For fans of: Bastille; The Neighbourhood; alt-J; Micheal Jackson; Prince
Shit, it's good.
'The 1975' is the long-awaited eponymous debut studio album from the British indie-pop-rock band. The four-piece hailing from Manchester and surrounding areas have a lot of hype to live up to: since early 2012 they have exploded onto the indie rock scene and created quite a buzz for themselves.
After previously releasing music under various different personas, they signed to Dirty Hit (alongside the likes of Benjamin Francis Leftwich and Little Comets) and released their debut EP 'Facedown' as part of The 1975. The lead track 'The City' is also featured as track 2 on the album; a percussion-mad, thrilling piece of electro-pop music.
Next came a string of EPs which showcased further talent and radio-ready hits like 'Sex' (I, personally, prefer the EP version) and 'Chocolate' which attracted even larger amounts of attention and UK chart positions. Before they even knew it, the lads of The 1975 (Matty, Adam, George, and Ross), who have been playing together since school, had garnered a huge following, all hungry for a taste of the debut album.
Each song is rife with slightly Alex Turner-ish lyrics about:
- teenage angst ('Talk!' - a rythmic and shouty yet smooth record about society talking too loud.)
- sex (quite obviously in the song of that name; where Matty Healey's vocals shine and the guitar hooks are indulgent and compelling. Listen to the band's captivating unplugged version or Matty Healey's solo acoustic which beautifully showcases his raw, natural talent.)
- drugs (the unbelievably catchy, runaway hit single 'Chocolate' is a clever synonym for spliffs and is a stand-alone highlight from the record. It too has a rather nice acoustic version performed by Matty.)
- crime (most noticable in the title and lyrics of 'Robbers' - a sound unlike we've heard from the rest of the album. It's steamy, dark, and painfully personal yet still has that unique touch of The 1975.)
It's clear from their dance-rock hooks, electronic grooves, R&B blend, and funk infused sound that their band name has spawned from the wrong decade - but to call themselves 'The 1985' would be way too cliche. Songs like 'M.O.N.E.Y.' (a diverse vocal style and delicious melody, similar to songs on their previous EPs) and 'Girls' (one of my favourites from this album; the opening resembles the current modern-motown style of Bruno Mars' Treasure and, of course, the riffs are oh-so Kiss. With some lyrics reminiscent of their hit 'Chocolate', it's incredibly excitable, uplifting, and anthemic.) are so Prince-fab, it hurts.
Their signature style is most distinguishable with the bopping synths, syrupy harmonies and not-so-sweet lyrics on 'Heart Out', even complete with a 80s fueled sax. The following track 'Settle Down' proceeds to flow well with it's addictive drums and popping guitar riffs, throwing you back to the 80s again and again.
Tracks such as 'She Way Out' demonstrate the band's versatility as it's a more modern indie-rock sound that you'd hear from the likes of The Neighbourhood and the vocals are slightly comparable to Kings Of Leon and other contemporary alt-rock bands of the moment. Whereas, 'Menswear' sways towards more of a light hip-hop or chill R&B style record. It's lyrics remind me of a song from their most recent EP 'IV' called 'So Far (It's Alright)'. The succeeding track 'Pressure' has a similar feel to 'Chocolate', partly due to it's twin guitar hook. That pesky 80s sax makes another appearance too, perhaps creating a more chilled-out feel.
The record ends unexpectedly with something completely unique; a slowed down, haunting piano ballad called 'Is There Somebody Who Can Watch You'. A vulnerability we've never heard from them before is revealed in this thoughtful and striking way to end one of the best debuts I've heard all year. Big things are to come for The 1975, but I think we knew that from the beginning.
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