“Mariners Apartment Complex,” “Venice Bitch,” and “hope is a dangerous thing for a woman like me to have – but i have it” continue Lana’s lyrical hot streak. … She continues to tease the tropes that have so often been used to pigeonhole her, including femme-fatale melodrama, sadness as a form of rebellion, kitschy sexuality, and her beloved Americana imagery, all prim debutantes in pastels.
“The heart and soul of pop is newness, excitement, innovation,” said Mr. Antonoff, a spirited, zealous talker who rarely stops fidgeting. “The music industry is built on chasing that ambulance — ‘someone did it, let’s go that way.’ I don’t want to be a part of that. I want to be away from it.”
After bringing artists into his modest space, he likes to start with a simple question: “What’s the worst thing that’s ever happened to you?”
In contrast with the cold, near-scientific approach to songwriting favored by titans like Max Martin and Dr. Luke, Mr. Antonoff strives for a gut-level, emotionally probing therapy experience — “excavating,” he calls it. “If someone could do it without me, then I don’t want to be there,” he said, recalling an unsuccessful experience trying to write for Rihanna, who often pulls from large pools of competitive talent.
Tiny Desk Concert
Bleachers performed on NPR Tiny Desk Concert. This stripped back concert includes a number of reimaginings, such as including Don’t Take the Money with Radio Gaga.
Making of Don’t Take the Money
Jack Antonoff reflects on the making of “Don’t Take the Money”. He provides an insight into the challenge of getting out the sound inside your head with the tools and skills at your disposal. Condensed into eight minutes, this overlooks the reality that such creations can take a considerable amount of time to develop.
Bleachers & PS22
A performance of “I Wanna Get Better” featuring Antonoff and the PS22 choir.
PK in the Morning Interview
Jack Antonoff reflects on the making of “Look What You Made Me Do”. Hearing the song on the radio for the first time, he provides a commentary sharing the thinking to some of the sounds and choices. He also reflects on the life of an artist, including the following:
“You know a song is done when you run to back it up with the hard drive”
“Music is meant to be a mini-documentary of that moment”
“Start young, because then you have longer before you have that conversation”
“You can’t learn it so just get out there and do it”
Jack Antonoff and Zane Lowe on Beats 1 discuss the Bleachers album Gone Now. Interesting quotes:
“No one hates anyone enough to go out there and buy a ticket to heckle them at the show, therefore when I am on tour I feel like I am with my people” (3:00)
“Writing is the most powerless process … you wait, you sit and you pray” (5:00)
“I want to work with people because they think that they are geniuses, not because I want make the albums that they have already made” (8:00)
“It took my whole career to find out that it is all an accident … Fun was a big accident” (9:00)
“The success you get, the more people are listening, the more you need to take care of them” (25:00)
“It’s sad and sounds like a party at the same time”
Jack Antonoff talks with Bill Nye about rollercoastering. Nye explains the dopamine rush associated with going on a rollercoaster. They also talk about what is means to exist.
Larry King Now
“I was born in 84′, I became conscious in the early 90’s” (9:00)
“1+1 = 1 Million” Antonoff on writing with others
A conversation between Jack Antonoff and Marc Maron on the WTF Podcast
“If I got a TV the first thing that I would do is throw away the manual and then spend seven years working out how to turn it on” (127)
“I don’t want to get to involved in the computer stuff … I don’t want to get away from what the song is” (127)
In an interview on WRBU, Jack Antonoff deconstructs the confusing logic of The Little Mermaid and why when you are playing in an arena you want to create an intimate experience, as well as vice versa.
When you play in a small venue you want to give people the arena experience and when you play an arena you want to give people the small venue experience
Drugs spin certain wheels in your head that are already spinning
Jack Antonoff Reveals How He Wrote “New Year’s Day” with Taylor Swift in an interview with Jimmy Fallon:
Writing music is not much different to having a physical. (1 min)
People sing better when they are doing an impersonation (3 min)
Steel Train is the third full-length studio album by Steel Train, released on June 29, 2010. The album features an all-female companion album entitled Terrible Thrills Vol. 1, which consists of covers, remixes, and re-imaginings of every song on the album by female artists.
Before Jack Antonoff produced tracks for Pink, Lorde and Taylor Swift, he was a member of Steel Train. I am always interested to listen to how artists evolve. This reminds me of the contrast of the early Powderfinger albums to their latter pop productions. I am also interested where the particular interest in 80’s synthpop came in as it is not really present in these guitar laden tracks.
Bleachers is the moniker of Jack Antonoff, a songwriter, multi-instrumentalist, and producer. He won two grammy awards as a member of the band fun., and another for his production work on Taylor Swift’s album 1989. He’s also co-written songs with St. Vincent, Carly Rae Jepsen, Lorde, Sia, and more.
In June 2017, Antonoff released his second album as Bleachers, Gone Now. In this episode, he breaks down a song from that album, called “I Miss Those Days” and traces the process of making it—from the original demo, to a version he discarded, to the final song.
The charmingly neurotic singer/songwriter/producer talks about bucking the macho pop Svengali archetype, his Bruce Springsteen obsession, and the personal tragedy that fuels his own songs.