How do you process an album this straightforward from a band so perennially scattered? The 1975’s fourth LP, *Notes On A Conditional Form*, released two and a half years ago during the lockdown, was a sprawling, curated data dump. Its appeal was its chaotic nature, with 22 tracks that barely fit on a CD, swerving from shoegaze to UK garage, countrified emo to ’80s gloss. Unified by Matty Healy’s distinctive sensibility, it was an overwhelming culmination of the band’s evolving process throughout the 2010s. The eclectic nature of the album showcased their ability to remain cohesive amidst chaos, mirroring Healy’s lyrical balance of pretentiousness and adventure.
In contrast, *Being Funny In A Foreign Language* is a different kind of 1975 album. Healy has expressed the band’s desire to scale back their ambition and create a more naturalistic record. “Instead of a magnum opus, what about more like a Polaroid?” They avoided computers, aiming to capture the feeling of a band playing together in a room. After scrapping most of their work with indie rock’s sonic refractor BJ Burton, they brought in Jack Antonoff to co-produce alongside Healy and drummer George Daniel. Even the promotional elements have been reined in: suits and ties in promo photos, self-aware interviews, and a tour dubbed *The 1975 At Their Very Best*. The result is their most streamlined album since their self-titled debut nine years ago.
Back then, they wrote sparkling pop-rock anthems brimming with youthful energy. Now, in their early thirties, they are more casual and relaxed, content to be themselves without showcasing their multitudes. The tracklist is half as long as the last album, with fewer genre experiments. The songs largely stay in their glossy, brassy ’80s pop comfort zone, a knowing pastiche of acts like Peter Gabriel, Phil Collins, and Huey Lewis And The News, and are less tightly wound. This simplifying impulse extends to the lyrics. Healy aimed for greater sincerity and focus, continuing to explore themes of love, loss, and addiction. He told the New York Times, “I think Being Funny is the first time where I’m a bit like, ‘OK, right, love. Let’s do love.’”
While the album isn’t solely fixated on romance, love does animate many of the songs, adding a bittersweet touch since Healy reportedly split from FKA Twigs this summer. Many of these love songs are among the most direct in the 1975’s catalog. Early singles like “Happiness” and “I’m In Love With You” emerged from jam sessions, with Healy crafting his toplines over unchanging grooves. The funky, blustery “Happiness” feels more like a vibe than a song, though it has grown on listeners since its release. However, the less-is-more approach sometimes results in undercooked songwriting, as seen in the repetitive chorus of “I’m In Love With You.”
Fortunately, *Being Funny In A Foreign Language* doesn’t fully adhere to the band’s self-imposed restrictions. Healy’s indulgent lyrics remain, and those who enjoy his blend of navel-gazing and social commentary will find much to love. Lead single “Part Of The Band,” an orchestral new wave track, showcases Healy’s audacious lyrics against some of the 1975’s most graceful music. The album’s first and last tracks are similarly entangled in self-referential prose and stand among its best.
The album opener begins with hyperactive piano chords reminiscent of LCD Soundsystem’s “All My Friends.” Healy’s lyrics include references to modern culture and personal struggles, blending thoughtful observations with playful irreverence. The closer, “When We Are Together,” is a breezy acoustic ballad with banjo and fiddle, blending oversharing with the refrain, “The only time I feel I might get better is when we are together.” The song subtly references Healy’s departure from Twitter and his relationship with Twigs, wrapping introspection in gentle melodies.
*Being Funny In A Foreign Language* reflects Healy’s fascination with online relationships and modern communication. His admiration for controversial media figures and his willingness to discuss personal and provocative topics add to the album’s polarizing appeal. The 1975 continue to find new ways to balance cringe-worthy moments with inspired songwriting, making their journey as intriguing as ever.