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... like this if you want me to follow you back âcause I don't know who is active here â¤ď¸
// R O B B E R S //
'Robbers' is a love song, it was originally inspired by my love of the Quentin Tarantino film 'True Romance', the story of an Elvis obsessed loner who falls in love and marries a prostitute. In the movie the couple run away to California after killing her pimp and stealing his drugs to start a new life financed by a once in a lifetime drug deal. It's the sentiment behind the film that appeals to me, the hopelessly romantic notion that two people can meet and instantly fall in love, an escape story where love is the highest law and conquers all against the odds. Characters like Bonnie and Clyde always appealed to me as a teenager - couples so intoxicated with one another that they fear nothing in the pursuit of the realization of each other, actions fueled by blind unconditional love.
'Robbers' is an ode to those relationships. The type of relationship all humans long for. All or nothing.
This video is about when love makes two people feel they are the centre of the universe.
- Matthew Healy
Life lesson to tell the kids?
the empowerment of women is the most important thing - for everything. The progression of everything necessary and positiveÂ
What's an anobrain?
an obvious choiceÂ

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/ / H E A R T O U T / /
"With the video for Heart Out I wanted to return to the classic performance scene. I love a good performance video and wanted to try my hand at creating something that represented my grandeur and slightly deluded sense of self, whilst also adhering to the simplistic rules of a performance. The video is about narcissism, belief and delusion in equal measure. It represents how antiquated and romanticized visions of past and future shed a blazing light on the present and in turn provoke a self-analysis that soon shifts from the material to the ideological.
"It was in this state of excitement and obsession where the âHeart Outâ video was born. Obviously I can delve into the artistic vision of the video - what it means to me, the subtext and my own emotional investment within it - but in doing so I fear defacing what the video truly is about, at face value. Itâs a bunch of kids who think theyâre rockstars. And⌠They are. x."
Matthew Healy
// S E T T L E D O W N //
I used to have a reoccurring dream when I was younger. The narrative was loosely based, but the setting was always the surrounding areas of where my parents grew up. I think I was slightly obsessed with how certain, bleak areas of Northern England contained my history and the soul of my family, my psyche - I always felt connected and disconnected at the same time. Metaphorically and physically I would visit these places frequently as a youngster and in turn have used them as the setting to a lot of the stories in The 1975 - the North East was the visual setting to my formative years.
I suppose, like any narrative, the meaning and the connotations within the story are subjective. Iâve always been quite fascinated with the potency of same sex relationships, plutonic or otherwise. I was brought up in a very open minded environment, somewhere I felt that, whoever I was, I would be accepted. With this understanding I was also very aware of others, school friends, acquaintances - whom, due to where we lived, probably didnât have such a comfortable place to grow up, we were unaffected and affected by taboos and the small minded at the same time. Â Iâve dreamt the story of these two boys on countless occasions - every time drawing a different conclusion on its meaning.
With âSettle Downâ I wanted to make a story about the extension of that dream, a video that explores love, a video that was as fantastical, consuming and limitless as the love we all chase and desire. Love as I have always imagined.
So upon meeting Nadia, who directed the video, I told her about my dream. We sat for hours looking through pictures and talking - it was decided in those moments. We were just to film my dream. The process of making this video was so intensely exciting for me as I was finally working through and figuring out exactly what this place, this story and these characters meant to me. I think now that I understand it. But Iâm totally open to suggestions / interpretations. X
// G I R L S //
âWhen we released our last video (Sex), people really reacted to the fact that it was in colour. There was a lot of conjecture and talk surrounding it - due to the fact that it was an unexpected stylistic change. It was brought to our attention that certain people thought we were âconforming to a record companies wishesâ along with other expected and unexpected clichĂŠs. Obviously this couldnât be further from the truth, we are lucky enough to be surrounded by a group of individuals whoâs mantra centers on facilitating our creative wishes, we found the whole idea of us being told what to do fascinating. The story of the band who suffer at the hands of a record label shortly after a delirious rise is a tale as old as time. So we kinda wanted to make a tongue in cheek video about it. Twinned with our love of 80âs pop, itâs innocence, grandiosity and conceptual ideas in music videos - we wanted to make a video about a record labelâs attempt at enforced conformity. We got our mate Adam down to a studio in Los Angeles at the start of our USA tour, got 4 models and made a video about us not wanting to make a video.â - Matthew Healy
Before Matty Healy could go forth and do battle with the world again, he had to get the small matter of doing battle with himself out of the way first. The 17 songs on The 1975âs remarkable, incandescent new album I like it when you sleep, for you are so beautiful yet so unaware of it give some hints as to what that battle involves. Now, I could make a few guesses about what goes on in Mattyâs head but theyâd be stabs in the dark â besides, Iâm not sure even Matty knows whatâs going on in there - or he does, but it changes from minute to minute - so how could we? Confidence, anguished self-doubt, morbid introspection and ceaseless self-laceration surely play a part; ditto arrogance, urgency, passion, panic; add to that already over-crowded space ambition, exhaustion, elation and dejection. As one of the bands inner circle says, âMatthew has what every great frontman has: a massive ego, and extremely low self-worth. Thatâs great for a frontman; for a human beingâs mental health, though, itâs debilitating. His confidence is sky-high but wafer-thin. He has amazing self-belief and resilience, and a huge work ethic, but all of that is shadowed by a darker side.â When Matty sings on the new track If I Believe You, âIf Iâm lost, then how can I find myself?â his fans will identify at once. The relationship between The 1975 and their fanbase is built on an empathic, almost telepathic understanding. It helps explain why the bandâs gigs have the fervour of a revivalist meeting; and why, no matter how big The 1975 have become, they remain conscious of the vital part their fans play in everything they do. The thought of being aloof, remote pop icons inaccessible behind a velvet rope, is anathema to them. âWeâve got fans, and then weâve got fans. Why would you want to feel above that? So much of the power in what weâre trying to do comes from their emotional involvement in and understanding of the way I feel things. Iâve never dramatised or fetishised the reality of addiction or flirted with the idea of suicide and subjects like that, but nor have I shirked them, and I think thatâs why they relate to us. Iâm convinced that what people really want to invest in when it comes to music is something they can genuinely identify with. Otherwise, what? Itâs a backdrop to our lives? Music is more than that. Itâs everything.â That attitude informs every note, word and texture on the new album. It is as if everything the band have ever done, every setback and triumph theyâve experienced, has been leading up to this point. From the opening bars of The 1975, a reworked version of the track that opened their debut album, to the rough-demo acoustica of She Lays Down, via the monster earworms Love Me, Sheâs American, The Sound and This Must Be My Dream, the ineffably beautiful ballads Change of Heart, Somebody Else and Paris, the incredibly fragile and poignant Nana, which Matty wrote about his grandmotherâs death, the crepuscular ambience and troubled self-inquiry of Please Be Naked, Lostmyhead and the title track, and the anguished stock-taking and reckless candour of The Ballad of Me and My Brain and Loving Someone, the album embarks on a journey of twists and turns, its unorthodox but brilliantly realised sequencing â and that insanely long album title â is a thrilling affirmation of what makes this band so defiantly individual and steadfastly indifferent to the tired old formulas of the pop machine. When The 1975 first emerged in 2012 with the Facedown EP, it was instantly clear that this was a band that were going to be controversial, even problematic, for some. Their sound was unashamedly glamorous (one of Mattyâs favourite words), the lyrics heart-on-sleeve, spill-your-guts confessional, their music brazenly diverse. And, in their frontman, the band possessed a singer who saw live performance as a precipice just asking to be jumped from. Mattyâs head might be a mix of impenetrable fog and startling lucidity, but he has always been totally clear about the primacy of unabashed charisma and fierce commitment in the makeup of a lead singer. Never apologise has, he says, long been the bandâs mantra. The four school friends who formed a band 13 years ago in Wilmslow, south of Manchester, may be unusually accessible to their fans, but they retain a fierce, circle-the-wagons mentality when it comes to their creative space, and their dealings with the music industry. âWe are very much a product of our environment,â says Matty. âWeâre like brothers, we really are. For 13 years weâve been in the same room together. The band has always been the nucleus of everything.â This mentality is also the product of their unhappy experiences, in their early days, of record label indifference. âThereâs still this misconception out there,â says the bandâs manager Jamie Oborne, âthat they had it easy, that they signed a massive record deal and immediately had a hit single. The truth is different. No one wanted to sign them â no one. Labels, agents, publishers, none of them wanted to know. I tried for about four years to get someone to help us facilitate and support our vision. All I was met with was, âWe donât understand them; they sound too different from one song to the next. Radio will hate them,â and I always thought, âbut thatâs exactly whatâs amazing about themâ, Mattyâs mantra of how they create in the way they consume.â When the bandâs self-titled debut album â released on the independent label Dirty Hit, which Jamie had set up specifically for The 1975 â entered the UK chart at no 1 in September 2013, there was certainly a feeling of vindication. More importantly, it cemented in their minds the sense that, if the band were to mean anything, they had to stick to their guns, trust their instincts and resist outside interference. 10 years of raised hopes and broken promises, of missteps and false starts, had hardened the four friends, and now, with the prize suddenly within their grasp, they werenât about to change tack. That old âthey sound too different from one song to the nextâ response had been thrown back at their detractors, after all; and, as the saying goes, he who laughs last laughs longest. As Matty says with real fire, such attitudes strike the bandâs generation as prehistoric. âThe historic adherence to one type of anything is so pointless, and itâs not something that ever enters my mind. If Iâm inspired by something, my attitude is, âIâm taking thatâ. If anyone has a problem with that, well, I donât care â nobody cares about that sort of thing anymore. Besides, in 2016, everything has been done. You just have to try and do it better, which is what weâve done. My generation consumes music in this completely non-linear way, and we reflect that because thatâs how we create. Fifteen-year-olds are listening to A$AP Rocky but also to something way over on the other side from that. Why create one type of music when nobody consumes one type of music? The idea of rules is completely farcical.â Thatâs not an official manifesto, but as I like it when you sleep, for you are so beautiful yet so unaware of it demonstrates, it could be. Who else but The 1975 would follow the pop-perfect FM-radio groove and arch, self-knowing lyrics of Sheâs American with If I Believe You? The latter song billows with gospel choirs, cascading harp and haunting trumpet: a devotional hymn of tormented, existential inquiry. Most bands, beholden to major-label caution, would have buried If I Believe You at the back end of the album. Not The 1975, and theyâre right; placed as it is, the song is devastating precisely because of the contrast. The bandâs beloved 80s sonic palette dominates the new songs, with echoes throughout of Peter Gabriel, Scritti Politti, INXS, Hall & Oates, Jam & Lewis and Tears For Fears; but there are other reference points that darken the brew â both Lostmyhead and the title track I like it when you sleep, for you are so beautiful yet so unaware of it have a Sigur Ros-like expansiveness and complexity - testament, as is the whole album, to the role played by George Daniel, a sonic architect of extraordinary inventiveness and ambition, with whom Matty wrote the album. As Matty is quick to admit, recording sessions were often fraught and always intense, though they were joyous, too. In the early stages of recording, both he and George were, he says, âin different ways, in a very bad placeâ. Years of solid touring had taken their toll, and there were moments where the pair struggled with the burden of creating a follow-up to their debut. âGeorge and I are like brothers, we had never left each otherâs side. We complete each other. And my problems at that time separated us a little bit. It catalysed the troubles that he had and solidified all of the issues that I was having in return, and it became this really dark time. And born out of that was The Ballad of Me and My Brain. So, now, retrospectively I can think it was all okay, but it really fucked us up as a couple â because we are a couple, really. The distance that we travelled away from each other turned out to be a really important part of the album. When George got better, the unity we felt when we both got back together was like Iâd been away from my wife for six months and Iâd just picked her up at the airport and it was sunny and we were going on holiday. I know that sounds mad, but itâs trueâ âThe vocabulary that George and I share is unspoken, itâs like shorthand. There is a bit in Nana where it all stops, and I remember George saying, âLetâs just put a memory in there; letâs just have it open up and your vocal can become distant and you can put a memory in thereâ and I was like: âFucking hell.â And weâd often get what we call these phantoms â little harmonics and ghosts notes, moments that are created by harmonies of certain things playing into other things. Sometimes Iâd say to George, âTurn that bit up,â and heâd say, âThere is nothing there.ââ These sessions were, Matty says, all about trust, all about the bond they first forged back at school. âThere are all these big-name producers, but for me theyâre not doing anything as interesting as George is. He would always say that he didnât know what he was doing, and Iâd be like, âThat is where our band comes from; thatâs the beauty of it.â What we were in pursuit of was how we used to feel when we made music originally, unburdened by any fear, or thinking âGrown-ups are going to hear this and theyâll probably slag it off.â It took us a while to get into that head space, but once we had made our world, one studio, four walls, four months of not leaving, just living there, we found it. The painful bits were done.â Lyrically, the new album reflects the upheavals, triumphs, traumas and losses in Mattyâs life over the past three years. His lyrics are alternately catty, tender, merciless, cocksure, self-recriminatory, pleading, narcissistic and remorseful â a distillation of the conversation that goes on unceasingly in his head. âI think our fans understand the vulnerability because itâs very much their vulnerability as well. They recognise this weird loner who flirts with these things and gets it wrong. I used to think, âIf Iâm successful I am going to be able to go into all of these cool rooms, and Iâll just be one of them, but Iâm not, Iâm still me and still an idiot and I still get nervous about stuff and change my personality a little bit to talk to somebody new. Have you spent any time with modern pop stars recently? You stand there and think, âYouâve got a beautiful face, but what have you got to say? And can you really be best friends with every popular person on Instagram?â Remember at the Grammys when youâd have Paul Simon next to George Harrison and David Bowie? That was what that used to be reserved for â people who had worked at their craft to get to the point where people wanted to look at pictures of them together because they represented something, an ideal that had been worked for and achieved justifiably, as opposed to having an iPhone and a fucking record deal.â Letting other people in remains as big a problem as ever, Matty admits (and several of the new songs address this). âThere was this time when my ex-girlfriend called me, and she said, âYou lack all that you admire.â And I was just like, âWow.â And this is my whole thing about self-obsession: why am I so self-obsessed that I canât even have a girlfriend because they then become an ambassador for me and that makes me uncomfortable; because I canât have anyone running off and being an ambassador for me.â Characteristically, Matty lets out a self-deflating chuckle as he says this, before continuing, âWhat Iâve learnt with happiness is that those who seek happiness for themselves seek victory without war. Itâs the journey thatâs the thing, the whole point of it. I have this thing with living in the moment and being happy; I find a lot of the time I miss the notion of ânowâ in my day-to-day life because I am so worried about being happy and in the present. I just fucking miss it. I have that all the time, this constant issue. Iâve lived my whole life retrospectively romanticising things and writing about them.â Whatâs going to be interesting now, says Jamie Oborne, is the fact that, âMattyâs been looking inwards for the entire year, and now, all of a sudden, his gaze is outwards, and he has to become what he sees as a salesman. So thereâs that stark duality. He labours over his art so much, the whole band does, that we all struggle to be in the present. He lives his life by extremes; heâs either totally committed, or a chronic procrastinator. Itâs a cyclical thing. He judges himself extremely harshly. The further we go, and no matter how many opportunities he gets to bash away at what he always calls âthe pursuit of excellenceâ, he will always want to better himself, to make the band better.â Matty, Ross, Adam and George have made an album of breathtaking scope, ambition, depth and beauty, an album that will come to define 2016, and be looked back on as a game-changer. You sense that, on one level, Matty sort of knows this. For him to 100% believe it, though, well, that wouldnât be Matt Healy, would it? The question we need to ask ourselves is this: would we have it any other way?
Matty ⎠Settle Down video (3/4)

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THE INTERVIEW: THE 1975
The 1975 have been a long time coming. The four met at secondary school, started jamming in each otherâs bedrooms throughout their teenage years and finally got around to releasing an EP last year â nearly ten years after writing their first song â before signing to a mateâs record label âwhen they were readyâ. Their debut album is due out this summer and with 2013 touted as the âreturn of the guitar bandâ we decide to get to know the frontrunners a little better.
TALK US THROUGH HOW THE BAND FORMED?
We didnât really start a band per se, we were friends and we just started picking up instruments and messing about. None of us had picked an instrument particularly, we were all big fans of music and just tinkered with lots of different things. So when we all started playing music together it was a natural evolution, an organic process really. We started playing in punk cover bands and by the time we were 18 or 19 we were supporting our mates who were in more established bands â but we never felt the necessity to put anything out until August last year.
SO AT WHAT POINT DID IT BECOME MORE SERIOUS?
Weâve always believed that we could do it but retrospectively, when I think about it now, weâve had quite a lot of foresight, we were very aware that there was no rush. Weâd seen bands put music out too early and it came back to bite them in the arse. It was just a stage in our lives that felt right, we were signed by an indie label â and before that had been winded and dined by some major labels when we were very young and not ready â and because we had big songs, everyone was very excited. But nobody at major labels has any balls and that was proven to us so we signed to our matesâ label in the UK and Vagrant in America and it just felt right. We had enough material that we were proud of as well. I donât know if we would have worked if we were signed to a major. We have to pride ourselves on our conviction.
Thereâs a brilliant Kafka quote thatâs: a camel is a horse designed by a committee. If youâve got the idea of a horse in your mind and you then give it to twelve people youâre going to get a camel back. And thatâs very much how I feel about this band. The devilâs in the detail â itâs the intricacies that make us who we are.
edits of photos taken during iliwys 2016-2017
Introducing... The 1975
âTHE NEXT YEAR IS DEFINITELY GOING TO BE INTENSE, AND WEâRE NEVER GOING TO HAVE ANOTHER YEAR LIKE IT. ITâS GONNA BE AWESOMEâŚâ MATT HEALY, THE 1975.
Amidst the terraced houses of an affluent South Liverpool suburb lies The Motor Museum, the studio where Arctic Monkeys and Oasis recorded their first singles, Foals crafted both their critically acclaimed albums, and an unmentionably long list of acts put their signature sounds to record, all at the hands of Mike Crossey. Needless to say it is a bonafide (albeit anonymous) piece of musical history, which over the last six weeks has been home to The 1975 as they record their debut album.
A regular reader of the site will know that we are predicting big things for the Manchester four piece, and with the blogosphere in a frenzy and attention from Radio 1, itâs clear weâre not the only ones that are hedging our bets on their success. Their amalgamation of the visceral and the prolific is what makes them unique, combining surging indie-rock with atmospheric allure to great effect, learning from the mistakes of predecessors in their field (The Big Pink spring to mind).
We caught up with singer Matt Healy in Liverpool on a tense penultimate day of album sessions, with the group also readying the release of their second EP, Sex.
SNL // the sound

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âWe can just afford sandwiches now, thatâs about it.â
d a m n . xÂ