Bleats

Cut Yourself A Side Fringe Because The 1975 Is Making Emo Music Great Again With Their New Single ‘People’

It's about time.

It’s official: The 1975 is bringing emo music back with their 2020 album, Notes on a Conditional Form. How do we know? The band just dropped their first single, ‘People’ and boy does it say a lot.

All of us after listening to ‘People’ Credit: giphy

The release of this single is generating the same level of hype as what Ariana Grande’s reveal of her song ‘Break up with your girlfriend, I’m bored’ did for pop fans. Except for this time, it’s the Matt Healy stans that are losing their sh*t.

The band is obviously taking a turn with this album. This single reveals that The 1975 could be straying away from its pop vibes, soothing vocals and their typically romantic lyrics. Our guess? It’ll be worlds apart from their last album, A Brief Inquiry Into Online Relationships.

‘People’ serves up throwback emo vibes in its video clip and sound, but it’s also giving us reflective tones. The lyrics read as a sort of protest:

“Wake up! wake up! wake up! We Are All Appalling.”

Our fave phrase:

And we need to stop just watching shit in bed.”

Surely that one had us all feeling attacked.

The clip takes us back to emo and punk rock roots by employing a simple style that was used by Green Day, Fall Out Boy, and My Chemical Romance back in these genres’ hay day. It simply shows the band in a room doing their thing. 

Lead Matthew Healy, Warren Fu and Ben Ditto were behind the clip that features a cubed room where all four walls flash with internet images. We get the sense the team were mimicking the chaotic feel of the song. The clip even starts with the warning: “This video has been identified by epilepsy action to potentially trigger seizures for people with photosensitive epilepsy. Viewer discretion is advised.” It’s completely called-for. 

The official video clip

We’re left with the thought that this album may develop as one big commentary on the state of current affairs. Considering ‘People,’ inspires clenched fists and begs us to chant along we’re thinking an angrier album could actually be cathartic. 

Ignore The B-Grade Acting, The Twilight Soundtracks Deserve Your Respect

The Twilight soundtrack topped the charts. Fact.

No matter how much you hated the film adaptations of Stephanie Myer’s Twilight saga there is no denying it: the soundtracks were packed with absolute bangers.

Which, mind you, was not a random occurrence.

Alexandra Patsavas was the film’s music supervisor. As it turns out she also worked on hit TV series The O.C, Grey’s Anatomy and Gossip Girl. Clearly she had experience and after a brief visit down childhood nostalgia lane (I recently listened to every soundtrack start to finish) something stirred within me…

Me, waking up to injustice

The Twilight soundtracks did not get the credit they deserved and neither did Patsavas. She masterfully paired a tune to a scene.

The Cullen’s Baseball Game scene accompanied by Muse’s ‘Supermassive Black Hole’ was literally what made it cool. It would have never reached iconic status without it.

Perhaps I’m going too far here, but I just don’t know if the saga would have reached the same level of success if it wasn’t for these soundtracks. The film itself undoubtedly had problematic elements, Stephenie Myer even shut down attempts to make the movies less white. But the soundtracks were a clever power move.

Think about it: Twilight was released in 2008, a year when emo music was at its absolute peak. Patsavas rode the HELL out of that wave. She weaved in Paramore’s ‘Decode’, ‘Leave Out All The Rest’ by Linkin Park and a more left of field, yet effortlessly cool track called ‘Eyes On Fire’ by Blue Foundation. This woman knew her sh*t, not just about the demographic but about good freakin’ music.

Patsavas’ soundtracks were a work of genius. Fact.

It was unsurprising to learn that the soundtrack for the first film became the best-selling theatrical movie soundtrack in the US since Chicago, a soundtrack that was released a full six years earlier.

Let’s not forget that the Twilight soundtrack also debuted as #1 on the US Billboards 200.

Paramore’s song ‘Decode’ was even nominated for a Grammy Award in 2010 for Best Song Written for a Movie.

Those are the facts sweetie.

All of this proof points towards one indisputable fact: the Twilight soundtracks were bomb.

And they only got better. ‘Meet Me On The Equinox’ by Death Cab For Cutie took the cake for best song in the New Moon‘s soundtrack.

The rest of the films’ soundtracks were peppered with talented, alternative artists such as Bon Iver, Lykke Li and Florence and The Machine.

Perhaps it’s only those of us who went through an emo phase who can truly appreciate the genius of the Twilight soundtracks. If there’s one thing for sure, however, it’s that the lack of talent present on the screen was seriously saved by the talent behind these tracks.

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