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Alternative & Indie - Released November 30, 2018 | Polydor Records

Distinctions Pitchfork: Best New Music
The 1975 are back with their third studio album A Brief Inquiry Into Online Relationships. After a stint in rehab for frontman Matty Healy back in November/December, 2017, which helped him shake some drug problems, the four piece from Wilmslow are back to doing what they do best; making unique music with complex lyrics. So, what are The 1975 trying to tell us this time round?It doesn’t look like they’re overly bothered about being seen as a “cool” Indie Rock band anymore. They seem to have stepped out from behind this front to give us an album that focuses on sincerity and the role that the internet plays in our relationships. This message of sincerity is most clear on tracks such as Give Yourself A Try and Sincerity Is Scary which focus on overcoming identity problems (caused by people hiding behind social media) and giving an honest account of one’s self. One of the highlights of this album has to be Love It If We Made It, a track which takes a look at the political and social craziness of the time that we live in. “Modernity has failed us!” proclaims Healy. Speaking about the meaning of this song Healy stated “Love It If We Made it is the gem of hope amongst all of the rubble” ... “We have to really love each other, and if you don’t, just try.” The song that most clearly spells out the threat that the internet poses to our real, human relationships is The Man Who Married A Robot. Siri tells us the tale of a lonely man that became best friends with the internet and only existed online. Eventually the man dies, leaving no meaningful trace behind, but the internet lives on. There is something quite chilling about the story. Produced almost entirely by Healy and drummer George Daniel, the album also includes acoustic ballads such as Be My Mistake and Surrounded By Heads And Bodies as well as tracks with heavier production such as I Like America & America Likes Me. The boys close the album with I Always Wanna Die (Sometimes) which focuses on the struggles of everyday life and has a hint of the Oasis to it with a strong dash of melancholy. Insecurity, the increasing madness of the world, computer screen relationships, The 1975 bring it all together whilst appreciating that it isn’t always easy to be sincere. © Euan Decourt/Qobuz
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Alternative & Indie - Released May 22, 2020 | Polydor Records

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The fourth album from Manchester quartet led by the “bad boy of pop-rock” (as described by Pitchfork) Matty Healy, 31. The most interesting thing about The 1975’s music is its ability, through diversity and multiplicity, to represent the times in which we live. This is their strength, but also one of their limitations. On this rather pretentiously titled album, “Notes On A Conditional Form”, we find an ensemble of many styles: an intro of several minutes consisting of worrisome spoken-word à la Laurie Anderson (in fact an alarming speech by Great Thunberg on “The 1975”), thrashing rock and punks’ cries on “People”, a quasi-classical section resembling the soundtrack of a new age film on “The End (Music For Cars)” before finishing it all off with the very R&B, “Frail State of Mind”… A sort of virtuous patchwork, the album resembles an eclectic radio show or playlist. With some twenty-two tracks, and a one hour twenty minute run time, this might appear lengthy. But the diversity of this post modern collage helps us to forget that we are listening to just one group. The only danger? A blurred identity diluted through multitude. A little like our lives today. © Yan Céh/Qobuz
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Alternative & Indie - Released February 26, 2016 | The 1975 Artist Deal P - S

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As well as having a mouthful of a title, the 1975's sophomore album, 2016's I Like It When You Sleep, for You Are So Beautiful Yet So Unaware of It, is the kind of ambitious, self-indulgent album that either marks a grand misstep by a fledgling band, or the start of something big. Produced by Mike Crossey, I Like It When You Sleep finds the 1975 picking up on many of the stylistic threads running through their Crossey-helmed, self-titled 2013 debut: synthy new wave, kinetic dance-rock, and atmospheric balladry. The difference this time around is Crossey, and the band's pristine studio execution, marked by a distinctive '80s adult contemporary aesthetic. While bands like MGMT and Vampire Weekend have long mined the VH-1 vaults for stylistic inspiration, there's nothing mannered about the 1975's retro-leanings. Despite their name and their ear for '80s synthesizers, the British outfit sound much more flamboyant than their contemporaries. This is primarily due to the contributions of lead singer Matthew Healy, whose overly wordy lyrics and weird, playfully dark persona -- sort of like a sexual Fraggle -- can sometimes put listeners off the pop scent. As he sings on "The Sound," "It's not about reciprocation, it's just all about me/A sycophantic, prophetic, Socratic, junkie wannabe." In that sense, the 1975 are more in line with the swagger of artists like INXS, U2, or even Madonna for that matter, whose early hits clearly had an impact on the group's approach here. Cuts like "UGH!," and the cheeky, plastic funk single "Love Me," sound delightfully like something Madonna might have made in collaboration with Chic guitarist Nile Rodgers and art-pop duo Yello. Similarly, "The Sound" and the sparkling anthem "She's American," feature brightly infectious hooks that wouldn't be out of place on a Prince album. In fact, there's a palpable R&B inclination running through much of I Like It When You Sleep. It's a vibe that reaches an apex on the yearning, mid-album slow-jam, "If I Believe You," which also happens to feature a gorgeously rendered flügelhorn solo from jazz star and longtime D'Angelo collaborator Roy Hargrove. Elsewhere, in keeping with the overall '80s adult contemporary sound, tracks like the shimmeringly moody "Somebody Else" and the sweetly romantic "Paris," bring to mind Tango in the Night-era Fleetwood Mac. Admittedly, at 17 tracks, I Like It When You Sleep is long. And given the poetic, atmospheric nature of many of the songs, it's somewhat unwieldy in one sitting. Ultimately, however, it's that uncompromising mix of POP (in capitalize letters) and inventive, exploratory musicianship that help make it such a rewarding listen. As the title implies, it may take the 1975 a while to get to the point on I Like It When You Sleep, for You Are So Beautiful Yet So Unaware of It, but when they do, the results are revelatory. © Matt Collar /TiVo
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Alternative & Indie - Released September 2, 2013 | Polydor Records

The 2013 self-titled debut album from the 1975 is a superb album that finds the Manchester outfit poised on the brink of stardom. 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. 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. 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. 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. 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. 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. 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. © Matt Collar /TiVo
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Alternative & Indie - Released February 26, 2016 | Polydor Records

As well as having a mouthful of a title, the 1975's sophomore album, 2016's I Like It When You Sleep, for You Are So Beautiful Yet So Unaware of It, is the kind of ambitious, self-indulgent album that either marks a grand misstep by a fledgling band, or the start of something big. Produced by Mike Crossey, I Like It When You Sleep finds the 1975 picking up on many of the stylistic threads running through their Crossey-helmed, self-titled 2013 debut: synthy new wave, kinetic dance-rock, and atmospheric balladry. The difference this time around is Crossey, and the band's pristine studio execution, marked by a distinctive '80s adult contemporary aesthetic. While bands like MGMT and Vampire Weekend have long mined the VH-1 vaults for stylistic inspiration, there's nothing mannered about the 1975's retro-leanings. Despite their name and their ear for '80s synthesizers, the British outfit sound much more flamboyant than their contemporaries. This is primarily due to the contributions of lead singer Matthew Healy, whose overly wordy lyrics and weird, playfully dark persona -- sort of like a sexual Fraggle -- can sometimes put listeners off the pop scent. As he sings on "The Sound," "It's not about reciprocation, it's just all about me/A sycophantic, prophetic, Socratic, junkie wannabe." In that sense, the 1975 are more in line with the swagger of artists like INXS, U2, or even Madonna for that matter, whose early hits clearly had an impact on the group's approach here. Cuts like "UGH!," and the cheeky, plastic funk single "Love Me," sound delightfully like something Madonna might have made in collaboration with Chic guitarist Nile Rodgers and art-pop duo Yello. Similarly, "The Sound" and the sparkling anthem "She's American," feature brightly infectious hooks that wouldn't be out of place on a Prince album. In fact, there's a palpable R&B inclination running through much of I Like It When You Sleep. It's a vibe that reaches an apex on the yearning, mid-album slow-jam, "If I Believe You," which also happens to feature a gorgeously rendered flügelhorn solo from jazz star and longtime D'Angelo collaborator Roy Hargrove. Elsewhere, in keeping with the overall '80s adult contemporary sound, tracks like the shimmeringly moody "Somebody Else" and the sweetly romantic "Paris," bring to mind Tango in the Night-era Fleetwood Mac. Admittedly, at 17 tracks, I Like It When You Sleep is long. And given the poetic, atmospheric nature of many of the songs, it's somewhat unwieldy in one sitting. Ultimately, however, it's that uncompromising mix of POP (in capitalize letters) and inventive, exploratory musicianship that help make it such a rewarding listen. As the title implies, it may take the 1975 a while to get to the point on I Like It When You Sleep, for You Are So Beautiful Yet So Unaware of It, but when they do, the results are revelatory. © Matt Collar /TiVo
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Alternative & Indie - Released April 23, 2020 | Polydor Records

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Alternative & Indie - Released November 19, 2012 | Polydor Records

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Alternative & Indie - Released September 2, 2013 | Polydor Records

The 2013 self-titled debut album from the 1975 is a superb album that finds the Manchester outfit poised on the brink of stardom. 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. 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. 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. 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. 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. 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. 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. © Matt Collar /TiVo
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Alternative & Indie - Released December 15, 2017 | Polydor Records

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Alternative & Indie - Released February 19, 2020 | Polydor Records

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Alternative & Indie - Released May 20, 2013 | Polydor Records

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Alternative & Indie - Released April 3, 2020 | Polydor Records

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Alternative & Indie - Released December 16, 2016 | Polydor Records

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Alternative & Indie - Released March 4, 2013 | Polydor Records

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Alternative & Indie - Released February 22, 2017 | Polydor Records

Alternative & Indie - Released January 12, 2016 | Polydor Records

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Alternative & Indie - Released February 16, 2016 | Polydor Records

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Alternative & Indie - Released May 13, 2020 | Polydor Records

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Alternative & Indie - Released January 16, 2020 | Polydor Records

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Alternative & Indie - Released October 31, 2014 | Dirty Hit

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