When you think of Manchester, you think of grey skies, red bricks, and the raw, unpolished roar of working-class guitar music. Growing up worshipping the altar of the 90s, my musical landscape was dominated by the Gallagher brothers. To me, “Manchester music” meant Oasis, The Stone Roses, and The Smiths. Anything that came after—especially bands that favored polished synths over distorted Gibsons—felt, frankly, a bit too soft.
That was my stance on The 1975. “Another Manchester band? Probably just indie pop,” I’d scoff, dismissing them without a second thought. Yet, as a digital marketer and a lover of culture, I couldn’t ignore the data. They were captivating Gen Z worldwide, selling out arenas, and crafting an aesthetic that was undeniably magnetic. Still, I resisted.
That changed on a cold February afternoon in Ochanomizu, Tokyo. Known as a sanctuary for music lovers, this district is packed with instrument shops and record stores. I wandered into Disk Union Ochanomizu, intending to kill some time. I didn’t know I was about to have an encounter that would shatter my prejudices and bridge the gap between my Britpop nostalgia and the modern sound of my favorite city.
Chasing Ghosts of the 90s in Ochanomizu
There is a specific smell to Disk Union in Ochanomizu—a blend of old paper, dust, and vinyl that acts as an aphrodisiac for collectors. I love it. Usually, I head straight for the 90s UK Rock section, hunting for Oasis bootlegs or B-sides, convinced that only Noel Gallagher’s songwriting can save my soul.
But this time, my eyes drifted to the “New Arrival” section. Standing out amongst the colorful spines was a set of records radiating a stark, monochromatic aura. Black, white, and clear vinyl. It was The 1975.
I pulled one out. The cover art was minimalist, almost architectural. Holding the 12-inch sleeve, I felt a weight and sophistication that digital thumbnails never conveyed. It wasn’t the rugged arrogance of the 90s; it was something cooler, more intellectual, yet pulsing with a different kind of intensity.
The Four EPs: A Prelude to Global Stardom
Sitting in the bin were the four EPs released before their debut album—the “Early Four,” often considered holy grails for fans. I grabbed them all and headed to the listening station. The crackle of the needle dropping felt like the opening scene of a new chapter.
“IV” (2013) – The Pop Breakthrough
The first record I spun was “IV”. Released in 2013, this is widely regarded as the turning point for the band.
The moment the riff for “Chocolate” kicked in, I was floored. I’d heard it on the radio, sure, but on vinyl? The cutting funk guitar and Matty Healy’s staccato delivery hit different. It had groove. It had swagger. Just as Oasis channeled The Beatles, The 1975 were metabolizing 80s funk and pop through a uniquely Manchester lens. It was undeniable.
“Facedown” (2012) – The Ambient Origin
Next was their debut EP, “Facedown”. This was a revelation. While the lead track “The City” brought aggressive drums, the rest of the EP showcased a stunning ambient atmosphere.
It reminded me of Brian Eno or Sigur Rós—vast, quiet soundscapes born from lonely bedroom production under Manchester’s perpetual clouds. Songs like “Antichrist” explore dark, introspective themes, a sharp contrast to the “Live Forever” optimism of Oasis, yet equally poignant. This The 1975 vinyl captured the anxiety of youth in a way that felt terrifyingly real.
“Music For Cars” (2013) – Defining the Aesthetic
The third gem was “Music For Cars”. The title itself is a key piece of their lore, later reused for their third album era.
This EP holds the core of their sound: the fusion of electronic beats and emotional melodies. Tracks like “Anobrain” offer a floating, cinematic synth sound that fits the title perfectly. Watching the white vinyl spin, I realized they weren’t just a band; they were architects of a mood. They were building a world I wanted to live in.
“Sex” (2012) – Raw Energy and Teenage Angst
Finally, the one that hit closest to home for an Oasis fan: the “Sex EP”.
The intro to the title track, “Sex,” is pure adrenaline. Distorted guitars, driving tempo, and lyrics about unrequited lust and teenage recklessness. “She’s got a boyfriend anyway.” It’s the same youthful defiance found in “Cigarettes & Alcohol,” just dressed in skinny jeans instead of parkas. This clear vinyl pressing captures the raw, bleeding energy of a band on the brink of explosion.
Building the Ultimate The 1975 Vinyl Collection
Walking out of Disk Union with a heavier bag and a lighter wallet, I began to think about where this journey goes next. For those looking to dive deeper into The 1975 Vinyl, here is a Photomo guide to expanding your collection beyond these EPs, utilizing the keywords that matter to collectors.
Hunting for the Studio Albums: From “Self-Titled” to “Being Funny In A Foreign Language”
The natural next step is their studio albums. The The 1975 Vinyl self-titled debut is a must-have to complete the narrative started by the EPs. But don’t stop there. Their latest effort, The 1975 Vinyl Being Funny In A Foreign Language, shows a mature band returning to organic instrumentation, which sounds phenomenal on wax. Comparing the raw energy of the EPs to the polished mastery of their recent work is a listening experience in itself.
The Ambient Masterpieces: “I Like It When You Sleep…” and “Notes On A Conditional Form”
If you enjoyed the ambient textures of “Facedown,” you need to hunt for The 1975 Vinyl I Like It When You Sleep and The 1975 Vinyl Notes On A Conditional Form. These albums are expansive and experimental. “Notes” in particular is a sprawling, genre-defying odyssey that benefits greatly from the warmth of vinyl, allowing the intricate production layers to breathe.
A Brief Inquiry into Rare Pressings: “Liquid” Filled Vinyls and Limited Editions
For the serious collector, the holy grail is the The 1975 Vinyl liquid. These are extremely rare editions, often released by Blood Records, filled with actual liquid that moves inside the record as it spins. They are expensive and hard to find, but they are the ultimate showpiece. Similarly, keep an eye out for any The 1975 vinyl limited edition releases, like the white or clear variants I found today. The 1975 Vinyl A Brief Inquiry into Online Relationships also has some stunning color variants that perfectly match the digital-age themes of the album.
Capturing the Energy: “Live” Recordings on Wax
Finally, to truly understand the band’s power, look for The 1975 vinyl Live recordings. Their live performances, specifically the ones recorded at the O2 or with the BBC Philharmonic, showcase their ability to translate complex studio production into a massive arena rock sound. It’s the closest you can get to the concert experience from your living room.
Conclusion: The Sound of Manchester Resonates in Tokyo
The initial impulse I felt listening to Oasis’s “Definitely Maybe” and the sophisticated high I got from The 1975’s “IV” are different, yet they share the same DNA. It’s the romanticism of the working-class city, dreaming big under grey clouds.
My discovery at Disk Union Ochanomizu taught me a valuable lesson: never let nostalgia blind you to the present. The 1975 are worthy heirs to the Manchester throne. If you are a rock purist holding out, I urge you to visit a record store, dig through the crates, and give these EPs a spin. You might just find your new obsession waiting in the grooves.
Now, if you’ll excuse me, I need to go hide these from my Noel Gallagher poster before he judges me. But first, I’m putting “Chocolate” on one more time.
