The Unpredictability of The 1975
If I were to describe The 1975’s much-awaited and talked about sophomore album, "I Like It When You Sleep, For You Are So Beautiful Yet So Unaware Of It" in two words, I would say "unpredictable" and “eclectic”. The chart-topping album sent huge waves not just in the U.K., but in the U.S. as well. Apparently, the wide-ranging album did not just break the charts; it also has broken the record for having “the longest ‘number one’ album title in the U.S. charts history” (NME.com). Fascinating, isn’t it?
Now, I’ve been yapping about The 1975’s “I Like It When You Sleep, For You Are So Beautiful Yet So Unaware Of It” album ever since I found out about it and I diligently kept myself up-to-date with all the latest news related to it. When the quartet teased the fans with “Love Me”, I was over the moon. Sure, I didn’t completely like it right away. In fact, I remember my initial reaction to be: “What the hell?!” But then I read Matthew Healy’s lengthy interviews about the new album being “different” and more danceable and pop-rock, I shut my trap. I just accepted that this is the path that the band is taking and I need to give them a chance.
To quote that famous movie line, the album “I Like It When You Sleep, For You Are So Beautiful Yet So Unaware Of It” is like a box of chocolates, you’ll never know what you’re going to get. After the David Bowie-ish track “Love Me”, The 1975 gave another sneak peek of the explosive album through “Ugh!” which, according to his interview (theguardian.com) is “a strange splurge of a song that is Healy reflecting on his relationship with cocaine”. I fell head over heels for “Ugh!” right off the bat. It was definitely closer to my “jam” than “Love Me”. Just when I thought The 1975 got nothing up their sleeves anymore, they dropped the next song from the “I Like It When You Sleep, For You Are So Beautiful Yet So Unaware Of It” album, the infectious, happy vibe song, “The Sound”. I totally went bananas for this song! I listened to it again and again for days. I couldn’t stop listening to it! It was definitely “Last Song Syndrome” worthy!
I actually got my copy of the album two days after it was released and I listened to it right away. That’s how stoked I was for it. However, I had a hectic schedule at work so I couldn’t properly review the album. So here it goes. These are my “feels” about the songs in the album, with the exception of “Love Me”, “Ugh!” and “The Sound” (since I’ve posted my reactions about them weeks ago, in separate blog posts).
THE 1975 – The short intro is kind of heavy on synthesizers and some other orchestra-sounding instruments. It’s pretty gentle and light, with Matty’s voice trying to blend with, but overpowering, the backing choir. It ends abruptly and smoothly transitions into the intro of “Love Me”, which I kind of dig. It reminded me of One OK Rock’s 35xxxv album.
LOVE ME
UGH!
A CHANGE OF HEART – I call this the “funny ballad”. The melody may sound romantic and all that; with Matty’s sweet, whispery voice melting every girl’s heart out there, but don’t be fooled. According to a source, this ballad is about “a girl Matty's been seeing who he's changing his mind about, realizing that her looks aren't enough of a reason to stay with her” (nme.com). As usual, Matty’s lyrical frankness and ingenuity were apparent in this track.
SHE’S AMERICAN – It’s very catchy and upbeat. Based on what I’ve read, it’s about yet another girl Matty’s dating who is, well, American, so of course there were plenty of palpable differences between them, with Matty being from the U.K. and all that. The first few lines of this song were reminiscent of my favorite song from their first album, “Settle Down”. There’s something about the beat, the melody and the diction, giving me a slight shade of “Settle Down”. I love the lyrics, though. “If she says I’ve gotta fix my teeth, then she’s so American” and “She’s inducing sleep to avoid pain” were some of my favorite lines.
IF I BELIEVE YOU – I’m agnostic, so this song kind of bothered me. Actually, let me go so far as saying, it was disturbing. Don’t get me wrong, the lyrics were moving and compelling and the brass solo was kinda soothing. But it was just not something I would expect from this band. But then again, The 1975 puts the S in SURPRISE. Not really my favorite tune from this album, so I usually skip this one. Sorry, Matty.
PLEASE BE NAKED – I’ve never liked an instrumental track in any album before. Ever. I’ve always thought songs should have words. That’s why I hated those “Intro” and “Outro” tracks which are present in almost every K-POP album. I don’t see the point in it. Unless the artist is the one playing the instruments in that instrumental track, I’m not sure why it should be included in the album. However, this instrumental track is different. The solemn and gentle sound of the piano creates a story here. Listening to this track reminded me of all the sad and miserable things that happened to me. But not in a depressing way. If you know what I mean.
LOSTMYHEAD – I’ve been wondering if the title of this song is a typo or if it deliberately lacked ‘space’. Another instrument-heavy track, with Matty just whispering a few lines here and there. The guitar riff is gripping, and like “Please Be Naked”, I could imagine a story unfolding while this song was playing. It’s the only song in the album that kind of borders on “rock”.
THE BALLAD OF ME AND MY BRAIN – I’ve read somewhere that this track is about Matty’s mental health. Don’t ask. I didn’t like the creepy, “woo-ohs” at the start, which continues all throughout the song. It didn’t add the needed melody and harmony to Matty’s raspy voice, while he semi-raps about losing his mind due to the sudden fame.
SOMEBODY ELSE – Another one of my fave tracks from the album. Matty’s voice and singing style in this song kind of reminds me of another ‘80s song. According to NME.com, this “crisp ballad is about a partner in a dying relationship moving on to someone else”. The beat is very snappy and the melody is pretty catchy.
LOVING SOMEONE – Now THIS certainly reminds me of Matty’s “smooth and slow” rapping style, which was evident in past songs like “M.O.N.E.Y.”. Once again, Matty’s ingenious ability to express his opinion and thoughts through analogies, metaphors and almost poetic lines was displayed here. There was even a spoken part where he ranted on and on about his “social observation, including lines on how the media and popular culture conditions its youth” (NME.com).
I LIKE IT WHEN YOU SLEEP, FOR YOU ARE SO BEAUTIFUL YET SO UNAWARE OF IT - I was sort of expecting a ballad here. I mean, with a title like THAT, there should be at least a love story to back it up. There was nothing; just another instrumental track showcasing their predilection for synth pop. However… surprise, surprise… just when I thought the instrumental track is over, at around 3:00, there is a sudden and deliberate change in the beat, melody and pace of the track. From ho-hum, instrumental, it turns into a discotheque track.
THE SOUND
THIS MUST BE MY DREAM – Another ‘80s-sounding pop song. The lyrics are quite hilarious, in my opinion. Honestly, it’s quite strange to hear Matty singing about his “misfortune” in love. I can’t imagine a girl saying “no” to him. It did showcase his strong and solid vocals, though. And that short sax solo – wow. That was just incredible. Although the song does not sing about the “happy” kind of love, the whole vibe is very positive and peppy.
PARIS – I’m wondering who this song was about. It’s quite amusing and disconcerting at the same time. Matty definitely wrote this based on a certain messed up individual, who is probably an addict and, like most women, materialistic. I didn’t really focus on the lyrics of the song, except for the very catchy line, “How I’d love to go to Paris again…” And that epic line, “Oh, stop being an arsehole/ I’m counting my eye rolls.” I could totally imagine the patented “Matty eye roll”.
NANA – This song really hits the nail on the head. The soft sound of the acoustic guitar mixed with Matty’s almost husky, gentle voice totally hit the spot. Most of the time, I find it extremely challenging to understand what Matty’s singing about. But this song’s lyrics were simple and straightforward. They were more like a heartfelt message for his late “nana”. I could totally relate to that because I was very close with my late grandmother as well. I know how devastating it feels to not be able to tell her everything that you wanted to say. I like the parts where there would be a long pause and I was not sure if the song was over or not. This is clearly the best ballad in this album.
SHE LAYS DOWN – Another win in the ballad-acoustic section. Did Matty get chummy with Ed Sheeran or something? This track is extremely Ed Sheeran-ish. It’s more subdued and stripped down than “Nana”, but equally more miserable and depressing. Matty’s raspy and cracking voice here breaks my heart. I read somewhere that Matty wrote this song about his mother’s “postnatal depression”.
I like how simple and relaxed the last two tracks are. It’s the perfect way to end such an unpredictable album. Funk, ‘80s pop, pop-rock, dance, acoustic, ballad, a bit of rap, synth, instrumental, and even something bordering on gospel – this album was indeed a breath of fresh air for me. To be honest, I expected something else and I only liked about 60% of it. Most of the time, it reminded me of an Owl City album with a few ‘80s dance-pop songs here and there. Nevertheless, I like where this is going. And I can’t wait to see The 1975 perform these tracks live!
Credits to NME.com and Billboard.com for some interview snippets and trivias
