About Me
review on urbanpollution.com:
the beginning of Happiness immediately sets off warning signs. 1978 begins with a morose piano line, and quickly turns into what could be a self-indulgent instrumental, easily leading to yet another record of intense indie-mope. The fact the songs charm has one you over by the time it ends is only the first pleasant surprise of many. Despite a large sonic palette, Sébastien Schullers ode to contentment maintains an impressive consistency of style throughout. While Happiness doesnt reinvent the wheel, or anything else for that matter, its a nice pop record that grows warmer with every listen.The mood of Happiness is ironically one of sadness. Its the type of sadness that comes with deep contemplation, not out of self-pity, but out of respect for the enormity of life. Somehow the record doesnt drag the listener down, but provides a comforting, cleansing feeling. Perhaps happiness for Schuller isnt bright, plastic show tunes about birds singing in the early morning sunshine. Anyone whos ever experienced a good deal of sadness knows songs like those do little more than drag one down. Schullers version of happy is more sincere and humble. It challenges you to confront all the difficulties of life head on, while still finding the silver lining.Schuller will most likely be compared to Air and Radiohead, and with good reason. The vocals on Tears Coming Home are so full of Thom Yorke it could easily be mistaken for a track from his solo record. Tracks like Donkey Boy and Schullers own French heritage will make Air comparisons unavoidable. This isnt quite fair, though, as Schuller doesnt follow any one style too closely, and ultimately sounds more like himself both vocally and musically. His big, emotionally-charged ballads like Alone You Walk are still fairly toned down when compared to other artists mining the same vein, and the heavily flanged vocal effects on Wolf are a fine example of the subtle experimental edge Schuller has on his rivals.Schuller is classically trained in percussion, and thus the beat is extremely important. However, instead of overwhelming the listener with a rush of polyrhythmic indulgence, the drums are clean and simple, with only an occasional electronic embellishment. They propel the record forward, and help prevent the record from sinking into tedium. Take the drum break that kicks in halfway through Ride Along the Cliff. What started as a fairly interesting collage of lightly processed guitar and keyboards turns into an energetic anthem. The swelling delay effect that finishes off the record is one of the many delicate touches that help make every song intensely engaging.This engaging quality is greatly helped by Schullers use of a non-aggressive reversal of expectation. Weeping Willow sounds like an uncomplicated pop number, but the closer it is listened to, the more shifting layers one will hear. You might focus on crisp strumming of the acoustic guitar on first listen, the snap of the snare on the second, or the ambient keyboards on the third. The cavernous vocals onWhere We Had Never Gone melt into the keyboards and guitar drones so fluidly it causes a floating sensation, but its gentle beauty is in direct contrast to the noisy shoegaze that likely inspired it. The surprises dont beat you over the head, but must be discovered gradually.The record ends just like it began, with an instrumental. Le Dernier Jour turns a happy melody into a feeling of darkness and uneasiness without any effort at all. Ambiguity like this is the perfect summary of the record. Not only does it end the record on a strong point, it also banishes any thoughts that the albums opener, 1978, is marred by sappiness. By book ending the record with instrumentals, Schuller provides a starting and stopping point, making it a cohesive work, rather than a collection of songs.Happiness isnt particularly original, despite its masterful use of experimentation to flesh out its supple pop melodies. This isnt a detraction, though, as too much originality would merely distract from the beauty of the songs. This is a good mix of the tried and true with touches of otherworldly brilliance. And no more than touches- flourishes, if you will. The record makes no attempt to overpower with psychedelic fury. Instead it seeks to gain trust, then slowly seep into the soul. Happiness is a gorgeous pop record, a pleasurable listen that deserves to be heardWritten By: Jerry Long
