It’s easy to discount Ben Goldwasser and Andrew VanWyngarden. The well-coiffed twosome’s rise from Wesleyan dorm room to opening slots with Radiohead, a Grammy nomination, the beds of models and starlets, and the love of Rolling Stone (who named Oracular Spectacular the 18th best album of the decade), NME (best album of ’08), and Paul McCartney (who’s mentioned wanting to make “dancey stuff” with them) is exactly the kind of thing that makes haters wake up in the morning. (Hell, they even got to sue Nicolas Sarkozy and terrorize children with Joanna Newsom.) But when a band becomes a full-on phenomenon there’s a reason (or, more interestingly, reasons), so it’s worthwhile disengaging your mind from the hype (positive or negative), resetting the frequency, and focusing on the actual music. If they’ll let you: Before you can dig into MGMT’s Congratulations (streaming now in full here) there’s that zany scratch-off Ausgang art (and custom metal coin) as well as an indulgent video dedicated to explaining that 32-page album booklet/coin.
They don’t make it easy, no, but they don’t have to … Think about their dapper Vogue photo shoot, which was far more convincing than Vampire Weekend’s (or the Horrors, etc.) poses in the same spread. This seemingly small detail not only nails part of what made these guys a quick success, it also explains why they can get away with (and thrive on) their very recognizable image: MGMT are natural, charismatic rock stars in an age when younger bands get bigger fast, but rarely have the attitudes or look or whatever to back it up. They’re more polished in that sense than any of the bands (older or younger) who’ve recently been connected to defining Brooklyn (or New York City in general). Now they’ve polished their sound.
Rock stars decide to make albums with Spacemen 3/Spectrum’s Sonic Boom, Royal Trux/RTX’s Jennifer Herrema, and (Oracular guide) David Fridmann … and pull it off. They also make statements: The band told NME they would “rather people hear the whole album as an album and see what tracks jump out rather than the ones that get played on the radio.” So a threat of no singles, even if the label’s already been showing off the slice-and-diced “Flash Delirium.” That said, as hard as you (or the record executives) look, you won’t find an obvious “Kids” or “Time To Pretend” standout. Pure-pop fans will miss those sorts of moments, though the latter’s cheeky “live fast and die young” sentiments are all over Congrats.
VanWyngarden’s said the album was written with the weirdness/unnaturalness of their quick success in mind. If you listen to the music carefully and then think about those sentiments, the shift in style makes sense, is admirable even. Not just the mellower, connected, single-free thing: The flourishes are better integrated; the hooks are less obvious (but grow on repeat listens); the overall sound is analog vintage, instead of colorfully collegiate (don’t believe the album art).
Most folks’ first taste of Congratulations came via the aforementioned “Flash Delirium,” which squeezed a cornucopia of all-over-the-place DayGlo Bowie-and-flute-tinged psychedelia into 4 minutes and change. It hints at what to expect in the album’s overall stitching: For instance, a track like the flowery “Someone’s Missing” feels pretty transitional until it blows up into more of a spacey, spaced-out psychedelic pop jam in the second half of its 2:30 … and then fades just as quickly, as if it’s continuing endlessly in some other acid trip. In that sense, some of these tracks feel more like aesthetic or stylistic exercises than full-on songs. It can feel a tad grab bag-y.
The blending isn’t seamless (at all), but a mood’s established and extended: The catchy, pace-shifting age-of-aquarius opener “It’s Working” sounds like Stereolab, then the Zombies (who you’ll think about a few times Congratulations), and the Turtles (sorta in its group harmonies) and goes down easy in a very speedy, hazed four-minute dose. It sets the ever-shifting pace. The next track, “Song for Dan Treacy,” is a more straight-up pop carnival that evokes the Kinks and a whole lot more in its phrasings and phasings. Another interesting moment occurs with languid Soft Bulletin-style sleeper “I Found a Whistle,” which ends on an upswing that phases into the the acoustic guitar strumming of 12-minute “Siberian Breaks,” a shape-shifting song-in-multiple-parts that functions nicely as a microcosm for the collecttion’s sound threads (and deserves its own essay). In it, you get loner psych, shiny bubblegum baroque, circus pulses, Beatles nods, a Floydian choir, sunsetting ’60s romance ballads, Syd Barrett spoken bits, California dreamin’, etc. Does it hold together? Not entirely, but it’s fun watching them give it a go, and there are some really pretty moments contained therein.
Congratulations evokes a lot of other things. In some ways it’s pastiche. It’s also surprising: You get a song called “Brian Eno,” but not the ambient wash you expected. It does include a pretty ambient patch as a break, but mostly the guys put together a full-on pop anthem in the man’s honor: “We’re always one step behind him / He’s Brian Eno,” etc. And at his expense? Not the best song, but maybe it’ll get the kids to check out Eno between bong hits. There’s also a gauzy, incrementally spooky Brian Wilson-esque instrumental “Lady Dada’s Nightmare” (are we supposed to hear Gaga?) that moves into the folksy album-ending title track, another downcast (or at least sensitive) bit, which has us thinking the coeds will have to learn a new way to party this time. Or maybe they’ll just have to ask their older sisters and brothers how they got down to Dark Side Of The Moon.
Is it good? It sounds good. But is it actually good or is it “good” in the way MGMT look great playing their parts? We’re still figuring that out. There’s a lot of flash, mucho ambition. It’s expansive, more grownup. There’s also a lot to digest and it’s still too early in our own experience to know if the ambiance is lasting, or if we’re in the midst of a quick Kool-Aid sugar rush. But hey, the fact that we need to take a step back and reevaluate our understanding of MGMT 2010 seems like a victory on their part.
Congratulations is out 4/13 via Sony/Columbia.
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excellent review…so so curious to check this out
Everyone seems to be hating this album. In fact, many are saying it has NO redeeming moments. I, on the other hand, am quite enjoying it. There are some weak spots, but overall, it’s a lot of fun to listen to. I keep spinning it, so something is drawling me in. I think too many people are bringing themselves to it and not listening to the music itself. One note: there seems to be a super heavy Of Montreal influence (i.e. the vocal manipulation on “Dan Treacy” among others).
After one full listen, I have to say I’m surprised. I had completely written these two off. So it goes. And also, the Vogue photo shoot link just redirects to this evaluation.
I’m really looking forward to this one. I loved Oracular Spectacular. Especially the singles.
Also, some of the links in the review just link back to the same page.
This is awful writing. Awful. “Not the best song, but maybe it’ll get the kids to check out Eno between bong hits.” What? No idea how to write about music in any technical sense, nor in any context beyond the painfully obvious.
So the entire album was leaked and all I have to say after listening to it is that there is nothing special about any of the songs. I keep listening to it over and over hoping i have missed something, but sadly there is nothing.
i change my mind, after listening to this album for two weeks straight. the album has rubbed off on me and i actually like the songs now, it just took some time to understand and like the album. mgmt lives on.
Well written evaluation. A lot of my sentiments regarding Congratulations were mirrored here. The mere fact that I don’t know what to think of this album makes me wonder if it makes it more in the realm of art than many people seem to be permitting. I think I’m struggling with the fact that I accepted MGMT as a band with a few really good pop songs (i.e.”Time to Pretend”, “Kids”) and now that they have sort of turned on that image, they have forced me to rethink who they are and what their music is doing for me. So far, I admire this album and what it seems to be doing.
Originally were a bedroom group who made some very good tunes in a similar way to Congratulations is now and they called themselves The Management. Scower some torrent sites and download a copy of their demo album its very good and very much in the realm of good art. But like all exciting new bands, record labels grab them and sell their souls to the devil, over producing MGMT’s debut album and marketing it as pop. Sadly this has left them with a tattered reputation so very few still consider them as producing art. But on Congratulations it seems MGMT has disregarded the label and made the music for themselves and have done a very good job at it.
I’ve listened to most of it and its not bad…but its not great. Seems like they kind of took a step back to rework their style and in the process sound unlike what was thought they would put out.
Most of this album is a decent-enough retread of early Of Montreal, but it loses me with the interminable “Siberian Breaks”, which spends 12 minutes going absolutely nowhere. The major problem I have with it is that I just don’t understand praising them for doing something different when this album is just as derivative as their last. This record is going to lose them the fans they already have, and I doubt it will win them many new ones.
Yeah, “Siberian Breaks” is practically a deal-breaker for me. Talk about meandering nowhere. And I am typically receptive to music that uses repetition effectively (Animal Collective, Liars, etc.).
Siberian Breaks might be my favorite track on the album. But I’ve only listened once through. I think it definitely goes somewhere, and then brings me back to the rest of what was happening. A mini vacation from the rest of the album.
This song rocks real hard. It goes from a Simon and Garfunkel sound to Pink Floyd to the Kinks, back to S&G, without any of the repetitiveness that ruined their last album.
This is why I should never review a track/album after two listens. I’ve given the record a dozen more spins and I now love “Siberian Breaks.” I think it took me a while to find what was really going on in the song. It’s certainly dense, but there are segments that I can’t get out of my head. I’m glad to admit that I was 100% wrong about that track.
New Fan Here……
i do applaud them for making an album that took a completely different direction. many artists are afraid to completely break down their work and start again from a different angle. even if this album isn’t really amazing (or in a completely different direction), it’s not bad and i have a lot of respect for a band that can destroy their work and go in a different direction. but i guess they have more room to experiment seeing as how successful they have gotten; they already have the people listening and if this fails then they can continue to just tour and play their old songs i guess. i’m liking this album partially because there is a lot of room for improvement, which was not what i was expecting to hear. so ummm…to be lame congratulations mgmt
I thought it sucked.
Then You are closeminded!
Oracular Spectacular contained huge pop songs that demanded everyone in the room sing-along. This is album definitely neglects the big hook and immediate gratification. I’ll give it a few spins as background music and see if it clicks. It does seem like it has potential to grow on me after a few listens, but I guess time will have to tell on that front. It does remind me of early Of Montreal as someone else pointed out.
It clicked. Very solid album.
Fantastic review, great job.
I’m checking it out right now, and it’s seems pretty good so far. Different for sure.
it seems like this review is set up as an evaluation of the music separate from any exterior force that could influence your listening experience, but then you proceed to analyze the album in the context of other things like the band’s perception of their success as unnatural and a song encouraging kids to listen to brian eno.
personally, i’ve given this album way more of a chance than i usually give to albums that literally give me no reason to like them. i especially dislike how most of the songs seem more at home on the soundtrack for a sci-fi b-movie from the 50s than on the sophomore outing of a band which has proven itself to be extremely gifted at creating pop masterpieces.
now don’t deride me for not liking this album since it’s not what i expected because i most definitely gave it a fair chance. i just found it to be a chore to listen to and i had a very hard time finding anything to like about these songs.
this is gonna make me seem like a complete idiot, but i’m re-listening to flash delirium and actually kind of enjoying it. what i said about this premature evaluation still stands, but i think i might have to give this album a bit more of a chance.
I have fallen hard in love with this album. It is refreshing to hear a cohesive album as opposed to a bunch of “singles.” Songs that stand alone are fine, but I feel as though they (“singles”) are aimed at pleasing a certain sector as opposed to challenging the audience.
If you haven’t, I suggest listening while reading along with the lyrics (star of the show). It is hard to make out all of VanWyngarden’s vocals but the instrumentals do a great job of reflecting the tone of everything he sings. It is a pretty heartbreaking record but at the same time, the band doesn’t ever take themselves too seriously. They still have that sardonic edge from Oracular Spectacular.
I don’t consider myself a huge MGMT fan by a long shot but I believe they have struck gold with this CD. Sorry if my opinion offends anyone.
The band put the album up to stream on their website! Different, but I really like it
http://www.whoismgmt.com
This is another 21st century psychedelic album. We’ve seen them before, Portishead’s Third, Flaming Lips’ Embryonic, etc.. I’m actually digging this new direction MGMT has taken. Seems like I have to give albums several listens before their genius shines through. Case in point, Vampire Weekend’s Contra used to annoy me and now I can’t stop listening to it.
Speaking of “Of Montreal”, I saw MGMT open for them in 2005 (or was it 06) at a tiny student union in Wisconsin. They played Time to Pretend and Kids, which caused me to buy their EP. Over the years I listened to both songs regularly. When they released Oracular, I was disappointed that those were still their best songs, and by a long shot. I felt that in 2 years they should have been able to create an entire album of amazing songs. That said, they were wearing headbands, skinny jeans and v-necks when I saw them, that is a strong sense of style to be still wearing it today.
I think this album will fail commercially simply because this generation does not take the time to lat an album like this grow on them. If it isn’t immediately gratifying then they willfully dismiss it. I’m still not sure but I can already see some melodies warming themselves to me. There is nothing new going on here but hey, is there ever?
How old are you? This generation does not take the time to let an album like this grow on them? Maybe the members of our generation who buy ke$ha songs off itunes. Even if they are fans of MGMT then they certainly didn’t by oracular spectacular and listen to it enough that they would get into the songs that weren’t singles, and they certainly are not stereogum readers. What I’m trying to say is that while this may not be a commercial success, its not a reflection of a generations lack of attention span. Most of the bands on stereogum only ever become popular because people in “this generation” do take the time to find music that is actually worth sticking with.
I like it, but I feel like it might be MGMT’s Be Here Now.
I never thought I’d hear an album referred to as someone’s Be Here Now. I don’t think that record is historically significant enough to warrant the phrase. Then again, I’m not British.
I only ever liked their singles anyway, all well.
Whether you’re British or not, the point is that a “Be Here Now” is an album that has been riding high on expectations, has a lot of buzz, and created at least relatively good previous work. When Be Here Now came out, it pretty much set the standard for the way for a band to fail to meet expectations so colossally that they subsequently never get their mojo back.
That was directed at richiestyles.
Except that a lot of people are really digging Congratulations, so maybe you should gauge the rest of the worlds reaction to this album before you compare it to one of the worst flops in music history.
As a big fan of the first album, I have to say that I’m really digging the new one. It feels like there are no singles but that doesn’t mean the songs aren’t amazing. And honestly, I don’t find this to be much of a departure from their original material and I think people who actually listened to the entire first album would agree with me. Sure, there is no Time to Pretend, Kids or Electric Feel but there is a Weekend Wars, The Handshake…
i heard Clouds Taste Metallic mix with Piper at the Gates of Dawn and i liked it. very acid circusy. Can’t wait to give it another listen.
Honestly haven’t given it full attention or a proper listen, although I’ve played through it twice. It just hasn’t grabbed me. This is going to be one of those albums that makes you work a bit before you either end up loving it after the effort or hating because of the process.
Great writing! Perfectly encapsulates the feeling of the album for me. Like many, I thought MGMT was just a “singles” band, but Congratulations has forced me to reconsider that, which itself seems like a victory on the part of the band.
I love everything except for Siberian Breaks….so bloated. But other than that, I feel like the track that could/should be played on the radio for this album as a “single” is “It’s Working”.
It’s not like Be Here Now. Oasis had two huge albums when it came out, and some say it marked the end of the Britpop era. It’s more like their Weekend in the City; a band with a successful debut album with some great singles that made it on the radio, that try to move away from their original sound and being labeled a “singles band”. Honestly it annoys me it when bands do this (I’m looking at you too, Midlake). Not that I want an album full of Kids and Times to Pretend, but this attitude of “we’re too good to make awesome singles” sucks. I mean, being a singles band worked for the Beatles and the Smiths didn’t it? I really wanted to like this album, but it’s just ok. Enjoy your sophomore slump MGMT.
So you could say it’s their Second Coming? Or It Was Written?
yeah… the Beatles were only a singles band. They never put out any completely solid albums… just great singles.
Never said the Beatles were “only” a singles band.
ahhh. At first I read that and thought that you meant MGMT should simply be satisfied with simply having a few good singles and an otherwise average rest-of-the-album each time they release one.
Still feel like you cant compare an average-to-good band like MGMT to the fucking Beatles. Every song on every album could have been a number 1 single.
It’s great! Takes a couple of listen to get used to the song forms because there’s a lot of movement through-out ‘em. But completely worth it, now I can’t stop listening to it.
I like how no one likes MGMT anymore. haha. I love em! Long live Congratulations!!!
Does anyone feel like Stereogum reviews have gotten more Pitchforky over time?
Their site even looks like theirs now.
THANK YOU SO MUCH for mentioning the Soft Bulletin in this!!!!!
All I’ve thought since I first listened to it is “MGMT has been listening to too much old Flaming Lips” (More Clouds Taste Metallic and Hear it Is than Soft Bulletin, but that’s beside the point). This is the first review I’ve seen that notices the Wayne Coyne oddballness of this whole creation. Other than “Congratulations” which evokes some serious hazed-out Beatles imagery, I have a hard time thinking any of these songs would be out of place on the aforementioned Lips albums, or Hit to Death or even Embryonic (especially the weirdass Lady Dadas Nightmare).
I strongly recommend all who listen to Congratulations to dust off your old Lips LPs and hear the semblance for yourself. Meanwhile, all you whiners mourning the loss of Oracular’s dance-pop singles should go pick up Odd Blood and write MGMT on the cover in magic marker. Peace
don’t know what you’re all smoking, but this album is incredible! Way better than their first. I hear a whole library of music, when listening to this album. Fantastic.
When I first heard Oracular I could only get through the first half of the record but this album really blew me away. I re listened to Oracular and while I can barely make it through the singles I burnt out, the second half is gold. I’ll be the first to admit, I thought they were going to try to make Time to Pretend and Kids a few times on this album. I’m so glad they moved on. The second half of Oracular is definitely a precursor of what direction they were really heading and I couldn’t be happier with their decision. Excellent album!
MGMT- The Whistle uhh… It’s Working
People Say Your Album Is Shit, BUT Reality We All Know Those Critics Are Listening To It Right Now… Knowing All The Lyrics To Siberian Breaks Already…
You Guys Set It Down
“God Is Love”- Rev Run
– Tyshawn
The first album had about three great singles and the rest was garbage, IMHO. This new album has no real single. Nothing with out of this world hooks or any great pop tracks. But, unlike its predecessor, every song is actually pretty darn good! I can actually listen to this from beginning to end without ever once wanting to hit skip. But, at the same time, I don’t think a single song will make it on any party mixes.
So, its an album of constant 7′s instead of a bunch of 1′s and 2′s sprinkled with the rare 9.
The new MGMT record is fantastic. Influence wise I hear a lot of The Zombies on a few tracks as the reviewer states. However he fails to mention bands such as The Pretty Things, The Move, and The David. All and all it is a nice homage to 60′s psychedelia with a modern twist.
I love the last song “Congratulations” but can’t help hearing “pulled into Nazareth, was feeling ’bout half past dead…” everytime i listen
I’m into it-I love the total retro feel for sure! It’s such an interesting difference than the first album that felt really young, really new and perceived as/was a representation of the younger generation…(btw if you’re just as MGMT obsessed as I am you should pledge for them on http://mybandstock.com/) I think CONGRATULATIONS still represents the younger generation, but seems more of a tribute to the good ol’ stuff with a modern twist, you could say.
Sorry people but I disliked this album back to front. Should have figured with an album cover like that.
Bummer. We were all waiting on pins and needles for your verdict too. How does it feel to know that your massive amount of influence will inevitably ruin this band’s career?
its working is just wow.
Has anyone thought that they weren’t looking to be the industry starlets. Even if they were it’s pretty evident by recent live shows that they are fed up of people thinking that they are a 3 song band. In a way I feel a bit sorry for them.
This album is simply a reminder (to themselves and others) that they can still have some freedom inside the swirling cogs of the music industry while at the same time acts as a conscious effort to shrug off the chart busting persona they have been given.
Congratulations to them for having the balls to do it.
House On Fire – http://houseonfiremusic.blogspot.com
Xado
Apr 15, 2010, 17:31
Well All I can say Is Amazing!!! I’d like to start off by saying I am extremely fortunate for not listening to Oracular or even hearing of this band until Congratulations. I hate most radio music but after hearing Congrats and loving every second of each song on the first listen. Congrats takes many listens to fully grasp everything on the record and it purely astonishes…., that being said I had to check out their previous records and thanks to the diversity of Congrats I found the beauty in all of their music! Hands down I love it all but Congratulations purely pwns Oracular for me. It’s Unfortunate that there are so many close-minded people out there and this record proves this. I am now a lifelong fan thanks to Congratulations and can’t wait to hear what they come up with next. The album cover is awesome and is what drew me in to check out the new record. I’m on my 10th listen to of the entire album and believe me I’m not stopping there! After researching the band I also found out I’m from Andrews home town!!! Thanks so much MGMT for creating a timeless masterpiece that will be in every music device I own until I die!
Derivitive chillwave garbage. These boys should prob. stick to doing Pop Music.
I should preface this review by saying that the very first song by MGMT that I heard was ‘Weekend Wars.’
Okay, here goes…
There are times when I find the English language sorely inadequate when trying to express my immense pleasure. However, I am grateful that I can at least make a cursory attempt and say that Congratulations is everything that I had hoped for from MGMT. My love for Oracular Spectacular’s “Weekend Wars” and “Of Moons, Birds, and Monsters” “4th Dimensional Transition” and “The Handshake” which I found to be quite superior to “Kids” and “Electric Feel” (not to discount the relevance of those songs) has found in their sophomore album, amazingly thoughtful and unapologetic musicians, who have transcended the pop-culture exigencies for mindless (yet highly danceable) fluff, and managed to demonstrate that they are artisans rather than another set of audio-pedestrians. That is not to suggest that their more popular fare can be remotely classified, as being unimaginative. If you were paying attention at all, you’d be hard pressed to claim that any of MGMT’s lyrics are devoid of poignancy and depth (yes, even ‘Electric Feel’).
I am simply saying that in Congratulations, more discerning listeners will find that their musicianship has matched their lyrical complexity so that the ideas they are trying to convey aren’t as escapable as they might be whilst shaking your body on the dance floor.
Thank you MGMT for being the band I suspected you were and screw the rest who simply don’t get it.
Oh, and ‘Siberian Breaks’ is probably the sickest shit I have heard in a while. The lyric: ‘if you’re conscious you must be depressed, or at least cynical’ is worth my money any day!
I would like to amend the second to the last sentence from my comment above: Rather than say “screw the rest who simply don’t get it.” (which isn’t very nice and wasn’t quite what I was necessarily meaning to say) let me instead say the following:
Thank you MGMT for being the band I suspected you were, may you continue to explore and challenge yourselves and your audience. For those who are unwilling or unable to take that journey with you, may they find some other music or art form that gives them as much pleasure as the first listening of your latest offering has given me.
Yeah, that’s much better.
Love man. Just Love.