It’s stripped down and simple, encouraging you to build your own narrative. This one feels most nostalgic, holding onto wistful memories and allowing you to pause for breath in a song that contains no words. ‘Please Be Naked’ opens in the same manner, demanding you listen for almost a minute before the song actually begins. Hold on a minute and you’ll hear the choir, making the song more beautiful but it’s still not enough to keep me interested. ‘If I Believe You’ starts off weird and a little bizarre, making it all too easy to skip to the next track. They’ve chameleoned their way through the music industry but in a way that isn’t superificial they’ve just created what they wanted, without listening to the demands of anyone else. The 1975 have never adherred to one set of rules, genre or style. ‘A Change of Heart’ slows down the pace, bringing back those echoes of The 1975’s self-titled debut album, almost commenting on old lyrics and saying that things are different now the band have reinvented themselves into something brighter more receptive, and socially aware.
The dark narrative contrasts with the bubbly, upbeat tune, leaving you feel a little out-of-step with Matty’s thoughts.
Showcasing Matty’s skills as an excellent wordsmith, ‘UGH!’ describes a tale of self-awareness of toxic behaviour, recognising a person’s knack for being self-absorbed and disregarding everyone else in the room. The latter provides a social commentary on fame and its bizarre celebrity culture, almost mocking themselves in a world where a selfie is a modern-day autograph. ‘The 1975’ is an interlude, building up to ‘Love Me’, the first single released in the lead up to this sophomore album. The album begins with echoes of their debut release, reminding us of the band’s transition to a newer, brighter sound. The record was released worldwide on 26th February 2016, swiftly followed by a tour across the UK and Europe. Awesome.The 1975 have returned, following a brief disappearance from social media (causing ripples of panic to their fans), with their mammoth 17-track sophomore album I Like It When You Sleep, For You Are So Beautiful Yet So Unaware Of It.
In fact, between the 1975 and the upcoming full-length debut from Haim, September delivers hungry music fans not one but two new favorite bands. This is one of those albums you don’t even consider skipping a track and feel ready to listen to all over again right away. People will be belting out the incredibly singable “The City” and “Settle Down” and “Girls” before you know it, so hop on board and don’t feel bad about giving a mainstream act the attention it deserves. Singer Matty Healy doesn’t belt any harder than he needs to, hitting the sweet spot of stories of youthful discovery that could soundtrack any number of romantic comedies not good enough to deserve the songs that enhance them. (It is fun to think of some of these sounds’ crossover with the “Drive” score, though.) Happily, this record is absolutely loaded with songs like that, putting a glossy sheen on dance-rock that samples from the ‘80s without sounding too enamored with nostalgia. Unlike those aforementioned, lesser-known records, “The 1975” has breakout hit written all over it, and you may already have heard “Sex” or “Chocolate” on the radio. Recent examples include We All Have Hooks for Hands' "The Shape of Energy" and Arkells’ “Michigan Left” and now the full-length, self-titled debut from Manchester quartet the 1975 (whose lyrics are perfectly fine, by the way). That doesn’t necessarily mean the lyrics are bad-it means I probably wouldn’t notice. Every year there’s an album so immensely catchy and listenable that I admittedly don’t care what’s being sung about.
0 kommentar(er)
