There comes a time in every relevant artist’s career where he or she has to make a decision: namely, should they continue with their indie-rocking ways, creating anthemic songs that receive ubiquitous praise, or branch and construct the art they dreamed of making. In the case of MGMT’s new LP, Congratulations they chose the latter. According to the two creative geniuses behind MGMT, it took indie crossover superhits like “Time to Pretend,” “Electric Feel,” and “Kids” to allow them the total freedom to make the music they feel they were meant to create.
This creation, of course, may not mesh well with the majority of the fans they accrued during their post-Oracular Spectacular fame. Instead of building off the highlights of their debut LP, MGMT decided to turn the equation around, writing an album that feels like an extension of Oracular Spectacular songs “4th Dimensional Transition” or “Of Moons, Birds, & Monsters.” Except that, more often than not, the songs from their first LP seem to represent a more interesting and original iteration of the band.
The general feeling found on Congratulations is that the band is reusing techniques and sounds from eras gone by. Whether it be the surfer rock feeling of “It’s Working” or the joyous Jackson 5/Motown vibe of “Someone’s Missing,” the album seems disingenuous in parts. In music criticism, there’s a fine line between homage and recycled ideas, and too often this album conveys the latter.
Then, of course, there are the moments where the band flourishes: “Flash Delirium” might be the best song MGMT has recorded to date. The problem, of course, is that lead singer Andrew VanWyngarden has stated that the song started off as a joke, not a serious contender for album consideration.
Dear MGMT,
Don’t tell people that your first single was a joke, then apologize for it being so weird.
Sincerely,
People that care about musical integrity.
Just let it go: “Flash Delirium” is an excellent song, with unexpected instrument and tempo changes, it certainly challenges listeners while still being catchy in the traditional sense. But because the band apologized (), it made the whole thing feel like the band was, again, playing a big joke on their listening audience.
This album certainly demonstrates the band’s ability to construct catchy songs. Between the aforementioned “Flash Delirium” and the excellent hooks on tracks like “Song for Dan Treacy” and “Congratulations,” the band’s talent is evident. The issue is that these moments of greatness make up only a small portion of the album.
In the end, it sounds less like a step forward, and more like a trek into the past glory of ’60s psychedelic – but with nothing new added to the formula. Even the ambitious “Siberian Breaks” meanders without direction, ultimately leaving listeners puzzled and dissatisfied. Perhaps hardcore fans will be pleased with the band’s unwavering defiance toward creating a record of indie-rock gems. The truth of the matter is that the band has fallen short, likely to leave even the most avid fans somewhat disappointed.
