The 1975, Notes on a Conditional Form | Album Review 💿

The 1975 throw around a vast number of ideas throughout their fourth studio album, Notes on a Conditional Form, which ultimately lacks cohesion.

The pop album in the 10s and 20s often features an assortment of different styles, which each song often sounding distinct and unrelated to the others. This can be positive but often, it hurts cohesiveness and the bigger purpose of the project.  In the case of Notes on a Conditional Form, the fourth studio album by British alternative collective The 1975, the band embraces the same ‘grab bag of tricks’ approach.  The ambition and restlessness exhibited by Matthew Healy and company is quite captivating at times. 

The problem is, this ‘grab bag of tricks’ approach works most accessibly with shorter, tighter albums compared to a 22-track, 80-minute juggernaut like Notes on a Conditional Form.  The album has its fair share of moments but lacks cohesion ultimately.

“The 1975”

“The 1975” commences Notes on a Conditional Form environmentally conscious.  Here, the band serves as the accompaniment for Swedish teen environmental activist Greta Thunberg, who reads a speech, portions of which are from her own famed “Our House is on Fire” speech.  Thunberg and the band make their point on this edition of their opening track (it’s always “The 1975” if you haven’t noticed), but it runs a bit long (nearly five minutes) with little contrast to be a truly engaging, exciting start.

“People like people / They want alive people / The young surprise people / Stop fucking with the, fucking with the…” Okay… “People,” the first track that features a traditional approach by the band is actually an about face from what we typically expect from The 1975.  It’s an aggressive, profane, high-energy rock cut where Matthew Healy shows eschews melody for the most part.  Brief, it’s nearly half the length of the opener.  In the one sense, it’s punk-driven nature is appreciated, though in another sense, it’s is unexpected. The short instrumental record “The End (Music for Cars)” is ambient, lush, and radiant, featuring orchestral cues.

“Frail State of Mind”

✓ “Frail State of Mind” marks another shift on Notes on a Conditional Form.  Backed by a UK-style electronic groove, “Frail State of Mind” has more of a danceable quality, within the context of alternative music/alternative pop/rock that is.  As far as sound, it’s certainly more in line with the band’s 2016 album, I like it when you asleep…, and its 80s sensibilities.  You could argue that the music is what stands out most, though the theme and lyrics certainly aren’t unimportant considering Healy explores mental health.  Another instrumental, “Streaming,” follows. Like “The End (Music for Cars),” it’s lovely.

Unsurprising, The 1975 shift stylistically once more on ✓ “The Birthday Party,” the lengthiest song yet behind the opener.  Approaching five minutes in duration is always ambitious, but “The Birthday Party” is worthwhile.  Healy exhibits plenty of personality, with colorful, honest lyrics:

“And I seen the girls and they were all like
‘Do you wanna come and get fucked up?’
Listen, I got myself a missus, says there can’t be any kissing
‘No, don’t be a fridge, you better wise up kid
It’s all Adderall now, it doesn’t make you wanna do it.’”

“The Birthday Party” has an indie/alternative pop/rock sound that’s built on more traditional rock instrumentation – guitars, bass, drums – with some additional tone color (keyboards, some horns, etc.). You certainly shouldn’t be surprised that “Yeah I Know” opts for an electronic sound, more closely related to “Frail State of Mind,” though more minimal.  And by minimal, look no further than the chorus: “Hit that shit, go hit that shit.” Yeah, I literally ‘shit you not.’  “Yeah I Know” embraces pitch shifted, chopped and screwed vocals over the course of its four-minute-plus duration.  If nothing else, ‘it’s a vibe’ – 2 Chainz.

“Then Because She Goes”  

If it hasn’t been clear up to this point, Notes on a Conditional Form never sticks with just one idea.  Hence, it shouldn’t come as a surprise that the brief “The Because She Goes” is rock to the core with dirty guitars and heavy-handed drums.  Healy’s vocals aren’t particularly coarse, but he asserts himself sufficiently.

“I’m in love with Jesus Christ / He’s so nice.” ✓ “Jesus Christ 2005 God Bless America” tackles faith and sexuality. The opening lyric comes off incredibly ‘Christian,’ however, sexuality comes into play on the second verse, with Phoebe Bridgers assisting: “I’m in love with a boy I know / But that’s a feeling I can never show.”  Why can’t he show it? Let’s see, friction between being homosexual and Christian, sinful Sodom and Gomorrah, and “Adam and Eve, Not Adam and Steve” … Bridgers has her own moment where sexuality comes to the forefront, expressing love for Claire, and mentions that she “masturbate(s) the second she’s not there.” With Healy and Bridgers being Christians (contextually), the chorus, the centerpiece, highlights the plight of the gay Christian, who is a walking contradiction, as well as potentially Healy’s desire for a faith he doesn’t possess.

“Fortunately, I believe, lucky me
Searching for planes in the sea, and that’s irony
Soil just needs water to be, and a seed
So, if we can turn into a tree, can I be the leaves?”

Ultimately, this standout record has ample layers to unpack.

“Roadkill”  

If “Jesus Christ 2005 God Bless America” was more subdued, “Roadkill” is more overt, with distorted, diry guitars, and more projected vocals from Healy.  Should “Roadkill” be viewed seriously? No.  The lyrics are honest, but most of all, quite comical, particularly that first verse – sheesh!  According to the front man, via Apple Music, “Roadkill” is about touring American and getting burnt out and searching for things.

Following “Roadkill,” ✓ “Me & You Together Song” comes into play, another piece of the ever scattered Notes on a Conditional Form.  The sound is quite loud, with lots going on – understatement. The backdrop just doesn’t let up, robust thanks to bright, rhythmic guitars, which are pronounced in the mix. The balance is questionable, particularly throwing in lead and backing vocals.  Additionally, there’s a big bass line and anchoring drums. Beyond sound, the songwriting and theme encompass infatuation, summed up on the simple, relatable chorus.  Throughout the verses, Healy fills in the blanks about his love, specifically his mishaps and quirks.  The second verse stands out, with reference to ‘queerness’: “I’m sorry that I’m kinda queer, it’s not as weird as it appears /… Oh, it’s okay, lots of people think I’m gay.” By the end, he emphasizes how long he’s been totally into her.

“I Think There’s Something You Should Know”

“I Think There’s Something You Should Know” commences the second half of the album.  Like “Frail State of Mind” and “Yeah I Know,” The 1975 experiment with more of an electronic script, constructed more minimally than maximally.  Even if the sound carries more than the lyrics, Matthew Healy delivers a gem with the line, “Feeling like someone, like somebody else, who don’t feel them self / Paying for their wealth with their mental health.” ✓ “Nothing Revealed / Everything Denied” marks an experiment the band hadn’t tried prior on Notes… hip-hop.  Additionally, the standout borrows some of the soulful, gospel cues of “If I Believe You,” one of my favorites from I like it when you sleep… (2016).  “Nothing Revealed / Everything Denied” features beautiful vocals from Healy, though the rap verse is more forgettable.  Atonement comes by way of those choral vocals, as well as the groove.

On “Tonight (I Wish I Was Your Boy),” matters of the heart are full force, though you honestly don’t need to look further beyond the title.  But, in case it wasn’t clear, on the chorus, Matthew provides clarity: “And tonight, I wish I was your boy / (Run away from me, run away from me) / … Tonight, I think I fucked it royally.”  Crystal clear…. Worth mentioning is the use of an unexpected The Temptations sample (“Just My Imagination (Running Away with Me)”).  It’s an interesting result.  The brief “Shiny Collarbone” features vocals by Cutty Ranks.  The lyrics are built on repetition, with the key lines being “Y’all in her fi mash up di place,” “Free up the I, free up the I,” “Killing resulting in microphone culture,” and “Who feel Cutty?” Yeah, that’s about all I have to write about this one…

“If You’re Too Shy (Let Me Know)” 

✓ “If You’re Too Shy (Let Me Know)” is accomplished in just about every facet; one of the best songs to grace the album. Styled in the 80s vain, it’s quite sleek with horns and keyboards complementing guitars. One of the brightest spots is an electrifying saxophone solo.  Vocally, Healy remains compelling, particularly with online dating as the theme (“I see her online, all the time / I’m trying not to stare down there”).  He’s intrigued by her looks and the sexual potential more than an emotional connection.  On the second verse, he freakily adds, “I’ve been wearing nothing every time I call you / And I’m starting to feel weird about it…” The chorus is the centerpiece:

“‘Maybe I would like you better if you took off your clothes
I’m not playing with you baby; I think that you should give it a go’
She said, ‘Maybe I would like you better if you took off your clothes
I wanna see and stop thinking, if you’re too shy then let me –
Too shy then let me know.’”

Though it runs long, it’s quite a bop; definitely fun and memorable.

“Playing on My Mind”

“Playing on My Mind” is a reflective record that explores matters of the mind.  At different points throughout the LP, Matthew Healy explores mental health.  Here, he has a number of questions – hypothetical situations and such – that trigger his anxiety.  “Will I get divorced when I’m old?” he asks on the second verse, while he states, “I won’t get clothes online ‘cause I get worried about the fit / But that rule don’t apply concerning my relationships.” Clever.  The sound of this particular record is more singer/songwriter-oriented; more acoustic-driven than not.  

It’s certainly ambitious dropping a six-minute-plus song 18 tracks into an album.  That’s what occurs on the instrumental cut, “Having No Head.”  The positives? It’s radiant.  The negative? It’s a six-minute-plus song, near the end of the track list on an entirely-too-long album.  “What Should I Say” restores vocals, though vocals dressed in effects, including pitch shift.  Like “Having No Head,” the electronic cues dominate.  The sound continues to be sleek, but some of the excitement and punch it should exude falls short due to the length of the album.

“Bagsy Not in Net” 

“Bagsy Not in Net” has one of the most interesting titles, at least from an American perspective.  The brief record is distinct, but unfortunately, in a confounding way.  Penultimate ballad “Don’t Worry” is much more appealing, finding Healy expressing dedication, alongside his father, Tim Healy.  The song has a significant backstory. That sentiment shows even through the heavy-handed vocal effects.

“Guys” concludes Notes on a Conditional Form thoughtfully – it has good intentions. Healy is thankful for his bandmates, which is totally understandable and worth celebrating.  However, I’m not sure if it’s the exhaustive length of the album that causes the slight rub that the “Guys” is a bit, um, dare I say schmaltzy… It’s probably the slow pace and repetition of the key lyric, “You guys are the best thing that ever happened to me.”

Final Thoughts

So, what does one make of Notes on a Conditional Form? The 1975 have lots of ideas. Some of those ideas work great, while others are less effective. So many ideas definitely hurts the cohesiveness of the project.  Yes, there’s plenty to like but (1) it’s incredibly scattered, and (2) it’s TOO DAMN LONG – yeah, I said it!  Still, with the age of streaming considered, the band presents an album where you can pick and choose what best suits you. A mixed bag, there’s enough good here to revisit…selectively.

✓ Gems: “Frail State of Mind,” “The Birthday Party,” “Jesus Christ 2005 God Bless America,” “Me & You Together Song,” “Nothing Revealed / Everything Denied” & “If You’re Too Shy (Let Me Know)”

The 1975 • Notes on a Conditional Form • Interscope • Release: 5.22.20

Photo Credit: Interscope