Notes On A Conditional Form - The 1975
Evening boys hope we're all well, I've been doing basically nothing for a couple weeks since I finished first year of university and got reminded I had this for one of my assignments by Callum doing his own music blog attempting to listen all the way through the 1975 discography (@Handsey, give it a read)
Before we start, this is obviously just my opinion, I'm (surprisingly) now a big 1975 fan so I'll probably going to be more favourable to it but I'll try to be objective where I can
Track 1 -The 1975 (Title Track)
Reduce, Reuse, Recycle
Track 2 - People
I first heard this in my tent at 4am on their headliner day at Reading last year, probably added to the confusion but regardless it took of bit processing. This instantly became a favourite, the mix of relentless guitars and Matty's screaming call for social change reinforce the band's punk roots and inspirations. As well as a great alarm, People is arguably the best opener to their live shows
Track 3 - The End (Music for Cars)
I'm surprised this is so early in the track list as it marks the end of MFC (A Brief Inquiry - Notes), however The End serves as an emotional interlude, violins and subtle drums marking the end as well as the beginning for the next stage of the band
Track 4 - Frail State of Mind
Themes of social anxiety and introversion are explored in a conversation between Matty and god knows who, over tripping drums and a sort of techno beat? Not sure what exactly, but it's brilliant, particularly how it breaks down in the last bit to a more dancer beat, GOOD
Track 5 - Streaming
On its own it seems pointless but listening in the album gives a satisfying transition into The Birthday Party, rate it
Track 6 - The Birthday Party
Detailing his time at rehab and references to his relationships by talking about a house party and being stuck in boring conversions with a bunch of crackheads. It's one of the more stripped back songs on the album, emphasising the raw subject matter with samples from the Love Theme from ABIIOR in the background, vocals changing occasionally to indicate the other person incising him to 'get fucked up'. I like how there isn't really any white noise, feeling like an actual chat, saying at the end how the rest of band keep him clean which is a nice sentiment. Drugs are bad
Track 7 - Yeah, I know
The first new 'proper song' on the record, right off the bat even if you don't like this track (or much of them) you have to commend the production throughout, it's honestly some of the best I've heard, George Daniels is incredible. Feels glitchy and intimate, especially with the vocal effects which I quite like, along with the almost constant electronic humming in the background, Matty's talked about video game music being an inspiration in the past and it definitely shows. Although I'm not sure if it was intentional, but the beat of this sounds really like Frail State of Mind, not necessarily a bad thing
Track 8 - Then Because She Goes
Very reminiscent of the Drive Like I Do material (their old band), lyrics sounding almost like a drunken phone call to a partner saying how much he loves her, by repeating 'love you' multiple times whilst saying 'I'm pissed again'. It sounds unstructured but I think on purpose, however this has the same issue as Milk in that it's a bit shorter as I would've liked, hopefully in the DLID record that's apparently happening we get more of this
Track 9 - Jesus Christ 2005 God Bless America
A nice track, but probably my least favourite that I don't really see myself coming back to very often, talking about the juxtaposition between being religious and apart of the LGBTQ community, envying those who believe alongside themes of sexuality and shame (particularly in America). Phoebe Bridger's vocals are a nice addition though, quite like the horn effect or whatever in the background
Track 10 - Roadkill
Definitely my favourite song off the record, sounding like a typical American country song you'd hear on the radio, to me detailing his first experience in America and meeting a girl there, potentially a call back to She's American, whilst briefly addressing the band's silence during the 2019 election. The combination of ironic and humorous lyrics, literal throughout, combined with rough sounding guitar making this one of their best. Also, nice how the 'if you don't shoot then you'll never know' line from Robbers makes a reference, that's cool
Track 11 - Me & You Together Song
Something you'd expect from The Starting Line or McFly, the almost nostalgic flair is a nice change of pace from the more electronic tracks, being a simple love song with humorous lyrics and somehow making entire arena's sing 'nappies' in unison (funny though)
Track 12 - I Think There's Something You Should Know
A track seemingly dealing with struggles of identity and not feeling like one's self, furthering exploring ideas of denying emotional help played out on Frail State of Mind. Another set of tripping drums over an electronic dance beat, progressing quite like FSOM. The last part is my favourite, finally opening and detailing his mental health issues indicated by all the effects coming in at once
Track 13 - Nothing Revealed / Everything Denied
Talking about issues of purpose and the longing for human connection, the lyrics present a sense of desperation while also making a reference to artists who seek to make money from fan meet-ups. A mixture of choir singers, classical piano, George's tight drumming and a little guitar solo make this one of the most diverse and grand sounding tracks on the record. Took a few listens to really appreciate this one, especially the vocals, excited to hear this one live
Track 14 - Tonight (I Wish I Was Your Boy)
Another one of the more catchier songs on the record, instrumentals remind me of Sincerity is Scary for some reason, talking about Matty breaking up with a partner but keeping the option open, whilst in the chorus telling, or wanting to her, to 'run away' from him, probably realising he's actually being a bit of an dickhead presenting one of the many moments of self-awareness on the record. One of the instrumentals in the background I really like, adds a lot to the song although I have clue what it is or how to describe it. A favourite, although I'm not crazy about the beginning vocals, also the way Matty says 'royally' annoys me but I don't know why
Track 15 - Shiny Collarbone
I've only recently taken to the more instrumental heavy songs by the band, and this ranks high, an addictive blend of electronic, mind bending dance music with some interesting vocal samples, no idea what the guy's saying though. Also features a sample from It's Not Living If It's Not With You Around the 0:23 mark. No idea what it's about, not even Genius can help you here
Track 16 - If You're Too Shy (Let Me Know)
A simple, straight forward, class 5+ minutes of pop-rock about, according to Matty, getting naked on facetime. Incredibly catchy and addictive it's criminal we heard this like 2 months live before it's studio release. The saxophone in the background as well, GOOD
Track 17 - Playing on My Mind
Sounds like a mix of Jesus Christ 2005 and She Lays Down, backing vocals from Phoebe are a nice touch along with the quitter backing vocals from Matty that come in a couple times to bridge lines. The second part I like a lot more, not one of the best but not a bad track
Track 18 - Having No Head
A heavily electronic, spacey sounding instrumental reminiscent of the 'Depth' track they played at Reading last year. The transition into the second part introducing a lower pitched beat sounds smooth as anything, think I like the progression more than Shiny Collarbone, again, amazing production
Track 19 - What Should I Say
On par with Roadkill, has probably the most addictive beat on here sounding like a lost B.O.B track, like I had to double check I hadn't clicked something else. The distorted vocals fit well with the synths, although I have no idea what it's about, mentions fame at some point
Track 20 - Bagsy Not In Net
For anyone who isn't British this title is going to be a bit confusing, regardless I'm not really sure what it has in relation to the lyrics, potentially expressing his mental anguish to a partner, asking them not to leave and support him. The faint vocals I'm not a massive fan of, although the orchestral instrumentals in the background are more than pleasant, this song feels weirdly nostalgic for no apparent reason, whether that was the intention or not I've no clue, will be interesting to see this explained during the listening party on Friday
Track 21 - Don't Worry
The duet between Matty and his father doesn't disappoint, I'm glad they kept it mainly stripped back, apart from some autotune towards the end which I think it could've done without. The lyrics feel like a love letter from the band to the fans, especially during the current circumstances, it serves as a nice, reassuring penultimate cut
Track 22 - Guys
Right now, sons well and truly crying, although this song unconventionally details the love Matty and his band have for each other, for the fans it's more about your friends (unless you're in a band as well). Pretty simple guitar and structure, just an overall highlight of their discography, now I miss my mates
Overall, this is going to be quite a decisive album due to the amount of experimentation within it (although that shouldn't really be a surprise) but I think for the most part it worked out. One thing though is that a lot of the record doesn't feel very structured, a lot of ideas put together, great ideas at that, but much of them don't seem to fit together. Despite this, the hard work seems to have played off and the wide range of genres should give anyone at least one song they actually like, now I'd probably rate this top with I Like It When You Sleep, in time it might even top it, but we'll see
Cheers if you somehow read this far - swebb