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MGMT, Kuroma
“It was a fluke that these goofy songs we wrote in college were hits,” says Ben Goldwasser, one half of psychedelic indie-electro duo MGMT. Five years on from MGMT’s breakthrough Oracular Spectacular, it’s hard to see what all the fuss was about. Distorted, glammy, New-Wavish hits like “Kids” are notable more for opening major label doors to non-threatening “alt” fare like Passion Pit than for expanding pop’s horizons. No one got this more than MGMT, who promptly made a left turn into a messy, mind-expanding mishmash of heavily flanged Residents-styled song snippets, malevolent prog, Stockhausen’s Musique concrète and a glam band on peyote. Goldwasser and partner-in-noise Andrew VanWyngarden never really had the desire or ability to craft a nice tune, preferring to stake a claim on the weird-ass frontier alongside Deerhoof and Animal Collective. Former fans, likely in their 20s, may bitch like codgers that the duo’s new stuff is a bunch of damn noise, but MGMT have always followed a trail blazed by their idols — the outwardly goofy yet underlying dead-serious neuroses of Television Personalities and the sonic adventurism of Brian Eno. (Pat Moran)
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