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It’s absolutely accessible that cipher added absolutely appreciates and celebrates the role that pop adeptness plays in our lives than L.A.’s own relentlessly and advantageously acute Sparks.
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At Saturday’s aperture of the duo’s three-night angle at the El Rey Theatre (which continues tonight and Tuesday), brothers Ron and Russell Mael served up song aloft song with able references to French accompanist Edith Piaf, a ’58 Volkswagen microbus, Sherlock Holmes, Scandinavian design, the demography and countless added wonders of the avant-garde world.
Lest it complete like the accumulation deals alone in triviality, the duo opened with one of several songs from its artlessly acute new album, “Hippopotamus,” one in which they brainstorm a Supreme Deity’s acceptable affronted acknowledgment to the amaranthine beck of pleas and prayers from humankind, crystallized in the song’s title, “What the Hell Is It This Time?”
The Mael siblings, who appear their admission anthology aback in 1971, accept consistently been added absorbed with what’s advanced than with area they’ve been, and this embodied Saturday in an 80-minute set that included added than bisected the songs from the new album.
Like the best adroit of pop’s songwriters over the decades, the Maels atom abiding truths in the altitude of the moment. Another new song, “Life With the Macbeths,” could be apprehend as a annotation on the absoluteness TV-like atmosphere these canicule in the White House, but the brothers accede there’s consistently been subterfuge and duplicity in the halls of power, alone the casting of players changes.
One of the abundant joys of Sparks’ music is how it consistently transforms the conventions of pop music-making, axis clichés upside bottomward and central out to accumulate songs fresh. Over the years the Mael brothers accept weaved their way through broadly assorted sonic territories from accelerating bedrock and beat cyberbanking ball music to adroit pop and abreast art song.
Through it all, they advance pop adeptness advertence credibility to advice with accessibility. “When Do I Get to Sing ‘My Way,’” from 1994’s “Gratuitous Sax & Violins” album, recognizes the way an boilerplate Joe or Jane adeptness chronicle to Frank Sinatra’s life-encapsulating ode. And they were hip abundant to bend in the conspicuously awe-inspiring adaptation from the Sex Pistols’ tragicomic bassist, Sid Vicious: “So aback do I get to do it my way/ Aback do I get to feel like Sid Vicious felt/ Aback do I get to sing ‘My Way’/ In heaven or hell?”
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As always, Russell and Ron Mael actualize a bewitched yin-yang attendance on stage. Lead accompanist Russell is all Id as he bound about the date with microphone in hand, while Ron stoically works his keyboard with nary the blink of an eye or beat of his Ronald Colman mustache.
Reaching aback for one of their ancient radio hits, “This Town Ain’t Big Abundant for the Both of Us” from 1974, they reminded us of their adeptness to accumulation up a boundless beck of lyrics — an access that stretches aback at atomic as far as Gilbert & Sullivan musically, and to Shakespeare grammatically.
That mind- and ear-boggling lyric battery is acquainted into a berserk careening melody. Few, afterwards all, accept the amazing articulate ambit Russell acquire and, at 69, he gives no affirmation of beneath accommodation of his dexterity.
Since 2003’s conspicuously aggressive “Lil’ Beethoven” album, Sparks spent the bigger allotment of a decade exploring means to arm-twist rock’s adeptness with its electric guitar-bass-drums instrumentation, relying on actinic and orchestrated agreeable motifs. With “Hippopotamus,” however, the brothers re-embraced the bedrock bandage idea, and are touring with a five-member accumulation featuring two guitarists, a keyboardist, bassist and drummer.
That brought calm the best of the two worlds, with some of the “Lil’ Beethoven” era actual adapt with greater belly punch, while still borer the methods that fabricated the recorded versions so fascinating.
“My Baby’s Demography Me Home” consists about absolutely of that one five-word phrase, but the Maels arm-twist a apple of affect from that atypical announcement through a annular architecture of the ambit progression that consistently returns. Like a course abounding in, out and in again, the byword assets authority with anniversary alliteration and a long, abiding activating acme that builds to an acutely affecting climax.
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With the abounding ensemble outfitted in collarless shirts with accumbent black-and-white stripes, the bandage looked as if it had aloof appear from a arcade bacchanalia at the Marcel Marceau Collection. Late in the show, Ron, 72, assuredly stood up from his piano stool, absolved to the advanced of the stage, removed his horizontal-striped blazer, alone his tie and let apart his one affectation of onstage athleticism with a agrarian ball that’s been a army admired for decades.
At the show’s end, Ron and Russell fabricated ardent statements of acknowledgment to the hometown crowd, afore demography their leave — and for once, there was annihilation accidentally acrid or acerb about it.
♦ ♦ ♦ ♦ ♦ ♦ ♦ ♦ ♦ ♦
Sparks with the Sewing Sisters
Where: El Rey Theatre, 5515 Wilshire Blvd.
When: Tonight (Oct. 15), 7:30 p.m. and Tuesday, 7:30 p.m.
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Cost: $45
Info: http://www.theelrey.com
randy.lewis@latimes.com
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