Lostman or Little Busters, but it hones the group’s anthemic power rock to its razor-sharp zenith.
Like Runners High, Happy Bivouac doesn’t have the same emotionally diverse substance of Please Mr. Lostman and subsequently developed the band’s alternative rock sound across Little Busters and Runners High. Happy Bivouac arrived at latter end of a scorching creative streak that began with 1997’s Please Mr.
It’s startling to think that The Pillows released two albums in 1999 – Runners High in January, and Happy Bivouac in December – and even more impressive that the latter completely eclipses the first. Review Summary: The Pillows carve out their niche with a red-hot knife.
