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We grew up with video games so we wanted ‘The 1975’ to be like our start up sound. Like Sega or PlayStation.
— 🥾🌍 (@Truman_Black) May 1, 2020
The City - No cymbals going into the chorus. First song we made that wasn’t a piece of house music that was just a series of loops. Created the idea behind The 1975 musically
— 🥾🌍 (@Truman_Black) May 1, 2020
The orginial demo for this was recorded on the mic from a laptop in our rehearsal room. We used duct tape to tape down keys on our microkorg for the pad. It was next level.
— Adam Hann (@1975hann) May 1, 2020
M.O.N.E.Y. Reminds me of the motor museum in Liverpool and Friday nights on the train from London to Parr Street @1975hann @DirtyHit @Truman_Black @Gdans1975
— Jamie Oborne (@jamieoborne) May 1, 2020
omgwowunseenbtsphotos #the1975 pic.twitter.com/SrTYVoyemJ
— Adam Hann (@1975hann) May 1, 2020
An encounter is the moment that the 2 characters from Robbers meet for the first time
— Adam Hann (@1975hann) May 1, 2020
One of the very first songs we wrote #the1975
— Adam Hann (@1975hann) May 1, 2020
I remember when Matty showed me the demo for this, it was just the chorus looped over and over for 5 min, was still a tune even then
— Adam Hann (@1975hann) May 1, 2020
The low voice bit in Girls when it goes ‘GUUURLS’ really low that bit is dope
— 🥾🌍 (@Truman_Black) May 1, 2020
Menswear is about weddings and racket which are a very inappropriate but seemingly unavoidable pairing
— 🥾🌍 (@Truman_Black) May 1, 2020
It is inspiring being in a room with Greta as she is only interested in her cause. It’s not an intimidating presence, or a cold presence, but it’s a real sense of purpose and that instilled a sense of optimism in me. – Matty
— Twitter Music (@TwitterMusic) May 22, 2020
“People” is about young voices of progression being drowned out by old regressive ideals. It sounds and feels like anger and momentum, like falling forward. – Matty
— Twitter Music (@TwitterMusic) May 22, 2020
Ambient music - music with no lyrics - generates every emotional, sonic quality of The 1975. All the ambient moments, be them quite sprawling or epic or delicate, it’s essentially the engine left running in between songs. – Matty
— Twitter Music (@TwitterMusic) May 22, 2020
We’ve been a band for 17 years and the main reason we make lots of different types of music is because if we didn’t, we’d be fucking bored. Reaching to be bold is more avoiding being bored. – Matty
— Twitter Music (@TwitterMusic) May 22, 2020
“Streaming” was kind of incidental. It started as a loose, synth ambient piece of music. – Matty
— Twitter Music (@TwitterMusic) May 22, 2020
The Birthday Party was written as a drumbeat, baseline and vocals and then everything else came around it. It was a confessional, simple, journal entry. – Matty
— Twitter Music (@TwitterMusic) May 22, 2020
Yeah I Know is one modular synth sound, one beat and three or four lyrics. Stark simplicity, with purpose. – Matty
— Twitter Music (@TwitterMusic) May 22, 2020
Having other people involved in what I do gives me anxiety a lot of the time, but none of that happened with Phoebe. It was quite casual, it was like finding an instrument for me. – Matty
— Twitter Music (@TwitterMusic) May 22, 2020
Referencing old lyrics is very me, because it’s never a different story, it’s a continuation of the story. I think post-modernism drives a lot of my work. – Matty
— Twitter Music (@TwitterMusic) May 22, 2020
It’s a very unique vocal delivery on this song. I wouldn’t call it rapping, it’s just flow. I get to kind of flow and rhythmically punctuate with words. – Matty
— Twitter Music (@TwitterMusic) May 22, 2020
I struggled with this song because it was almost like a sonic experiment, a mixture of samples. – Matty
— Twitter Music (@TwitterMusic) May 22, 2020
George made this arrangement of sounds and sent it to Cutty Ranks saying this is my interpretation of what the lyrics would be. One of the lines rhythmically sounded to George like ‘killing resulting in microphone culture’, which is one of the best lines on the album. – Matty
— Twitter Music (@TwitterMusic) May 22, 2020
I think this song is what punk is right now, because it’s brash and it’s out there. It references stuff that’s come before but it doesn’t sound like anything else. I know we do that all the time, but to me it feels like doing the expected is now quite subversive. – Matty
— Twitter Music (@TwitterMusic) May 22, 2020
Read about Douglas Harding - George
— Twitter Music (@TwitterMusic) May 22, 2020
It was really hard to finish, really difficult to know what it was like. Every time we heard the female vocal, the synth chorus we thought "that’s really powerful, but what is it? Is it a chorus is it a verse? Is that an intro?" We just couldn’t figure it out. – Matty
— Twitter Music (@TwitterMusic) May 22, 2020
We were listening to music and sailing by Christopher Cross came on and I remember saying to George, ‘do you remember back in the day when I said this would make an amazing garage sample’ and we kind of looked at each other like ‘fuck’. – Matty
— Twitter Music (@TwitterMusic) May 22, 2020
I didn’t write that song; my dad wrote it in the 90’s. It’s the only 1975 song that I’m not credited as a writer on. The reason I put it on the record was because I was going through what influenced me, and that was the first song I ever knew. – Matty
— Twitter Music (@TwitterMusic) May 22, 2020
I wanted to write a love song for my friends. I’ve had the same best friends since I was 13. – Matty
— Twitter Music (@TwitterMusic) May 22, 2020
Looking at this list that I curated, I think I wasn't able to attend the listening parties for ILIWYS and ABIIOR. 😅 But good lord, good thing I was able to keep these tweets. They surely belong to the The 1975 museum. 😉
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Posts
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