Product Description

MGMT Oracular Spectacular (2008 French issue 13-track enhanced CD album - produced by Dave Fridmann [Mercury Rev Flaming Lips] Oracular Spectacular is loaded with future classics including the single Time To Pretend which is the sound of aband taking off and leaving everyone else in their vapour trail includes bonus enhanced section featuring CD-Rom video for Electric Feel tour photos and

Track Listing

1. Time To Pretend
2. Weekend Wars
3. The Youth
4. Electric Feel
5. Kids
6. 4th Dimensional Transition
7. Pieces of What
8. "Of Moons, Birds & Monsters"
9. The Handshake
10. Future Reflections
11. Electric Feel
12. Tour photo album
13. Photos from the ôTime to Pretendö video shoot

Product Details

• Amazon Sales Rank: #1528 in Music
• Released on: 2008-03-10
• Number of discs: 1
• Format: Enhanced
• Original language: English
• Dimensions: .12 pounds

Amazon.co.uk Review
The term Oracular Spectacular might not mean much, if anything, at all--it's essentially nonsensical--but that doesn't stop it feeling exactly right. Here is a band that treats dizzy cross-eyed awe and a vast bounding sense of sonic weightlessness as their yardstick, jostling to surpass themselves on a track-by-track basis and aiming for the musical equivalent of performing somersaults in tye-dye t-shirts off the rings of Jupiter. MGMT seemingly submit this debut album as an application to acquire and even supersede The Flaming Lips' previously uncontested mantle as spiritual leaders of over-sized Technicolor psychedelic-indie with a soul, weird but not so weird that swelling crowds and even flirtations with the charts aren't a foregone conclusion. "Time to Pretend" opens and sets a tone for the record, producer David Fridmann (Flaming Lips, Mercury Rev) providing a familiar expanse for them to riff across with bull's-eye synths, massive drums and their twist on the template--retro 80s electro and abstract shapes, see Suicide and the Talking Heads for reference. "The Youth" is centred around a hypnotically looping refrain that recalls Pink Floyd and David Bowie, as interpreted by a mellow Secret Machines and the brilliant "Pieces of What" is Ryan Adams spinning through cosmos with classic Neil Young on his headphones. "Future Reflections" meanwhile stand on its hands on a line somewhere in-between XTC and Ween. Thrillingly eclectic, endlessly colourful and never predictable. It's all a bit ridiculous, but indeed spectacularly so. --James Berry

Review
'We make pop music, but pop music that isn't comfortable'', declares MGMT leader Andrew Vanwyngarden. You can say that again. Talk about eclectic. This Brooklyn duo have got more tricks up their sleeve than Pete Doherty has court appearances. But first some background: For those unfamiliar with New York's latest synth-sters basically all you need to know is that both Vanwyngarden and keyboardist Ben Goldwasser first bonded over their love for My Bloody Valentine and Spacemen 3 at Connecticut's Wesleyan University back in 2002. Since then they have signed a whopping record deal with Columbia thanks to legendary U2 producer Steve Lillywhite and they're currently making huge waves across the States. Their debut album, Oracular Spectacular, has been constructed or in their case de-constructed by The Flaming Lips producer Dave Fridmann and their lyrics are inspired by The Mayan Prophecies and conspiracy websites.

Now back to the issue of uncomfortable pop music. Undoubtedly there are times when Vanwyngarden and Goldwasser stretch the boundaries of pop to breaking point on Oracular. But synth-drenched opener Time To Pretend ain't one of them. If anything MGMT's spine tingling lead off track couldn't be easier on the ear if it tried, as the pair poke fun at rock star dreams about marrying models, scoring drugs, "living fast and dying young".

Next up is Weekend Wars, a psychedelic pop ditty smattered with acoustic strings and Vanwyngarden's Jagger-esque vocals. Elsewhere, Electric Feel comes on like Prince holding a gun to the heads of French funksters Daft Punk while Vanwyngarden and Goldwasser seductively croon: 'Ooh girl, shock me like an electric eel/Baby girl/Turn me on with your electric feel'.

Then comes the uncomfortable second half. Gone are the synth driven bass lines and disco beats and in come surf guitars and quivering vocals. Not that this is necessarily a bad thing. Indeed this works to MGMT's advantage at times particularly on the galloping 4th Dimensional Transition. But when the Brooklyn wizards delve into space folk territory (The Handshake, Future Reflections) towards the end of the album, their uncomfortable pop template sounds forced.

Even so in Oracular Spectacular MGMT have delivered a debut which is both intriguing and exciting if a little uncomfortable. --Damian Jones

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