It doesn’t have a bridge or anything. It’s just this little moment. But this is how I feel about life. There’s so many fleeting moments of beauty on the record, which was really important because most of my favourite records always have them. Especially if we’re talking about shoegaze records. I think a lot of that comes from the slacker mid-’90s thing of Pavement or Liz Phair. There’s a lot of Life Without Buildings and stuff like that, especially in this song. And it’s like faded splendour, as I always call it. I love pop songs that sound like they’re drowning. Like My Bloody Valentine. Like a Polaroid that’s gasping for air. That really sunny but sun-flared feeling is quite across the record because—for the time and for the kind of person that I am, and my political views—it’s inherently quite a warm record.

I think when you get a bit older making a new friend is a bit weird. With Phoebe, we started talking on the internet about an appreciation of each other’s work and music. I’ve always been a massive fan of hers. Having other people involved in what I do gives me anxiety a lot of the time, but none of that happened, it was quite casual, it was like finding an instrument for me. She has such a beautiful voice and it created a different tone, one that sat outside of trying to creat my own vocal tones. The 1975 has alwyas been very insular and in every aspect, we really let the walls down for this record: my ego, expectations of what we should od next, the way it sounds, the way it looks, I think someone else being on it, a friend of ours sharing the experience, it kind of speaks to what the record is like.

— Matty Healy via Spotify