MGMT steps out of and into their ‘Little Dark Age’

Kendall Wright

MGMT has officially returned to the music world. Today, after a string of catchy singles such as, ‘When You Die,’ ‘Me and Michael,’ and title track ‘Little Dark Age,’ they finally released their long-awaited, fourth LP, ‘Little Dark Age’ on Columbia Records. Some may call it a “return to form” based solely on their “big three” (‘Kids,’ ‘Time To Pretend,’ and ‘Electric Feel’) that they shocked the world with back in their dorm room days. The attainability that they strove for on this album is in stark contrast to their previous release, self-titled ‘MGMT’, after which many fans and critics wrote them off because they couldn’t write a “pop song.” Having not just one, but your three greatest hits at the very beginning of a career can be damning for an artist, and pigeonhole you to one sound. Such has been the issue for MGMT, until now. It seems as though Andrew Vanwyngarden and Ben Goldwasser are searching for a middle ground (as they did with ‘Congratulations’) of what the general public wants and the music they want to pursue. The duo worked with producers Patrick Kimberly and Dave Fridmann in crafting these 10 songs.

This new album draws heavily from 80’s synth pop/brit pop, and yet still holds true to that psychedelic charm that has peppered their career. They kick things off with ‘She Works Out Too Much,’ a spoof on exercise music. The driving beat, and pounding bass line keep the listener mentally jogging in place for four minutes and 38 seconds (the instructor voice-overs really sell it). Title track, ‘Little Dark Age’ is a darker turn into goth pop, previously unexplored by the duo until now. That’s not to say it’s not catchy, as it does bare a similar song structure and groove to one of their “big three,” ‘Electric Feel.’ It has, undoubtedly, the crispest production on the album; sharp vocals, a tight snare, and a most notable synth bass that doesn’t let up. The third track and second single, ‘When You Die,’ is gloomy and aggressive. The stringy acoustic guitar is perfectly present, weaving in and out of a frustrated Vanwyngarden, who isn’t hesitant in telling the audience, “Go fuck yourself”. ‘Me and Michael’ is a straight trip to the 80s: cheesy lyrics; copious synth; dozens of “woahs;” and some guy named Michael. It’s familiar, charming, and it’s a foot down on the grounds that they can still write a hook. ‘Tslamp’ (Time Spent Looking at my Phone) is what the tape machine spit out after being fed an utter disregard for the technology that we have literally become addicted to. ‘James’ is another ode to the 80s and a “Goonies” type camaraderie. ‘One Thing Left to Try’ is in the same vein as ‘She Works Out Too Much,’ in its annoying, overdrawn out glory. An unnecessary, synth pop battle cry.

After a few slight mishits, MGMT finishes the album strong with the hazy, ‘When You’re Small’ and beautiful, ‘Hand It Over.’ ‘When You’re Small’ allows the listener to sit and approach the song at their own pace, rather than a (at this point bleeding) synthesizer continuing to hammer at their ears. Piano and raw acoustic guitar slowly ease into wonky tones and a stoned haze. The wah pedal and strings slowly drift us out into the atmosphere, but focus and bring us back just in time for the finale, ‘Hand It Over.’ In one of their finest works to date, Vanwyngarden rides a gorgeous melody over the six bar chord progression with a “Brian Wilson” ease. The warm brass, starry organ, and distant harmonies hold the trance throughout until finally, a wave of flange carries us up down over the closing,

“Mm, anytime, Hand it over

It’s yours and it’s mine, Hand it over

Oh, I need time, Hand it over

No, it’s rightfully mine, Hand it over

Oh, anytime”

To try and predict what will come next of the two, is a fools errand, and a rabbit hole that Vanwyndarden and Goldwasser have been playing their way out of since the beginning. So for now, just appreciate the fact that MGMT is back. We sure do.

‘Little Dark Age’ is out now on iTunes, Spotify, Amazon, etc.