MGMT and BRMC

Artist: MGMT
Album: Congratulations
Rating: 4/5

What did you love about MGMT? The raving synths? The primal cosplay? The muted vocals? The ironic, clever lyrics?

Whatever it was, it seems the Brooklyn duo took their sarcastic single from Oracular Spectacular, “Time To Pretend,” a little too seriously. Mocking the heroin-addicted, trophy-wife-toting, sports-car-driving rock ‘n’ roll lifestyle just became too real. Now MGMT is taking the exact opposite route on Congratulations by stripping off everything distinct about them. No more weird makeup, no more penitent nostalgia and most noticeably, nothing that sounds like the raver anthem “Kids.”

MGMT doesn’t even plan to release singles off Congratulations, hoping people will download the entire album instead of stealing a few radio-friendly hits. And not surprisingly for a band that proactively analyzes their own popularity, Congratulations is a direct response to MGMT’s overnight success. The band is reluctantly famous and they loathe every ounce of American celebrity culture.

At first Congratulations seems like nothing more than a pop album, but it grows on you.
Starting with “It’s Working,” the album sounds like a party you’re not invited to. But the more you acquaint yourself with the music, the more it grows on you, until you get inside and realize all the guests are moping around wondering where their wonder years went.

Still, the music is crammed with varied influences, particularly ’60s- era psychedelic pop with a dancey heartbeat. Plus, it encourages you to stop being so obsessed about your status (on the internet and elsewhere) or as vocalist Andrew VanWyngarden puts it, “stab your Facebook.” “Flash Delirium” is the nauseated anthem of a self- indulged generation, changing moods like an ADD teen flipping channels. “Siberian Breaks” is a 12-minute, mind-bending trip, like witnessing the end of the world. It’s proof MGMT are not your average musicians.

The lavish dose of hero worship on “Brian Eno” and “Song for Dan Treacy,” along with the line “you’ll never be as good as the Rolling Stones” on “Flash Delirium,” indicate the duo still have someone to look up to. But the bizarre instrumental “Lady Dada’s Nightmare” suggests MGMT wants nothing to do with the amount of stardom the fame monster herself, Lady Gaga, is appointed.

Congratulations asks the question, is fame actually worth anything? The answer from MGMT seems to be “well, it’s something to do.” All the band wants is for that initial praise to mean something in the long run. For now, all that matters is keeping the music fresh and MGMT deserves more than just applause for accomplishing that.

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Artist: Black Rebel Motorcycle Club
Album: Beat The Devil’s Tattoo
Rating: 5/5

With a name taken from the 1953 Marlon Brando flick “The Wild One,” the Black Rebel Motorcycle Club conjures up images of switchblades, rumbles and that “my girl” mentality. But musically, BRMC are rock ‘n’ roll zombies, bringing good ol’ fashioned garage rock back to life. For good measure, the band throws in some neo- psychedelia and stompin’ Americana, sounding like a White Stripes album but with more sex, drugs and leather.

Lead singer Peter Hayes once played guitar in the Brian Jonestown Massacre before getting kicked out and the Black Rebels were born.

Beat The Devil’s Tattoo is the L.A. trio’s sixth studio album, carrying much of the badass attitude present in their career, such as the time at Leeds Town Hall when the band rocked so hard the floor broke. You don’t get that kind of reputation on accident.

Maintaining it is a different story, so how does BRMC make it look so easy? The album’s title track answers with “I thread the needle through / You beat the devil’s tattoo.” BRMC draws on the taboos of yesteryear, knowing that nothing is as prickly sweet as those bygone years when “hell” was a dirty word and piercings and tattoos made you a social outcast. For BRMC, this model works perfectly.

But BRMC isn’t a one-trick pony. Their influences and styles are far and scattered. “River Styx” is a tantalizing cruise with a fierce undercurrent where “every soul is a setting sun.” “War Machine” has all the vocal power of Creedence Clearwater Revival’s “Fortunate Son,” but lacks any direct anti-war message. BRMC’s guitar ranges from pop to classic rock on “Aya,” sounding like a softer version of Zeppelin’s “When The Levee Breaks.”

The 10-minute “Half-State” closes the album with distorted, atmospheric riffs and Hayes’ hazy vocals, proving once and for all, rock ‘n’ roll isn’t dead. At the same time, Devil’s Tattoo makes imitators like Nickelback and Wolfmother look pathetic. For flawless, noisy rock reminiscent of the Jesus and Mary Chain or the Velvet Underground, choose to Beat the Devil’s Tattoo.