If the world is a cafe, its ridiculous patrons babbling ridiculously all day long, then Ron Mael is the guy on his own in the corner that you don’t notice, quietly sipping his coffee. But he’s watching, listening, making notes. Those notes become songs for his band, the legendary Sparks, to be sung by his brother Russell in his unmistakeable falsetto.

Despite the efforts of Edgar Wright’s superb 2021 documentary The Sparks Brothers, which introduced the duo to a wider audience than ever before, the exact creative dynamic between the siblings remains inscrutable, as mysterious and unknowable as their private lives.

The one thing we know for certain is that Ron Mael is one of our most acutely perceptive observers of social mores. In a different discipline – dramaturg, cartoonist, novelist, cineaste, chronicler – he’d be a Moliere, a Hogarth, a Fitzgerald, an Altman, a Swift. He just happens to work within the medium of popular song. Another thing we know for certain is that Russell Mael has the asset of a talent to put those observations across in a uniquely arresting manner, captivating as a frontman and gifted with a countertenor voice of extraordinary range. The alchemy between Ron on keys and Russell on vocals – Two Hands, One Mouth, to invoke the name of one of their tours – is simply what they do. And they’ve rarely done it better than on MAD!, the band’s 28th studio album.

Released in May 2025 on new label home Transgressive Records, MAD! finds Ron and Russell examining cultural phenomena such as branded backpacks, tattoos, performative devotion (whether to a God, a lover, a celebrity or a sports team) and the hegemony of banter. (‘Running Up A Tab At The Hotel For The Fab’ seems to be inspired by the modern-day parable of fake German heiress Anna Delvey, or at least someone very similar: “Will you visit me in Rykers?”)

The satire is never on-the-nose, always retaining enough ambiguity for the listener to fill in the blanks. And the exquisitely unusual lexicon (you won’t hear the word ‘epistemology’ on many other albums this year) and cultural references (“Howard Hughes in Jordan 2s” on lead single ‘Do Things My Own Way’), leap out on every listen.

Some perennial Sparks themes are revisited. ‘A Long Red Light’, a song about thwarted desires and dreams, the world non-consensually pressing Pause on your life, inevitably recalls classics such as ‘When Do I Get To Sing My Way?’ and ‘Your Call Is Very Important To Us, Please Hold’.

Musically there are nods to New Wave, Synthpop, Art Rock and Electronic Opera – all genres Sparks had hands in pioneering, or straight-up invented. When you hear echoes of other artists, from Air to Shostakovich, you remind yourself that they’re all people who Sparks influenced in the first place. (Well, maybe not Shostakovich.)

Ultimately, however, MAD! is a modern record, which belongs in, and speaks to, the modern world. Which is all the more remarkable when you consider the vintage of its creators.