MGMT's "Congratulations"

Since the release of 2008’s Oracular Spectacular, MGMT – predominantly Ben Goldwasser and Andrew VanWyngarden, though other musicians have helped in the touring and recording process – has quickly ascended the ranks from obscure, electro-pop band to psychedelic royalty. Wheeling off the globe-spanning success of their infectious singles “Time to Pretend,” “Electric Feel” and “Kids,” the group has been lauded by critics and a diverse fan base (including Paul McCartney, an admitted fan who let the boys open for him on consecutive nights in Boston, MA). Their accelerated route to the top of the pops has been a whirlwind, taking the group all over the world and making of them the very rock stars that they ironically aspired to be on their debut record. Now, ever-cognizant of their newfound success and acceptance, MGMT has put their journey on wax: Congratulations is the sonic diary of two newcomers to the world of celebrity and the absurdity that goes along with it.

Let me be clear in stating that the following description of this record is entirely complimentary. From start to finish the progressive journey that Congratulations takes is akin to an acid-fuelled trip to the carnival. I felt the need for the preamble because many detractors of MGMT’s music have dismissed the band as being (at best) adolescent or (at worst) drug addicts, based on the psychedelic experimentation of their music as well as their casual admission to recreational drug usage. To use subjective morality in the criticism of any piece of art is an amateurish fallacy; to claim that a piece of music is either “the result of heavy drug use” or “created for drug users” is an elitist argument, taking into no consideration the merit of experimentation (in both art and life). Art is absorbed in its most pure form with an open mind, so for those of you with one intact, you will be greatly rewarded upon your listening to this record.

MGMT’s sophomore effort is bookended perfectly with “It’s Working” and the title track, “Congratulations”. With the injection of a manic psychedelic sensation into a surf-rock vibe, the former builds up beautifully in both its pacing and harmonies, setting the progressive tempo of the album to go along with the frenzy of its narrative. The latter softly winds down in a lament for days gone by, before the consequences of the prophetic “Time to Pretend” come to fruition: “I’ve got someone to make reports / That tell me how my money’s spent / To book my stays and draw my blinds / So I can’t see what’s really there,” from “Congratlations,” is a direct response to the illusions of grandeur from the breakout single from their debut album.

Sequenced skilfully, the tracks slowly build character from the aforementioned “It’s Working,” onto the Britpop ode to the Television Personalities’ vocalist with “Song for Dan Treacy.” The next two songs are both the best and most schizophrenic cuts on the record. “Someone’s Missing” begins hauntingly and depressed but there is soon a sudden change of heart. The line “It feels like someone’s missing” is repeated over and over in the last half of the song but takes two drastically different meanings; it’s softly spoken numerous times with light instrumentation to show a great loss, but shortly thereafter a full band breaks into an Abba-like triumph repeating the very same line, as if to celebrate the freedom of the lost one. Following this is the album’s first release: the aptly titled “Flash Delirium.” This is a frantic song in every sense of the word. Once it begins aggressively rising it doesn’t halt until the climactic final note. In stating that “You can’t get a grip if there’s nothing to hold,” they acknowledge how they’re dangerously walking the tightrope of accessibility. Though they do make it to the other side cleanly with their sharp production (the band produced the album with the help of Pete Kembler).

The second side is highlighted by the twelve-minute experiment of “Siberian Breaks,” a song that, to their credit, doesn’t feel half as long as it is. Only changing rhythms a few times, this monster encapsulates the thematic elements of the album bluntly: “It’s not the life lesson I’d have guessed / If you’re conscious you must be depressed / Or at least cynical.” Furthermore, the declaration of “I hope I die before I get sold / I’d rather die before I get sold” cements their fear of becoming too big and losing all control of both themselves and their creations.

The witty and upbeat “Brian Eno,” the frightening instrumental “Lady Dada’s Nightmare” (supposedly about having sex with Lady Gaga) and the closing title track ease you out of the conscious-bending adventure that you just took part in.

Though it doesn’t have the standout singles of Oracular Spectacular, MGMT’s Congratulations proves to be superior to its predecessor. In our digital era it is a rarity in that it is sequenced flawlessly, resulting in a quality listen from front to back. It may take a second listen to begin to appreciate this great work, but I promise you this: you’ll congratulate yourself for doing so.

Rating: A-

Stream full album here: http://www.whoismgmt.com/

"Flash Delirium"