(He laughs off the label “maximalist,” which hardly applies to Lorde’s “Liability” or Swift’s “The Archer.”) He’s known for Eighties-style synths, which he still can’t resist, but he’s recently moved, along with his collaborators, back toward the sound of organic instruments played in real time. The signatures of an Antonoff production are harder to pin down than it might seem. I’m just sort of doubling down hard on a few things.” But his work is, pretty inarguably, ubiquitous with the rise of Olivia Rodrigo, there’s even an artist who sounds like she works with him without actually doing so (unless you count her interpolation of the piano from the Swift-Antonoff track “New Year’s Day”). “If you actually look at the work I do,” he protests, “it’s not as much as you think. Vincent, Lana Del Rey, and Lorde, among others - not to mention finishing the third album by his own band, Bleachers, Take the Sadness Out of Saturday Night. “I was fine,” he says, “because I was preparing for this.” Instead of freaking out, the songwriter-producer-frontman spent the year hanging with his parents in New Jersey and making music with his usual crew of insanely famous and talented women - Taylor Swift, St. Jack Antonoff has always been a serious, handshake-avoiding, airplane-seat-wiping germophobe, but the past year didn’t faze him much.
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