Congratulations [CD]

This album will disappoint a lot of people. Gone are the hit singles, simple melodies, standard song structures, and in are sonic experiments, unpredictable songs, and psychedelia. To say it's a complete departure is I think to have missed many of the undertones of the first album, but it is still a departure.

While many of the vocal melodies are still subtly poppy, the musical background has become a woozy landscape, drenched in very non-commercial psychedelic sounds and production. Actually, it's very reminiscent of the best of experimental 60's psychedelia - 'West Coast Pop Art Experimental Band,' and 'The United States Of America' spring to mind as much as modern psychedelic-pop bands like 'The Flaming Lips' when listening to it. They really have dispensed with the big radio singles (as they said they were going to, and as other reviews here complain about), which is commercial suicide, but that's more than ok with me when they make the music this beautifully detached. It also obliterates the arguments of those who criticised the first album for being simply repetitive, 2-dimensional and irritating. While I really liked the first album I also found it patchy, largely got old quite quickly, and I ultimately stopped listening to it after a few months, feeling as though i'd already exhausted it. However, this album feels like a journey. There's not a bad song on it, and it's grown on me more with every listen. While i'll only ever re-play the odd track on Oracular Spectacular, I think that I may end up playing this album for some time to come, as it offers so much more!

Those who loved the indie-club friendly melodies will be disappointed, but this is an album which should be compared with the likes of The Flaming Lips rather than Lady Gaga, and for me that is no bad thing.

It's funny really, there appear to be two schools of thought with this record. On the one hand you kinda have the 'how dare they!' and on the other you get the 'why shouldn't they?'. I'm definitely in the latter but worryingly a recent quote from Friendly Fires (last year's next big thing the year before) has them espousing the desire 'not to do an MGMT' with their next record. Huh? I think this sums up just how media and fan friendly (or scared) bands seem to either want to or feel the need to be these days. After the high (or low) watermark of Britpop where indie went seriously overground, the nature of the 'genre' seems more to be about chart positions, sales and dancefloor kudos. The (in some places) terrible backlash against MGMT for reviving a seemingly outdated attitude - that the artist ought to be able to expand, develop and creatively explore - is clear proof of this. Is this really a new thing though?
In a commercially dominant music industry, it's hardly unsurprising but it's not necessarily symptomatic of the major label 'shop or drop' control of the contemporary indie scene. In scarily similar circumstances, Capitol Records failed to promote Pet Sounds, seeing it as too far from the Beach Boys surf-pop formula to be a viable product. Hence it didn't chart in the US. Elektra records signed Arthur Lee & Love as a folk-rock risk that paid off, but ultimately shook their heads in dismay at the expansive and introspective Forever Changes, throwing their weight behind recent signings (at Arthur's behest) The Doors - a good looking frontman and chart friendly psychedelia seeming the better bet here. The list could go on - but what is important is that if certain artists had stuck to their pop guns, out of fear or duty, well, there'd have been no Revolver, Tommy, Ziggy Stardust, etc etc.
So here we are in 2010 and it appears that MGMT have forsaken the option to repeat the formula, appease the fanbase and satiate the label and, to be quite honest, headed for the stratosphear. The resulting creation is stunning, an absolute classic of the modern age and whilst the sounds may not be 100% original, the attitude is refreshing, nay inspiring. Take note Friendly Fires and indulge in your art, at least if you want to be spoken about in 10 years time. Would Brian Wilson, Pete Townshend & Arthur Lee have been historical footnotes if it wasn't for their dedication to artistic vision - its arguable (given the quality of their earlier works) but possible. Ultimately I think Congratulations will righteously be seen, not only as a highlight of 2010 but of the decade itself. Such is the weight of its ambition and (dare I say it in these cynical times)... beauty within. Yes, this is a BEAUTIFUL piece of work - a psychedelic masterpiece to be treasured and yet, despite the critism, there are more delightful pop hooks here than much of chart fodder guitar music you'll hear at the moment.
I won't go into track by track reviewing - I think I've made my (rather long winded) point - but just a word or two on key moments to listen out for. The opener It's Working is a baroque, sunshine pop-psych classic, an encapsulation of the modern drug experience in an ingeniously 'retro' disguise - somewhere between The Electric Prunes, The West Coast Pop Art Experimental Band and October Country. If you like this you'll love those so check them out NOW!
Song for Dan Treacey is a worthy homage to 80s Brit-psychers Television Personalities' mercurial leader and is appropriate as it is entertaining. With not one but two brain frazzling codas its ingenious but... pop! Yes it is oh naysayers!
However, the piece-de-resistance, the centrepiece, the bomb (if you like) has to be the 12 minute song cycle Siberian Breaks. You can make comparisons with whatever and whoever you like (and I'd urge you all to check out A Beautiful Song by The Nazz, Renaissance by The Assoication and The World In A Seashell by Strawberry Alarm Clock) but really, there's nothing out there (and I do mean OUT THERE) like this. In turns spellbinding, intricate, breathtaking and captivating its A Day In The Life for the 21st century, only miles better!.
Ultimately, buy this, cherish it and tell your children where you were when it came out. They'll thank you for it one day!
Thank you indeed Ben and Andrew!

This is a sublime offering from MGMT. It takes two or three listens to really get into your psyche, but is more than worth the perciverance. The choruses are as good as anything on the fist album...but this album offers much more depth. Very clever song structures, tempo and key changes galore. Its beautifully, subtle layers reward the listener at every turn. This album will stand out amidst anyones collection.