After 10 years of stardom, controversy and reinvention, Olivia Hannant takes a look at what made the Manchester four-peice's debut so impactful.
Amidst the haze of bright neon lights and Doctor Martens, Manchester's own The 1975 released their electro-pop filled self-titled album ten years ago. Whilst less eclectic than their newer releases this unconventionally paced offering is doused in charisma and self-indulgence. As I walked down Parr Street this weekend, past the tequila bar in which it was recorded, it evoked reflection; was this nostalgic pop offering as good as I remember?
Despite wavering opinions on ostentatious frontman Healy, it is no doubt this album is a staple in pop music. An album that is in Healy’s words "pretty experimental, and goes from glitchy R&B to big 80s power pop to mid-90s soul, but it's done in our way obviously." An experience entirely encased in the hazy black-and-white aesthetic that rivalled Healy’s lyricism about sex, drugs and life in, if you will, the city. Opening with the iconic self-titled track in which they still reinvent to this day immerses you into a blanket of synths and breathy vocals.
Straight into the crunchy bass and rhythmically disjointed nature of both The City and the narrative of electronica-inspired M.O.N.E.Y. Followed by the two hit singles Chocolate and Sex
which still possess their catchy hooks and iconic guitars. Track 5, Talk! is one that has never jumped out to me, lyrically droning and purposeless then accompanied by the shimmering tones of An Encounter. One thing to highlight about the 1975’s crafting of an album is their effective use of instrumental interludes, this is no different. Vibrant and catchy Heart Out and Settle Down; are the songs you could pinpoint to The 1975 when disorientedly heard out in public. Hearing the iconic opening notes of robbers manages to ignite an infinite sense of nostalgia, a memorable and flowing guitar riff and what has emerged as a live ode to 1975 fans everywhere.
The eighties-inspired Girls and She Way Out follows again with the iconic melodies and dense production. Another instrumental track, 12, is known for being made on drummer George Daniel’s laptop in a Travelodge in Acton whilst mixing the album. Menswear and Pressure, my two personal favourite tracks off the album, although very different tracks. The uniqueness of Menswear with lyrics that feel deliberate but possess no pattern and the essentially 1975 sound of Pressure demonstrate why this album has the shining rapport it does.
After witnessing the band’s crazed conceptual live show for their latest album Being Funny In A Foreign Language and being shown The Motor Museum, Liverpool immediately after, where this debut was recorded, the dingy tequila bar below spoke volumes about not only the content but the musical style that stuck with the 1975’s identity, helping to create what is an essential pop album that merges dream and electronic pop to produce a debut work that is filled with nostalgia and a certain timelessness.
Olivia Hannant
Edited by: Ewan Samms
In article image courtesy of The 1975. In article videos courtesy of The 1975 on YouTube.
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