Mogwai - Happy Songs for Happy People (2003)

Steve:

I first discovered Mogwai when I decided to take a chance on buying a used CD of Happy Songs for Happy People in 2009.  I had recently learned that this indie band was getting a lot of mention in progressive rock circles, so I was curious. The first two songs on the CD, "Hunted by a Freak" and "Moses? I Amn't" immediately sold me, not only on Mogwai, but on a new type of music I had not previously explored in detail.

Mogwai are a Scottish band founded in the mid 1990s by guitarist Stuart Braithwaite and bassist Dominic Aitcheson, who eventually filled out a stable lineup including Barry Burns and John Cummings on guitars, keyboards, and occasional vocals, and Martin Bulloch on drums. Happy Songs for Happy People was their fourth full-length album. I've made a point of mentioning every member, since Mogwai's most outstanding characteristic in my view is how well the five members compose and perform their material in a way that places equal importance on each part. Each member blends into a rich, sinuous whole that borders on orchestral, and the compositions are surprisingly economical and brief for a band that thrives on atmosphere. After fully digesting the band's discography, I've come to see Happy Songs as the point at which the band first perfected the sound that future albums would build upon.

The band is fond of silly song titles, even though most of their tunes are purely instrumental. "Hunted by a Freak" is arguably the band's signature song. I've listened to numerous live shows, and this song appears in every one. It's a stunning piece of work, led by a gentle guitar figure, ethereal electronically altered vocals from Burns, quiet but effective cello, and subtle but powerful bass work from Aitcheson. The track that clinched it for me, though, was "Moses? I Amn't", as its lack of drums, prominent cello, and somber organ immediately brought Brian Eno to mind. I remember having an "A-ha!" moment during this track - this was a band I could really sink my teeth into.

Most of the album continues to offer new combinations of the band's considerable sonic palette, usually (but not always) swelling into a mass of sound that is so expertly mixed and performed that it's hard to believe it's just a bunch of Scottish blokes playing guitars. Exceptions to this approach include the relatively minimal "I Know You Are But What Am I?", which is a relatively static number built around a piano part - but even then, the small sonic details around the edges make this track atmospheric.

Apart from the first two tracks, "Ratts of the Capital" at 8 minutes long is the closest track in spirit to the winding epics of their early material. "Ratts" is extremely well paced, starting quietly and building slowly. When it finally reaches its apex, it introduces a newly insistent heavy guitar theme not hinted at in the opening minutes. This opens the song up to a new anthemic level, given additional weight by Aitcheson's heavy bass chords. When the track drops back down for its pensive conclusion, it's cathartic.

Mogwai released ten studio albums between 1997 and 2021, plus an excellent live album, a few soundtracks, EPs and remix albums. All their material features amazing sonics, thoughtful band interplay, and some memorable instrumental melodies. I have not been disappointed with any of their releases yet, but Happy Songs for Happy People will always hold a special place in my heart for not only introducing me to the band but also strengthening my interest in atmospheric instrumental rock.

Dan:

I appreciate bands with a good sense of humor, and Mogwai's seems especially wry. Naming themselves after a Chinese gremlin and choosing clever song and album titles wins me over. But the humor does not carry over into their music like, say, Frank Zappa's. Rather, the compositions and performances strike me as serious, which translates into music that is both enjoyable and deeply absorbing it you care to listen closely. 

Mogwai are a pleasure to listen to. They're gentle and resourceful in their multi-instrumental approach. The strings and voices and other organic sounds are not hard to identify even with the electronic sheen on most tracks. The crescendos are not scary and help to disqualify the music for membership in the dubious ambient or background music categories. A careful listen will yield plenty of rewards.