What is MGMT?
MGMT is an American band, formed by Ben Goldwasser and Andrew VanWyngarden, that rose to both critical acclaim and major commercial success after the release of its debut album, “Oracular Spectacular,” in 2008. The band provided something new (or, better said, a refreshingly new take on old psychedelic, electro-rock) at a time when the output from indie bands seemed to be growing stale, nothing but an emblem of hipster culture. MGMT did something that too few other indie groups have been able to do: they experimented with music in unexpected ways, creating sounds that could be harsh and pleasant to the ear at the same moment. Yet despite all the experimentation, they managed to create songs that not only appealed to hipsters, but to the general public. Pop gems like “Time to Pretend” and “Electric Feel” had just the right amount of synths and drums to create a sound that was alien, yet recognizably human.
Their new album, “Congratulations,” which leaked before the expected release date (April 13) and can be heard at their Web site http://whoismgmt.com, is both a continuation of their work in “Oracular Spectacular,” and a departure of sorts. One thing is for sure–you won’t find any songs with the mass appeal of “Time to Pretend “or “Kids” on this album, and that is not a bad thing at all. It is a joy to have musicians who work with music as their priority, instead of commercial success.
The album consists of nine songs, all bending sound in innovative ways, sometimes with success and other times not so much. There are moments in the album when an arrangement of absolute genius is followed by a flop, like a turn of phrase not completely realized or a joke without a punch line. The album has a major case of unreached potential. In other words, it is inconsistent, and sometimes aggravatingly so. And here arises the main problem with “Congratulations.” Listening to the album I couldn’t help but think of the painter who throws paint at the canvas hoping that a masterpiece will be result from the mess. I’m not saying that MGMT doesn’t have talent, but they need someone to edit their ideas. There are songs of real beauty here that are encumbered by too much sound, such as the anthem “Someone’s Missing,” which could have been sublime had they remembered that sometimes simplicity is best.
Despite its inconsistencies, the album is ambitious and fun, becoming more coherent with repeated listening. Lyrically, MGMT continues their adept use of nonsensical writing. Songs like “Flash Delirium” are completely incomprehensible and anyone who says otherwise is looking for meaning where there is none. On occasion, however, the absurdity of the words creates a strange and elusive atmosphere, hinting at a deeper meaning (see “I Found a Whistle”). Overall, the vocals in the album are no more than inconsequential complements to the electronic soundscape in the background, and this is completely acceptable because the group is aware of this fact.
There is one song that stands above the rest: the 12-minute long “Siberian Breaks” is the boldest song they have ever produced. The track is a sampling of mood pieces, one that feels both epic and reassured. There’s not a single false step, the sounds perfectly in harmony with one another, even when it seem like they shouldn’t be. It is an exciting piece of music, full of twists and turns. Just when it seems like the song is winding down, it resurrects with full intensity. It is polished and rudimentary at the same time. Here the juxtaposition of all their influences seems like a confident and sensible choice, rather than a random pairing of musical references as in “Flash Delirium.” As that song asks: “Hey people, what does it mean?” What does it all mean indeed? I’m not sure we are supposed to know, but MGMT doesn’t know either.
Ultimately “Congratulations” succeeds because its triumphs more than make up for its inconsistencies. However, the band needs to refine their work if it wants to remain relevant. They need to find eloquence among their musical chaos and know what they are trying to say, even if the listeners don’t.