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REVIEW: THE 1975–I LIKE IT WHEN YOU SLEEP, FOR YOU ARE SO BEAUTIFUL YET SO UNAWARE OF IT

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THE 1975
I LIKE IT WHEN YOU SLEEP, FOR YOU ARE SO BEAUTIFUL YET SO UNAWARE OF IT

Vagrant Records and
Interscope Records

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After a near three year wait, Manchester’s The 1975 release their sophomore LP, I like it when you sleep, for you are so beautiful yet so unaware of it, that reads as much as a letter of fandom as it does an original collection. The group shifts from soaring, electric pop tracks (“She’s American” and “The Sound”) to 80’s prom night anthems (“Somebody Else” and “A Change of Heart”), and everything between (“UGH!”). On their second turn, Healy and company find themselves creating a more sonically layered product, relying on equal parts production and performance

The tracks starts with flair on a six-song-portion beginning with the Bowie-esque “Love Me” and ending with “If I Believe You”, which carries some unfamiliar, but welcome gospel undertones. From there, I like it when you sleep briefly loses some steam on the confused “Please Be Naked” and “Lostmyhead”, but finishes proudly on a climate of Crowded House and Madonna.

The strengths of the second installment rest on its new, complex arrangements. No longer are the songs strictly reliant on the foursome’s instrumental harmony and ability to make fucking infectious hooks. Experiments with vocal effects (“Somebody Else”) and guitar solos (“Love Me” and “The Sound”) reinforce an already great formula for pop. There’s an undeniable brilliance to songs like “She’s American,” “Somebody Else,” and “Loving Someone.” But their ambition for a perfect album is also the source of the project’s few troughs. The lost moments are at the center of the record, which sometimes feels more like filler than fulfilled.

Though the 17-track effort has some obvious missteps, the highs on I like it when you sleep far outweigh its lows. Despite still struggling with some challenged lyricism and ever-present self-indulgence, the risks taken in engineering and homage to influencing figures counterbalance the shortcomings with ease. The second 1975 album cements the band as pop group royalty in an era where the genre’s selection pool is disappointingly shallow. This is a band that is still metabolizing it’s sound, and its future is as bright as the new aesthetic adopted on a wonderful follow-up LP.

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THE 1975
I LIKE IT WHEN YOU SLEEP, FOR YOU ARE SO BEAUTIFUL YET SO UNAWARE OF IT

Vagrant Records and
Interscope Records

[/spb_text_block] [spb_image image=”13185″ image_size=”full” frame=”noframe” intro_animation=”none” animation_delay=”200″ fullwidth=”no” lightbox=”no” link_target=”_self” caption_pos=”hover” width=”1/1″ el_position=”first last”] [spb_text_block icon=”Third” animation=”none” animation_delay=”0″ padding_vertical=”0″ padding_horizontal=”0″ width=”1/1″ el_position=”first last”]

After a near three year wait, Manchester’s The 1975 release their sophomore LP, I like it when you sleep, for you are so beautiful yet so unaware of it, that reads as much as a letter of fandom as it does an original collection. The group shifts from soaring, electric pop tracks (“She’s American” and “The Sound”) to 80’s prom night anthems (“Somebody Else” and “A Change of Heart”), and everything between (“UGH!”). On their second turn, Healy and company find themselves creating a more sonically layered product, relying on equal parts production and performance

The tracks starts with flair on a six-song-portion beginning with the Bowie-esque “Love Me” and ending with “If I Believe You”, which carries some unfamiliar, but welcome gospel undertones. From there, I like it when you sleep briefly loses some steam on the confused “Please Be Naked” and “Lostmyhead”, but finishes proudly on a climate of Crowded House and Madonna.

The strengths of the second installment rest on its new, complex arrangements. No longer are the songs strictly reliant on the foursome’s instrumental harmony and ability to make fucking infectious hooks. Experiments with vocal effects (“Somebody Else”) and guitar solos (“Love Me” and “The Sound”) reinforce an already great formula for pop. There’s an undeniable brilliance to songs like “She’s American,” “Somebody Else,” and “Loving Someone.” But their ambition for a perfect album is also the source of the project’s few troughs. The lost moments are at the center of the record, which sometimes feels more like filler than fulfilled.

Though the 17-track effort has some obvious missteps, the highs on I like it when you sleep far outweigh its lows. Despite still struggling with some challenged lyricism and ever-present self-indulgence, the risks taken in engineering and homage to influencing figures counterbalance the shortcomings with ease. The second 1975 album cements the band as pop group royalty in an era where the genre’s selection pool is disappointingly shallow. This is a band that is still metabolizing it’s sound, and its future is as bright as the new aesthetic adopted on a wonderful follow-up LP.

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