For the Record... - 04/15/10

Prior to the release of MGMT’s “Congratulations,” the duo delivered one of the boldest and most outrageous statements since the great Kanye/Swift feud of 2009. In an interview with NME, they revealed that their latest LP would not contain any radio-friendly singles.

Rather, they intended each track to be part of a complete body of songs. That means “Congratulations” is void of anything resembling the electro-pop anthems “Time To Pretend,” “Kids” or “Electric Feel.” Admirers of the band will be forced to listen to the album in its entirety and appreciate the music for its artistic merit. Why would MGMT subject its audience to such a grueling task?

This blatant distancing from the mainstream might dismay fans of “Oracular Spectacular,” but, if given a chance, “Congratulations” will surprise most skeptics. The album, as it turns out, surpasses the first in nearly every regard. It’s far more consistent, possesses more lyrical depth and, despite the absence of any potential chart toppers, maintains a poppy, accessible aesthetic.

The LP’s best songs fail to match the sheer pleasure of “Kids” and “Electric Feel,” but each track builds off one another to create a cohesive and endlessly satisfying listening experience.

Musically, the album borrows heavily from 1960s psychedelic pop and 1970s art rock. The opener, “It’s Working,” features circling harpsichord arpeggios and a thumping baseline immersed in murky synth production and infectious vocal harmonies.

“Someone’s Missing” begins in a minimalist fashion reminiscent of a track off “The Velvet Underground,” but culminates with a burst of jangly guitars and melodic chants. On “Oracular Spectacular,” the boys from Brooklyn merely hinted at their psychedelic leanings, but “Congratulations” finds them fully embracing this retro style.

The lyrical theme of “Congratulations” is somewhat of a paradox. MGMT both decry and pay homage to the idea of rock stardom. Songs like “Flash Delirium” express the band’s attempt to reconcile its desire for both artistic credibility and commercial acceptance. Ultimately, the album settles on a cynical outlook: “When all is well if the ticket sells/ Out with a whimper/ It’s not a blaze of glory.”

However, on “Song For Dan Treacy” and “Brian Eno,” MGMT pay tribute to rock legends. “Dan Treacy” is a whimsical piece about the mysterious lead singer-songwriter of The Television Personalities, while “Brian Eno” imagines the famed art rocker/producer as an omniscient demigod. The band seems to be simultaneously endorsing and condemning the myths of rock ‘n’ roll, making “Congratulations” an ambiguous but thought-provoking album.

Only when the band ventures too sharply into the experimental do they lose their way. The indulgent and directionless “Lady Dada’s Nightmare” resembles a failed Flaming Lips B-side with its incessant piano backing, sonic palette, and assortment of swirling strings.

Clocking in at over 12 minutes, “Siberian Breaks” contains a number of interesting ideas, but needless flute solos and electronic experimentation suffocate its best moments.

Still, these few mishaps don’t diminish the LP’s overall success. “Congratulations” might not maintain the popular appeal of MGMT’s debut, but it revives the idea of the album as art. In that respect, the duo is paying the ultimate homage to rock music.