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Lossless - HUFFYUV in AVI is a good option. ![]() ![]() ![]() Did writing a track like this feel counterintuitive? This is a relatively simple pop song in the context of the album. Nobody can concentrate, everyone’s fighting. Then another 15 fights get organized for after school and then that shit kicks off and then you go home, and everyone’s up till like four in the morning, going, “Bro, you’re going to get fucked up!” And then everyone’s super tired and turns up to school all craggy. Once everyone goes home, everyone’s adrenaline is up, so everyone’s like. But my brother was telling me that now, with Twitter, the fight is the start of it. Back when I was in high school, if there was a fight, there’d be the buildup, then the fight, and then the aftermath where people talk shit, but then people would go back to their houses and that was it. I have a brother who’s 13 years younger than me. I’d love to talk to myself at 40 and see what I’ve achieved and what I feel… but I will just be the same neurotic person who’s striving to be a grown-up.ĭo you think this current generation of teenagers has it harder than you did?ĭefinitely. It’s about how, whether it’s through pop culture or literature, you’re presented with the idea of these destinations of happiness, of being a grown-up and feeling OK about yourself-and it never really happens. You sound like you’re speaking to your younger fans on this song. Instead of taking a picture of someone, it’s like holding a video on them for five minutes-they have to squirm a little bit. I love drama and subtext and all that shit, so I think I’d keep those themes. But as soon as we got this version, I was like, “That’s actually fucking dope.” I went from hating myself to being kind of proud of myself in a day.ĭo you think you’ll ever abandon these intros in the future? I was like, “Why don’t I go in the booth on the piano, and then maybe we manipulate it and see if anything interesting happens.” That was the most last-minute thing on the whole record, and it was a real panic. So, two days before we had to deliver the record, we didn’t have an intro. I was working on it for fucking ages and I just couldn’t get it right. Matty Healy: Throughout the making of the record, I had a different intro that was based on Steve Reich, like xylophones and strings. Each one has the same lyrics but different arrangements, and this is the most sparse and strange version yet. Pitchfork: The self-titled intro has become a tradition across your three albums so far. “I’m not scared of anything,” he says warmly. For now, the chronic overthinker at the forefront of one of the decade’s most relentless bands seems content, adding a new dimension of wisdom to his trademark no-filter openness. While the 1975 are already planning a follow-up album, titled Notes on a Conditional Form, for next year-a decision Healy says was informed by au courant binge culture-he isn’t taking anything about the 15 songs on A Brief Inquiry for granted. For good measure, there’s also a creepily funny monologue narrated by Siri. It includes era-defining rock anthems and the tenderest of ballads a jazz standard about keeping things casual and a glittery pop song about Healy’s decision to kick heroin. Discussing his songwriting, words like “deconstructed,” “anthological,” and “postmodern” come up a lot, and the record reflects his uncontainable philosophy of the world. He’s here to talk about A Brief Inquiry Into Online Relationships, the adventurous third album from his shapeshifting pop group, the 1975. It’s the only time during our conversation that words fail him. The 29-year-old Mancunian falls silent as he looks across Manhattan’s bottom end from the 40th floor of One World Trade Center. ![]() ![]()
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