The Sonics Are Taking Over: New Paths In Pop Songwriting

View Single Page

CHELSEA: As with all creative professionals, the modern-day songwriter has to be a multi-hyphenate skill machine. You don’t have to have all the skills mastered, exactly – songwriting, production, arranging, engineering and business – but it sure doesn’t hurt.

“When you’re submitting on the level of a major, they want to hear everything final,” says Mat Sherman, the songwriter/producer also known as “1984”. “Even if they’re going to have someone else mix it; they want to hear something that slams and stands up to the next track in their playlist.”

Mat Sherman / 1984

We first met Sherman last Spring, and visited his studio in Chelsea to hear some music and talk about the business. Listening to tracks he’d recently co-written and co-produced with Australian pop band The Veronicas, and hip-hop artist K.Flay, his edge seemed to be his sound. These were driving pop songs, but definitely heavy on the electronic production.

”I try to push limits,” said Sherman. “I want to put the proper musicianship into it but also want to incorporate new, weird production techniques into everything I do.”

Case in point is The Veronicas song he played for us – it’s a four-on-the-floor dance track featuring a cool stutter-edit vocal part that pinballs like a blippy analog synth-line. It’s an unexpected production hook – something you’ll definitely remember about the track.

“The song always has to be the forefront, but in the landscape we’re in now…sonics are taking over,” Sherman notes. “There are DJ-producers now who are making tracks that engineer/producers are hearing and going ‘what?!’ And the audience – much as they want to hear a great album – also want to know that things are pushing limits a little bit.”

1984 is signed to Warner/Chappell Publishing and working the major label pop music circuit where having an edge is essential. And nowadays, he says, a mastery of technology and production can be a real angle – not only because of what a skilled producer can bring to a session, but also because of trends in pop music.

Indeed, the pop music industry has taken the electronic dance music (EDM) popularized by artists like Lady Gaga and David Guetta and run with it. The big picture may still be “all about the song”, but there are new aspects of pop songwriting that have more to do with the sounds.

Josh Grant (aka Chuck Buckett), a Brooklyn-based songwriter and producer signed to the independent Vel Publishing shares: “As much as there may be a formula for pop songwriting, it is really open in the sense that – now that electronic music has been pushed into the pop realm – you can really push limits, create cooler hooks out of parts that didn’t exist before.

“With a lot of pop music now, you’ll hear these instrumental breaks – like on a dance record. When did you ever hear a massive electro-break on a pop record?

“Now, sometimes the hook is just a beat.”

With this explosion of EDM into the mainstream, electronic music producers and DJs have become in-demand pop collaborators and multi-format artists themselves. It’s the other path into pop songwriting and production that’s been paved by DJ/producers like Diplo and no doubt other less ubiquitous producers before him. These individuals are born multi-threats – touring the world as DJs, and collaborating via remixes, mix-tapes and production with pop and hip-hop artists.

Gosteffects

They’re a natural fit for major label pop production, which is all about the “collabs”.

“The door has definitely been opened,” says NYC-based EDM producer/DJ John Bourke aka Gosteffects (Duran Duran, Ladytron). “House music has now become a pretty standard template for pop music. [For example] The songs Calvin Harris has been doing, crossing over into the mainstream, have been great.”

The doors opening in this way has also blurred any lines delineating who can be a pop songwriter and who can be an artist, who can be a DJ, producer, etc. Gosteffects, who’s represented by Jux Music in NYC, can be effective as a pop collaborator, and can also continue to evolve as an elusive artist – pushing boundaries perhaps a bit farther with his own electro-house releases and building mystique around his brand; and then bringing that back into a pop song or remix or original music. (He just did all the music for Fuse’s new TV show, Off Beat)

“I love working with other artists,” says Gosteffects. “A lot of the collaborations I do are over the web sending files back and forth. When collaborating, there isn’t a particular part I want to handle – sometimes I’ll write the melody and someone else will have an idea for the vocal, or the other way around. Sometimes I’ll collaborate with people on the music, or sometimes with vocalists to write lyrics.

“There isn’t a set way I create, I just try to do whatever feels right at the moment.”

On the indie-pop side, too, there are producer/remixers doing DJ-style “features” albums of original pop songs.

RAC’s André Allen Anjos (left) and Karl Kling. Photo by Jon Duenas.

André Allen Anjos, who founded RAC (Remix Artist Collective), released the first single off the first RAC album in May via Green Label Sound – the track, “Hollywood” featuring Penguin Prison was produced in Anjos’ studio in Portland, and mixed by Michael Brauer.

“I haven’t been in the same room as any of the vocalists on the album,” says Allen. “Some of the singers recorded in New York with [his RAC partner] Andrew Maury, and a NYC session drummer Guy Licata plays on a couple of the tracks – he recorded with Abe Seiferth at his studio in Brooklyn.”

Allen produces all of his music back in Portland in an Ableton Live + Universal Audio Apollo-based studio where he’s surrounded by analog synths. “I feel like Giorgio Moroder, or Vangelis, at least that’s what I’m going for,” says Allen. He, too, has additionally been writing original music for TV and film (Entourage, Holy Rollers).

The Day-to-Day: Works & Workflows

Having a major label publishing deal can mean a grueling schedule – especially for the up-and-coming writers who are still proving themselves.

“I’m in sessions every single day,” says Sherman. “Luckily, this is not a hard thing to do on your own because you’re always collab-ing with someone else – either the artist, or another songwriter.

Of late, Sherman has been paired up with different writer/producers working on tracks for The Wanted, Camille Corazon, Cobra Starship, Anna Nalick and K.Flay. He’ll produce full-up instrumentals, full songs with lyrics and/or sometimes just get the ideas down.

Since his delivery commitment to Warner/Chappell is based on a number of “songs” released, or in reality percentages of many songs that add up to that commitment – the day-to-day work is about getting as many solid ideas realized, or instrumental tracks produced and mixed, that when you get in the room with an artist you have some solid jumping off points. Or, that you can send on to another writer/producer to co-write/produce.

“I recently sat down with this other writer – Jaramye Daniels – and we built this song around a bass riff,” says Sherman. “And we wrote a really great song – which I’m going to finish a rough vocal mix on – but my team may also decide to send the bass line and vocal to someone like Benny Blanco or Mark Ronson, and see what they’d do with it.

Pages: 1 2

  • Anonymous

    A great treatment on the Day to Day of the Modern Producer as one Man Band, Engineer, Mixer, and Business entity.

  • Anonymous

    This trend of one person doing everything… writing, recording, producing and mixing is why there’s such a low standard of quality these days. Just saying… truth hurts.