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Notes on a Conditional Form
In a orange-brown color, text on the top from left to right in various fonts, "Music For Cars", "The 1975", "Notes On A Conditional Form", "DH00753", and on the top far right, letters "N" and "O" on top, "C" and "F" below, and in between and center, the letter "A".
Standard cover for physical releases
Studio album by
the 1975
Released22 May 2020 (2020-05-22)
RecordedAugust 2018 – February 2020
Studio
  • Abbey Road (London, England)
  • Angelic (Halse, England)
  • British Grove (London)
  • Conway (Los Angeles, California)
  • EastWest (Los Angeles)
  • Lush (Brisbane, Australia)
  • E8 Hackney (London)
  • Nightbird (Los Angeles)
  • Perfect Sound (Los Angeles)
  • RAK (London)
  • Sleeper Sounds (London)
  • Sony (Sydney, Australia)
  • Storm Trooper Tour Bus (U.S.)
  • Strongroom (London)
  • The Church (London)
  • TIC (Vienna, Austria)
Genre
Length80:29
Label
Producer
The 1975 chronology
A Brief Inquiry into Online Relationships
(2018) 		Notes on a Conditional Form
(2020) 		Being Funny in a Foreign Language
(2022)
Alternative cover
Digital-only cover[1]
Singles from Notes on a Conditional Form
  1. "People"
    Released: 22 August 2019
  2. "Frail State of Mind"
    Released: 24 October 2019
  3. "Me & You Together Song"
    Released: 16 January 2020
  4. "The Birthday Party"
    Released: 19 February 2020
  5. "Jesus Christ 2005 God Bless America"
    Released: 3 April 2020
  6. "If You're Too Shy (Let Me Know)"
    Released: 23 April 2020
  7. "Guys"
    Released: 13 May 2020

Notes on a Conditional Form is the fourth studio album by English band the 1975. It was released on 22 May 2020 by Dirty Hit and Polydor Records. Initially titled Music for Cars, the album was intended as the follow-up to I Like It When You Sleep, for You Are So Beautiful yet So Unaware of It (2016). It later came to denote an era spanning two albums. The first, A Brief Inquiry into Online Relationships, was released in November 2018. The band recorded much of the second album in London, Los Angeles, Sydney, Northamptonshire and in a mobile studio on their tour bus. The album faced several delays and was submitted only weeks before the onset of the global COVID-19 pandemic.

A maximalist experimental album, Notes on a Conditional Form has a free-flowing structure composed of conventional songs, classical orchestral interludes and ambient electronic instrumentals. The album contains loose song structures characterised by their stream of consciousness deliveries, neo-noir ambience, downcast string arrangements, melancholic orchestral flourishes and sudden contrasts. Guest contributors to the album include Phoebe Bridgers, FKA Twigs, Cutty Ranks, climate change activist Greta Thunberg, and Matty Healy's father, Tim.

Notes on a Conditional Form incorporates numerous genres, combining house, UK garage and various electronic music subgenres with guitar-based acoustic folk, emo, country and multiple rock music subgenres. Thematically, the album focuses on the intricacies of human existence and uses introspection, retrospection, self-reflection and straightforward storytelling. It explores themes of isolation, uncertainty and anxiety, inspired by the 2017 documentary Joan Didion: The Center Will Not Hold and Bruce Springsteen's 1982 album Nebraska. The album's lyrics provide a deconstruction of Healy's extroverted persona, with several reviewers regarding it as the 1975's most personal record.

Prior to the album's debut, the band released "The 1975" and the singles "People", "Frail State of Mind", "Me & You Together Song", "The Birthday Party", "Jesus Christ 2005 God Bless America", "If You're Too Shy (Let Me Know)" and "Guys". A North American leg of the band's Music for Cars Tour, planned in support of the album, was cancelled several months prior to the record's debut. An online art exhibition entitled Artists Respond to NOACF, featuring music videos created by various artists, was released in its place. The album debuted atop the UK Albums Chart and reached number one in Australia and Scotland. Elsewhere, it peaked within the top five in Ireland, New Zealand and the United States, and the top 20 in Canada and Japan. The album polarised contemporary music critics; some lauded it as the band's magnum opus, while others derided it as confusing, chaotic and directionless. Despite this, the album appeared on numerous year-end lists and was hailed as the best release of 2020 by The Music.

Background and release

[edit]

The 1975 released their second studio album, I Like It When You Sleep, for You Are So Beautiful yet So Unaware of It, in February 2016.[2] The record peaked atop the UK Albums Chart and the US Billboard 200 and was considered by numerous critics to be one of the best albums of 2016.[3][4][5] In February 2017, lead singer Matthew Healy tweeted: "Music For Cars – 2018". In an April interview on Zane Lowe's Beats 1 Radio show, the singer confirmed the title Music For Cars and announced a 2018 release,[6] saying "[the album] has always been called that, and we were always gonna do a trilogy of records".[7] He later told Tom Connick of NME that the title was a reference to the band's third extended play of the same name (2013), saying it "was always my favorite title of everything we'd ever done".[8] With Music For Cars, the singer aimed to create the most important pop album of the decade, hoping to achieve the same impact as Radiohead's OK Computer (1997) and the Smiths' The Queen Is Dead (1986).[9]

In August 2017, the 1975 stated they were in the editing process of Music For Cars, having over two hours worth of material. Healy also revealed the name of a new song, "Jesus Christ 2005 God Bless America" (2020),[10] while the band's manager Jamie Oborne said the first recording sessions for the album were planned for September.[11] Posters promoting the album began emerging around London and Manchester in April 2018.[12] In May, the 1975 announced that Music For Cars would now serve as an umbrella term to denote an "era" comprising two albums.[13] Regarding the decision to release two separate bodies of work rather than a double album, Healy called the double album format "prog and annoying ... they're self-serving".[14]

The first part of the Music For Cars era, A Brief Inquiry into Online Relationships, was released on 30 November 2018.[15][16] It received widespread critical acclaim and won British Album of the Year at the 2019 Brit Awards.[17][18] Although Healy sought to release the second album in May 2019,[19] Notes on a Conditional Form became available for pre-order on Apple Music shortly after the song "The 1975" appeared in July 2019, with an expected album release date of 21 February 2020.[20] The official artwork was also unveiled, featuring a yellow stripe and the album's title written in various languages.[21][22] The release date was later moved to 24 April as a result of vinyl production issues, before being delayed again to 22 May.[21][23] A revised album cover was also revealed, featuring the album's name, the band's name and the phrase "Music For Cars" on the top, while the initials of Notes on a Conditional Form are featured in the upper-right corner.[24] The former artwork would only be used for the digital version.[1] Regarding the multiple delays, Healy said they were caused by giving interviewers arbitrary release dates.[25] Ultimately, Notes on a Conditional Form was released on 22 May 2020.[26]

Recording and production

[edit]

The recording of Notes on a Conditional Form took place over 19 months in 15 different studios, spanning four countries.[27] The 1975 began writing the album during the same period as A Brief Inquiry into Online Relationships and continued throughout 2019 during their Music for Cars Tour.[19][28] Most of the album's electronic elements were created in a mobile studio within their retrofitted tour bus, while the guitars and vocals were recorded between tour dates. The band's guitarist Adam Hann told Gregory Adams of Guitar World that it proved challenging to record and tour simultaneously, saying it was difficult switching between the bus and studio.[29] From around late July, the band spent four months recording in Los Angeles.[30] After returning to the UK, they took up residence at the Angelic Residential Recording Studio in Northamptonshire for "super extended" sessions.[25][31][32][33] These sessions resulted in what Healy described as "the first record ... that's just us in a room".[31] The final recording sessions took place in the basement of their record label's office in Sydney, Australia, while the band toured Australasia.[34] Ultimately, the 1975 submitted the album only weeks before the COVID-19 pandemic overtook the world.[35]

"Having No Head"
A 30-second sample of "Having No Head". Healy and Daniel were inspired by the work of virtuoso pianist Frédéric Chopin and wanted to incorporate a piano into an ambient piece, resulting in the song's creation.[36]
Problems playing this file? See media help.

The 1975 designed Notes on a Conditional Form as an experimental album meant to represent dance music in the UK,[29][37][38] taking inspiration from the British club scene, Burial, the Streets and Brian Eno.[38][39][40] Healy guided the album's creative direction, working closely with the band's primary producer and drummer, George Daniel, on all aspects of songwriting.[41] Healy described their working relationship a symbiotic creative partnership built on a "shared musical vocabulary".[42] During the album's recording, he focused on multiple loosely defined ideas simultaneously, while Daniel had a detail-oriented approach.[36] The pair created most of the record's songs as rough ideas;[43] Healy used a guitar or piano, while Daniel programmed snippets on his computer. After creating an instrumental, the former would then add the lyrics. The pair often listened to music for inspiration, analysing a song to identify the "vibes" they sought to emulate.[41] Using "Having No Head" as an example, Healy told Ryan Dombal of Pitchfork that the song began after they listened to virtuoso pianist Frédéric Chopin. It sparked a conversation about the band's love for pianos in ambient music, which led to the creation of "Having No Head".[36]

Collaborators on Notes on a Conditional Form
Contributing to four songs, Phoebe Bridgers is the most prominent collaborator on the album.
FKA Twigs lends her operatic vocals to "If You're Too Shy (Let Me Know)" and "What Should I Say".
Teenage activist Greta Thunberg gives a climate change speech on "The 1975".

Notes on a Conditional Form is more collaborative than the 1975's previous albums.[44] Healy said the prior omittance of other vocalists came from his dislike of the modern culture of features, feeling they were too commercialised and lacked authenticity. Speaking on the album's vocal collaborators, he said: "I think there's an authenticity to the collaboration[s] on this record because it came from nothing but friendship and excitement of music."[37] Swedish teenage activist Greta Thunberg provides a speech on climate change in "The 1975",[45] Cutty Ranks is the sole vocalist on "Shiny Collarbone",[37][46] FKA Twigs provides introductory vocals on "If You're Too Shy (Let Me Know)" and additional vocals on "What Should I Say", and Tim Healy duets with his son on "Don't Worry".[32][42]

Phoebe Bridgers represents the most prominent collaborator on Notes on a Conditional Form, contributing to four songs.[25] Healy exchanged messages with Bridgers, a longtime fan of the 1975, and they began talking about each other's music.[25] Daniel invited the singer and Marshall Vore, her drummer, to hangout while the band were in Los Angeles.[42] She later became "inherently" part of the album, described by Healy as adding a "country-emo Americana" element.[25] Healy said that he did not experience his usual collaboration-related anxiety when working with Bridgers, describing it as akin to playing an instrument.[46] She recorded a solo version of "Jesus Christ 2005 God Bless America", which impressed Healy enough for him to ask her to record harmonies for other songs.[25][37] She later travelled to England to record "Then Because She Goes", "Roadkill" and "Playing on My Mind", telling Salvatore Maicki of The Fader: "I love their turnaround time, it's fucking great. That's, like, true punk rock."[47]

Music and structure

[edit]

Notes on a Conditional Form is a sonically experimental album that explores an expansive array of genres,[42] incorporating sounds, styles and textures extrapolated from a diverse set of scenes and eras.[36][48][49] Growing comfortable with their identity, the 1975 incorporated ideas from a planned electronic album into the record,[29][50] extensively utilising house music and UK garage.[37] Brenton Blanchet of Clash said Notes on a Conditional Form serves to "cement [the 1975] as genre shapeshifters", building upon the experimentation of their third studio album.[51] Matt Collar of AllMusic shared this sentiment and commented that it continues the "self-aware, implicitly obvious" experimentation of its predecessor.[26] Lindsay Zoladz of The New York Times said the record disregards traditional album structures, calling it a "collection of peaks and valleys".[52] For this reason, Mitch Mosk of Atwood Magazine said the album traverses "lush valleys" of ambience and "stirring peaks" of intimacy, ultimately deeming it genreless.[53] His colleague Ben Niesen echoed these statements, deeming it "less of a record and more of a portfolio".[54]

"Roadkill"
The impact of modern country music–a genre not explored by the 1975 before–influenced the album's chord shapes and Healy's vocals on several songs, including "Roadkill".
Problems playing this file? See media help.

Ali Shutler and Stephen Ackroyd of Dork observed two distinct stylistic threads throughout Notes on a Conditional Form. The first is acoustic-driven alternative rock, folk and country music, while the second is British "nighttime" music.[44] Similarly, Andrew Sacher of BrooklynVegan said it combines electronic music and guitar-oriented subgenres, which Clair Biddles from The Line of Best Fit identified as indie rock.[28][55] While Larry Fitzmaurice of Entertainment Weekly said it is connected by electronic pop and dance music,[56] Brendan Wetmore of Paper argued that Notes on a Conditional Form wasn't a dance record "in any traditional or modern sense", noting it was characterised by its use of house music.[37] Additionally, the album combines ambient music, synth-pop, techno, indie-pop, folk,[25] art rock, nu metal, jungle, Britpop,[57] lo-fi house, rock,[58] emocore and two-step.[38][59] Unlike the 1975's previous releases, the album is heavily informed by modern country music, which influences the album's chord shapes and Healy's vocal performance.[38][60] Healy told Brittany Spanos of Rolling Stone that it was rare for him to hear country music growing up, shaping his view of it as "kind of exotic and pioneering."[38]

Notes on a Conditional Form has a free-flowing maximalist structure composed of traditional songs, instrumental tracks and interludes, while orchestral pieces and ambient electronic explorations provide the album's "connective tissue".[50][56][61] It features loose, winding stream of consciousness song structures that alternate between moments of disorder and "rigid flow"; serving as a contrast to its "tighter, more calculated" predecessor.[58][44][62] The songs espouse neo-noir ambience, characterised by downcast, anxious string arrangements, sonic rhymes, sudden contrasts, electronic pulses, pensive acoustic guitars, and melancholic orchestral flourishes.[52] Reflecting the band's house music influences, Daniel "[buries] and [blares] house's most beloved tropes" such as pitch-shifting nodes, shuffling UK garage beats, pounding drums, splintering strains of UK bass, electronic drum patterns, and distorted sampling techniques.[37][63][48]

Themes and lyrics

[edit]
Joan Didion, specifically her documentary The Center Will Not Hold (2017), served as a major thematic influence on the album.

Notes on a Conditional Form is centred around the intricacies of human existence. It narrates the highs and lows of the human experience, with Samantha Small of Consequence of Sound calling it "the most painstakingly human album in their repertoire".[62][64] The album uses straightforward storytelling and self-reflection to express the band's personal philosophies, ruminating on self-discovery and the meaning of life. It focuses on the challenges of modern life, specifically technology, depression, intimacy, life and death.[58] The singer noted that the album is driven by the question: "Can the centre hold?"[36] It stems from the Joan Didion documentary The Center Will Not Hold (2017), which Healy watched while in rehab. The singer commented that Didion's work, particularly her essay collection Slouching Towards Bethlehem (1968), significantly impacted the album.[36] Applied to the overall theme of the record, Healy said: "Can the centre hold with all of this shit? Politically, economically, climate-wise – it feels like we're getting under a lot of pressure."[25]

According to Healy, Notes on a Conditional Form represents his search for the definitive answers to life, saying it is about inherent and universal feelings but ultimately is "really just about [himself]"; his fears, desires and loves.[65][66] The lyrics explore drug addiction, touring, atheism, love, politics and the fallibility of the 1975's own writing.[67] The singer projects topics that are "fatalistic, romantic, and tissue-thin in their sensitivity",[41] writing about establishing and navigating personal connections in the online world, the nuances of "messy" relationships, facing challenges without resorting to substance abuse, self-medication, and confronting feelings of apathy and powerlessness.[68] The lyrics express generational resonation, exploring themes of youth and romance while presenting "half existential questions that mock themselves with self-aware humour".[61][69]

Notes on a Conditional Form is explicated by introspection, exploring Healy's feelings of isolation, uncertainty and anxiety.[63] Unlike on the 1975's previous albums, he uses retrospection to look back on his life and career, drawing inspiration from that.[27] Healy sought to reflect on the choices he has made,[27] wanting to create a "snapshot in time" similar to Bruce Springsteen's Nebraska (1982), focusing on themes of domesticity and mental health.[39] Dan Stubbs of NME said the pervading theme of the album was Healy's role as a "kind of Man Who Fell To Earth figure, askew from the world he finds himself in, sometimes amused, sometimes bemused",[70] Zoladz noted that it is markedly more introverted, a shift from outward extroversion seen on the band's previous albums.[52] The theme of anxiety represents a reoccurring topic throughout the album, dealing with apprehensiveness towards life, love, marriage, starting a family and ageing.[71] Paul Schrodt of Slant Magazine said Healy was unable to hide behind his "ironic postmodernist guise", focusing instead on deconstructing his mythology and letting "his ambition and sincerity openly roam, sitting uncomfortably alongside more familiar sides of his personality."[63][72] Conrad Duncan of Under the Radar commented that the album was a reflective and "oddly sober" re-evaluation of Healy's persona, attempting to find what comes after commercial success and critical acclaim when "old flaws and insecurities resurface".[73]

Songs

[edit]

"The 1975", an ambient spoken-word protest song, opens Notes on a Conditional Form.[74][75][76] Thunberg delivers a monologue based on the January 2019 speech "Our House Is on Fire", which she gave at the World Economic Forum.[77] Her inclusion stemmed from the 1975 wanting: "[Her voice] to be documented in a formal place in pop culture."[45] It immediately transitions into "People", an anarcho-punk and screamo protest song that promotes change and rebellion as Healy encourages listeners to "wake up".[78][79][70][80] "The End (Music for Cars)" is an ambient orchestral instrumental that reworks "HNSCC" from Music for Cars.[46][81][82] It is followed by "Frail State of Mind", an experimental UK garage and electronica ballad,[26][83][84][85] meant to represent a collective global anxiety attack.[86] "Streaming", the album's second instrumental,[44] leads directly into "The Birthday Party", an acoustic-driven folk and country ballad.[80][52][87][88] The song is told through the perspective of Healy at a house party, recounting a series of awkward and uninteresting encounters he has with its various guests.[89] "Yeah I Know" is an experimental electronic,[70][72] UK garage and ambient song that contains influences of glitch,[90] IDM and garage rock.[91][92][93]

"I Think There's Something You Should Know"
Healy wrote "I Think There's Something You Should Know" as a continuation of "Somebody Else" (2016).[46]
Problems playing this file? See media help.

"Then Because She Goes", an experimental shoegaze,[89][94] alternative rock and dream pop song,[53][95] has an unconventional song structure,[90] background vocals from Bridgers and elements of post-grunge.[32][93] Bridgers contributes a verse to "Jesus Christ 2005 God Bless America" and background vocals on "Roadkill",[32] an upbeat alternative rock and country song;[53][96] it draws influence from country rock,[97] Americana,[64] country pop,[98] indie pop and folk music.[51][38][99] "Me & You Together Song" is a dream pop and pop rock song.[100][101][96] A majority of "I Think There's Something You Should Know" is an instrumental,[102] composed in the styles of house,[82][103] dubstep and future garage,[28][98] and it contains an electropop breakdown one minute into its run.[98]

"What Should I Say"
"What Should I Say" was initially created for the 1975's previous album.[46]
Problems playing this file? See media help.

The 13th song on Notes on a Conditional Form, "Nothing Revealed / Everything Denied", explores Healy's search for truth and is a neo soul, electro-gospel and R&B song.[89][73][81][104] "Tonight (I Wish I Was Your Boy)", an alternative R&B and neo soul song,[73][105] uses a sample of the Temptations' "Just My Imagination (Running Away with Me)".[102] "Shiny Collarbone" is an instrumental deep house,[103] dancehall and house interlude performed by Ranks.[89][28][96] FKA Twigs provides the introductory vocals on "If You're Too Shy (Let Me Know)", a 1980s-style pop and synth-pop song.[106] Featuring Bridgers' background vocals,[32] "Playing on My Mind" is an Americana-influenced indie pop and acoustic song.[64][81][54] "Having No Head" is a propulsive IDM,[28][94] microhouse and UK garage instrumental.[48][107] FKA Twigs provides background vocals on "What Should I Say",[32] a deep house, dance-pop and house song,[28][64][108] which is the oldest track on Notes on a Conditional Form.[46][66] "Bagsy Not in Net" is an experimental interlude and was the last song recorded for Notes on a Conditional Form.[90][66] "Don't Worry" is an ambient and indie pop ballad with additional vocals from Tim Healy.[89][54][90] The album's final song, "Guys", was written as an answer song to the 1975's "Girls" (2013) and is a mid-tempo indie rock and pop rock ballad.[28][50][46]

Promotion

[edit]
Healy performing at Rock am Ring in Nürburgring, Germany in 2019.

On 23 July 2019, the 1975 temporarily deactivated their social media accounts, repeating a precedent set with their previous two albums that signifies the release of new music.[109] "The 1975" was released the following day as the first preview from Notes on a Conditional Form.[75] On 22 August, the band released "People" as the lead single from the album. It received positive reviews, although the response from the band's fanbase was comparatively more mixed.[110] A music video directed by Healy, Warren Fu and Ben Ditto was released the same day.[111] A countdown on the 1975's social media accounts lead to the release of the album's second single, "Frail State of Mind", on 24 October.[112][113] The song's accompanying visual, directed by Healy, Patricia Villirillo and Mara Palena, was released on 21 November.[114] Healy announced through his Instagram that "Me & You Together Song" would be released on 16 January 2020 as the third single from Notes on a Conditional Form.[115] On the day of the song's official release, the 1975 performed "Me & You Together Song" on the BBC Radio 1 show Annie Mac's Hottest Record in the World.[116] Its music video, directed by Bedroom, was released on 6 February.[117]

On 18 February 2020, the 1975 announced on Twitter that "The Birthday Party", the fourth single from Notes on a Conditional Form, would debut live on Lowe's Beats 1 Radio show at 5 PM the next day, followed by the music video one hour later.[118] On 31 March, the 1975 announced that "Jesus Christ 2005 God Bless America" would be released as the album's fifth single on 3 April.[119] The song was uploaded to the band's official YouTube channel one day early.[120] "If You're Too Shy (Let Me Know)" was released the sixth single from the album on 23 April.[37][121] It was met with critical acclaim and appeared on numerous year-end lists, with Scott Lapatine of Stereogum and Edwin Ortiz of Complex deeming it the best song of 2020.[122][123] A commercial success, it became the band's highest-charting single to date in the United Kingdom, surpassing "The Sound".[50] A black and white music video for the song was released the same day to promote the track.[124] "Guys" was released as the seventh and final single from the album on 13 May 2020,[125] while its accompanying visual was released on 21 May 2020.[126]

To further promote Notes on a Conditional Form, the 1975 planned to embark on the second half of the Music for Cars Tour, which began in November 2018 to support A Brief Inquiry into Online Relationships. The tour was postponed on 18 March 2020 due to the COVID-19 pandemic, and the band issued a statement apologising to attendees, requesting they retain their tickets for use once the tour resumed.[127] On 12 January 2021, the 1975 decided to cancel the tour, noting the pandemic remained ongoing. In a statement posted on their Instagram, the band said: "These are incredibly difficult times for a lot of people, and until we can be sure that we will be able to play shows in a way that is safe for our fans and crew, we have decided the best course of action is to cancel our touring."[128] With the last show performed in Dublin on 3 March 2020, the tour concluded two months before the release of Notes on a Conditional Form.[129]

Mindshower

[edit]
Upon entering Mindshower, users are able to explore the lobby (pictured) to access exclusive literature, artwork and music from Notes on a Conditional Form.

On 14 February 2020, the Mindshower website was launched as a "digital detox", featuring a countdown set to expire on 19 February. Numerous easter eggs were hidden within the source code, including a link to satirical incel subreddit and nonsensical empowering messages.[130][131] Social media posts made by Hann and Healy fuelled speculation about the 1975's connection to the website. When the countdown expired on 19 February,[130] the website debuted "The Birthday Party" and its music video, in which the band visits the retreat.[132] The 1975 partnered with Amazon to relaunch Mindshower on 21 May.[133] A competition involving fan-made artwork was also held, with the winner being featured in Amazon Music's marketing campaign for Notes on a Conditional Form.[134][135] The website features literature from several collaborators involved with the album, including a journal from set designer Tobias Rylander, a magazine from designer Samuel Burgess-Johnson, photos from photographer Jordan Curtis Hughes and creative director Patricia Villirillo, and behind-the-scenes access from producer Jonathan Gilmore. Additionally, users can access the computer at the reception desk and download extra content from the album including links to homemade merchandise, artwork and stems.[133][136]

Artists Respond to NOACF

[edit]
Demon Sanctuary trained a generative adversarial network using pictures of sea slugs for "The End (Music For Cars)".
Ai-Da, a humanoid robot, created the visual for "Yeah I Know".

To accompany Notes on a Conditional Form, the 1975 created an online art exhibition titled Artists Respond to NOACF, taking the form of a YouTube playlist.[137] The exhibition was created following the suspension of the Music for Cars Tour, with the band wanting to create something virtual for their fans to enjoy.[138] They worked alongside Ditto to commission 14 artists to "respond" to 14 of the album's songs.[139][140] Artists Respond to NOACF features contributions from Agusta YR, Ai-Da, Alice Bucknell, Christopher MacInnes, Demon Sanctuary, Frederick Paxton, Jacolby Satterwhite, Joey Holder, Lu Yang, Mia Kerin, Most Dismal Swamp, Rindon Johnson, Sondra Perry, and Weirdcore. The artists used different mediums and disciplines to create their visuals, featuring artificial intelligence, generative animation, motion-capture animation, performance, robotics and other technologies. Each of the artists focused on the main themes explored on Notes on a Conditional Form: technology, hope, love, anxiety and violence.[139]

For "Tonight (I Wish I Was Your Boy)", Most Dismal Swamp focused on a 3D animated teddy bear,[141] while Demon Sanctuary employed a generative adversarial network (GAN) using sea slugs for "The End (Music For Cars)",[142] and MacInnes' contribution for "Streaming" used images from international imageboards such as 4chan.[143] Agusta YR produced a film within a film for "Then Because She Goes",[144] while Paxton's "Shiny Collarbone" used footage from the Arirang Mass Games in Pyongyang and Johnson created a utopian city for "Don't Worry".[145][146] Ai-Da, a humanoid robot, made a painting for "Yeah I Know" and Bucknell rendered three distinct futuristic cities for "I Think There's Something You Should Know".[147][148] Perry's contribution focused on a Black 3D avatar for "What Should I Say",[149] Weirdcore's visual for "Bagsy Not In Net" features kaleidoscopic patterns of astronauts,[150] while Holder's film for "Nothing Revealed / Everything Denied" was inspired by sigils, the occult and The Book of Pleasure: Psychology of Ecstasy (1913) by Austin Osman Spare.[151] Kerin plays a cowgirl in her video for "Roadkill",[152] while Satterwhite's art for "Having No Head" is an animated tribute to Breonna Taylor.[153] In the final video for Artists Respond to NOACF, Yang performs "Playing on My Mind" as her non-binary alter ego, Doku.[154] A visual for "Jesus Christ 2005 God Bless America", created by Candela Capitán, was quickly removed after its release due to its explicit nature.[155]

Commercial performance

[edit]

In the 1975's native United Kingdom, Notes on a Conditional Form debuted atop the UK Albums Chart, selling 34,000 album-equivalent units in its first week. 71 percent of their first week sales were attributed to pure album sales, including 7,000 vinyl copies–the fastest-selling vinyl record of 2020 at the time of its release. It became their fourth consecutive number one on the chart, which made the 1975 the sixth act in history to achieve this feat.[156] In Scotland, the album reached number one on the Scottish Albums chart.[157] In 2023, the album was certified gold in the United Kingdom, denoting 100,000 equivalent units.[158] Elsewhere in Europe, Notes on a Conditional Form reached number two on the Irish Albums chart,[159] number 30 on the Austrian Albums chart,[160] number 36 on the Dutch,[161] German and Swiss Albums charts,[162][163] number 67 on the Belgian Albums chart,[164] number 69 on the Lithuanian Albums chart and number 100 on the Italian Albums chart.[165][166]

In the United States, Notes on a Conditional Form debuted at number four on the US Billboard 200 chart with sales of 54,000 equivalent album units, including 39,000 pure album sales. It became the 1975's third top-five album on the chart, following I Like It When You Sleep, for You Are So Beautiful yet So Unaware of It and A Brief Inquiry into Online Relationships.[167] It also debuted atop the US Billboard Top Rock Albums chart and was later ranked at number 62 on the chart's year-end version.[168] Elsewhere in North America, the album peaked at number 19 on the Billboard Canadian Albums Chart.[169] In the Asia-Pacific region, Notes on a Conditional Form reached the top of the Australian Albums chart,[170] number four on the New Zealand Albums chart,[171] number 14 on the Billboard Japan Hot Albums chart and number 17 on the Japanese Albums chart.[172][173]

Reception

[edit]

Critical response

[edit]
Professional ratings
Aggregate scores
SourceRating
AnyDecentMusic?6.8/10[174]
Metacritic69/100[175]
Review scores
SourceRating
AllMusicStarStarStar[26]
Clash8/10[51]
Consequence of SoundB+[62]
Entertainment WeeklyA−[56]
The GuardianStarStarStar[59]
The IndependentStar[176]
NMEStarStarStarStarStar[70]
Paste5.1/10[96]
Pitchfork8.0/10[48]
Rolling StoneStarStarStar[177]

Notes on a Conditional Form received polarised reviews from contemporary music critics, with some deeming it confusing and chaotic, while others viewed it as "a work of panoramic genius."[178] Aggregating website Metacritic reports a normalised rating of 69, based on 28 critical reviews, indicating "generally favourable reviews".[175] AnyDecentMusic? gave it 6.8 out of 10, based on their assessment of the critical consensus.[174]

Stubbs gave the album a perfect five-star review, describing it as boundary-pushing and "totally, refreshingly unfiltered – musically and lyrically."[70] He praised its confessional themes, musical diversity and subversion of expectations.[70] Mosk awarded the album a score of 9.7 out of 10, giving perfect scores for the music quality, production, originality, sonic diversity and lyrics, calling it: "a musical odyssey layered in sound and substance: A genreless, emotionally stirring work of art ready to be the new soundtrack to your life."[53] More specifically, he highlighted the raw, emotionally indulgent nature of the lyrics and the ambitious, adventurous musical style, predicting it would serve as the voice of a generation.[53] Dillon Eastoe of Gigwise extolled the band for defying the expectations placed upon them, commending the album's lyrical introspection, sonic variety and creativity, deeming it "easily the most interesting and confusing major release by an arena-selling guitar band in a long while."[179] Fitzmaurice lauded the album for defying categorization, calling it "a delightfully overstuffed collection featuring some of [the band's] best and most immediately pleasing work to date."[56] He praised the self-references, collaborations and ability to balance the inclusion of new genres with the band's signature sound, deeming it a testament to Daniel and Healy's vision.[56]

Writing for PopMatters, Jordan Blum gave Notes on a Conditional Form a positive review, calling the album intriguing, sprawling and chameleonic. He wrote that despite a lack of complete coherence, it demonstrated "a level of unquenchable ambition, creativity, and outspoken curiosity that's rarely felt in popular music today."[69] musicOMH editor Ross Horton awarded the album four out of five stars, writing: "If this is [the 1975's] worst album, and you might believe that it is, then they very well may be the best band in the world."[93] He commended the band's growth, maturity and willingness to take risks, but felt the album's second half was more substantial than its first.[93] Similarly, Small felt the album served as both the 1975's opus and an ode to their previous albums, commenting: "if you thought [A Brief Inquiry into Online Relationships] was an experimental risk, [Notes on a Conditional Form] will blow you out of the water."[62] She praised the album's bold instrumentation and willingness to incorporate different genres, but was ambivalent towards the lyrics, finding them "often less than brilliant."[62] Gormely scored the album eight out of ten, saying its "ambition and execution can't be denied. This is the 1975 operating at the peak of their powers."[63] While praising the personal and introspective lyrics, he viewed the album as bloated.[63] Sodomsky awarded it the same score, calling it "a long, messy experiment that just so happens to peak with some of their sharpest songs."[48] He lauded the quiet, introspective lyricism and deemed the production as the band's most intricate and impressive yet, specifically praising Daniel for his role as the band's "secret weapon". However, Sodomsky felt the tracklist could be condensed.[48]

Awarding the album a score of 6 out of 10, Joe Rivers of No Ripcord deemed it messy and unfocused. He felt the album was too ambitious, weighed down by a long run time, too many genres, forgettable instrumental pieces and no distinct overall concept. However, Rivers praised other aspects as "very, very good" and featured some of the best songs of the band's career, saying: "[Notes on a Conditional Form] is a fantastic 12 track, 45-minute album. It's just a shame that [t]he 1975 decided to make it into a 22 track, 80 minute one."[180] Writing for Paste, Lizzie Manno praised the album's musical ambition, but found the lack of connecting threads made it overwhelming, inconsistent and exhaustingly chaotic, saying it was "far too ambitious and self-aware ... for its own good."[96] In his review of Notes on a Conditional Form, Alexis Petridis of The Guardian commended the album's experimental nature but felt the lack of boundaries between genres was more akin to a Spotify playlist than an album.[181] The A.V. Club writer Annie Zaleski was receptive to the beginning of the album but criticised the instrumentals, lyrical shallowness and sequencing as it progressed, writing: "the sonic hopscotch that once amplified the group's singularity now feels like a liability."[182] In a negative review, Biddles lambasted Notes on a Conditional Form as flat, directionless and inessential, viewing most of the album's songs as unremarkable and indistinguishable. She specifically criticised the "directionless" instrumentals and the repetitive nature of many songs, saying: "it is disheartening to witness [the 1975] with nearly nothing of note to say."[55] Similarly, The Independent's Roisin O'Connor deemed the album "a smug farrago" filled with inconsistent nonsense, meaningless orchestral interludes and indistinguishable dance songs, calling it "a 22-track parade of stream-of-consciousness self-indulgence."[176]

Accolades

[edit]

Regarding reception from music audiences, NPR listeners voted Notes on a Conditional Form the 44th most popular album of 2020,[183] while Pitchfork readers voted it the 32nd best album of the year.[184]

Accolades for Notes on a Conditional Form
Publication Accolade Rank Ref.
Alternative Press The Best 50 Albums of 2020
*
[185]
Rachel Aroesti (The Guardian) Guardian Albums and Tracks of 2020
*
[186]
Atwood Magazine 2020 Albums of the Year
*
[187]
Eve Barlow (The Guardian) Guardian Albums and Tracks of 2020
*
[186]
Billboard The Best 50 Albums of 2020
29
[188]
The 25 Best Rock Albums of 2020
5
[189]
BrooklynVegan Top 55 Albums of 2020
36
[108]
Complex The Best Albums of 2020
33
[190]
The Best Albums of 2020 (So Far)
17
[73]
Coup de Main Magazine The Best Albums of 2020
5
[191]
Dork Albums of the Year 2020
10
[178]
Entertainment Weekly The Best Albums of 2020... So Far
*
[192]
Esquire Best Albums of 2020
*
[193]
The Fader The 50 Best Albums of 2020
46
[194]
The Guardian The 50 Best Albums of 2020
36
[195]
Hot Press Hot Press Albums of 2020
13
[196]
Insider The 20 Best Albums of 2020
19
[197]
The Morning Call Best Albums of 2020 So Far
*
[198]
The Music Album of the Year
1
[199]
The 30 Best Albums of 2020 (So Far)
*
[200]
NME The 50 Best Albums of 2020
43
[201]
Edwin Ortiz (Complex) Our Favorite Songs and Albums of 2020
1
[202]
PopMatters The 60 Best Albums of 2020
38
[203]
Slant Magazine The 50 Best Albums of 2020
21
[204]
Kate Solomon (The Guardian) Guardian Albums and Tracks of 2020
*
[186]
Stereogum The 50 Best Albums of 2020
17
[205]
The 50 Best Albums of 2020 – Mid-Year
5
[206]
Square One Magazine Albums of the Year 2020
*
[207]
Under the Radar The Top 100 Albums of 2020
58
[208]
Uproxx The 2020 Uproxx Music Critics Poll
19
[57]
Variety Best Albums of 2020 – Mid-Year
*
[209]
Yardbarker The 30 Best Albums of 2020
*
[210]
The 25 Best Albums of the Year – Mid-Year
*
[211]

Track listing

[edit]

All tracks are written by Matthew Healy, George Daniel, Adam Hann and Ross MacDonald, and produced by Daniel and Healy, except where noted.[A]

Notes on a Conditional Form[32]
No.TitleWriter(s)Producer(s)Length
1."The 1975"
 4:55
2."People" 
  • Daniel
  • M. Healy
  • Jonathan Gilmore
2:38
3."The End (Music for Cars)"  2:30
4."Frail State of Mind"  3:53
5."Streaming"  1:32
6."The Birthday Party"  4:45
7."Yeah I Know"  4:13
8."Then Because She Goes" 
  • Daniel
  • M. Healy
  • Gilmore
2:07
9."Jesus Christ 2005 God Bless America"  4:23
10."Roadkill" 
  • Daniel
  • M. Healy
  • Gilmore
2:55
11."Me & You Together Song" 
  • Daniel
  • M. Healy
  • Gilmore
3:27
12."I Think There's Something You Should Know"  4:00
13."Nothing Revealed / Everything Denied"  3:38
14."Tonight (I Wish I Was Your Boy)"
 4:07
15."Shiny Collarbone"  2:50
16."If You're Too Shy (Let Me Know)" 
  • Daniel
  • M. Healy
  • Gilmore
5:19
17."Playing on My Mind"  3:24
18."Having No Head"  6:04
19."What Should I Say"  4:06
20."Bagsy Not in Net"
 2:26
21."Don't Worry"Tim Healy 2:48
22."Guys" 
  • Daniel
  • M. Healy
  • Gilmore
4:29
Total length:80:29

Samples[37][66]

Personnel

[edit]

Credits are adapted from the liner notes of Notes on a Conditional Form.[32]

Charts

[edit]

Certifications

[edit]
Region Certification Certified units/sales
United Kingdom (BPI)[158] Gold 100,000‡

‡ Sales+streaming figures based on certification alone.

See also

[edit]

Notes

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Notes on a Conditional Form

View on Grokipedia
from Grokipedia
Notes on a Conditional Form is the fourth studio album by the English band , released on 22 May 2020 by and . The record comprises 22 tracks spanning over 80 minutes and incorporates a wide array of genres, including , electronic, , and . It serves as the second installment in the band's "Music for Cars" era, following their 2018 album A Brief Inquiry into Online Relationships. The album opens with a spoken-word address on by activist and features vocal contributions from artists such as on "Jesus Christ 2005 God Bless America" and on "What Should I Say". Produced primarily by band members Matthew Healy and , it explores themes of environmental urgency, personal introspection, and cultural fragmentation through experimental structures and genre shifts. Upon release, Notes on a Conditional Form debuted at number one on the , marking the 1975's fourth consecutive chart-topping album there, with 34,000 equivalent units in its first week. In the United States, it achieved the highest pure sales week with 38,000 copies, though it entered the at number four overall when accounting for streams. Critics offered polarized assessments of the album's ambitious scope, with some lauding its genre-spanning and emotional depth as a bold evolution, while others critiqued its sprawling length and perceived lack of focus as detracting from musical cohesion. Despite the divided reception, the project underscored the 1975's commitment to conceptual artistry, blending sociopolitical commentary with sonic experimentation amid the onset of the .

Development and Production

Conception and Influences

was conceived as the second chapter in The 1975's "Music for Cars" era, following the 2018 release of A Brief Inquiry into Online Relationships, with frontman announcing its title as early as June 2018. Healy and drummer initiated development through collaborative experimentation, aiming for an ego-free exploration of existential anxiety, , and societal issues, influenced by Healy's personal struggles including addiction recovery. The album was formulated in dual approaches: crafting standalone songs as tributes while constructing an overarching tapestry of contemporary pop, resulting in an 80-minute runtime blending diverse genres without rigid cohesion. Healy described the conception as driven by a "not giving a " ethos, prioritizing raw honesty over glamour, which permeated the record's unglamorous self-critique and direct . Recording sessions incorporated premonitions of cultural upheaval, with initial work in an English countryside studio during early periods, though delays from perpetual revisions pushed the release to May 22, 2020, via Records. This process emphasized living in the moment and subverting pop conventions, reflecting Healy's omnivorous cultural intake and desire to engage mainstream discourse on and personal discontent. Influences spanned literary, artistic, and musical realms, with poet Seamus Heaney providing a foundational impact through his vivid depictions of mundane life, informing the album's lyrical relatability and thematic depth. Joan Didion's countercultural essays, particularly Slouching Towards Bethlehem, shaped examinations of societal distortion and the question "Can the center hold?" echoing Healy's rehab reflections on cultural fragmentation. Post-World War II art movements like Zero and Gutai inspired reactions to existential pointlessness, paralleling the album's response to modern "war-like" conditions. Musically, the record drew from British electronic and garage traditions, with The Streets' witty lyricism and Burial's atmospheric deconstruction yielding a tonally darker, narrative-driven sound recorded in . Healy cited heroes like for cultural breadth and for ambient innovation, underpinning the "Music for Cars" framework and tracks like piano-ambient experiments. Additional inspirations included internet memes critiquing online underbellies, comedy's truth-seeking akin to , and personal events such as a friend's reconnecting Healy to familial roots, all fostering the album's eclectic repurposing of styles from to country-pop.

Recording Sessions

The recording of Notes on a Conditional Form spanned approximately 19 months, from mid-2018 through early 2020, reflecting the band's nomadic lifestyle amid extensive touring. Much of the initial writing occurred on the road, with sessions conducted across at least 15 studios in four countries, contributing to the album's eclectic and fragmented structure. This decentralized approach allowed for spontaneous experimentation but resulted in a compilation of ideas gathered over time rather than a cohesive studio-locked process. Primary tracking took place throughout at Angelic Studio in , , a rural facility north of where the band wrote and developed the bulk of the material in a secluded, compound-like setting conducive to ambient experimentation. Frontman and drummer/producer collaborated closely here, often starting with atmospheric sketches inspired by Brian Eno's methods—beginning with piano or ambient loops before layering rhythms and vocals. Assistant engineer Luke Gibbs supported these sessions, which emphasized iterative builds, such as transforming ambient pieces into structured tracks like "If You're Too Shy (Let Me Know)." Some elements were even captured informally on the back of a tour bus during travels, underscoring the album's improvisational ethos. In early 2020, the band reconvened for three weeks at in Crouch Hill, , to finalize key tracks including "If You're Too Shy (Let Me Know)," "Guys," and "Nothing Revealed / Everything Denied." Assisted by engineers Luke Pickering and Ben Loveland, these sessions focused on polishing and mixing amid the band's push toward completion, as noted by manager Jamie Oborne in January 2020 updates. The album was mastered by Robin Schmidt at 24-96 Mastering. This multi-phase, location-hopping process, produced primarily by Daniel with input from Healy, enabled diverse sonic explorations but has been critiqued for yielding a disjointed final product reflective of interrupted workflows.

Production Choices and Collaborators

The production of Notes on a Conditional Form was primarily overseen by The 1975 members George Daniel and Matthew Healy, who served as producers for every track on the album. Jonathan Gilmore contributed as co-producer on seven specific tracks, including "People," "If You're Too Shy (Let Me Know)," and "What Should I Say." Gilmore also engineered all tracks, while mixing duties were managed by Mike Crossey across the entire record, with mastering completed by Robin Schmidt. Production choices reflected the album's experimental ethos, incorporating orchestral strings and brass on interludes like "The End (Music for Cars)" and "I Think There's Something You Should Know," alongside unconventional instruments such as banjo, , and choir elements to broaden the sonic palette. These decisions allowed for a maximalist approach, blending live-recorded acoustics with electronic processing to underscore the record's genre-spanning structure. Key collaborators included vocalist , who provided backing vocals on four tracks: "Jesus Christ 2005 God Bless America," "Roadkill," "Playing on My Mind," and "I Always Wanna Die (Sometimes)." contributed additional and introductory vocals to "If You're Too Shy (Let Me Know)" and "What Should I Say," while delivered vocals on "Shiny Collarbone." The album opens with spoken-word vocals from climate activist on the title track "," and features additional contributions from Tim Healy on "Don't Worry."

Musical Composition

Genres and Styles

Notes on a Conditional Form exhibits a highly eclectic and experimental approach to genre, defying conventional categorization within the or spheres typically associated with . The album integrates elements from numerous styles, including electronic, art pop, future garage, , and , reflecting a deliberate maximalist ethos that prioritizes sonic exploration over cohesion. This genre-spanning structure is evident from the outset, with tracks like "The 1975" employing ambient pop textures and "People" channeling punk energy through aggressive, anthemic riffs. Further diversification appears in subsequent songs, incorporating in "Frail State of Mind," country influences in "The Birthday Party," and orchestral swells in "The End ()." The record also draws on hip-hop, , , and elements, creating a mosaic that reviewers describe as both innovative and occasionally . This stylistic breadth aligns with the band's intent to mirror contemporary cultural fragmentation, though critics note it can result in an unfocused sprawl amid the 22 tracks. At its core, the album retains The 1975's signature melodic pop-rock foundation, augmented by electronic experimentation and guest contributions that amplify genre fluidity—such as Phoebe Bridgers' folk-leaning input on "Jesus Christ 2005 God Bless America." This fusion underscores a postmodern stylistic , where traditional rock structures intersect with ambient interludes and dance-oriented beats, positioning Notes as a bold, if uneven, evolution in the band's oeuvre.

Instrumentation and Arrangements

The core instrumentation on Notes on a Conditional Form draws from the band's standard setup, with Matthew Healy contributing vocals, guitars, bass, drums, keyboards, percussion, and programming; Adam Hann on guitar; Ross MacDonald on bass; and on drums, keyboards, percussion, programming, and . This foundation supports the album's diverse tracks, blending rock elements like electric guitars and live drums with electronic programming and synthesized sounds to create layered, genre-spanning compositions. Session musicians expand the palette significantly, incorporating acoustic and orchestral textures. Notable additions include oboes performed by Gareth Hulse and Ruth Berresford, by John Waugh, and by Ben Lester, which appear across various tracks to evoke ambience and downcast moods in interludes and ballads. Horn sections, arranged by , John Waugh, and Matthew Healy, feature in upbeat and punk-leaning songs, adding brass-driven energy to contrast the album's electronic and string-heavy passages. Percussion from additional contributors like Frank Ricotti further enriches rhythmic complexity in experimental cuts. Arrangements emphasize maximalism and juxtaposition, with orchestral elements orchestrated by , Matthew Healy, and Sam Swallow to frame instrumental interludes and ambient transitions, such as the string-laden "The End (Music for Cars)." Production choices by Daniel and Healy integrate these live acoustics with computerized effects and programmed beats, fostering a free-flowing that shifts abruptly between noisy, guitar-driven outbursts and melancholic, synth-washed motifs without rigid adherence to verse-chorus forms. The mixing by polishes this eclecticism, balancing raw punk aggression in tracks like "" with polished electronic in "Frail State of Mind," ensuring instrumental density supports the album's thematic chaos.

Album Structure and Experimentation

Notes on a Conditional Form comprises 22 tracks with a total runtime of approximately 80 minutes, marking it as The 1975's longest album. The structure prioritizes a loose, associative flow over conventional cohesion, blending full songs with instrumental interludes, orchestral segments, and non-musical elements like spoken-word recordings, which account for over a third of the duration. This approach includes an EP's worth of largely vocal-free tracks, such as the symphonic "The End (Music)" and ambient "Streaming", interspersed to create transitions between disparate styles. The sequencing begins assertively: the opening "" delivers a 4:55 recording of Greta Thunberg's speech on climate urgency, immediately followed by the abrasive, two-minute punk rant "People", before yielding to softer, exploratory pieces like the grime-leaning "Frail State of Mind" (featuring ). Mid-album shifts incorporate piano-driven intimacy ("Bags", "Can You Feel My Love"), garage-infused pop ("If You're Too Shy (Let Me Know)", sampling ), and eclectic detours into folk, , and futuristic Americana, reflecting a deliberate rejection of playlist-era fragmentation in favor of album-as-totality listening. The latter portion turns inward, emphasizing personal reflection, and concludes with "Guys", an acoustic tribute to the bandmates positioned as a retrospective capstone. Experimentation manifests in the album's maximalist genre-hopping and production risks, from country-emo hybrids to orchestral builds and raw demos, allowing frontman to probe identity without self-censorship. Healy explained this form as an exhaustive canvas, where he "left no stone unturned" to balance expansive themes with humor and brevity across tracks. Such diversity, including collaborations with on "Jesus Christ 2005 God Bless America", underscores the band's intent to mirror perceptual chaos while nodding to their core sound.

Lyrical and Thematic Content

Political and Environmental Messaging

The album's most explicit environmental messaging appears in the opening track, "The 1975", which features a four-minute spoken-word piece by Swedish climate activist . Recorded as an adaptation of her January 25, 2019, speech at the in , , titled "Our House is on Fire", the track declares the climate crisis an existential emergency requiring immediate to force reductions in . Thunberg criticizes political leaders for inaction, stating that "adults keep saying: 'We are going to fix this' ... but clearly they're not," and urges youth to prioritize the crisis over traditional political engagement. This track sets a tone of urgency, with Thunberg asserting that older generations have "failed" and that current political movements lack moral direction on , demanding a shift from to systemic change. Band frontman described the inclusion as a deliberate platform for Thunberg's , aligning with the album's broader intent to confront ecological through music. Political themes extend beyond environment into critiques of contemporary and culture, as seen in tracks like "People", where repetitive chants of "people" and "last week I realized I crave people" evolve into a rallying cry against , interpreted by Healy as reflecting fragmented in a distracted society. In "Love It If We Made It", Healy weaves references to events such as the , the Parkland shooting, and figures like alongside , satirizing how media overload desensitizes public response to political tragedies and policy failures. These elements underscore Healy's view that must engage political realities without partisan alignment, prioritizing cultural deconstruction over ideological conformity.

Personal and Psychological Themes

The album delves into lead singer Matty Healy's introspective examinations of , portraying depression and anxiety as forces that strain interpersonal connections. In the track "Frail State of Mind," Healy articulates how his psychological frailties exacerbate relational tensions, with lyrics referencing forgotten and a pervasive sense of disconnection from others. Healy has described these elements as rooted in to evade an "endless timeline of discontent," underscoring a reluctance to confront underlying emotional ugliness. Addiction and recovery form a core psychological thread, drawn from Healy's personal history with use, which he frames as an escape from existential unease rather than mere . Having achieved for approximately one year prior to the album's release on May 22, 2020, Healy reflects on how such habits altered band dynamics and personal agency, avoiding romanticization in favor of raw accountability. Tracks like "The Birthday Party" further this unvarnished approach, capturing domestic isolation amid broader crises without idealizing past indulgences. Relational and identity-based anxieties recur, blending , , and self-doubt into narratives of . Songs such as "I Think There's Something You Should Know" and "Tonight I Wish I Was Your Boy" confront breakup regrets and out-of-body detachment, while "Playing On My Mind" poses existential queries like "Will I live and die in a band?" to probe long-term personal fulfillment. These motifs extend to domesticity, evoking homely routines intertwined with psychological unrest, as Healy has noted the album's emphasis on within everyday confines. Influences like Joan Didion's essays inform this layer, promoting a critical self-scrutiny that exposes personal distortions amid cultural glamour. Overall, these themes prioritize unglamorous honesty over cathartic resolution, reflecting Healy's evolving confrontation with fear, ego, and mortality.

Critiques of Contemporary Society

The lyrics in Notes on a Conditional Form offer pointed critiques of technology's role in exacerbating and mental fragility within contemporary Western society. In "Frail State of Mind," Healy articulates a reluctance to engage with , favoring digital mediation—"Go outside? / Seems redundant"—as a symptom of pervasive online dependency that undermines real-world resilience and fosters agoraphobic tendencies. This reflects broader empirical patterns, such as increased anxiety disorders correlated with usage, where average daily exceeds 7 hours for young adults in developed nations. Healy further dissects the economic distortions of digital platforms in "Streaming," decrying how streaming services capture disproportionate value from artistic labor while disbursing minimal royalties—often $0.003 to $0.005 per play—to creators, enabling tech conglomerates to monopolize profits amid a $20 billion global industry in 2019. This interlude underscores a causal shift in cultural production, where algorithmic curation and infinite accessibility devalue human effort, prioritizing shareholder returns over sustainable livelihoods, as evidenced by major labels' 70% market share versus independent creators' marginal gains. Tracks like "Jesus Christ 2005 God Bless America" satirize the of in consumer-driven societies, lampooning prosperity theology's fusion of faith and materialism—"Jesus Christ, I'm alone again / So what did you do those three days you were dead?"—which Healy presents as a hollow merger of religious fervor with capitalist incentives, mirroring real-world phenomena where U.S. megachurches amassed $8.5 billion in annual revenues by through branded merchandise and media empires. These elements collectively portray a society adrift in simulated experiences, where technological and economic structures erode authentic human agency.

Promotion and Release

Singles and Pre-Release Material

The lead preview track for Notes on a Conditional Form was "", consisting primarily of a spoken-word address on by Swedish activist set to ambient electronic production, released on July 24, 2019. This four-minute piece served as the album's opener and marked the start of the promotional cycle for the record, originally slated for release before the 2019 . The first proper single, "People", followed on August 22, 2019, featuring aggressive punk-inflected instrumentation and lyrics urging against environmental inaction. Accompanied by a depicting chaotic live performances, the track was positioned as a call to , aligning with the album's thematic concerns. Subsequent singles included "Frail State of Mind" on October 24, 2019, a UK garage-influenced track with lo-fi production and vocals expressing anxiety over modern disconnection, directed toward streaming platforms for its video premiere. "Me & You Together Song", released January 16, 2020, adopted a jangle-pop style reminiscent of indie influences, with nostalgic lyrics about youthful romance. Further pre-album singles encompassed "The Birthday Party" in early February 2020, an upbeat electronic number; "I Like America & America Likes Me" on March 11, 2020, incorporating experimental noise elements; and "If You're Too Shy (Let Me Know)" on April 2, 2020, a soulful track featuring guest vocals from singer . These releases, totaling seven tracks by the album's eventual May 22, 2020 launch, showcased the project's genre-spanning approach and delayed timeline amid multiple postponements. Pre-release efforts also involved intermittent live debuts during the band's 2019-2020 tours and intermittent artwork updates tied to single drops.

Artists Respond to NOACF Initiative

The NOACF Initiative commissioned 14 visual artists to produce original digital artworks, each responding to one of the album's 14 tracks, as part of a promotional online launched on July 22, 2020. Directed by Ben Ditto in collaboration with , the project granted artists complete creative autonomy to interpret their assigned songs, resulting in diverse visual interpretations that extended the album's themes into multimedia formats. Participating artists included , the world's first ultra-realistic humanoid robot artist; Alice Bucknell; Joey Holder; Rindon Johnson; Mia Kerin; Christopher MacInnes; and Frederick Alves, among others. The exhibition featured a variety of works, such as 3D animations depicting utopias and fractured digital identities, AI-generated pieces, and films incorporating social commentary, including one tributing in response to a track's themes. This initiative amplified the album's promotion by bridging music with contemporary visual , encouraging deeper engagement with its lyrical and conceptual content.

Release Delays and Strategies

The 1975's fourth studio album, Notes on a Conditional Form, faced multiple postponements from its initial projections following the 2018 release of A Brief Enquiry into Online Relationships. Originally envisioned for late 2018 or early 2019 amid intensive touring and production commitments, the project extended due to ongoing refinements and external factors. By late 2019, frontman announced a target of February 21, 2020, encompassing 22 tracks, but this was shifted to April 24 to allow final adjustments. A further delay to May 22, 2020, occurred in March amid the emerging , which disrupted physical manufacturing and global distribution. Healy attributed the artistic delays primarily to his insistence on quality, stating he would "never gonna put out a record I'm not happy with" and confirming the album's completion only shortly before the final date, pending vinyl pressing. Manager Oborne highlighted broader contributors, including non-stop global promotion, life events, and adaptive challenges during production, emphasizing the band's avoidance of rushed outputs. These decisions reflected a of creative over commercial timelines, with Healy describing the record as "a blooming good album" warranting the wait during a performance. To mitigate fan anticipation during delays, the band employed a strategy of sustained engagement through pre-release singles and thematic initiatives, releasing tracks like "" in July 2019 and "" in August 2019 to maintain momentum without full album disclosure. Oborne outlined a modern campaign leveraging digital service providers (DSPs), radio airplay, playlist integrations, and video content to build cultural relevance, while partnering with collaborators for extended visibility. This approach, combined with transparent announcements via social media and live updates, preserved audience loyalty amid uncertainties, culminating in the May rollout via and .

Commercial Performance

Chart Achievements

"Notes on a Conditional Form" debuted at number one on the UK Albums Chart on 29 May 2020, marking the fourth consecutive studio album by the band to reach the summit and accumulating 34,000 equivalent album units in its first week, predominantly from physical sales. The release spent a total of seven weeks on the chart. In the United States, the album entered the at number four for the week ending 6 June 2020, driven by 38,000 pure album sales that led the sales category despite lower streaming equivalents placing it behind competitors like Gunna's "Wunna". The album also topped the Albums Chart in upon release, securing the band's first number-one album there.
Chart (2020)Peak Position
UK Albums (OCC)1
US Billboard 2004
Australia (ARIA)1

Sales Data and Certifications

Notes on a Conditional Form debuted at number one on the UK Albums Chart, generating 34,000 album-equivalent units in its first week ending May 28, 2020, with 71% derived from physical formats including 7,000 vinyl copies. In the United States, it entered the Billboard 200 at number four with 54,000 equivalent album units for the tracking week ending May 28, 2020, encompassing 38,000 pure album sales. No certifications have been awarded by the British Phonographic Industry (BPI) or the Recording Industry Association of America (RIAA) for the album.

Reception

Critical Evaluations

Critical reception to Notes on a Conditional Form was mixed, with an aggregate Metascore of 69 out of 100 on based on 22 reviews, indicating generally favorable but divided opinions among critics. The album's expansive 80-minute runtime and genre-spanning structure drew both admiration for its ambition and derision for perceived bloat and inconsistency. awarded it 8.0 out of 10, calling it "a long, messy experiment that just so happens to peak with some of their sharpest songs," highlighting introspective tracks amid the sprawl. Praises centered on the album's versatility and bold experimentation, encompassing , punk, , and folk elements. gave it a perfect 5 out of 5 stars, lauding it as a "sprawling album" where frontman "take a wrecking ball to his own ego," appreciating its anarchic scope from political openers to personal closers. scored it 3.5 out of 5 (70/100), noting that while it "might not live up to its lofty goals," the "sheer amount of daring" showcased The 1975's willingness to push boundaries beyond conventional pop-rock. Specific tracks like "If You're Too Shy (Let Me Know)" and "Guys" were frequently cited for their melodic immediacy and emotional resonance, with critics such as those at Variety praising the album's "high-concept craftsmanship" in moments of punky satire and heartfelt balladry. Criticisms focused on the album's lack of cohesion and excess length, which some argued diluted its strengths. rated it 3 out of 5 stars, observing that despite "moments of high-concept craftsmanship," the record was "way too long" and struggled to sustain momentum across its 22 tracks. The assigned 3 out of 5 stars, describing it as sprawling but ultimately "mid-paced" and lacking quality control, with political themes fading into personal introspection without maintaining energy. Outlets like Uproxx critiqued its "bloated and self-important" nature, arguing the band's indulgence in filler tracks overshadowed stronger material, while gave it 2.9 out of 5 (60/100), deeming it "just good enough to not" fully disappoint but directionless overall. This polarization reflected broader debates on whether the album's conceptual risks—framed by Healy as a response to environmental and personal crises—elevated The 1975's artistry or exposed self-indulgence.

Fan and Public Responses

Fan responses to Notes on a Conditional Form were polarized, reflecting the album's experimental structure and 22-track length exceeding 80 minutes. Users on Metacritic rated it 7.0 out of 10 based on 63 reviews, indicating generally favorable but divided sentiment, with praise for its ambition often tempered by critiques of incoherence. On Album of the Year, the aggregate user score was 64 out of 100, underscoring similar divisions among listeners who valued its genre-spanning tracks but found much of the material uneven or excessive. In fan communities such as Reddit's r/the1975, enthusiasts lauded the record's versatility, with some deeming it the band's strongest for seamlessly addressing political, personal, and sonic diversity across styles from ambient interludes to punk outbursts. Detractors, however, frequently highlighted its "bloated" quality and filler content, positioning it as overlooked or the weakest entry compared to predecessors like A Brief Inquiry into Online Relationships. Discussions in r/indieheads echoed this, noting musical excess akin to Oasis's Be Here Now but without equivalent backlash, though some appreciated isolated highlights like collaborations with . Public reception beyond dedicated fans mirrored this split, with the album's spoken-word opener by drawing both acclaim for environmental messaging and dismissal as pretentious, contributing to broader perceptions of artistic overreach amid its May 22, 2020 release during global lockdowns. Over time, retrospective fan views have softened for some, viewing its messiness as authentically human in context, though it remains divisive relative to the band's more streamlined works.

Accolades and Controversies

The album Notes on a Conditional Form received no nominations at the in 2021, despite its release timing making it eligible in categories such as Best Alternative Music Album. Similarly, it was not shortlisted for the 2020 , an award for which the band had previously competed with earlier works. While the project earned praise from select music outlets for its ambition and thematic depth, it secured no equivalent honors from bodies like the or specifically tied to its content or impact. Controversy emerged shortly after the album's May 22, 2020 release when frontman deactivated his account amid backlash over a post addressing the protests. Healy quoted from the band's 2018 track "Love It If We Made It"—specifically the line about "saying controversial things just to get a reaction"—in a tweet linking to the , which some outlets and commentators viewed as insensitive or an attempt to capitalize on the unfolding social crisis for relevance amid the album's promotion. Critics accused Healy of performative engagement with themes, given the album's own explorations of societal issues, prompting debates over authenticity in the band's public positioning. The incident highlighted ongoing scrutiny of Healy's presence, which had previously drawn ire for provocative statements, though no formal repercussions beyond online criticism ensued.

Track Listing and Personnel

Standard Edition Tracks

The standard edition of Notes on a Conditional Form, released on May 22, 2020, by Dirty Hit and Polydor Records, contains 22 tracks spanning approximately 80 minutes.
No.TitleLength
1The 19754:56
2People2:39
3The End (Music for Cars)2:31
4Frail State of Mind3:54
5Streaming1:33
6The Birthday Party4:46
7Yeah I Know4:13
8Then Because She Goes2:07
9Jesus Christ 2005 God Bless America4:24
10Roadkill2:55
11Me & You Together Song3:27
12I Think There's Something You Should Know4:01
13Nothing Revealed / Everything Denied3:38
14Tonight (I Wish I Was Your Boy)4:07
15Shiny Collarbone2:51
16If You're Too Shy (Let Me Know)5:19
17Playing On My Mind3:24
18Having No Head6:05
19What Should I Say4:06
20Bagsy Not In Net2:27
21Don't Worry2:48
22Guys4:30

Credits and Contributions

The album Notes on a Conditional Form was primarily produced by The 1975's and Matthew Healy, who also handled engineering duties alongside Jonathan Gilmore. Mixing was contributed by and Jonathan Gilmore, with mastering performed by Robin Schmidt. Core band members provided the foundational instrumentation: George Daniel on drums, keyboards, and programming; Matthew Healy on lead vocals and guitar; Adam Hann on guitar; and Ross MacDonald on bass. Additional musicians included Helen Keen on , Rashawn Ross on and , John Waugh on , and the London Community Gospel Choir, supplemented by orchestral elements such as strings arranged by Everton Nelson and Ian Burdge. Guest contributors featured prominently across tracks, adding diverse vocal and stylistic elements. provided vocals on "Jesus Christ 2005 God Bless America" and backing vocals elsewhere; contributed backing vocals and appeared on "What Should I Say"; delivered vocals on "Shiny Collarbone"; spoke on the opening track ""; additional appearances included , Tim Healy (Matthew Healy's father), and . All tracks were published by Good Soldier Songs and Songs Ltd.

References

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