Expect the Unexpected - ‘The Myth of the Happily Ever After’ Album Review

Biffy Clyro (Sourced: Press Image)

To say that Biffy Clyro likes to do the unexpected would be an understatement. ‘The Myth of The Happily Ever After’, their ninth opus, was produced almost by accident, quietly, on a farm in Ayrshire which the trio of Simon Neil, Ben Johnston, and James Johnston use as their home studio.

The album contains some of the offcuts of 2020’s number one effort ‘A Celebration of Endings’ along with new material; described by the band as a reaction to the past year, the pandemic, politics and the world around them; you hear it in every note.

All of it has a different feel to ACoE; it’s a more vulnerable, angry, depressed and emotive record. There are points where it feels like they’ve given up hope and at other points they’re the most hopeful and triumphant they’ve ever been. It’s certainly a pandemic album, it’s almost a map of their personal journey through lockdown and the tragedy that has been the last couple of years.

Starting with another unexpected twist, opening number ‘DumDum’ begins with a purely sampled backing, compiled out of vocals, accompanied with a juxtaposed maze of lyrics setting the scene for the album—The words ring in your head during the outro to let you know that you’re in for a bumpy ride through the entire album.

The second pre-released single ‘A Hunger in Your Haunt’ follows, a bombastic return to the wall of sound we are used to from Biffy. Sprawling guitar riffs adorn the track with the lyrics focusing on the cynicism of people. The chorus of the song is a motivational mantra screaming for you to get up, get fired up and get ready to face what’s in front of you.

The following two tracks move onto more social commentary, these thematically seem the closest to ACoE on the album. Both ‘Denier’ and ‘Separate Missions’ open with a barrage of sounds, the latter continuing the synth loaded surprise of the opening track in what feels like a slightly new frontier for the band sonically. ‘Denier’ sheds light on liars and their ability to manipulate everything to suit them, and still come out the other side feeling righteous. ‘Separate Missions’ deals with being on a different path to someone you are close to – a feeling covered in great depth on ACoE. However, this track takes a different, more empathetic approach.

The next target on taking accountability focuses on a current topical issue: Climate Change. ‘Witch’s Cup’ and ‘Holy Water’ are full of scathing remarks against humanity’s wanton misuse of the planet and its resources – ‘Holy Water’ starts acoustically, almost giving the listener the slight respite we are accustomed to on a Biffy album. However, this doesn’t last long. The song finishes as if the world is collapsing around you, a poignant reminder that you’re being held accountable. The former, ‘Witch’s Cup’, addresses similar issues, with opening lyrics such as: “We’re drinking from the Witch’s Cup, like no one in the world before.” A sonic clearing of the throat from the band, there is no mistaking how they feel.

Absolute nihilism suitably follows with ‘Errors in The History of God”, a track debating the purpose of our inclusion in the world. If up until now the album hadn’t made it clear, we’re not held in the highest regards for our actions: “Can you find a punchline, to this comedy so poor?” These sentiments are mirrored in the instrumental, this track gets more visceral as it goes on.

‘Haru Urara’, however, is the light at the end of the tunnel. This is where the album is at its most optimistic and triumphant. The song is titled after a famous racehorse, whose fame came following an impressive run of losses, it acts as the lift out of the hole dug up to this point in the album: “ We will rise.”

Suicide is never an easy topic of conversation, but one which certainly needs to be brought up more. ‘Unknown Male 01’ is a reaction to the death of the bands friend, Scott Hutchison, who founded a Scottish hidden-gem-of-a-band, Frightened Rabbit. You feel the emotion in the track. Each line a little more charged than normal, each riff more wild. Simon Neil has made no secret of his own battles with mental health, and you feel a parallel is formed between his friend’s situation and his own. “We’re on our way, together into the unknown.” It feels like this is a turning point, that maybe we shouldn’t be so hard on ourselves?

‘Existed’, the penultimate track is a sweet respite of a song, which purely asks the listener to try: “We all get it wrong sometimes, doesn’t mean we shouldn’t try, try, try.” More synths are explored, accompanied by an acoustic guitar, bringing to a head the optimism that has been built following the nihilistic body of the record.

The last track is certainly a fitting end, ‘Slurpy Slurpy Sleep Sleep’ is a mixture of everything: metal, eclectic, electrifying, depressing and optimistic all in one. It summarises the mood of the album and leaves you with a mantra to follow: “Don’t you waste your life, love everybody.”

‘The Myth of The Happily Ever After’ is a journey. It encapsulates Biffy Clyro’s journey through a tumultuous 18 months where their world, and everyone else’s, fell to pieces. Art is subjective but reflects the world around the artist —and this record is that, a reflection of some of the most turbulent times the modern world has faced.

This is an album worth taking the time to listen to from start to finish. It deserves to command that respect from the listener, anyway. The whole picture is only revealed when it’s consumed all in one sitting. It shows that the Ayrshire band are still evolving, exploring new frontiers sonically, and reminds us, as always, with Biffy Clyro – expect the unexpected.

Rating: ★★★★★ – A snapshot in time that perfectly paints the pandemic picture, the world around us, and looks to invoke change in the way you see it.

If you or anyone you know is suffering with mental illness, you can contact Samaritans on:  ☎️ 116 123