In the music industry, the names of the great producers are usually relegated to the credits, eclipsed by the brightness of the stars that interpret their songs. However, behind some of the biggest pop hits of the last three decades, is the discreet but omnipresent figure of Max Martin. Swedish producer and composer, whose real name is Karl Martin Sandberghe reached many successes in his career, but the most important of all, he achieved it in January 2024.
An unprecedented real milestone: became the producer with more songs numbers one in the history of Billboard Hot 100even surpassing legends like George Martin, the mythical producer of The Beatles. As reported Billboardadded his Twenty -room number one as a producer in January 2024, thanks to the debut of “Yes, and?” Ariana Grande At the top of the list.
This achievement consolidated Max Martin As one of the most influential and prolific creators of contemporary pop music, although their face and name remain unknown to the majority of the public. His anonymity It is, in part, a personal choice and, in part, a consequence of your work method.
The story of Max Martin It begins in Stenhamra, a suburb of Stockholm, where he was born in 1971. Son of a policeman and a teacher, he grew up in a musically diverse environment, influenced by the albums of Elton John, Queen, Creedence Clearwater Revival and ABBA They sounded at home.
Thanks to the public music education system of Sweden, He learned to play the tube, battery and keyboard, and participated in school orchestras. “It wouldn’t be where I am today if it were not for the public music school”, He acknowledged in an interview with Sweden Radio.
In his adolescence, he led the Glam-Metal band It’s Alive under Martin White’s pseudonym, but soon discovered his true vocation in composition and production.
According to the medium Frantthe meeting with Denniz Pop, founder of Cheiron StudiosIt was decisive: Pop recruited him as an apprentice and taught him the secrets of the study.
Martin’s rise began in 1999, when “… Baby One More Time” of Britney Spearsa song that co -written and produced, reached first position on the American list.
Since then, his name has been associated with an uninterrupted succession of successes for artists such as Backstreet Boys, Katy Perry, Taylor Swift, The Weeknd, Ariana Grande, Pink, Maroon 5 And many others. Its ability to stay in force for more than 25 years, adapting to industry changes and musical trends, distinguishes it from other greats Hitmakers of history.
Unlike other producers seeking prominence, Max Martin has built his career based on the collaboration and the discretion. “I’ve always been afraid of fame “he confessed in an interview with The New York Times.
This attitude is rooted in the Scandinavian culture of Jantelagen, which discourages self-promotion and individualism.
The Swedish teamwork model has been fundamental in its success. Since its inception in Cheiron Studiosunder the tutelage of Denniz Pop, Martin adopted a philosophy of collective creation, in which composers and producers share ideas, they distribute tasks and perfect the songs together.
“The composition must be a collaborative effort; no one must be the exclusive owner of their work”, Was one of Cheiron’s principles, according to The New Yorker.
In the center of his method is the supremacy of the melody. “Melody Reigns supreme,” summarizes Dave Penn, an analyst at Hit Songs Deconstrucedin statements collected by Billboard.
According to Frant, Martin usually composes the melody, using meaningless syllables or provisional phrases, and then adapts the letter to fit perfectly in the rhythm and melodic structure.
This approach, which he calls “Melodic Math,” prioritizes the sound and memorization of lyrical complexity. “If it is not perfect, it goes to the trash,” is one of its maxims, Bill Sherman, musical supervisor of the musical “& Juliet” recalled.
The longevity of Max Martin On the top of pop, it is explained, in large part, by its ability to reinvent and anticipate trends.
In the 1990s, his distinctive seal was the teenage pop of Backstreet Boys, Britney Spears and *NSYNCcharacterized by catchy melodies, grandiloquent choirs and a polished production.
However, when the boom of the boy bands began to decline and the industry turned to the R&B and the hip-hop, Martin knew how to adapt.
In the 2000s, he incorporated guitars and pop-rock elements in successes such as “Since Uen Gone” of Kelly Clarkssonco -written with Dr. Luke, and “So What” of Pink. Later, he embraced electronics and EDM in songs for Katy Perry and Taylor Swiftand has recently integrated Trap and Synthwave sounds in collaborations with The Weeknd and Ariana Grande.
“The impressive thing is that he is always in tune with the times, which has allowed him to remain relevant all these years,” said Dave Penn in Bloomberg.
The catalog of Max Martin It is, in itself, a parallel story of global pop. Songs like “… Baby One More Time” (Britney Spears), “I want it that way” (Backstreet Boys), “I kissed a girl” and “Roar” (Katy Perry), “Since uen gone” (Kelly Clarksson), “Shake it off” and “Blank Space” (Taylor Swift), “Can’t Feel My Face” and “Binding Lights” (The Weeknd), or “Yes, and?” (Ariana Grande), have defined the sound of different generations and have driven the careers of dozens of artists. In addition, he worked with Justin Bieber, In many songs from him.
Martin’s influence goes beyond individual successes. Its “Song Factory” model, based on collaboration and optimization, has been replicated in the global industry, from K-Pop composition equipment to writing camps in Los Angeles and Stockholm. “He has molded the sound of modern pop”said Simon Cowell, producer and music executive, in The New York Times. Katy Perryone of his most frequent collaborators described it as “The most humble producer And the safest of his decisions, ”and highlighted his involvement in every detail of the creative process:” He continues to do heavy work, and that is what gives him the touch of me, “he said in the American environment.
Artists like Pink They have praised their ability to “disassemble and rebuild you in the exact synchrony”, while other producers recognize that their impact “cannot be overestimated.”
Martin himself has pointed out that his goal is to maintain the listener’s attention throughout the song, avoiding interest at all times.
