I’m a big fan of Jack Antonoff as a producer, particularly his work with Lorde, Taylor Swift, and Lana Del Rey. He has a knack for playing to the strengths and wishes of each artist he works with — he doesn’t bring a “Jack Antonoff” sound to every album, but helps unearth something unexpected and great in each of those performers that doesn’t sound like anyone else.
I also liked his short-lived work with fun., the indie pop band that put him on the map in the early 2010s.
Continuing my track-by-track appreciation of Lana Del Rey’s newest album, Did you know that there’s a tunnel under Ocean Blvd…
Track 13: ‘Margaret’
Yesterday’s track was the first love song on this album, and it’s quickly followed up by an even more overtly romantic one.
‘Margaret’ is about the relationship between producer Jack Antonoff and actress Margaret Qualley. Antonoff (under his Bleachers moniker) even sings one of the verses, making this the most meta song on Ocean Blvd.
I remember liking Bleachers’ debut album, 2014’s Strange Desire. This was Jack Antonoff’s first solo effort after finding success with fun., and before he became the most sought after producer by the most talented women in modern music.
‘Rollercoaster‘ is a brilliant song, and I’m quite fond of ‘Shadow,’ ‘Wild Heart’ and ‘I Wanna Get Better.’
Soundtrack curation is a hip job these days, whether it’s Kendrick Lamar’s Black Panther, Justim Timberlake’s Trolls or Lorde’s Hunger Games. The most recent example of a hit-maker focusing on the big screen is Bleacher’s Jack Antonoff’s work on Love, Simon.
Love, Simon is a charming romantic comedy that has taken on greater meaning because it is, amazingly, the first major studio film to feature a gay teen as its protagonist. And it’s good, not just groundbreaking.
Bleachers, the side project (or is it his main one?) of fun. lead guitarist Jack Antonoff, put out a self-titled debut that sounds like it was pressed in the 80s.
I don’t know if it was Antonoff himself or a review of the album I read, but I recall a description of this record as the end credit music of a John Hughes film, and that captures its essence just perfectly.
Meet Me In Montauk 