Swedish - Musician | February 26, 1971 -
It's incredibly important to me that you remember a song right after the first or second time you hear it. That something sticks to you, something that makes you feel, 'I need to hear that song again.' That's fundamental. Something you want again. And again.
Max Martin
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I just believe in collaboration. I mean, I've written songs on my own, you know, but I think if the artist has something to bring to the table - someone like Pink, for instance - where they have something to say, it makes your job easier and more special.
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If nobody recognizes you, if nobody cares, it's easier to avoid getting carried away. That's way harder if you're a famous artist.
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I want to be part of every note, every single moment going on in the studio. I want nothing forgotten; I want nothing missed.
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If the artist isn't having a great day or finds it all boring, my role becomes that of a coach. Getting the very best out of the artist. Helping them perform at their very best when it's game time. One way to get them there is to bring them out of their comfort zones.
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I try to make the songs as good as I can - the way I like it, you know? And I guess my taste sometimes happens to be what other people, particularly radio programmers, like too.
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The producer should decide what kind of music is being made, what it's going to sound like - all of it: the why, when, and how.
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The sound itself, the production, is of such great importance that it has become an integrated part of the composition.
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You can hear songs that are technically great, songs that tick all the boxes. But for a song to be felt, you need something else.
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If the chords change a lot over the course of a song, it's better to stay within the same melodic structure.
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I've learned that things change. The whole boy band thing almost turned into a stock market crash.
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It's music. It's supposed to be fun and inspirational. You have to be inspired. If I did it because it was my 'job,' and I only did it to make money, I don't think I'd still be doing it.
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