THE COLLABORATORS

“YES, AND?”

Ariana Grande

“This whole song was her idea — she had a vision. I remember we were going through chords and she was like, ‘It needs to be more confident. It has to be more sassy.’ When Ari’s describing an emotion she wants to have, I instantly go, ‘What sounds can make that emotion come to life?’ And to me, the 909 drums are what that vibe is. In the bridge there are all these funny Mellotron sounds that are really ’60s, Beatles-esque, and a flute that Max played that I laugh at every time I hear it. Once we finished it, that’s when I fell in love with it.”

“GUILTY CONSCIENCE”

Tate McRae

“The first time I worked with [Tate] she seemed very unsure of everything. There was one song we did so many versions of because she couldn’t decide which one was the best. But I think growing up, she feels much more confident in what she likes, which helps me a lot. I’ve never finished a song as fast as this one... it was all her initiative. We wrote it and then had to turn it in that week or the week after. Everything [came] from whatever happened that day.”

“NEVER ENDING

SONG” Conan Gray

“Conan started working with Max for a few days and they cracked this sonic direction, but not the details. And then Max came to me and was like, ‘Conan would love to work with you for this next round.’ Once the song was done, [Max and I] spent a lot of time running stuff through analog gear. Sometimes it’s cool if a song sounds like it’s made quickly — but the details and tasteful stuff that you can get from analog gear, you can’t beat that.”