The 1975 - Notes on a Conditional Form (May 22, 2020) Album • Page 361

Got through a whirlwind of emotions relating to the recent controversies so I let the album sit on the shelf for a moment, but I'm about to revisit it while reading/watching the Spotify, Apple Music, and then Radio X track by track features. I'm really interested to know what goes through their mind in the writing, especially on the lyrical front, and producing process.

I feel like their music tends to get dismissed for sounding pastiche. It's not new, I mean it's an argument that's been thrown around since the S/T days and that I get from an outside perspective, yet doesn't it disregard the modern sounds put into each song and how they approach them through a current lens anyway? Whether or not the blend of old and new makes them unique can be argued to death, but I might've just come to the realization that that's what makes me comeback to this band year after year. Not sure where I'm going but I guess I'm always mixed when it comes to that take. I see their music more like a love letter to many genres and the accompanying eras that influenced them. Might explain why their last few releases tend to resemble mixtapes or playlists more than conventional albums.

Don't mind me I'm just rambling. Weird how that The Streets song posted earlier got me thinking about all this.

 

The back half of this is my favorite I think after three listens. A lot of subtle, but really cool moments. Don’t Worry is a gem.

 

I think Bagsy Not In Yet is the one now, even if I wish it lasted for a few more minutes. It contains sounds I'd love to them to explore more. I would be interested to hear their take on trip-hop with tons of strings or samples.

 

I love this song!

 

Listened to my condensed 10 song version of this yesterday and I loved it.

 

Listened to the whole 81 min enchilada...twice...and it was delectable

 

What are the 10 songs?

 

That’s.....hm

 

I've made playlists of shorter versions of albums before, but I extremely can't relate to wanting to cut anything from this. it would feel like watching a movie with a bunch of scenes cut out.

 

I have no issues cutting stuff I don't like from an album. It makes me much happier to have everything I like in one stream. When I feel like going back to give the stuff I cut off another chance, I will, and some of it grows on me and I'll put it back. I love when that happens.

It's just my personal listening and accessibilty preference. It began when I didn't want stuff I didn't like to take up space on my iPod, computer, or phone then it just evolved into me just saving stuff I liked for when streaming services hit.

When I purchase vinyl I try and make sure I enjoy the whole album as is (Or close to it) and listen to it front to back. Sometimes that really backfires when I get too excited and pre-order an album after liking a couple pre-released songs. Like Dashboard Confessional's most recent album and even Butch Walker's new rock opera, which is meant to be listened to (and watched since theirs a film for it) front to back to follow a story that, unfortunately, needs more substance.

Anyways, The 1975 is a band I try and click with, but never quite get there and thats okay. I enjoy almost all their singles. This new album has more tracks I enjoy than the previous stuff though. So thats a win in my book.

 

Imagine cutting "Tonight (I Wish I Was Your Boy)"

 

That's an impossible thing to Imagine.

 

Easily one of the best songs on there!

 

The ultra tight hihat and snare on "Tonight" gives me so much joy.

 

thread:

 

really hope a satisfactory resolution can come from this, appears this is a pretty widespread problem with Dirty Hit and it’s incredibly disappointing to see (to say the least) and kinda answers some questions I’ve had w/r/t how the label operates.

and it’s hard to really say what The 1975’s role was in all of this/what knowledge and power they’ve had. I know Matty is the label’s creative director, but I’m unaware of the extent of what that would entail him to know. afaik no one else in the band is involved in the label itself directly. we all know what I would *like* to believe here, but I’m not some uncritical stan so that’s not really relevant to what I actually believe is true. Jamie has been playing as a live/touring member of The 1975 for a while now iirc, so a lot of the label’s business has inherently been done on the road and in their presence.

I just want to see where things go from here. I want an outcome that is not just satisfactory, but exceptional, for these artists who have been mistreated.

 

Idk who that is or what he is alluding to - someone explain ?

 

the replies to this tweet seem to be where things started popping off

 

Interesting. Obvi still unsure of the details/info regarding the mistreatment but they seem pretty passionate.

 

I’ve always felt that Dirty Hit is just the umbrella for The 1975 and everything else comes second. I get it, they’re your cash cow, but there’s so many smaller acts signed to this label that frankly I had no idea existed.

 

Are any of the dirty hit roster any good beyond their immediate group of Sheila Es lol

 

No Rome, Beabadoobee and Gia Ford are the only ones I listen to. Hate Pale Waves and Wolf Alice. Beabadoobee’s Space Cadet EP is awesome.

Edit: Forgot Japanese House. Love Japanese House.

 

I’m down with Pale, Rome, TJH but I can’t fuck with bippity boppity and haven’t listened to Gia. What’s her deal?

 

Rina Sawayama too!