POZ Review: The 1975 – IV

If you haven’t heard of The 1975, it’s probably because you’re from America and spend most of your nights watching reality TV shows on MTV so you can feel better about yourself. (Trust me, once you’ve been hooked on any BBC series, you’ll never go back. Parties in the USA do not compare, according to the raves in “Skins”…) I don’t know what’s going on in the U.K., but that country has consistently produced some of the best musicians ofour time.

The 1975 seems like the average British boy band, but don’t let their charming Manchester accents fool you— Matthew Healy, Adam Hann, George Daniel, and Ross MacDonald are the real deal. (They even play instruments! Talk about putting the band back in “boy band.”) This is not another group aiming to cash in on a trending phenomenon. The 1975 will not sing gushy love songs while simultaneously performing synchronized choreography on stage. Instead, prepare to hear young adults explicitly talk about the things that we want to believe we care about the most: sex, drugs, and rock and roll.

As suggested by the title, The 1975’s IV EP comes equipped with four songs and marks the alternative rock band’s fourth EP. Opening with “The City,” The 1975 blows listeners into a whirlwind of synth-pop with dominating beats that will reverberate and echo into the pit of your stomach. The chorus of this song will surely turn into an anthem for anyone.

“Haunt/Bed” has a tranquil vibe as the intensity of electronic sound builds up and pours through the speakers. Healy’s airy vocals drift smoothly through the track, almost as if they were carried along by a propelling current. The track drones on a few minutes too long, but smoothly transitions into the lackadaisically paced sing-along, “So Far (It’s Alright)”.

“fallingforyou” is a perfect closer and wraps up the EP with soft vocals accompanied by tranquil a gentle wave of synthesizers. This track in particular really showcases all of the bands’ strengths, especially in terms of lyrical, vocal and instrumental potential. Based on The 1975’s previous material, I was expecting more upbeat songs on this EP, but the band shows listeners a more toned down side of them instead, which I appreciated.

Even though The 1975 has been making music since 2002, they have had the ability to continually experiment with their sound because their popularity has and will continue to grow for many years to come. The 1975 is bending the alternative/indie rock genre and shifting it into something bigger.

Now that the public is paying closer attention to their music, The 1975 will be expected to create something that no one has ever heard before. IV is a promising EP and the ideal teaser for The 1975’s full-length album, which is expected for release in September.

Either the Brits are open about matters of the naked heart by common nature or Americans are simply too prude. Regardless, I am virtually sending The 1975 an open invitation to find inspiration from my bedroom anytime.

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