Before I get into anything, I want to take one last chance to sincerely thank anyone who’s made it here. Your kindness and engagement is what inspires me to share my passion and my feelings with a wider audience. I hope that my content can serve as a bridge to new music, or perhaps even a way to engage with music you already know in ways you haven’t until now. Like I’ve mentioned before, music is about how it makes you feel, and I think that establishing that relationship helps open up a listener to new experiences with music.
That being said, I figure it’s only fair to provide a little forecast for y’all on what content to come will look like, both in form, and in interval. Now, I am only one music nerd, so I won’t be constantly cranking out content, but, in hopes I can continue to have y’all come back around, I want to make sure it stays regular if nothing else.
The Plan
Each week, I’m going to aim to post something at least once out of each of the categories below
Album Review
Your standard music blog fare. It could be a new release, it could be a classic, just depends on the week. They’ll vary in form, with some taking more of a long form, track-by-track analysis approach like my NOACF review, and some taking a more succinct, overarching approach. What every review will include is a RIYL (recommended if you like), a list of my favorite standout tracks, and a grade out of 10
Top 500 Album List Highlight
For those that aren’t aware, earlier in 2020, Rolling Stone released its newest iteration of the Greatest 500 Albums of All Time list. A friend inspired me to take the trek through the full list. Experiencing what could potentially be the greatest collection of music ever made, if nothing else, will give me the chance to explore sides of music I haven’t before, and I want to share those experiences with all of you. Here, I won’t clog the site with a review for every album, instead I’ll focus mainly on LPs that stood out, whether for good or bad.
New Music Releases
What’s music without discovery? Every Friday, it’ll be my privilege to share a collection of new tracks, EPs, or records that I think deserve a spin. Nothing in crazy detail here, just a blurb about what makes them worth a listen, and a quick RIYL.
In the future, I hope to create some content for live music, but given the current live music scene, that may take the backburner until our country gets healthy enough to stave off COVID risks at shows. Hopefully, y’all receive this well enough for me to break out into some new content styles as well! But hey, we’ll grow together on that one. Without further ado, let’s get the bops going…
Keep in mind that this is my 30 favorite songs of all time. Not songs I claim are the best ever. Art is subjective, and many of the songs that I have on this list are tied to fond or powerful memories that give them meaning to me. Miss me with any pretentious comments.
I’m going to go ahead and get this out of the way. If you’re looking for a good indicator of whether or not my reviews and content are going to align with your general tastes, I think that nothing is a better litmus test than my favorite songs of all time.
Why do this?
Because I think it helps y’all connect to my reviews and content as coming from a person, not an institution, or a company that needs to maintain some sort of homogenous platform
Because one of the best parts about music is sharing it with people you care about, whether in person, or virtually
Without further ado, we’ll start from the top
30- See You Again – Tyler, The Creator (ft. Kali Uchis)
This is the best song Tyler has created, but I hope that it’s not the best he’ll ever create. This really solidified his artistic growth to me, and the production style speaks to me. The track has this great mix of fat, bass driven, verses, with some really light and airy choruses that pair so well with Kali Uchis’ voice. I associate this song with some of my happiest car rides, and it makes me feel love whenever I listen to it.
29- Gimme Shelter – The Rolling Stones
This is the best song the Stones have ever written, or will ever write. The ethereal intro to this song with that really pared back riff sets such a great setting, and you can feel the storm brewing as the intensity of the vocals and drums amp up throughout the song. I would argue that the rawest moment of all 70’s rock comes from the 2:45-3:05 mark of this song, where Merry Clayton, co-vocalist, sings so powerfully and willfully that you can feel the strain in her voice as she hits the final shriek in “BABY”. She suffered a miscarriage after recording this song, and there’s every indication it was from the strain she put on her body in the recording for this song.
28- Freedom – Rage Against the Machine
Choosing a Rage song was so hard for me, because there are so many good ones to choose from. But Freedom is the most diverse track they’ve got in their catalogue, and one that I think has it’s most powerful moment. If you haven’t already gathered, I love when songs build into an “oh, shit” moment, and the bridge leading into Zac’s blood curdling scream gets me every time. “Freedom? Yeah, right”.
27-Television/So Far So Good – Rex Orange County
Nothing captures Rex better than this song. It’s got his jazzy touches, his quirky, sincere, and endearing lyricisim, and some nice breakdowns. The transition from upbeat, driving, pseudo-rapping to the somber ballad at the end of the song feels so good. The vocalizing at the end of “Be the only one to make me smile” is impossible not to sing along to.
26- Dead! – My Chemical Romance
Welcome to the Black Parade is a masterpiece of an album, and this song not only sets up the story of the album beautifully, but it’s everything you want in an emo rock song. Distorted power chords, a sick solo, grimy, angry vocals, and an unrelenting fast tempo. Oh, and an added bonus of a great outro chorus. I only wish I lived to see this performed live.
25- Cuddle Fuddle – Passion Pit
This has an argument for my favorite love song ever. Something about the simplicity of the synth and kick pairing together with simple, unapologetically shrill vocals feel so right. The lyrics are what I love though. They really strike a chord to the way you rationalize romantic thoughts when you aren’t feeling your most eloquent or articulate, and the imagery that this song puts on display never fail to make me smile.
24- a few words for the firing squad (radiation) – Run the Jewels
I can’t forget about RTJ. I know it’s been only a short while since this song was released, but I still haven’t stopped listening to it. I think RTJ are one of the most underrated hip-hop groups on the scene right now, and this song showed them bust out some artistry to go with their violent, jarring, and gripping beats and bars. The sax in the back builds as the tension grows between Killer Mike and El’s verses, and the breakdown just decomposes this fiery album into ash.
23- La Vie En Rose – Louis Armstrong
Beauty. Simplicity. In a word, affection. You listen to this song, you want to hug someone, tell them you love them, or just remember someone in your life fondly. Louis’ deep, scratchy, voice adds such a wonderful texture to this song, and the blaring trumpet creates this conviction that closes the track satisfyingly.
22- Heroes – David Bowie
Bowie was another artist that made it hard for me to choose a song. But Heroes has such a deliberate resolve, a calm sense of strength that it instills with you. I think that silly lines like “I wish I could swim/ like dolphins can swim” endear me to the song, and the emotional, gut wrenching vocals at the end of the song build into a triumph, making me really feel ready to be a hero by the time the track is over.
21- Ribs – Lorde
Audre had no business popping off like this. The deep, mysterious bass and synth make you feel like you’re out on a desolate night drive, just contemplating life. The backup vocals in the chorus circle around your ears in a brilliant use of stereo, and the lyrics just really hit home about the fears and tribulations of growing up, moving up and on to new things. Lorde is a genius, and if you don’t think so after listening to this song, well… I don’t know what to say.
20- Naive – The Kooks
What an iconic riff. I’d be surprised if there’s a single self-declared alt rock or indie fan that can’t identify this song just by the first three seconds of the song. Not too much depth to my analysis of this song, it just has perfect pacing, amazing guitar, and the ideal build. It just won’t let me down, if you will.
19 This Velvet Glove – Red Hot Chili Peppers
RCHP are a mainstay for me, and while I’ve matured into appreciating a wide array of genres, they’ll always be a band whose work feels comfortable, accessible, and sincere. This song is my favorite of theirs because it highlights my favorite things about them. Anthony Keidas’ vocals that sound like he’s singing with a smirk, FAT slaps on the bass from Flea, and the patented RCHP silly-ass lyrics. “Long to be with someone to tell, ‘I love your smell'”.
18- Thunder Clatter – Wild Cub
Probably the only one hit wonder on this list, but it had to be done. This is the happiest song ever created, hands down, no argument. This song is so happy and pure that I can completely overlook the fact that the mastered recording features a bass beat that’s noticeably behind the rest of the song for the first 30 seconds. This song sounds like sunshine, and listening to it feels like you’re frolicking in a field.
17- Mi Amigo – Kings of Leon
I have no idea why, but this song, a weird ballad about a dysfunctional couple really pulled me out of a rut period of my life. The main guitar riff feels clean and hopeful compared to the cynical lyricism and vocals of the track. The little quirks of “you know son!” really hit on with Kings of Leon do best, which is give you something rough around the edges that still feels sweet to the taste.
16- Gibraltar – Beirut
Another song that is up here because it’s inextricably tied to a memory. This was the song that always played on our automated mix tape at the radio station I worked at before I went on air. It came to be a mainstay for me, and my dad would always tell me how much he loved it. There were days he would be my only listener, but I would know that this song was a feeling that we could share together. The bongos are so whimsical and Beirut’s voice is to die for.
15- Plush (Acoustic Cut) – Stone Temple Pilots
Yes, I like this version better. Something about it feels more sincere, more opportunistic. I get infatuated with small, seemingly negligible pieces to music’s production, like the high pitched ringing that persists faintly in the background through most of this track. It creates an effect of intimacy through the song, and I feel like the great Scott Weilan is sitting in a chair across the room from me, plugged into a box amp, just enjoying the moment. This was a childhood favorite, and a go-to when I need to feel some solace.
14- Pacifier – Catfish and the Bottlemen
Catfish and the Bottlemen are my favorite “true” rock act of the 2010’s, and I this song perfectly captures what they do best. Driving guitar riffs, passionate, cutting vocals, and crashing drums. Whenever I hear this song, I’m astral projected into the mosh pit that formed during this song when I saw them live, wherein everyone in the pit would hug each other and smile as they slammed into one another. In a way, this song feels that wholesome in its own rocking way, and it never fails to get me hype.
13- J’OUVERT – BROCKHAMPTON
Speaking of hype. This song, in a word, is visceral. By far the most emotional, gut wrenching verse Joba has ever delivered, and even Merlyn and Matt’s verses get slept on. When I think of this song, I also think of mosh pits. Much, much, more aggressive mosh pits. This song succeeds in creating a backdrop of anger and self righteousness, and I need a place for that in my life. One of the most sonically diverse songs they’ve ever put out, and one that always riles me up.
12- Title and Registration – Death Cab for Cutie
If you don’t think that this is the best Death Cab for Cutie song, you’re clearly not my brand of sadboy. The lyrics give a sense that the singer is coping with this deep pain in their chest via a thin shroud of irony and humor. I think we can all relate to covering up sadness with the façade that we’re all alright until it just crumbles. Just as Ben Gibbard sings in the song, this is one to lay awake at night to.
11- Man Who Sold the World – Nirvana
The entire unplugged performance that Nirvana put on was once-in-a-lifetime level immaculate, but this song endears me for how it roughs the edges of an acoustic performance. Cobain adds grit to a song Bowie made glossy, and every time I hear the amp screech as he enters the final bridge, I get goosebumps. This is definitely my favorite cover of all time, and it’s my favorite Nirvana song to boot. The vocals are haunting, and the bass thuds my heart strings.
10- Say It Ain’t So- Weezer
Hello son, have ya ever heard of power chords? What an absolute classic. Takes you back to Rock Band sessions with your friend group, portable CD players, and your coming of age. But what gives this song the staying power is the breakdown. The slow build creates such a heightened suspense, and just when you think they’re just gonna end the song without dropping the thunder, the guitar comes shredding in with crashing drums into a hyper-emotional, belt it out with all your heart final 55 seconds of sheer catharsis and bliss. YEAH YEAHUHHHHH.
9- Everlong – Foo Fighters
Another song that just fits the prototype. A mysterious, brooding intro that features Dave Grohl’s killer voice, and the signature Foo Fighters rock charm. This used to be my favorite song of all time, but as I’ve grown, it’s taken the backseat to some of the more powerfully influential songs to me, but it’ll always be a song that you can crank in the car or in the empty apartment and just jam out the whole time, elated and energized.
8- Dreams – Fleetwood Mac
See, I could claim I loved this song long before TikTok made it huge again, but I was really maybe in the 10th or so generation of music fans that’s caught onto just how good this song is. There’s no better way to describe this song than “a whole vibe”, and I love it. It suits any laid back mood, and its subdued soulfulness and sassiness make it infectious beyond belief.
7- Lazy Eye – Silversun Pickups
As you likely could guess at this point, this song just does better what Say It Ain’t So did so well earlier on in the list. An early, sultry and ethereal intro build steadily into an absolute thrasher that never fails to give me goosebumps when I listen. The moments where you hear Brian Aubert’s voice shriek in pure effort and emotion, and the guitar ever so slightly squeal as it navigates through the intense bridges and solos cut into you like a knife. I love a song that can make you feel vulnerable without needing to say anything.
6- Naive Melody (This Must Be the Place) – The Lumineers
A bonus track for a top hit? Also, I lied, this is my favorite cover of all time. Stripping back this song to a kick drum and an acoustic guitar opens up the rest of the song to give room for the lyrics, and the emotion behind them, to really shine through. This song feels like love and heartbreak at the same time, and there’s something deeply moving about that juxtaposition that just dominates my soul every time I give this track a spin.
5- Blood Bank – Bon Iver
Please don’t sleep on this track. Justin Vernon puts his full chest into this song, and the crashing breakdown at the end is something I love thatthe Bon Iver outfit rarely sneaks into their songs. There’s a smattering of goofy, yet so, so, loving lyrics in this song that speak to me for reasons I don’t quite understand. Ain’t it just like the present/ to be showing up like this? . I’m in love with your honor/ I’m in love with your cheeks. Tears have been shed numerous times to this song, and always in a welcome way.
4- I’m With You – Grouplove
Just when you thought that Grouplove had perfected the alt-beach-rock-pop hybrid, they throw something at you that feels so much deeper and powerful. The keys in the lead up to this song are beautiful, and make me feel almost jittery as I’m waiting for it to get to the verses. There’s such intensity, intent, and passion behind each chorus and every breakdown, and feeling how much this band loves each other makes you love the ones around you a little more.
3- Nights – Frank Ocean
Sometimes, artists’ popular songs are popular because they’re just that good. As most millennials that take a likening to Frank, his music helped me stave off some tough times, and this song in particular formed a natural connection. The dreamy, yet snappy guitar riff paired with Frank’s otherwordly voice make you feel like you’re floating through a dream. While I’ll still hold that Pyramids holds the spot for the best Frank transition, this one is certainly most iconic, and leads to a stark shift in mood that wakes you up and nearly experience the song all over again.
2- Gimme All Your Love – Alabama Shakes
One of the most criminally underrated songs off of one of the most criminally underrated albums of all time. Brittany Howard has one of the most powerful voices since the soul and blues queens of old, possessing what I hear as a mix of Mama Thornton and Aretha Franklin-esque timbres. The band does a perfect job of elevating her voice all through the grimy, gripping verses, and she returns the favor by allowing the band to cut into one of the best bridges of all time. Cue the air drums, cue the air guitar, and cue absolutely BELTING GIMME ALL YOUR LOVEEEEEEE/ GIMME ALL YOU GOT BABE, WOOOOOOO.
1- Runaway – Kanye West
There’s simply nothing better. This song was already one of my favorites of all time, and then along the way I learned about the almost mythical story of its inception, of Kanye’s sheer emotion and genius culminating in an outpouring of some of the most brilliantly composed music of all time. This song singlehandedly broke the mold for what a modern hip-hop song could be, and all who know it are drawn all the way in when they hear it. What Kanye manages to create with the heavily distorted voice guitar creates a sonic experience that cuts to your core, seemingly chemically. Not to mention introspective, thoughtfully crafted verses, and the best use of Pusha T of all time. Every time I listen to this song I get goosebumps the whole way through, and it will always be a testament to how much music making you feel is important.
NOACF is a story of a man, presumably the British alt-pop titan’s lead singer, Mat Healy, grappling with identity, authenticity, and fitting in within the landscape of the information age. At first listen, the album feels a bit erratic and polarizing, both to the listener, and likely to the members of the group, cutting rough edges off the dreamy pallet they have perfected over the past 8 years. The most abrupt the 1975 have presented themselves since their original trio of EPs, NOACF is the most adventurous of their 4 studio album releases. Also of note, this is the first time the group have garnered noteworthy features, racking up appearances from FKA Twigs, Phoebe Bridgers, and the heavy hitting presence of Greta Thurnberg to open the record.
However, the brilliance behind NOACF lies not in the strength of its cast, but in its ability to tell a coherent, personable, and honest story beneath the initial façade of a disjointed hodgepodge of pop ballads and dance tracks. The album draws parallels to how we tend to hide our struggles beneath the noise and chaos of what happens around us. The story of the album follows the day in the life of the protagonist (I’ll refer to him as Mat for sake of ease), and his drifts in and out of introspective daydreams during a week in his life. Within his internal bouts, we see thoughtful and open discussion on queerness, self acceptance, and social identity.
This album is one that demands a straight listen through, with the nuance of its storytelling lost if you’re only listening to the record’s seven (yup, a few too many) singles. Its jumps back and forth between reality are best understood through a track by track analysis.
Track-by-Track Analysis
Note: subheadings in italics denote Mat’s “location” in the story. To me, these are benchmarks of the physical venue I envision the story taking place, or the role the song serves in the greater plot of the album
The 1975 (NOACF)
Prologue
This track is the first of 1975’s single releases, and a track that speaks to a cause the band takes a very personal stance on- climate change. Nailing down the teen climate crisis advocate powerhouse Greta Thurnberg, this track reserves nearly 5 minutes to expose the perils of our ecological crisis, and the urgent need to mend our broken system.
As far as its thematic contribution to the overall work, this track acts as the opening dream to Mat’s journey. We hear him called to action at the end of the track, urged to wake up and start his rebellion, to start facing his personal challenges.
“So, everyone out there, it is now time for civil disobedience/ It is time to rebel”.
People
Home
Mat wakes up in a fury, and this song goes straight to the throttle. By far the heaviest track the group’s ever produced, People is a trashing reminder that regressive ideology prevents progressive movements from helping better the world. While it doesn’t feel very “1975-y”, this blending of shout rock and power chords feels like a track from the Hives, leaving nothing about the inherent aggression of its message to chance.
Mat takes right to the action provoked by the speech in the prologue, feeling emboldened and ready to speak to the fucked up parts of society that hold him back. The track abruptly ends to transition into the next track.
The End (Music For Cars)
Driving to the Party
A melodic orchestral interlude, we can see The End as a moment of transportation for Mat, moving from his home to his next destination.
The track itself is a beautiful piece, with strong rises and falls that almost give you the sense of floating in the ocean, moving with the crests and troughs of the waves. The meaning behind the title leaves some interpretation, but it could refer to an end of an era for “the old” 1975.
Frail State of Mind
Introspecting/Daydreaming
This track, one of my favorite standalone songs on the record, opens us up to Mat’s inner musings, and more importantly his self doubt. The opening lines of the track suggest a battle with self confidence issues, maybe even a depressive state:
“I’m sorry that I missed your call… don’t waste their time/ I’ve always got a (frail state of mind)”.
As the song goes on, Mat recalls the outreach of his friends, hoping to pull him out of his rut to no avail. The brooding of Mat’s vocals is contrasted by a driving synth beat with high-pitched, echoing vocals that chime in on Mat’s wearisome responses to calls for help. This track sets the scene for Mat’s struggles throughout the album, and establishes elements of the new sonic profile the band hits heavily on throughout the album.
Streaming
Driving to the Party
Streaming is another transition track with airy string instrumentals, a chance for the listener to soak in the context from the previous track. The end of the song moves perfectly into a pick-heavy set of notes that brings us to The Birthday Party.
The Birthday Party
Party
Mat’s arrived at the party on this track, which sarcastically picks at the more mundane and not-so-glamorous pieces of party culture. Mat moves around the party, jumping from drab conversation to drab conversation
“This ain’t going well/ I thought that I was stuck in Hell/ In a boring conversation with a girl called Mel/ About her friend in Cincinnati called Matty as well”.
Despite his misgivings about the goings-on, Mat finds he needs to frequent these parties to stay close to friends and show face. As he says, he “depends on his friends to say clean”.
The track itself is a whimsical take on country music, with some banjo pickings and a more folk-heavy feel to it. As we fade out of this song, we hear a rising pitch of grimy synth as Mat descends into a drug-induced series of daydreams, represented by the music to follow as a Dance club of sorts.
Yeah I Know
Dance Club
Yeah I Know is all about minimalism. The boys create a disorienting pool of distorted synth played in no clear time signature, with the echoing words of the track repeated as Mat sinks into his drug induced daydreaming. The kick/snare pattern drives the song forward, with repetitions leaving the listener with no clear footing for where the next track will take them.
Then Because She Goes
Daydreaming
We find Mat yearning to a past love, recalling the intense love and passion they shared, contrasting with the ultimate disappointment that they must part, marked by the heavier crashing symbols as the song reaches its conclusion.
“I love you, oh, I love you/ When you leave, I cry on the inside”
The song itself is dreamy and reminiscent of a 90’s soft rock ballad, with a certain “sensitive boy” feel to it. The title, in the context of the next two tracks, hints at Mat’s struggles with sexuality, a theme that further tracks will hit on.
Jesus Christ 2005 God Bless America
Daydreaming
Another toned down, guitar dominated ballad, but so, so sweet. Brought a melancholy tear to my eye. This track is where Mat first fully opens up to his audience, aided by the beautiful vocals and vulnerable lyricism of Phoebe Bridger’s verses. First projecting his love to Jesus, here we see Mat grapple with his sexaulity, and feelings of shame around finding love in male partners.
“I’m in love with a boy I know/ But that’s a feeling I can never show”
Bridgers shares this feeling with a girl she knows from home, as the two find comfort in each others’ shared experiences, combining in a floating, sweet harmony in the chorus to end the track, as we feel the door open to Mat’s experiences with queerness and reconciling that with society’s perceptions.
Roadkill
Daydreaming
As Mat delves deeper into his internal dialogue on sexuality, the tone turns less from the dreariness of Jesus Christ to a sassier feel.
“Man in the gift shop called me a f*g/ I feel up my tucked-up erection/ There’s a pressure all over my head/ And I know this is how I get paid, but/ It’s not really how I wanna get laid”
While Mat more explicitly talks about sexuality, mentioning “needing to make out with people he doesn’t like”, we also get some insight to his struggles with fame, the perception of playing the rock star as a scrawny, queer male in today’s setting. As a final bit of undertone, this track shit-talks Texan rednecks, with pairs well with the country influence and this writer’s feelings on southern culture 🙂 Overall a super fun, lighthearted track that does well for a sunlit drive.
Me & You Together Song
Daydreaming
Here we see Mat recall a past love with one of his old friends, and how deeply he cared for her. The messaging here seems to conflict with the resolve of the past two tracks, as it feels like Mat is trying to use the memories from this to invalidate his sexual orientation, and also to find respite in simpler, happier times where he seemed more self assured. The song feels amazingly nostalgic and happy, with upbeat kick patterns and a flowing, climbing series of chords giving a sense of renewed happiness, fond memories, and love.
I Think There’s Something You Should Know
Dance Club
As muted pianos kick the track off, Mat snaps back into his current psyche. The words of the title echo during the night club, EDM sounds, as Mat seems like he wants to reach out to others, or perhaps his conscious self, to open up about his struggles with his identity. The track itself has touches of Justin Vernon’s influence, and has a great ambient beat to it.
“I’d like to meet myself and swap clothes/I think there’s someplace I should go/I think there’s something you should know”
Nothing Revealed/ Everything Denied
Daydreaming
Another beauty of a track. The vintage, smooth keys on the piano create a runway for the amazing choral intro of Mat and accompanying voices, as the track opens up into an auto-tuned series of confessions, the pitch-correcting method a foil to a man who is admitting to his false suggestions of identity. Words can’t describe how pretty I think this track is, and the lyrics are laden with confessions of artistic liberties, like not actually ever fucking in a car like he sings about in Love It If We Made It. Life might feel like a lie at times, but the hopeful tone of the song gives a sense that there’s something out there that’s true or real.
Tonight (I Wish I Was Your Boy)
Daydreaming
Tonight is another track where Mat’s lyricism flips to refer to past female loves, other suggesting a realization that his sexuality is more complex than gay or straight, or perhaps hiding behind the veil of female pronouns to suggest a more palatable male figure, a struggle we’ve seen him grapple with in previous songs.
More interesting than the thoughts here, which don’t progress Mat’s state of mind as much as previous tracks, is the sampling and afro-electronic elements to the song. The track opens up to a pitch shifted sample of The Temptations’ Just My Imagination (Running Away from Me). This is a new territory for the band, whose smooth sampling and production create a soundscape that feels Kanye West-esque.
Shiny Collarbone
Dance Club
As distorted voices in the previous track fade out and horns fade away, we start our return to the club. The afro-influenced beats remain here, but we get a brief snap back into the confusion and swirl of Mat’s conscious thoughts. The track itself feels fit for a nightclub, with many tempo shifts and an ambient background rhythm playing on synth throughout.
If You’re Too Shy (Let Me Know)
Daydreaming
The best standalone single on the album, we hear the guys take on their nostalgic alt-pop sounds, with dreamy, bouncing guitar and euphoric horns. This song delves into the separation of sex as normal when in person, versus the added weirdness or importance that is placed on it when it’s delivered electronically. Yes, it’s a song about cyber sex. You’d never guess from the 80’s sounding guitar chords, upbeat horns, and the a-Ha inspired key arpeggios in the background. This track shows a more upbeat, confident Mat, perhaps signaling some added self assuredness, but without the context of previous songs, that’s more left to interpretation.
Playing On My Mind
Daydreaming
A sweet, melancholy solo between Mat, his guitar, and all the questions he’s wanted to ask throughout the story, but has only recently felt brave enough to ask.
“Will I live and die in a band?/Will I get divorced when I’m old?”
Beyond that, we see a Mat that’s less looking into himself for answers, but more towards the society that seems to judge, scrutinize, and influence the decisions he can make, whether it be what he wears, who he loves, or how he acts.
Having No Head
Dance Club
While clunky at times, in this 6 minute journey, Having No Head is a transition from our final glimpse into Mat’s dream world as we re-enter the club. Starting off with muted, faint, and distant piano chords, the listener almost gets the sense that Mat is lost, or perhaps asleep. As the song progresses, harp and other angelic strings are added to gain a sense of awakening and light. However, at the 2:40 mark, some grimy synth comes in as the song switches over to an industrial house interlude, establishing Mat’s return to the club. While not as gripping as the other instrumentals on the album, the transition this track provides thematically is vital.
What Should I Say
Dance Club
This track itself is a fun, subdued dance track, as the group takes another foray into EDM. Mat has returned to the club, but the angelic background vocals and pitch-shifted main vocals give us a sense that something is different. The tone of this song is resolute, almost, if not vindictive.
“What should I say? (What should I say?)/ Disorder, hate, and fame/ Making sure that people won’t change”
The main refrain of the song repeats, but the dark, blaring bass and synth begins to fade out as a more string dominant profile takes prominence, giving us a sense of clarity and readiness as we part with the track.
Bagsy Not In Net
Leaving the Club
“Bagsy not in net” is a phrase for children playing pickup football to call dibs on not being the goalkeeper. In this sound, we get the sense that the track’s title refers less to the literal interpretation, and more of him trying to avoid leaving his daydreams and returning to his reality. The track features more distorted synth and afro-influenced beats, with the rising pitch of the strings in the background giving a sense of Mat being lifted upwards to reality, riding away from the club as the stripped down drum and bass beat slowly fades out, leaving only beautiful strings as we move into Don’t Worry.
“I’m dealing in death and being lonely… / Do you wanna leave at the same time?”
Don’t Worry
Bedtime
Here we see the end of Mat’s journey, a respite where he leans back on the sources of strength that remind him that everything will be okay.
“When you feel no one knows just what you’re going through… / Don’t worry, darling, ‘cause I’m here with you”.
Tim Healy, Mat’s father, created this song, and sang it to Mat growing up. As an homage, Tim and his son sing this song together, sharing and alternating verses, creating an effect of a sweet, supportive conversation. Mat finishes the album with “I’ll always love you… You”. The second “you” gives a hint towards the self love that Mat has been able to build throughout the album, and a sense of resolve in the love he shares with others.
Guys
Epilogue
This track is more of a credit song to Mat’s story, which has already concluded. Guys is a heartfelt, warm, and sincere thank you to the rest of the members of the band. For an album that was so heavily centered on Mat’s personal experiences and trials, we see him open up here, acknowledging the platform they gave(give) him to reach people and share his world with others. Through all the struggles he faced through the years, the guys in the band are the ones who support him and see him through it, and he wants to make sure they’re fully aware of how much that means to him. Similar to the last track,the song’s pleasant chords and keys leave the listener ending the album with a sense of closure, resolve, and serenity.
Final Thoughts
Overall, this album shows us The 1975, namely Mat Healy, at the most vulnerable we’ve seen, and tells a story unrivaled by any other top-line alt act in the current scene. As a group that already perfected a modern take on nostalgic 80’s pop rock, it’s great to see them take a foray away from more one-dimensional storytelling and genre. Gone are the days of the crew only singing about pretty girls, breakups, and drug use. Moreover, as a group known for its lack of collaboration, seeing them take the brave leap to open up their story to the voice of other artists shows amazing progress. In NOACF, we see personable storytelling through a wide soundscape of crashing guitars (People), chipmunk reggae(Tonight), ethereal synth(Yeah I Know), pseudo-country chord work(The Birthday Party, Roadkill), as well as their tried and true nostalgic pop sensibilities.
The album’s main weakness is its pacing, which feels a bit bogged down at 80 minutes. If you consider the Prologue-Epilogue approach from the track-by-track section, run time of the “story” rounds out at 70 minutes.Cleaning up the six minute Having No head could do well to liven the pace of the work as a whole. Tighten the six minute transition track to around half of its runtime, and Mat’s journey sits around 65 minutes, which feels much more manageable. Other than that, maybe a reshuffling of If You’re Too Shy might’ve helped the theme of the album come across more clearly, as its positioning at the 16 spot confuses some of the later daydreams.
Regardless, it’s hard to listen to this album and not feel for Mat, or see ourselves in some of his struggles. Holding true to yourself and being able to win the love of others seem mutually exclusive at times, and Mat illustrates that struggle out beautifully. Ultimately, we can find solace in the ones we love, the times where things seemed safe, or even a mantra that might mean more than just the words it contains. Make some tea, light a candle, and spend a night with it.
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