The RX is Uproxx Music’s stamp of approval for the best albums, songs, and music stories throughout the year. Inclusion in this category is the highest distinction we can bestow, and signals the most important music being released throughout the year. The RX is the music you need, right now.
Has there been a rock band in recent memory as divisive as The 1975? It’s not a rhetorical question. The last time a group of guys using guitars to do something other than simply shred drew equal hullabaloo and consternation was a full decade ago, when Vampire Weekend broke big from the halls of Columbia with their indelible self-titled debut album. There was something about Vampire Weekend that really got under peoples’ skin — the supposed prep-school affectations, the blend of arch humor and observational sensitivity, the sneakily ahead-of-its-time decision to grab any sound available that wasn’t three chords and the truth. And that outrage was simultaneously a little absurd and a little understandable, the latter feeling owing itself to the fact that there simply wasn’t that much to get mad about in the humdrum empire-era days of indie culture circa the late 2000s.
It goes without saying (especially ten years later) that Vampire Weekend’s divisiveness didn’t hurt their appeal one bit; they’re still one of the most popular indie bands in North America despite not having been active in nearly a half-decade, and when their long-awaited fourth album does arrive next year, the resounding commercial reaction will be as if they never left. The 1975 have found themselves in a similar place over the course of their career, too; since frontman Matty Healy and co. released their self-titled debut LP in 2013, they’ve amassed a massive global following that has grown with every year since, with younger audiences going absolutely nuts for their hybridic sound while other listeners — some critics, some normal people — were largely found scratching their heads.
During the NYC tour stop at the Barclays Center arena behind 2016’s mostly brilliant I Like It When You Sleep, For You Are So Beautiful Yet So Unaware Of It, the applause in between songs was loud enough to permanently damage hearing; that record also found a new group of critics getting on board with the band’s spiky and outrageous genre-blend — but plenty of skeptics remained unconvinced. Still, it seemed like the tide was primed to turn wholly to The 1975’s side this year, as the band launched a remarkable run of singles that led up to their fourth album, A Brief Inquiry Into Online Relationships, which sees release this week.
After the clever, diaristic, vacuum-compressed pop-punk of “Give Yourself A Try,” there was “Love It If We Made It,” a towering generational anthem that took the best parts of Billy Joel’s “We Didn’t Start the Fire” and INXS’ “Mediate” and doused them in kerosene, leaving listeners with a gorgeous and passionate fire to set their own anxieties ablaze in. “TOOTIMETOOTIMETOOTIME” represented something of a global-pop breakthrough for the band, a delicious Afro-pop-inspired synth loop accompanying Healy’s musings on faithfulness in the age of Facetime; “Sincerity Is Scary” applied a jazzy, lighter touch to the holistic gospel-pop of I Like It When You Sleep‘s “If I Believe You,” while “It’s Not Living (If It’s Not With You)” bathed The 1975 in the soft-rock lighting that so often fits them like a knit cap, an ode to longing that doubled as a direct addressing of Healy’s struggles with heroin addiction (which he successfully completed a rehab stint for last year). The appeal of these singles were, on their face, obvious to anyone with a pair of ears, reaching people in the affirmative who felt left out in the cold by the band’s previous material. But does the other two-thirds of the album deliver similarly?