![]() Even though it is hard to comprehend what Matty is singing about, I admire the fact that he sings with his own native Brit accent and doesn’t give in to the more familiar American accents. The two distinct guitar riffs blend amazingly well together in this radio-friendly hit which in essence is a song based on drugs. Nonetheless, they still sound amazing.Ĭhocolate, probably their most famous song will leave you wondering what the hell frontman Matt Healy is talking about when he repeats “we’re never gonna quit it no”, reminding us of our freedom when we were teenagers growing up. These two remodelled songs have become more mainstream and radio-like, much like what they are aiming to have for the entire album. The album contains re-recorded versions of the synth-filled The City driven by the introductory heavy drum loop, as well as the teenage anthem Sex, the love story backed by distorted guitars and a simple groovy bass rhythm with the reminder that “she’s got a boyfriend anyway!” looping in your brain for quite a while after. This ambience identity of theirs can be heard in almost every song of theirs, especially at the starts and ends. I love their mix of synth pads, crowded guitar effects pedalboards and washed out vocals to create soothing atmospheres and much like the vocals in these songs, you’ll feel drowned out in the ambience. The opening track, The 1975, is an unmistakable self-introduction engulfed by Brian Eno-inspired spacious ambience which is also heard in the later lyric-less An Encounter, 12 and HNSCC. Their 4 EPs Facedown, Sex, Music For Cars, and IVgave us a glimpse of what to expect from their debut album, and with hits The City, Chocolateand Sex, the boys did not disappoint. With a variety of beautiful ambient noises, funky guitar rhythms and honestly expressed words, these boys try to tackle issues of love, drugs, sex, truth, hope, death and lust that just get you. After 10 years hidden behind other aliases such as The Slowdown, B I G S L E E P and Drive Like I Do, they burst onto the scene with 4 teasing EPs all included in the second of their 2-disc deluxe version of their debut eponymous album.Īfter a listen, you’ll start to wonder where they have been all your life. Meanwhile, cuts like "The City," "Chocolate," and "Sex" drive and climb like the best anthemic '80s stadium rock, roiling a host of influences into a single distinct sound that, the moment it hits your ears, becomes timeless.My first album review will be my top band of 2013, Manchester-based indie rock quartet – The 1975. ![]() Much has been made of the 1975's avowed love of '80s John Hughes movies, and many of the cuts here, like the thrilling, lovesick "Settle Down" and the sparkling "Girls," play with such great narrative momentum that they sound like songs culled from a Hughes soundtrack. In that sense, the band also recalls the way Fall Out Boy combined the rhythmic phrasing and melodies of contemporary R&B with their own brand of driving, guitar-based emo-rock. There is also a sophistication to the band's songs, and an instinct to blur genre lines that makes it hard to box them into one, easy to define sound. ![]() It helps that lead singer/songwriter Matthew Healy has a compelling tenor croon that can soar like Bono one minute and coo like Lionel Richie the next. While many of the tracks here bring to mind such icons as Peter Gabriel, INXS, and U2, they also fit nicely next to artists of the same moment, like Passion Pit, Temper Trap, and M83. When rock guitars meet dancefloor synths, '80s influences become hard to deny, but while the 1975 definitely have a retro vibe (hence the name), the alchemy of how they bring those influences to bear is totally contemporary. The 2013 self-titled debut album from the 1975 is a superb album that finds the Manchester outfit poised on the brink of stardom. ![]() Photographers: George Daniel David Drake. Recording information: Livingston Studios, London (2012-2013) Rose Cottage, Wilmslow (2012-2013) The Motor Museum, Liverpool (2012-2013). Personnel: Matthew Healy (vocals, guitar, piano) George Daniel (vocals, synthesizer, drums, programming) Adam Hann (guitar) Ross MacDonald (bass guitar) Mike Crossey, Jonathan Gilmore (programming). ![]()
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