It’s time to dust off the Doc Martens, pull the fishnets out of the back of your drawer, and post angsty lyrics on your social media. The 1975 is back with a new era, and this time, it’s promising. 

The 1975 is coming out with their fifth full-length album, “Being Funny in a Foreign Language” on Oct. 14 via Dirty Hit Records. The fourth single, “All I Need to Hear” is a hopeful teaser to the upcoming release and resembles their old work. 

“All I Need to Hear” is a classic love song. It’s a refreshing listen after what they’ve done for the past two albums. Highlighting postmodern themes and apocalyptic sentiments, they’ve sounded like over-produced dumping grounds for lead singer Matt Healy’s technological musings. 

“All I Need to Hear” definitively marks The 1975’s redemption arc.

Healy rolls on his back in this song, displaying his belly for the world to see. The song is sweet and simple, claiming that everything is meaningless to the singer except for the love of his significant other. For someone who has been open with his struggles with drug abuse, this song feels like an antidote to the semi-public suffering fans have been witness to.

The chorus rings, “’Cause I don’t need music in my ears/ I don’t need the crowds and the cheers/ Oh, just tell me you love me/ ‘Cause that’s all that I need to hear.”

This track shows the apparent maturity of the group’s thematic focuses. “Robbers,” a track from their debut album, and a favorite among fans, is famous for its telling of a modern Bonnie-and-Clyde-esque heist gone wrong. It has more layers than a Michigander in January and contains so many darker elements to fatal attractions. “All I Need to Hear” is about as 180 degrees of a turn from “Robbers” as you can get.

Judging from this song alone, “Being Funny in a Foreign Language” will reveal an evolution of The 1975. Their future has been far from unpromising, but the past two albums have left many old fans in the valley between guilty pleasure music and Stockholm-Syndrome-style affection.

Although it’s normal to dismiss The 1975 as a boy band that emerged from the depths of early social media, they’re unironically special. Each era they produce is rich with apt lyricism, interesting sonic elements, and theatrical storytelling. Even though each stage might not be every devoted fan’s cup of tea, this next one will likely possess all of these signature elements. Only, it might go back to The 1975’s roots with fresh eyes and a newfound sense of sincerity (despite being scary).