, to New York. 'There's the two general meanings of mad, being either angry or being crazy,' he says. 'Just the overall ambience of the whole album seemed to lend itself to that title. But then you can exact from it, too, that it also is reflective of the general zeitgeist now, with what's going on everywhere — in particular here (in the United States).' More from Billboard Tory Lanez Is Being Transferred to a New Prison After Being Stabbed, His Dad Says Aaron Paul Opens Up About Tracking Down Tour Managers to Get Bands to Perform in His Living Room Ye Claims He's 'Done With Antisemitism': 'Forgive Me for the Pain I've Caused' The 12-song set, produced by the Maels and recorded with their regular touring band, comes as part of a particularly prolific period in Sparks' career. It's the group's ninth studio album since the turn of the century and its third of the decade, directly following 2023's The Girl is Crying in Her Latte. It also comes in the wake of Edgar Wright's acclaimed 2021 documentary The Sparks Brothers and the 2021 release of the Maels' long-gestating film musical Annette, which produced not only a soundtrack album but also last year's Annette — An Opera by Sparks (The Original 2013 Recordings). All of that, along with touring, has kept Sparks' profile high, and there's an undeniably triumphant — as well as defiant — message conveyed as Sparks kicks into Mad! with the forceful opening track 'Do Things My Own Way.' 'You don't like to be heavy-handed with a message like that,' Russell explains, 'but it is kind of that statement, in a way. It kind of applies to how we think — from day one, even when we did our first album [1971's Halfnelson, also the band's name at the time] with Todd Rundgren (producing). He always encouraged us to keep the eccentricities that we just naturally had and to not smooth over the edges, don't lose your character and personality. Even on that first album, he thought we'd created our own universe he'd never heard before. He said it was something from somewhere else, which is a nice thing to say, especially with a band that was just a new group.' Sparks was celebrated last year with an outstanding contribution to music honor at the AIM Independent Music Awards. And though the group has only intersected with the pop mainstream on rare occasions — 'Cool Places' with Jane Wiedlin hit the Billboard Hot 100 in 1983, and 'When Do I Get to Sing 'My Way'' went top 10 on the Dance Club Songs chart in 1995 — the fact Sparks is still with us is proof that being a bit 'weird' is not a bad thing. 'Things are on the upswing for Sparks,' Mael says. 'I think there's been this — especially in the last few years, since the Edgar Wright documentary, and since the Annette movie — whole new audience, some of whom didn't even know the band at all but became aware of it through different channels than just us having our own album out. It's not the typical career trajectory.' Mad! was created in standard Sparks methodology, according to Mael, without a great deal of forethought — and, according to the vocalist, nothing held over from previous projects. 'Everything was done specifically for this album,' Mael says. 'It's a process where we're pretty free to work however we want. Sometimes we'll have a complete song that's fully formed…or we come in with nothing at all planned and just sit down and see if something can come up from nothing. Having our own studio, you're free to experiment in that way. We've been working together for so long now that we're able to read what each other's thoughts are regarding the songs or the recording process. That certainly makes it easier. It's not starting off with any questions marks.' The result on Mad! is unapologetically diverse — to its benefit. Musical and lyrical quirks about; 'JanSport Backpack' is about just that, for instance, while 'Running Up a Tab at the Hotel for the Fab' is a good-humored 'mini-movie,' and 'I-405 Rules' and 'A Long Red Light' show the Maels are well attuned to traffic patterns in their native Los Angeles. The range of sounds, meanwhile, runs from the aggressive attack of 'Hit Me, Baby' to the theatrical drama of 'Don't Dog It' to the string-fueled 'I-405 Rules,' while a great deal of melodic pop floats through 'A Little Bit of Light Banter,' 'My Devotion,' 'Drowned in a Sea of Tears' and the Mersey-meets-Bacharach majesty of 'Lord Have Mercy.' 'I think we both have the same goal in mind… to try to come up with fresh approaches to the universe that Sparks has and has had since the very beginning and try to stretch that, or try to find new angles to be able to do in three-and-a-half-minute songs,' Mael says. 'We both really like pop music, and we still feel there are ways to come up with stuff that will hopefully surprise a listener in this day and age. Pop music has been there a long time, so the trick is to see how you can take that form and still come up with something fresh — but not be weird just to be weird, or odd.' Mad! also finds Sparks with a new label, Transgressive Records, after working with Island on The Girl is Crying in Her Latte. 'Sometimes you just have to make moves,' Mael notes. 'Transgressive heard the album; even referring back to 'Do Things My Own Way,' they told us they thought that was really a kind of manifesto of their label. They've all been huge Sparks fans for a long time. They really wanted to be involved not only 'cause they like us as a group, but they responded to this album and really felt a kinship to it. We've been lucky enough to work with people like Chris Blackwell at Island in the '70s, even Richard Branson at Virgin and of course Albert Grossman with Bearsville Records when we first started. It seems like in today's musical climate there's fewer and fewer of those visionary types. Transgressive shares that same kind of spirit, so it's a good fit.' Mad! will send Sparks back on the road, beginning June 8 in Japan and followed by an early summer trek through Europe before returning to North America starting Sept. 5 in Atlanta, with dates booked through Sept. 30 at the Greek Theatre in Los Angeles. Meanwhile, the Maels are also working on another movie musical that John Woo (Face/Off, Mission: Impossible 2, Silent Night) is on board to direct. 'We wanted to do another narrative project, 'cause we really liked the whole process with Annette so much, really working and channeling our music in other ways,' says Mael, who describes the new piece as 'really different in its approach than Annette.' The brothers read in an interview with Woo that he's long wanted to make a musical and invited him to their studio to hear what they had. 'He said, 'This is amazing, and I want to direct it,' so we've been working with him to refine the story elements. He's completely sold on the whole approach and all of the music. We have three really great producers now on the project; they're out there trying to get all the financing together so we can start the production. We think it's going to be something really amazing.' Best of Billboard Chart Rewind: In 1989, New Kids on the Block Were 'Hangin' Tough' at No. 1 Janet Jackson's Biggest Billboard Hot 100 Hits H.E.R. & Chris Brown 'Come Through' to No. 1 on Adult R&B Airplay Chart
Washington Post
22-05-2025
- Entertainment
- Washington Post
Sparks has been making music for more than half a century. They see no reason to retire
LOS ANGELES — They've spent more than half a century together as bandmates, putting out dozens of records. But brothers Ron and Russell Mael — the duo behind the art-pop band Sparks — have no intention of retiring anytime soon. The band's sound has been ever-evolving since its inception. Ron, 79, and Russell, 76, view resisting any impulse to remain the same or rest on a previous record's success as a central priority. Ahead of the release of 'Mad!,' their 28th studio album, on Friday, as well as an upcoming tour, the pair spoke with The Associated Press about why they keep working, not waiting for inspiration to strike and why it's been so meaningful for younger generations to find their music. The interview has been edited for clarity and brevity.
The Independent
22-05-2025
- Entertainment
- The Independent
Sparks has been making music for more than half a century. They see no reason to retire
They've spent more than half a century together as bandmates, putting out dozens of records. But brothers Ron and Russell Mael — the duo behind the art-pop band Sparks — have no intention of retiring anytime soon. The band's sound has been ever-evolving since its inception. Ron, 79, and Russell, 76, view resisting any impulse to remain the same or rest on a previous record's success as a central priority. Ahead of the release of 'Mad!,' their 28th studio album, on Friday, as well as an upcoming tour, the pair spoke with The Associated Press about why they keep working, not waiting for inspiration to strike and why it's been so meaningful for younger generations to find their music. The interview has been edited for clarity and brevity. AP: Talk about how you approach making new music after all of these years. RUSSELL: After 28 albums, the challenge is just trying to find new ways to kind of retain the universe that Sparks has created, but to obviously try to make it fresh for people that have been following the band for a long time. And the other thing is also just to try to make an album that maybe doesn't sound like it's from a band with a 28-album-long history, so that if someone were to pick up the new 'Mad!' album, and this was the first exposure they had to Sparks, that it would be as poignant and provocative in all sorts of ways as anything we've done in our past. AP: You both grew up in Los Angeles during a pivotal time for rock music but moved to the U.K. early on in your careers for a bit. Do you feel like your surroundings inform your creative process? RON: When we first started out, we had never even been to Europe or anywhere. But we kind of pretended like we were a British band because that was the music that we really responded to. And we always kind of liked bands that had an image. LA bands, in general — at the time we were starting — an image was something that ran counter to musical integrity. And we always thought that was ridiculous. So, we kind of were in general just really attracted to British bands. Other than a few things like The Beach Boys and that sort of thing, in general, we weren't influenced by LA bands at all. AP: Have you given much thought to why you make so much music? RON: Other people tell us we're prolific and we don't really sense that. I mean, the one thing we do do is not wait for inspiration. We kind of have to pursue it. When you wait for that lightning bolt, it kind of can take more time than you really want to take waiting. We work a lot knowing that not everything is going to pan out. But in order to kind of give the appearance of being prolific, we have to actually sit down and pursue those things rather than waiting for some kind of divine inspiration. AP: Have you guys ever thought about retiring? RUSSELL: Retiring? What's that? If your whole thing in life kind of is creating stuff, there's no, you know, there is no such thing as doing something else, so, you know, it hasn't crossed our minds. Maybe we're blind or something to that, but no, we're really happy. AP: I'm sure you know that The Last Dinner Party covered your song, 'This Town Ain't Big Enough For The Both Of Us.' Have you been surprised by younger listeners connecting with your music? RUSSELL: We're happy with the younger following and really diverse following also that Sparks has. It's just kind of reassuring to us that what we're doing is connecting in a modern way to younger people and really diverse sorts of people as well. And so that's almost the most satisfying thing. Obviously, we're happy that we have fans that have stuck with us from Day 1 and that they're still there. But then having new fans that are kind of coming with a different reference point to what Sparks is — with some of the older fans, it's like, 'That was the golden era,' or whatever, but the younger fans don't have those reference points in a really healthy way, we think. And so, from the last few years of albums that we've had, those for them are the golden era of Sparks and right now is the golden era. AP: I read that you guys grew up in Pacific Palisades. How have you been processing the fire? RUSSELL: To even kind of even comprehend that all of the Palisades is just … you know, it was really sad. The elementary school that I went to got completely destroyed so it's just hard to comprehend. It's pretty staggering.
Associated Press
22-05-2025
- Entertainment
- Associated Press
Sparks has been making music for more than half a century. They see no reason to retire
LOS ANGELES (AP) — They've spent more than half a century together as bandmates, putting out dozens of records. But brothers Ron and Russell Mael — the duo behind the art-pop band Sparks — have no intention of retiring anytime soon. The band's sound has been ever-evolving since its inception. Ron, 79, and Russell, 76, view resisting any impulse to remain the same or rest on a previous record's success as a central priority. Ahead of the release of 'Mad!,' their 28th studio album, on Friday, as well as an upcoming tour, the pair spoke with The Associated Press about why they keep working, not waiting for inspiration to strike and why it's been so meaningful for younger generations to find their music. The interview has been edited for clarity and brevity. AP: Talk about how you approach making new music after all of these years. RUSSELL: After 28 albums, the challenge is just trying to find new ways to kind of retain the universe that Sparks has created, but to obviously try to make it fresh for people that have been following the band for a long time. And the other thing is also just to try to make an album that maybe doesn't sound like it's from a band with a 28-album-long history, so that if someone were to pick up the new 'Mad!' album, and this was the first exposure they had to Sparks, that it would be as poignant and provocative in all sorts of ways as anything we've done in our past. AP: You both grew up in Los Angeles during a pivotal time for rock music but moved to the U.K. early on in your careers for a bit. Do you feel like your surroundings inform your creative process? RON: When we first started out, we had never even been to Europe or anywhere. But we kind of pretended like we were a British band because that was the music that we really responded to. And we always kind of liked bands that had an image. LA bands, in general — at the time we were starting — an image was something that ran counter to musical integrity. And we always thought that was ridiculous. So, we kind of were in general just really attracted to British bands. Other than a few things like The Beach Boys and that sort of thing, in general, we weren't influenced by LA bands at all. AP: Have you given much thought to why you make so much music? RON: Other people tell us we're prolific and we don't really sense that. I mean, the one thing we do do is not wait for inspiration. We kind of have to pursue it. When you wait for that lightning bolt, it kind of can take more time than you really want to take waiting. We work a lot knowing that not everything is going to pan out. But in order to kind of give the appearance of being prolific, we have to actually sit down and pursue those things rather than waiting for some kind of divine inspiration. AP: Have you guys ever thought about retiring? RUSSELL: Retiring? What's that? If your whole thing in life kind of is creating stuff, there's no, you know, there is no such thing as doing something else, so, you know, it hasn't crossed our minds. Maybe we're blind or something to that, but no, we're really happy. AP: I'm sure you know that The Last Dinner Party covered your song, 'This Town Ain't Big Enough For The Both Of Us.' Have you been surprised by younger listeners connecting with your music? RUSSELL: We're happy with the younger following and really diverse following also that Sparks has. It's just kind of reassuring to us that what we're doing is connecting in a modern way to younger people and really diverse sorts of people as well. And so that's almost the most satisfying thing. Obviously, we're happy that we have fans that have stuck with us from Day 1 and that they're still there. But then having new fans that are kind of coming with a different reference point to what Sparks is — with some of the older fans, it's like, 'That was the golden era,' or whatever, but the younger fans don't have those reference points in a really healthy way, we think. And so, from the last few years of albums that we've had, those for them are the golden era of Sparks and right now is the golden era. AP: I read that you guys grew up in Pacific Palisades. How have you been processing the fire? RUSSELL: To even kind of even comprehend that all of the Palisades is just … you know, it was really sad. The elementary school that I went to got completely destroyed so it's just hard to comprehend. It's pretty staggering.
