They like a bit of contradiction and confrontation do Mogwai. At least
that’s often the assumed persona they have always given out. Since they
first set up their guitars too close to the amps back in the mid-90s the
Scots quintet have been a contrary bunch – at one turn scything down indie
kids with walls of feedback, the next fondly creating Eno/Sigur Ros blissful
atmospherics. They speak up and out in the press about whatever takes their
fancy, yet rarely feature vocals in the music. So it’s with mixed feelings
we find ourselves faced by ‘Happy Songs For Happy People’, what can we
expect?
Forget the expectation, don’t let anything worry you about this album. It’s
their fourth album and is definitely their most consistent, clever and
enjoyable so far. Through out there are echoes of their previous work but
these seem more cohesively settled together. The distracting vocals of
2001’s ‘Rock Action’ replaced here we just hints of voices and speech, the
feedback assault of their debut ‘Young Team’ now is a subtle part of the
atmospherics, not the sole ingredient.
‘Kids Will Be Skeletons’ is a real piece of elegance on this album. A
gentle guitar picks softly while a distant drone lifts and falls, a simple
drum begins to heighten the sounds, moving you towards some faraway place.
The note picking becomes more insistent strumming and the centre of the
track engulfs you. Bells ring and chimes tinkle, watery effects mix with
childlike voices. The drone begins to drift off, while pauses between the
guitar parts widen – it has the effect of evoking past childhood memories, a
stunningly gorgeous piece.
It isn’t all dreamy sonambulance though, those favouring a more aggressive
turn will enjoy ‘Ratts Of The Capitol’…but they need to give it a chance.
A minute or so of steady weaving give way to a even quieter deceptive lull
which welcomes in a tremendous enthusiastic crescendo. A tight strings
orchestration is matched with the hard guttural riffs which swirl faster and
faster. The pounding rhythm is sensational, dropping in and out. It leaves
you in the final minutes levelling heartbeats and cautiously opening your
eyes.
The cello led ambience of ‘Golden Porsche’ has a great un-delicate ending.
And ‘I Know You Are…’ is an off-key sounding piano-threaded lullaby which
reminded me of Orbital cut up with a music box.
They aren’t so contrary now. Mogwai have given us one of the most honest
and un-affected albums of the year, and definitely of their career. Perhaps
they too are happier, I know that I am and so will you be after getting this
record.