The sophomore album Congratulations from MGMT is inexplicably loud, clunky and uber confident; almost nothing like the laid-back and congenial feel of their massively adored debut Oracular Spectacular. The most recognizable influence is the sound of the late ‘60s which immediately introduces itself from the first track, “It’s Working”. A majority of the songs sounds like the kind of music the Beach Boys would've create in 2010, like the way some reviewers saw the work of Gnarls Barkley’s St. Elsewhere as the voice of Marvin Gaye in a different time and technology. Many renown publications praised the album, as it looks like MGMT have now entered the immune music club of bands including Coldplay, U2, Radiohead, and anything Jack White does, in that no matter if the (last) album wasn’t up to par, it’s still one of the best of the year its released. MGMT is on its way to such a status.
The major difference between Congratulations and Oracular Spectacular is the overall sentiment. Even the titles alone suggest a metamorphosis of being comfortably peculiar to becoming a more stylized avant-garde act. There is a chaotic spiritually that is greatly executed on the second album, instead of the more linear, melancholy bliss of Spectacular. The songs are indeed great and adventurous, definitely a bit more artistic as without a doubt, MGMT were trying different ways of singing along against a myriad of high charging go-go beats and reverbs. Interestingy, though there is something about the songs on their debut that in a few years to come, will be a part of the new classics in music like the beautifully sensual "Electric Feel" that has yet to lose its sonic luster; but it’s not to say that Congratulations disappoints. The thing with debuts is that because new artists at that point have nothing to prove quite yet, they have no idea where their work might lead them, which is the genius of debuts in general, and explains the comforting, timeless element of Oracular Spectacular.
On the track listing of nine songs, some of them based on first listening, will matter eventually with enough time passed. “Flash Delirium” is the first single, and along with “Someone’s Missing” sound the most like the first album, but still distinct in its strong choir affect, suggesting that maybe during the progress of this clearly extensively made record, they made a pit stop at a local church somewhere. Sweet. "I Found a Whistle” is ridiculously serene, and is the pinnacle of the album, as the band seems to be more at ease in this song, like it was recorded in one session and they left the song as is. It is the high point because of its calm post-Psychedelic (the most overused word in describing anything about this band) impression that is also non-disenchanting.
While "It's Working" is the archetype for MGMT's expansion into the land of sanguine and stubborn hippie-dom, "Siberian Breaks" is a two in one song at the classic epic length of twelve minutes and some seconds. The singing sounds nothing like MGMT's sublime whiny, and is actually a bit of blue-eyed soul. The track is very hypnotic and it somewhat continues without you completely noticing, but you catch on that the band was attempting some Zeppelin esque tune for the nostalgia rock set, as they again experimented with on the purely instrumental "Lady Dada's Nightmare" (yes, that is a quip on Ms. "Paparazzi", but no commentary for you to chew upon).
MGMT purposedly did not create anything that would be akin to some of their most celebrated songs like "Time to Pretend" or "Kids" (the latter song they omitted from their Coachella Music Festival performance, and is borderline ominous to do). It can be appreciated that the Brooklyn duo was overtly conscious of their previous work and sought to make the kind of music that essentially sound like MGMT maturing for the best, it's just that possibly fans and critics alike didn't expect them to sound so self-assuring so soon, but then again, that is also pretty common on the material of second albums. The sophomore project is the coming out party in terms of what you think you should be reprimanded and praised for; somehow trying to encourage the public to look at you once again with brand new eyes.
Congratulations isn't an arrogant record, but is presumptuous; even the artwork is super cumbersome with a tasmanian looking cartoon going nuts. This second album of theirs will likely be on every other best of list for 2010, and is one of the most provocative sophomore albums in years for its deliberate distance from the debut. What is missing most on is the punch of the lyrics, and they are bit muffled beats. The lyrics though, when audible, are similar to Spectacular in that the words are looking for you to explain it all to them while at the same time, planning to move ahead with or without your approval. The major difference is that on the aforementioned tracks two years ago, they were self-serving lyrics for a quarter-life crisis generation. MGMT are still figuring many complicated things out as displayed, but it sounds like they rather be on their own this time for their journey, and are just sharing their frustrations, not venting tehm politely like on "Time to Pretend".
In a recent BlackBook magazine interview, their co-producer Peter Kember revealed that, "They appear to be laissez-faire about things, but they care deeply. I can promise you that. They will tell you until they’re blue in the face that they don’t care about how the album is received, but I know for a fact they do.” The duo does sings on the last title track, "I can't see what's really there . And all I need's a great big congratulations. I'll keep your dreams, you pay attention for me. As strange as it seems. I'd rather dissolve than have you ignore me", which if anything reminds us that the title is ironic because they'll give themselves the shining stars first, but if you find yourself also enjoying what they've done, but all means...everyone loves a compliment...they're just beating you to it just in case. You did good, MGMT.
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