This is The Pitchfork Review, the show about the musicians we're obsessed with and the albums you need to know right now.

I'm Pudra Patel, the editor-in-chief of Pitchfork, and in each episode I'll be joined by some of my favorite critics and editors to dig into new

releases, legendary artists, and even some that you probably haven't heard of yet.

We'll share the thinking and the analysis behind what we do, because trust me, there is a lot

that goes into each and every review.

And on that note, one person that you'll be hearing a lot from is Pitchfork's Reviews

Editor and my co-host, Jeremy Larson. Hey, Jeremy. Hey, Pujia. Talking about music. I love it.

So I thought we'd kick off this new season with our favorite polarizing pop band,

the 1975, and their new album,

Being Funny in a Foreign Language.

We featured them on a recent cover story and gave the release an 8.0.

Whether or not you're a fan of the 1975, here's the deal.

The band is made up of four guys from Manchester, England, and fronted by the moody and charming and sometimes controversial singer Maddie Healy.

They first got together in 2002 when they were in high school, playing punk covers under a bunch of different names.

And then in 2013, they officially began calling themselves the 1975, started writing their own emo-influenced music,

and released their self-titled debut.

Oh, you see the week ago, and nobody know, we've come sitting under our baker.

No, we never got to quit it, no, we never got to quit, no.

By their second album, in 2016, the band had refined their sound and sharpened their wit to become a legitimate pop outfit.

The title of that album, and bear with me here, is I like it when you sleep for you are so beautiful yet so unaware of it.

This is when Maddie started stepping into his indie, cool kid heartthrob era with songs like

Somebody Else and Love Me.

...