Jack Antonoff talks Lorde's 'Solar Power' reinvention, recording Lana Del Rey vaping, why he's not into 'patriarchal bass,' and more in an interview for our 2022 Grammy Preview
The albums are sonically different from one another, sometimes wildly so, but they share a notably organic feel. Antonoff is, himself, a multi-instrumentalist, playing guitar, bass, drums, keyboards, and more in the studio, and he suggests that his latest set of sounds was driven by the times. “All this shit is just clothes, how you dress up a song,” he explains. “It’s cultural.
Were you shocked that people were so shocked by the stripped-down, guitar-driven direction of Lorde’sShe took a quantum leap. Artists grow and change, but the last thing the world knows of you is the last thing you put out. Sometimes things will come out, and people will be so shocked by them. And I’ll have to always remind myself that I’ve been on this sort of slow journey, watching the material and the artist get to this point, but for everyone else, you know, you go from one album to another.
“The untold story of the music industry … is that the best thing for business is to make your best work.”There’s a certain slap [echo] tone. Usually it’s a Copicat, which is a specific kind of machine. And I knew how to set it. And I knew I liked this tone, and I could fuck with it. I was looking for this, like, Fifties-through-the-Eighties-through-the-future tone.
I do. A lot of things for me have a lot of influences coming together, but with bass, it’s just Paul [McCartney]. Paul’s a bass player that doesn’t subscribe to this idea of, like, the bass player holds it down. He’s like, “Fuck that, I’m gonna play all over this. I’m going to throw in melodies and I’m going to move here and there.” And he got away with that because for most of those recordings, they threw him in one earphone so he didn’t need to be this centerpiece.
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