the 1975

OK found a copy

yeah the ylt song

it sounds like at least 4 different albums in different genres shuffled together

yes it really does

meanwhile "if youre too shy" is still the best song i've ever heard

"If You're Too Shy" is such a well-constructed song.

"shiny collarbone" is very cool but is the peak of the absolutely bizarre sequencing

really think they nailed the acoustic songs on this record, "playing on my mind" is just another example of that

imo they should be writing for country artists

and producing

"having no head" is like "how to draw/petrichor" pt 3

i am so pleased

"what should i say"

― J0rdan S., Tuesday, May 19, 2020 1:28 AM (five hours ago) bookmarkflaglink

yes

what a fuckin weird record

it has maybe the weirdest/worst sequencing of any record ive ever heard

second only to the last one

?

the whiplash effect of the sequencing is i think a feature for me in the case of this particular record

wake up wake up wake up it's tuesday morning

i think "yeah i know" is fucking amazing

i know it gets hard sometimes
making out with people that you don't like

I lol'd at the "sorry for not chiming in on the election, I'm busy" line wherever that happened

I kind of suspect this is not coalescing for me for similar reasons as the hayley williams album and a couple others this year and that's the combo of super eclectic sonics and super insular writing which grates on me probably unfairly

there's lots to like in both of course

and i won’t get clothes online 'cause i get worried about the fit
that rule don’t apply concerning my relationships

very jarring to see pinegrove and their "weirdness" namechecked in song

adore most of this on first listen but yup the sequencing is truly bizarre. also don't really care for the bookend-y instrumentals on either side of "frail state of mind."

two moments that hit me particularly hard: "feeling like someone, like somebody else, who don't feel himself" on "i think there's something you should know" + those "i kno-o-o-ow" bits of the "roadkill" chorus

every time matt uses "we" I wonder who he thinks he's talking about ("I'm not made of it", sure pal)

people like people, they want alive people? yeah right matty

"Then Because She Goes" is one of the best things on here imho

yeah that shit is emo

re: the bridge of "roadkill"

youuuuuu
i've been waiting for youuuu
my whole life

maybe my favorite melody matty's ever written, my god

it's the best of the album tracks

with all due respect, you guys are fucking crazy. this album is ridiculously good.

otm as hell

I have the usual trouble, and I suppose it's a minority opinion: I don't need so many instrumentals or quasi-instrumentals.

yeah they do this no favors. save it for the EPs lads

there are four and i'd say "having no head" and "shiny collarbone" rule and the other two are very short and pretty framing devices for "frail state of mind" and "the birthday party"

"shiny collarbone" being the only thing i can think of as something y'all would consider a "quasi-instrumental" i guess

everything else is fully formed

i don't get the complaints about the sequencing at all. if you wanna say there's filler ok, i disagree & think the instrumentals/electronic tracks stand up on their own but it's 22 tracks so i get you. but from a sequencing perspective i find it quite beautiful and cohesive. the last album jumped around wildly in terms of style & for that reason i haven't listened to it front to back in ages, but here i think they're working in a pretty established aesthetic continuum. electronica, shoegaze-y guitars, folk/country... stuff like this has interacted in tons of different ways for ages, the juxtaposition of textures on this album makes total sense to me. also love that the album has this warm center, they transition into and out of it w/ colder electronic and soundscapey production in a way that i think is quite effective. a lot of you guys are tripping imo.

i guess the intro counts too but i listen to that thing front-to-back every time! yasss greta hurt my feelings about mass extinction xp

on a stan nerd level it's like they dove back into the EP aesthetic and blew it up into its own world in a way that is distinctly post-everything that came after it and for that reason i think it's a kick ass record too

booming posts j0rd

this record has made me realize that I don't like matty all that much anymore, or at least not enough to spend 80 minutes with ~matty thoughts~

10. "Roadkill"
11. "Me & You Together Song"
12. "I Think There's Something You Should Know"
13. "Nothing Revealed / Everything Denied"
14. "Tonight (I Wish I Was Your Boy)"
15. "Shiny Collarbone"
16. "If You're Too Shy (Let Me Know)"
17. "Playing on My Mind"
18. "Having No Head"
19. "What Should I Say"

i'm seriously just looking at this and laughing

nothing but hits

on a stan nerd level it's like they dove back into the EP aesthetic and blew it up into its own world in a way that is distinctly post-everything that came after it

can you develop this?

i do not understand what is objectionable about the lyrics

"what should i say" is completely doing my head in haha

"Tonight" sounds like Passion Pit

i do not understand what is objectionable about the lyrics

there's nothing wrong with them really, I just find him exhausting at this length

On a purely aural level, it's their most delicious. The confidence of the singles -- their strongest run imo -- does complement the quieter Burial/Radiohead stuff; Healy can make these fabulous declarative statements, then disappear into the music for a while ("Shiny Collarbone," "Yeah I Know") before reemerging. It plays like a deejay set.

on a stan nerd level it's like they dove back into the EP aesthetic and blew it up into its own world in a way that is distinctly post-everything that came after it

can you develop this?

― TikTok to the (Alfred, Lord Sotosyn), Tuesday, May 19, 2020 12:43 PM (thirty seconds ago)

to me the overarching palate of this album is the electronic/shoegazey sound of the EPs, but it's also distinctly post-everything the band made after those EPs (maybe that part wasn't quite clear). there's the neo-soul stuff, the "tootime"ish pop, the cheesey "she's american" 80s numbers, acoustic tracks and flirting w/ country, the orchestral stuff from the last album. some of it is fully self-referential as well... "nothing revealed" opens in a way that calls back to "sincerity is scary" etc. again it all strikes me as pretty coherent as a standalone record and w/in the context of the band's career arc.