We sat down with Jake Sternberg of Ruby Sparks to talk about his new album, “Iris”, out November 5th. It’s a lush, intentional project blending modern indie textures with timeless rock sensibilities. In this interview, Jake spoke with us about the inspiration behind the songs, the creative process, and what it means to write from a place of vulnerability.
Hear the new Ruby Sparks single “Pleasure,” out today.
Q: For people just getting to know your work, how would you describe the sound and spirit of Ruby Sparks, especially on this new album?
A: This album feels a little different from my past work. I’ve been describing it as Tame Impala’s The Slow Rush meets John Mayer’s Sob Rock. That’s been my shorthand tagline.
I made the record with Collin Desha from the band Low Hum, who I’ve been a huge fan of for a long time. It was mostly just the two of us in his studio, bringing in a few collaborators here and there. We went in with a blueprint inspired by Dua Lipa’s Future Nostalgia. We wanted a record that felt classic but had modern edges.
Sonically, we aimed for Ringo-style drums, Tame Impala-inspired bass, and overall a mix of sounds I’ve always loved. I think it’s the best sonic achievement I’ve made so far.
Q: Is there a particular song that feels like the emotional center of the record?
A: Definitely the title track, Iris. It’s the last song on the album, but everything really stems from that one. The whole record started with that song.
The inspiration came from a trip I took to the Getty Center in LA (on a Marmoset creative day!). It was pouring rain, and I was wandering through the museum, trying to crack the theme for the record. Most of the museum is filled with Renaissance paintings, but then there’s this one room with impressionist work. Van Gogh’s Irises is right in the center, beautifully displayed, always surrounded by people.
I overheard a tour guide telling the story behind that painting, how Van Gogh created it during one of his most difficult times, after cutting off his ear, while in the Saint-Paul-de-Mausole asylum in France. He found peace and meaning just by painting flowers in the garden. That idea, that even at your lowest point, you can still find beauty and inspiration, really stuck with me.
The record is a love letter to my girlfriend, Joanna, but it’s also about that feeling: finding someone or something that inspires you to create and gives you a reason to keep going. That’s what ties all the songs together.
Q: What themes kept surfacing as you wrote the album?
A: The big one is moving from nihilism to acceptance. The first half of the record has moments of self-doubt, asking, why can’t I be in love? Why won’t someone love me? And then realizing I was creating those roadblocks for myself. It’s about unlearning preconceived notions and asking, are these emotions actually serving me?
Ultimately, it’s about letting go and allowing someone in, which is hard for a lot of us.
Q: You mentioned Tame Impala earlier. Who else influenced the sound of this record?
A: Claro’s latest record was huge for me. I loved the whimsy of her music and wanted some of that energy, especially in the piano parts. I also love The Marías, and their grooves definitely influenced some of the drum and bass work.
Then there’s the classic stuff – 70s rock, a lot of Grateful Dead. They were actually my most-listened-to artist last year. I wanted the guitars to feel alive and raw, like a live album. So, the record ended up being this blend of modern indie pop and soulful 70s rock.
Q: Let’s talk about production. Did you try anything new in the studio?
A: This was my first time working with Collin, and it was a really natural creative relationship. I came in with demos I’d built in Logic, basically the full record in rough form, and he just got it. Working with him was like finishing each other’s sentences. He’d bring an idea, I’d build on it, and vice versa. That flow is rare and really special.
Q: You’ve worked in the sync space before. Did that experience influence how you wrote this record?
A: Yeah, a little. When you’ve seen a lot of sync briefs, you start to notice recurring themes and keywords. I didn’t write this record for sync, but those ideas sit in the back of my head. Sometimes I’ll write a lyric and think, this could work for a placement, so I might lean into it if it feels authentic.
There’s a difference between writing for sync versus writing your own story and then making it sync-friendly. For me, it’s about small decisions, maybe a production choice or arrangement tweak, without compromising the heart of the song.
Q: If you could place one of these songs anywhere, what would be your dream sync?
A: My old tagline for the band was, “We make music for fans of The O.C. who also voted for Bernie Sanders.” That show was incredible for sync and introduced me to so many favorite bands. Obviously, that can’t happen now, but I’d love to land a song on something like Nobody Wants This or Shrinking. I love when music feels like a character in a show, and those series do that really well.
Q: You chose Marmoset to represent this album for sync. Why us?
A: Honestly, it’s relationships. I worked at Marmoset, and it still feels like family. Having people who know me and care about my music really matters. Also, I believe in what Marmoset stands for, the mission, the Certified B Corp status, the good you’re doing in the world. It felt like a no-brainer to put my music in that catalog.
Q: Let’s talk about “Nowhere Man,” since that’s one of my favorites. What’s the story behind that one?
A: It’s named after the Beatles song, they’re my favorite band. For me, the song is about reclaiming the phrase “nowhere man.” The original paints this picture of a sad man who’s lost and searching for meaning. My version flips that narrative. It’s about finding that meaning within yourself.
It ties into the larger theme of the record: you are the meaning. The lyrics in the chorus change from “I missed the golden years” to “I wasted golden years” to finally “I found the golden years,” showing this evolution of my mentality. It’s about bottling up emotions, the way men are often told to, and how destructive that can be. Vulnerability is powerful. Therapy helped me realize that. When you unload those feelings and face them, they become a kind of superpower.
This record started with the question, how do I be happy? and through making it, I think I found my answer, or at least part of it. That’s the beauty of art.
Q: Anything else you want people to know about Iris?
A: Just that it’s the most intentional project I’ve ever made. I’ve been writing songs since I was 12, and over the years I’ve gone from throwing ideas at the wall to really understanding my voice and what I want to say. That process of digging deeper, knowing the rules so you can break them, makes the work feel meaningful.
Listen to Ruby Sparks’ new song “Pleasure”.
Explore more Ruby Sparks songs for licensing on Marmoset.