Editor Reviews:

Album Description:
MGMT invites you to open your mind to the multi-dimensional vibrating Technicolor sounds of Oracular Spectacular.

Amazon.co.uk:
The term Oracular Spectacular might not mean much, if anything, at all--it's essentially nonsensical--but that doesn't stop it feeling exactlyright. 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

Rating : - A New Band for a New Era
Drenched in addictive hooks that marry Prince and The Flaming Lips in a union of space-funk and soul that somehow captures exactly the sound the band describes on their MySpace page-"surf jungle country"-Oracular delivers a sound that's as fresh in 2008 as Beck's was in 1994, leaping onto the scene with the same "we don't care" abandon that "Loser" brought to the biz back then. It's no accident that the album vaguely echoes The Flaming Lips. Oracular IS produced, after all, by David Fridmann, the captain at the console for many a Flaming Lips album. Roll Yoshimi Battles the Pink Robots with some Lucy in the Sky with Diamonds and you've got the addictive sunrise of the mind that is Oracular Spectacular.

Apart from their music, though, what's refreshing about Ben and Andrew is their indifference to the punk-rock disdain for corporate influence that has itself become one of the cliches they expose, claiming instead to have "talked a lot about selling out as soon as possible" before anyone but their buddies knew who they were. Touché! Nonetheless, here's to hoping that next year's Grammy Awards completely ignore this masterpiece deserving of universal adoration, a neglect that has become a seal of approval for bands too good to be caught on TV with Brittney and Beyonce-and let's hope it stays that way, for the sake of both the band and their growing number of fans.

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