The 1975

Wednesday, March 9, 2016

The 1975 is the self-titled debut studio album by English pop rock band called The 1975. It was released in 2 September 2013 through Dirty Hit and Polydor. It was recorded with Artic Monkeys collaborator Mike Crossey. On 8 September 2013, the album debuted at number 1 on the UK Albums Chart. As of March 2016, it has sold 410, 981 copies.

Hailing from Manchester, U.K., the 1975 managed to combine the dark and youthful themes of sex, love, and fear with ethereal alt-rock music. The four of them met at school in the year 2002, although the lead singer and guitarist Matt Healy was born in London and the drummer, George Daniel was born across the North Sea in Brussels. The rest of the lineup comprised Adam Hann on guitar and bassist Ross MacDonald. The first incarnation of the band began by covering punk songs at gigs arranged for underage youths which would quickly spread into chaos. Influenced by a variety of styles, from Michael Jackson, Motown, and the Rolling Stones to the soundscapes of Brian Eno, Boards of Canada, and Sigur Rós, they soon began to apply their pop-influenced hooks and guitar melodies to the lush ambient backdrops they created on their own.

-SA

*205 WORDS*

No comments :

Post a Comment

One of the solid raw interviews :

This all came as the group were approaching the end of two years of solid touring in front of crowds that were growing ever bigger and ever more voracious. It was like, Healy says, being in a “really glamorous version ofDawn of the Dead. Instead of being followed by zombies, it was iPhone-clutching kids. There’d be 100 kids between the tour bus and the stage door, when I’m in my boxers with a hangover. So my first reaction with human beings is in a resentful, semi-clothed situation – ‘Matty! Matty! Matty!’ – and I’d be, ‘They don’t even care about the music! They’ve just got their phones out!’”

Healy found himself tumbling towards a crisis, which arrived on 6 December, onstage in Boston. “There was girl stuff,” he says. “There was family stuff. There was financial stuff. There was drug stuff. I remember hearing the crowd and having an identity crisis. I thought: ‘If you want to see a show, I’ll give you a fucking show. If you’ve come to see the jester drink himself into a slumber, I’ll give it to you.’ I felt like I’d become an idea as opposed to being a person.”

At one point, a fan shouted, “I love you, Matty!” He’s ashamed of his response. “What did I say to the poor fucking girl? ‘You don’t have the right to love me. You don’t know me. I love you but you don’t get to love me.’ Jesus. Can you imagine your favourite band shouting that at you? What a dickhead. What a horrible thing to say to a kid who fucking does love me.”

At the show’s end, Healy fell to the stage and refused to leave. “George carried me off, cos I would have stayed there, apparently. I just wanted to sit there and do something you don’t. It was so blurry and of such a particular colour: I remember everything as orangey yellow.”

The easy reaction to take – and one we see again and again when members of groups with startlingly passionate teenage followings hit a wall, as opposed to troubled stars with middle-aged male followings, like Wilco’s Jeff Tweedy – is to say: suck it up, pal. You’re in a band. People love you. You’re making money. Grow a pair.