Looking at Mega Bog, listening to Mega Bog, I would assume Mega Bog came up in a small town in Europe, but then came to the states and settled in the heart of Brooklyn because the sound is out there and very well, different. Happy Together pulls from an audible history, and could really be the score for a number of films when you break it down. A variety of styles intertwined into one, it was like listening to a hip flea market on a Sunday afternoon.
A lot of scenarios came with Happy Together, but the most present seemed to be the 1920’s. A speakeasy overtaken by someone with a Bjork approach to music, that’s what came to life with play was hit and “Diznee” began. We moved from one decade and scene to the next with each. A ‘60s spy movie came with the more uptempo “Mariane” while detectives took over with “19204.” What I found interesting is that the start of the record showcased more of the arrangement and composition that comes from Mega Bog. Her voice was lost until things started to settle down at the end with a cabaret feel in “Worst Way” and a lot of drama in “Black Rose.” Two sides of one artist, each done with a distinct touch.
There was a lot to hear and imagine when listening to Mega Bog. Like the soundtrack to a movie with a million and one plots that actually somehow worked happily together. Which is ironic and fitting all at the same time. If you’re a fan of artists like Bjork and Lana Del Rey, make sure to check out Happy Together, out now.