Art & Entertainment | Book Reviews | Education | Entertainment Video | Health | Lifestyle | Sport | Sport Video | Search

 


Jack Antonoff discusses

Jack Antonoff discusses


"I didn't plan to start a new project. Furthermore, looking back on it, it was an extremely un-ideal time to make a record, as I was on a world tour with fun. Yet I felt extremely compelled to do it. Many times when I should have been asleep, or resting, or eating, I would go to the studio. In Stockholm, Malaysia, in my room recording all day in Australia, literally all over the place. When I'd have two weeks off, I’d head into the studio in New York or L.A. and sift through everything I had done overseas and figure out what was interesting and what was garbage.

Then one day I realized I had an entire album and that I had made it all over the world. My experience making albums before this was that you lock yourself in the studio for two weeks, make the album, and it's a documentation of the art in that moment. This could not have been more the opposite. I had, in the most literal sense, a wide perspective. I would work on something in South Korea, then I'd come home and be like, "this sounds like someone recorded it in South Korea at 4 a.m. and they're jet-lagged. But this one vocal part is really cool. Let's build on that.”

It took me a second to find the rhythm of the album. I became fascinated with that time in culture when John Hughes was making his classic movies. The music was so incredible — all these epic, unapologetic pop songs with incredible forward thinking production. I wanted to hearken back to a time when the hippest shit was also the biggest shit. It made me mourn the happy teen years I never had. I grew up in New Jersey and went to public high school and was tortured for being gay, and I’m not gay. But that’s how things were then. I felt really disconnected in that formative time. I think we all freeze at a moment in high school in some way. Hopefully you freeze in a moment were you feel like a piece of trash who needs to prove something and be better, not in a moment where everyone thinks you're a blast. It's where the name Bleachers comes from. It conjures feelings of that time for me in a non literal sense. I don't know why, it just does.

I wanted Bleachers to have a nostalgic element, so some of the emotions almost do feel a little John Hughes-y. But I didn't want it to be a retro album. It had to be fully pushed into the future while grounded in that moment that means so much to me. That’s why I brought in the producer John Hill. He is very modern in everything he does. He's always looking for new techniques and a way to differentiate the work. Vince Clarke, from Depeche Mode, Yaz, and Erasure, worked on a bunch of stuff as well and added the grounding in the time period I was inspired by. I mean, Vince literally made some of the albums that inspired me to do Bleachers in the first place. It was really full circle to have one of the people who inspire you to create with you.

Lyrically, I'm writing about a lot of the same things I wrote about with my previous band Steel Train, one of them being my sister dying when I was 18, which completely changed my entire existence. Right before that, 9/11 happened. Like most of us, it had a massive impact on me. Then my cousin was killed in the Iraq war. All this at once was a real end of innocence time period. I went through so much in the aftermath of all that and developed a very intense panic disorder. I had a really hard time for many years before I started to find my way a bit more. But obviously, it is a huge part of who I am. As a result, I feel like the songs are generally about loss and finding a way to pick up the pieces and move on without carrying too many of them with you. But even though they can be really dark, they always come around to something positive. Moments where I think, "Fuck it all," aren’t what drive me to make music. It's more like driving home at 2 a.m. and having a breakthrough about how you're going to survive that makes it into the music."

Ends

© Scoop Media

 
 
 
 
 
Culture Headlines | Health Headlines | Education Headlines

 
Scoop Review Of Books: The Typewriter Factory

I finished reading Don’t Dream It’s Over not long after it came out last August. I even started writing a review, which took something of an ‘I’m sorry people, but it’s already over’ approach. I’ve been pretty negative about journalism as it’s practiced in the mainstream (or MSM, or corporate media or liberal media or whatever terminology you prefer) for quite some time (see for example Stop the Press), and I believe the current capitalist media model is destructive and can’t be reformed. More>>

Sheep Update: Solo World Shearing Record Broken In Southland

Southland shearer Leon Samuels today set a new World solo eight-hours strongwool ewe-shearing after a tally of 605 in a wool shed north of Gore. More>>

ALSO:

Howard Davis Review: Dick Frizzell At The Solander Gallery

One of the most influential and celebrated contemporary Pop artists working in New Zealand, Dick Frizzell is mostly known for his appropriation of kitsch Kiwiana icons, which he often incorporates into cartoon-like paintings and lithographs. Not content with adhering to one particular style, he likes to adopt consciously unfashionable styles of painting, in a manner reminiscent of Roy Lichtenstein. More>>

Old Music: Pop Icon Adam Ant Announces NZ Tour

Following his recent sold out North American and UK tours, Adam Ant is celebrating the 35th anniversary of the release of his landmark KINGS OF THE WILD FRONTIER album with a newly-remastered reissue (Sony Legacy) and Australasian tour. More>>

Scoop Review Of Books:
Looking Back

Writing a memoir that appeals to a broad readership is a difficult undertaking. As an experienced communicator, Lloyd Geering keeps the reader’s interest alive through ten chapters (or portholes) giving views of different aspects of his life in 20th-century New Zealand. More>>

Scoop Review Of Books: Purple (and Violet) Prose

This is the second recent conjoint publication by Reeve and Stapp; all to do with esoteric, arcane and obscure vocabulary – sesquipedalian, anyone – and so much more besides. Before I write further, I must stress that the book is an equal partnership between words and images and that one cannot thrive without the other. More>>

Get More From Scoop

 
 

LATEST HEADLINES

 
 
 
 
Culture
Search Scoop  
 
 
Powered by Vodafone
NZ independent news