Review: The 1975 - 'Notes on a Conditional Form'
It’s fair to say collective sanity is running a bit thin. Our political, social, economic and healthcare systems are currently failing us in the face of an unprecedented pandemic. Self-isolating has left most of us without significant human contact in weeks. As the world seems to spin out of control at a dizzying pace, The 1975 is acutely aware of it.
Notes on a Conditional Form serves as a companion to the band’s previous release A Brief Inquiry Into Online Relationships, with the band exploring similar lyrical themes of intimacy, the Internet’s influence, and isolation. The band keeps their indie-pop-rock roots close to their heart but explores house and country-folk more than ever, creating a wildly varied album. The 1975 has matured from their early pop-rock heartthrob days and is now a band stretching themselves as far as they can. It seems they’ll leave nothing unsaid, no subgenre unexplored as they ponder climate change, camgirl culture and, of course, love and all its speed bumps on their fourth release.
The existential themes from Online Relationships have carried over to Conditional Form as frontman Matty Healy continues to contemplate the state of the world. The album opens with teen climate change activist Greta Thunberg speaking over instrumentation on the dire situation of our planet’s sustainability and the drastic changes needed to save it. As the music cuts out at the end of the song, Thunberg’s voice stands alone: “It is time to rebel.” This excellent intro rails into “People,” which showcases the most aggression we’ve ever seen from The 1975. The first single from Conditional Form is a jarring punk jam hurrying forward at a frantic pace. Its nonstop delivery mirrors 2018’s “Love It If We Made It” as it details the media oversaturation inundating our screens and brains every day.
“The Birthday Party,” “Jesus Christ 2005 God Bless America,” and “Roadkill” dive into folk and country influences, with indie queen Phoebe Bridgers lending her vocals to the latter two tracks. Healy’s lyrics in “Roadkill” and “The Birthday Party” come off as stream-of-consciousness, with some of his best delivery on these songs. With slide guitar and a country twang, Pinegrove’s influence is felt on these few songs, with Healy even name-checking them on “The Birthday Party.”
“Nothing Revealed/Everything Denied” is another album highlight, borrowing from the smooth R&B vibes cultivated on Online Relationships standout track “Sincerity Is Scary.” “If You’re Too Shy (Let Me Know)” is the 1975-iest song ever. The final two tracks of the album are delightful. Healy duets with his father on “Don’t Worry,” a beautiful lullaby that Healy’s father played as he was growing up. “Guys” is Healy expressing gratitude for his bandmates as well as the stability and career they’ve given him. It’s a sugar-sweet pop song to close out a dreamy album.
The 1975 albums typically include interludes, instrumentals and soundscapes. While this is nothing new for the band, they’re wading into dance music territory with house interludes like “Having No Head” and “What Should I Say.” “Shiny Collarbone” sees the band collaborate with dancehall artist Cutty Ranks. These interludes are thumping, energetic and are encouraging that the band could follow a multitude of musical directions going forward. Other interludes on Conditional Form are merely transitional and only serve to lengthen or even disjoint an already lengthy album. The transitions are pleasing but a 22-track, 1-hour and 20-minute runtime record feels excessive. There is fat that needs to be cut from Notes on a Conditional Form. Compared to its predecessor (15 tracks and just shy of an hour), Conditional Form’s songwriting is sadly not up to par and feels bogged down at times.
And so ends the Music For Cars era of The 1975. There is a palpable energy surrounding the Manchester group and it feels as though they could do anything next - tackle any world-rippling subject, experiment with any new sound. And while none of Conditional Form’s songs are particularly bad, as a whole the album feels overextended. There are incredible musical moments on Notes on a Conditional Form; it’s a shame to have to search for them.