so when [Taylor] I got closer, I had this big portfolio of ideas that were pretty well on the way. She was very clear that she didn’t want me to edit any of my ideas; She wanted to hear everything that was interesting to me right now, including the really strange and experimental noise. So I made a folder of things, including some pretty sketches. A few hours later, she sent “Cardigan,” fully written in a voice memo. It was then that I realized this was unusual, just the focus and clarity of her ideas. It was pretty amazing. In the next two months, this would simply happen; Suddenly, I received a voice memo. And then another. Finally, it was so inspiring that I wrote more ideas that responded specifically to what she was writing.
When did it occur to you that an album was being formed?
There were times when we began to reflect on what we were doing. The first three songs we wrote were “Cardigan”, “Seven” and “Peace”. “Cardigan” is probably the closest one to a pop song on the album, is this epic narration. And then “Seven” was this nostalgic, melancholic and emotional popular song. And then when he wrote “Peace”, I realized that I could do anything! She is very versatile. It’s just a bass line harmonized with a pulse and a drone, and he basically wrote her a Joni Mitchell love song. She just did a vocal take, and that’s what’s on the record.
Were you communicating throughout the process?
Yes. We were practically in touch every day for three or four months by text message and phone calls. Part of this was about production and the restructuring of things, but much of it was just excitement. We both feel that this was one of the best jobs we’ve ever done. It was kind of weird and surreal, especially right now.
At one point, right-wing conspiracy theorists randomly criticized me and misidentified me as an organizer of Antifa in Ohio, long history, but I was in the middle of all this work. I didn’t want to stress him out, so I didn’t tell him. But at some point she laughed and said, “So you’re a notorious anarchist?” And I’m like, “Yeah, I was going to mention that.”
How did the collaboration with Bon Iver in “Exile” come about?
Taylor wrote that with singer and songwriter William Bowery. When Taylor sent it to me as a voice memo, he sang the male and female parts as much as he could without gasping. We talked about who was imagining joining her, and she loves Justin. [Vernon]The voice of Bon Iver and Big Red Machine. She said, “Oh my gosh, I would die if he did. It would be so perfect.” I didn’t want to pressure Justin as her friend, so I said, “Well, it depends on whether she’s inspired by the song, but I know she thinks you’re a genius.” Which he does.
So I sent him the song and he was really interested. He adjusted some parts and added parts as well: the bridge where it says, “Get out.” The end too, and its choral parts. It was fun because Justin and I worked on many things together, so it was very easy and natural. At some point I felt like a superfan, listening to two of my favorite singers. This was all being done remotely, but it was one of those moments where your head hits the back of the wall and you say, “Damn. Okay. “
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