{"id":15975,"date":"2013-04-16T09:00:00","date_gmt":"2013-04-16T07:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-classe\/sparks-freres-bizarres-qui-nont-cesse-de-reecrire-le-crochet\/"},"modified":"2026-09-26T23:59:39","modified_gmt":"2026-09-26T21:59:39","slug":"sparks-freres-bizarres-qui-nont-cesse-de-reecrire-le-crochet","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chroniques\/groupes\/sparks-freres-bizarres-qui-nont-cesse-de-reecrire-le-crochet\/","title":{"rendered":"Sparks – Les fr\u00e8res improbables qui n’ont cess\u00e9 de r\u00e9\u00e9crire le refrain"},"content":{"rendered":"

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Le regard de Ron, le falsetto de Russell, et cinquante ans de hits de travers<\/h3>\n

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En 1971, Ron et Russell Mael ont fond\u00e9 Sparks \u00e0 Los Angeles avec un look et une m\u00e9thode que leur sc\u00e8ne locale ne savait pas quoi faire. Ron s’asseyait au clavier avec une petite moustache et une expression sugg\u00e9rant qu’il calculait quelque chose de d\u00e9plaisant sur tous les gens dans la pi\u00e8ce. Russell chantait dans un falsetto qui pouvait passer de la moquerie \u00e0 l’\u00e9motion sinc\u00e8re \u00e0 l’int\u00e9rieur d’une m\u00eame ligne. La musique combinait des accroches m\u00e9lodiques efficaces avec des textes qui subvertissaient chaque attente que ces accroches avaient cr\u00e9\u00e9es. Les labels am\u00e9ricains ne comprenaient pas. Les britanniques, si.<\/p>\n

D\u00e9m\u00e9nageant \u00e0 Londres en 1973, les Mael ont sign\u00e9 chez Island Records et enregistr\u00e9 Kimono My House (1974) avec le producteur Muff Winwood. \u00ab\u00a0This Town Ain’t Big Enough for Both of Us\u00a0\u00bb a atteint le num\u00e9ro deux au Royaume-Uni et a pr\u00e9sent\u00e9 le mod\u00e8le \u00e0 un public de charts : le falsetto de Russell sur une ligne de piano d’une pr\u00e9cision m\u00e9canique, le texte de Ron transformant le concept du face-\u00e0-face western en quelque chose de simultan\u00e9ment tendu et absurde. Propaganda (1974) a suivi dans les mois suivants. Indiscreet (1975) a pouss\u00e9 le c\u00f4t\u00e9 orchestral plus loin et s’est moins vendu. La vague britannique est pass\u00e9e aussi vite qu’elle \u00e9tait arriv\u00e9e.<\/p>\n

De retour \u00e0 Los Angeles, ils ont chang\u00e9 de cap plut\u00f4t que de reculer. Une collaboration avec Giorgio Moroder a produit No. 1 in Heaven (1979), un disque qui passait de leur format piano-et-falsetto \u00e9tabli \u00e0 une production dance \u00e9lectronique quatre temps deux ans avant que le synthpop n’atteigne le grand public. \u00ab\u00a0The Number One Song in Heaven\u00a0\u00bb et \u00ab\u00a0Beat the Clock\u00a0\u00bb pla\u00e7aient la formule Sparks dans un cadre de bo\u00eete \u00e0 rythmes et de s\u00e9quenceur que Moroder d\u00e9veloppait simultan\u00e9ment avec Donna Summer. L’album n’a pas \u00e9t\u00e9 un grand succ\u00e8s commercial, mais son approche a \u00e9t\u00e9 remarqu\u00e9e par les producteurs qui ont suivi.<\/p>\n

Les ann\u00e9es 1980 et 1990 ont apport\u00e9 d’autres r\u00e9inventions \u00e0 intervalles r\u00e9guliers : le In Outer Space (1983) proche des New Romantics, la pop mid-tempo de Whomp That Sucker (1981) et Angst in My Pants (1982), et une p\u00e9riode dans les ann\u00e9es 1990 avec des producteurs \u00e9lectroniques plus exp\u00e9rimentaux. Gratuitous Sax and Senseless Violins (1994) annon\u00e7ait le m\u00e9lodrame orchestral qu’ils d\u00e9velopperaient plus tard. Interior Design (1988) \u00e9tait un disque sous-estim\u00e9 dans une p\u00e9riode o\u00f9 les critiques peinaient \u00e0 les classer. Le groupe maintenait un public culte au Royaume-Uni et en Europe sans retrouver les moments de charts des ann\u00e9es 1970.<\/p>\n

Le XXIe si\u00e8cle a donn\u00e9 \u00e0 Sparks un troisi\u00e8me acte que ni les fr\u00e8res ni les observateurs n’avaient pr\u00e9dit. Lil’ Beethoven (2002) a d\u00e9pouill\u00e9 la production pour ne garder que des voix \u00e0 l’unisson, des boucles orchestrales r\u00e9p\u00e9t\u00e9es et les textes de Ron op\u00e9rant \u00e0 un niveau sup\u00e9rieur de com\u00e9die absurdiste et de tendresse sinc\u00e8re simultan\u00e9ment. L’approche n’avait aucun \u00e9quivalent en 2002. Hello Young Lovers (2006) et The Seduction of Ingmar Bergman (2009) ont \u00e9tendu cette m\u00e9thode. FFS (2015), une collaboration avec Franz Ferdinand, a amen\u00e9 le projet \u00e0 une nouvelle g\u00e9n\u00e9ration. A Steady Drip, Drip, Drip (2020) et The Girl Is Crying in Her Latte (2023) ont montr\u00e9 le groupe toujours capable d’une \u00e9criture \u00e9conomique et incisive dans la soixantaine.<\/p>\n

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Le projet Annette, un film de Leos Carax avec une partition et une histoire \u00e9crites par les Mael, pr\u00e9sent\u00e9 \u00e0 Cannes en 2021, \u00e9tait la d\u00e9monstration la plus publique des ambitions compositionnelles de Ron en dehors du format chanson pop. Le documentaire de Edgar Wright The Sparks Brothers, sorti la m\u00eame ann\u00e9e, a pr\u00e9sent\u00e9 l’int\u00e9gralit\u00e9 du catalogue \u00e0 des spectateurs qui avaient manqu\u00e9 des d\u00e9cennies de r\u00e9inventions.<\/p>\n

Les influences sont identifiables une fois qu’on les cherche : l’esprit th\u00e9\u00e2tral de Noel Coward, la tradition du music-hall britannique malgr\u00e9 l’origine angelena des fr\u00e8res, le m\u00e9pris de Frank Zappa pour les fronti\u00e8res de genre, et l’art-rock am\u00e9ricain du d\u00e9but des ann\u00e9es 1970 qui valorisait l’\u00e9tranget\u00e9 sur l’accessibilit\u00e9. Le falsetto de Russell doit quelque chose \u00e0 la production vocale des Beach Boys. L’\u00e9criture de piano de Ron a plus en commun avec Carole King et Burt Bacharach qu’avec les clavi\u00e9ristes prog de la m\u00eame p\u00e9riode.<\/p>\n

Soniquement, le groupe est reconnaissable par ses contrastes : une ligne m\u00e9lodique aussi accessible que n’importe quoi en radio AM, sap\u00e9e par un texte qui travaille contre chaque attente que la m\u00e9lodie a cr\u00e9\u00e9e. Ron \u00e9crit d’un point de vue int\u00e9rieur qui n’explique pas ses propres blagues. Russell ex\u00e9cute avec un engagement total, ce qui fait que le mat\u00e9riel atterrit plut\u00f4t que de s’effondrer en parodie. Aucun autre groupe n’utilise le falsetto exactement de la m\u00eame fa\u00e7on : Rufus Wainwright a la voix mais pas l’\u00e9tranget\u00e9 ; Randy Newman a l’ironie mais pas le crochet m\u00e9lodique. Sparks occupent leurs propres coordonn\u00e9es.<\/p>\n

Portes d’entr\u00e9e : Kimono My House pour le pic des ann\u00e9es 1970. Lil’ Beethoven pour la r\u00e9invention baroque-pop des ann\u00e9es 2000. No. 1 in Heaven pour l’exp\u00e9rience \u00e9lectronique pr\u00e9coce. FFS pour le disque collaboratif. La discographie de cinquante ans n’est pas un argument pour le tourisme de genre ; c’est la preuve d’une intelligence d’\u00e9criture qui a constamment refus\u00e9 de se r\u00e9p\u00e9ter ou de vieillir dans l’auto-parodie. La carri\u00e8re d\u00e9montre que la pop r\u00e9compense une approche oblique quand le m\u00e9tier derri\u00e8re est assez solide, et dans le cas de Sparks, le m\u00e9tier a toujours \u00e9t\u00e9 assez solide.<\/p>\n

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