THE 1975: 'I LIKE IT WHEN YOU SLEEP' TRACK BY TRACK

I was really excited to review this record. Having fallen in love with The 1975 mid 2012 with the release of the Facedown EP, watching them grow as a band since then has been an incredibly strange experience - predominantly down to the astounding rate at which they have grown. 

Enlisting the help of fellow resident music elitist Monika, we took a look at The 1975's sophomore album - and really, it's pretty good.

After symbolically killing off the 'old' The 1975 last summer; this song represents the welcoming of a more vibrant era for the band - as realized through the addition of a choir and liberal use of the special effects button. 'The 1975' also introduces the newer, more upbeat ambient undertones found through the record - tones not present in the earlier version of this song from the debut album. Clearly a song reworked for the purpose of playing live with the archaic sounding choral speech intended for an audience (although they don't actually play it live - bummer). 

Released late last year as the first single from the album, 'Love Me' is good. Like, really good. Healy acknowledges his own pretentious nature and that of the band whilst also mocking it. With certain aspects ripped from Bowie and The Isley Brothers yet not a lawsuit in sight (just yet), the beautiful thing about it is that it's made so you feel like you're part of the inside joke here rather than just listening in on it. It's refreshing to have such a self aware act on the music circuit that embraces and acknowledges their status yet remains humble in a culture so fueled by vanity and social status. 

Sounding every inch the embodiment of the coked-up pop star trope, 'UGH!' is the spiritual successor to The 1975's first big single 'Chocolate' - the more sophisticated answer to Healy's incessant need to sing about his drug abuse. With sharp lyrics and and an even sharper video to match, held side to side with earlier material 'UGH!' shows the band's evolution more than any other song on the record.

One of the easier listens on the record. A certain melancholy feeling will almost certainly wash over at some point whilst listening to this song - whether that be over the lover who got away or the ghost of good books past. There's a finality to it. A beautiful and diminished sense of grandeur drips from every word Healy wails; from every ridiculous sound effect and every chord. The video (released Friday 22nd) certainly reflects the mood of the track beautifully, and does the prevailing sense of despair seeping through the lyrics the justice they deserve.

Opening with George Daniel KILLING IT on the drums, 'She's American' is this album's answer to 'Settle Down' - the "big town" lyrics in SA directly in juxtaposition with the "small town" referenced in it's predecessor. Possibly influenced by their time recording this album over in LA. If you are American, identify as female and are flattered by this song you may want to reconsider your outlook on things - but otherwise, a fun listen.

Although pretty slow and seemingly see-through, this one is rather...eccentric. Disregarding the obvious (the incongrous vinyl-spinning-resembling sounds and generally distorted instruments at the beginning) the whole song is abstract. It appears that Healy is trying to escape his atheist ways, "begging for help." When wanting to learn on how to believe in God, only Healy would write about the usually controversial topic of homosexuality - using the analogy "I'm a lesbian kiss." Yet, even though the 'evangelist' wants to turn to religion, it is under one condition: he wants his suffering to halt. With his reoccurring calls for help comes the gospel choir, adding to his exigency.

'Please Be Naked' wouldn't be out of place on the soundtrack to 'Skins'. A simple few piano chords strung over, under and round & round ever changing ambient sounds and effects. Definitely a good one to listen to in the background of whatever it is that you're doing - or possibly to take a late night car journey to.

A majorly instrumental five minutes of awry guitars, the whole song sounds like it should be played whilst standing at the edge of a cliff. I can also imagine letting myself be absorbed in the song at a station, waiting for my delayed train to arrive whilst letting my scarf sway behind me. Perhaps I'd be reading an unexpected text from someone or a psychologically-straining book. 'LOSTMYHEAD' is definitely one to consider to evoke emotions in movie-esque scenes.

'The Ballad of Me and My Brain' is the most cathartic track on the record by far lyrically. With a passing glance at what could possibly be a reflection of the infamous stage breakdown of late 2014 turned into an eclectic mix of striking vocal loops and drum beats. The lyrics are definitely some of the most passionately sung on the record. One for when the inner angst is too strong.

The song hints at the state of Healy's mental health and, again, fits the abstract atmosphere of the entire album. Strange anecdote-like assumptions to where the front man's brain could possibly such as "It's likely in a Sainsbury's/Flirting with the girls and waiting for me" could easily confused. Even if the lyrics seem absurdly common, it's an immensely clever track.

The song you walk home from the bus in the pouring rain to after refusing a lift, definitely.

I find myself listening to this one a lot considering how much it accentuates humanity's greed: "I don't want your body/But I hate to think about you with somebody else" - the greed we all posess. You know, the typical, childish "if I can't have it neither can you" thing. The ballad of moving on to someone else has a contrast of snappish lyrics and a relatively soft tone, which is always good if you want to hit a wall after a break up.

Personally, I was reluctant to listen to this one until two days ago due to the fact the introduction is about as appealing as wet sand. However - an accidental shuffle play proves that lyrical content really can save The 1975 from tragedy and surprisingly, it has grown on me. Lines such as 'I'm the Greek economy of cashing intellectual cheques' and the poetic 'I never did understand the duality of art and reality, living life and treating it as such' challenge the now popular idea that the band is now indeed, a soulless pop band.

The title track of the record - stylish and minimalist. Not memorable in the least, but a fun one to drive to at night and pretend you're in a modern car advert. Pretty groovy. 

Probably the most upbeat single from the record. Very airplay-friendly, and not difficult to see why.

Yet, even though decidedly more positive than most tracks, this one has a lot more - well, to put it simply - it has a lot more churlish disses to it than the others. The lyrics are clearly aimed at someone with more of a friends with benefits type of relationship more than anything, "And we left things to protect my mental health/But you call me when you're bored and you're playing with yourself". All in all, this one is quite a good a balance between desire and distraction.

 

Despite the chorus sounding suspiciously like something from 'Joseph and the Amazing Technicolor Dreamcoat', 'This Must Be My Dream' is genuinely an ineffably beautiful track. Brilliantly cohesive lyrics and a lush soaring chorus make this track one of my favourites from the album. 

My own favourite song on the record for a number of reasons. A melancholy instrumental mesh glitters underneath dismal vocals detailing girls on drugs, cocaine benders and nose picking! The running story in this track detailing the trysts and turns of a failing relationship shouldn't sound as delightfully satisfying as it does on this track.

Following Paris, this song's intense emotional value seems to be amped up massively. With soft keys and gentle rhythms along with Healy's rather sentimental tone, Nana is a distinguishable tear jerker of the album. What really stands out to me is the choice of sentiments the lyrics emphasise, "It's not the same when I scratch my own head" - reminiscing the young boy who has a tight bond with his grandmother; it is really heart breaking to know that this is the same boy singing about the fact she is no longer alive. Even more so, the ending with "I think you can tell I haven't been doing too well" Healy has everyone swallowing sobs by the end.

Closing the album, 'She Lays Down' is a poignant and reflective tribute to Healy's mother's struggle with post-natal depression. Recorded entirely in acoustics, if you weren't in tears by the end of 'Nana', you will be now.

Follow Madds and Monika on Twitter - @rnadds & @cardboardmisha

Buy I Like It When You Sleep, for You Are So Beautiful yet So Unaware of It - available now.