Here's an improbable winner. The ridiculously titled I like it when you sleep, for you are so beautiful yet so unaware of it is the second album from Manchester group The 1975, self-proclaimed next biggest stars of indie rock. At an hour and 15 minutes long, it's a huge potpurri of different styles ranging from funk, soul, rock and pop to folk, electronic and even ambient music. It works because of the ambition and energy of these four lads, lead by charismatic singer and songwriter Matthew Healy, and their charming earnestness.
 |
| Cool. Their first album had the exact same cover, but in dark black and white. |
The album opens with a fantastic streak of some of the year's best pop songs, sprinkled with a fun dose of funky 80's Bowie. After the grandiose intro, "Love me", "UGH!" "A change of heart" and "She's American" have me thinking that if this can keep up, we're in for quite a ride. Well, it doesn't. ...when you sleep... feels more like a collection of two or three EPs after each other, for the album changes pace dramatically after these first five tracks. The next song, "If I believe you" is a very slow, gospel-inspired ballad, and I don't really like it. Then follows two beautiful, semi-ambient tracks, making for a period of over 15 minutes in the middle of the album with a glacially slow pace. Not quite what I expected. Still, both "Please be naked" and "Lostmyhead" are absolutely gorgeous, the former sounding kind of like the early 2000s Icelandic music scene à la Sigur Ròs or mùm, and the latter more postrock-inspired. Creds to the guys for doing their own thing rather than just pleasing the record label.
Waking us from this slumber, The 1975 next provide us with some more actual songs, all intense, fun and different, before singer Matt Healy again steps aside for the six-minute instrumental title track. Then, at track 13, maybe the third EP starts and they kick in the final gear, rolling out some of their danciest hits and most heartbreaking ballads. "Paris" is sappy and synthy and beautiful, but the two last tracks "Nana" and "She lays down" are on acoustic guitar, the last one sounding like no more than a rough demo. Though the soundscapes are beautiful, The 1975 are at their best when Healy's songwriting skills shine. The lyrics are often interesting and creative, with way more layers and intricacies than you'd expect. Guitarist Adam Hann is also an atypical musician, surprising you with edgy and sharp guitar playing (I love the end of "The sound", for example).
 |
| Cool dudes. Healy is the short one. |
For at first glance, The 1975 can strike you as another ordinary, industry-engineered music brand, with a pre-planned target audience and pre-written songs, providing little musical content of any actual value. But the truth couldn't be farther from it; this is an endearlingly self-made project, a garage band following their dreams and getting their music out to millions. And as they're currently reaching their goals of topping the charts and selling out stadiums, awkward interviews reveal that fame isn't quite what their cup of tea, that they're really just a group of friends who believe in their music and like having fun. During their recent concert with the BBC Philharmonic, a visibly nervous and awestruck Healy exclaims "now this is what I call a gig!", but their respect for the format doesn't stop them from spending two back-to-back slots of the set covering first Justin Bieber and then One Direction's biggest hits. And it's not for lack of good songs of their own.
They're not perfect, but they don't try to be - The 1975 do their own thing. Although it sometimes stumbles and can cause some eye-rolling at the wrong moments, ...when you sleep... is in the end a triumph, placing The 1975 in my eyes as one of the most exciting pop groups to follow in the years to come.
No comments:
Post a Comment