‘You Might Be Right’, the debut album by London trio Happy Accidents, is filled with contradiction. Their inherently pained lyrics sit above effortlessly mesmerising pop-hooks. There’s an entrenched melancholy hidden beneath the upbeat frivolity that’ll cement the album as both an insatiable soundtrack to the summer months and a mantra for the despondent. By no means is this unique to Happy Accidents, yet few manage to capture both so eloquently.
The record opens with the whimsical tones of ‘But You’re Probably Wrong’, jarring instantly with the lyrical content. “And in a world where it’s looked down upon to vent,” lead vocalist Rich Mandell ponders in the first verse, “so much of worth will not be said.” It sets ‘You Might Be Right’ up as a cathartic outlet, yet one that offers abundant hope in its sun kissed indie-pop.
‘I Can’t Wait To Get The Hell Away From You’ presents a rare stripped back moment, yet remains underpinned by the characteristic upbeat melody. Elsewhere ‘You Might Be Right’ nods to the candour and beauty of Pinegrove and the story-telling of The Front Bottoms, yet ultimately stands rooted in the British DIY scene. Their signing to Alcopop! Records, a label that prides itself on hosting quirky yet substantive artists, is testament to this.
‘Facts And Figures’ pulls their styles together, pushing co-vocalist Phoebe Cross further towards the forefront. There’s a resigned nature to the opening verse that is turned upside down with their own distinct take on pop-punk. It’s evidence of their reluctance to settle, both in lyrical content and in sound. Album closer ‘Sorry I’m Late’ provides a fitting end, kicking the protagonist into gear. “I’m sorry I am late”, Mandell sings, “we’ve wasted half our day. So can we go and work this out then be OK.” The frustration is palpable, yet the desire to move forward shines through.
It’s this blend that allows ‘You Might Be Right’ to stand out. Although the melodies alone are easily enough to make the album notable, the added lyrical edge and the consistently brilliant delivery pushes Happy Accident one step further. ‘You Might Be Right’ is remarkably upbeat in its sorrow, and with its whimsical nature suggests a transient nature to all negativity. As the excellently composed tracks take centre stage, ‘You Might Be Right’ allows the listener to acknowledge, accept and forget everything bad. Life, after all, is supposed to be as fun as this sounds.
BEN TIPPLE