The latter is perhaps the most indicative of Martin’s evolving strategy. Nominated for a Grammy and a Golden Globe, it’s grandly scaled but intimate in tone, a quality that also defines “Shameless,” another of Martin’s collaborations with the Weeknd. He’s also dabbling in softer sounds, as in “ Love Me Like You Do,” Ellie Goulding’s deeply tender ballad from the “Fifty Shades of Grey” soundtrack. Listen to Selena Gomez’s “Hands to Myself” or Adam Lambert’s “ Ghost Town,” both from this year, and you hear - well, not much: a beat, a vocal, wisps of accompaniment that seem designed not to get in the way of the beat or the vocal. For one thing, his music is getting leaner, less dependent on the explosive payoff that used to define his choruses. Phase 3 of Martin’s career, which began a few years ago but really took shape in 2015, feels different from those earlier eras. Before long, that sound became as inescapable - and as plug-and-playable - as Martin’s earlier teen-pop style. But he was paying attention to the outside world, and in the mid-2000s his approach shifted to incorporate the scruffy indie-rock guitar textures he built into songs like Kelly Clarkson’s “ Since U Been Gone” and Pink’s “ Who Knew,” both of which he co-created with another producer, Dr. “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.”Īs his songs came to blanket Top 40 radio, Martin retreated from public view, insisting he was more interested in making music than building his celebrity. “I want to be part of every note, every single moment going on in the studio,” he told the Los Angeles Times in a rare interview in 2000. 1 smash “Can’t Feel My Face” from the Weeknd’s “Beauty Behind the Madness,” also nominated as album of the year. With Swift and a small crew of other collaborators, Martin created more than half of Swift’s “1989,” which is up for an album of the year Grammy and has spun off five top 10 singles, including “Blank Space” and “Bad Blood.” He co-wrote and co-produced last summer’s No. The name is Max Martin, and it belongs to the publicity-shy 44-year-old Swedish songwriter and producer whose brilliant record-making straddles the line between art and science. Look at a list of the musicians whose songs and albums are among the biggest sellers of 2015 - or are among the most nominated for February’s Grammy Awards - and of course you’ll find Adele, Taylor Swift and the Weeknd.īut there’s another name on that list, one that connects these disparate superstar acts, though it may be unfamiliar if you don’t read the liner notes that have effectively disappeared in the age of paperless digital streaming.
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