If you’re anticipating a replication of the hit “Kids” from MGMT’s latest album, “Loss of Life,” you may be in for a surprise. The band appears to have embarked on a new creative direction. But does this shift imply that we, as listeners, should also evolve our expectations?
Chances are you’re familiar with MGMT’s popular tracks like “Kids,” “Electric Feel,” “Little Dark Age,” and “Time to Pretend,” particularly if you’ve scrolled through TikTok, watched the 2023 film Saltburn, or indulged in episodes of Gossip Girl. (I’ll confess, my musical preferences were significantly influenced by that show during my middle school days.)
MGMT is renowned for producing music that can be described as unconventional, or perhaps better termed as experimental.
Consider, for instance, “Boogie Down,” a track from their initial EP launched in 2005, featuring an otherworldly and somewhat dystopian introduction along with intriguing lyrics such as “Bombing up the place like you own it” and “Girl, you know I wanna check out your components.”
In terms of sound, “Loss of Life” notably deviates from their usual eccentricity. However, thematically, the assertion that “Nothing Changes” holds true.
On a different note, the album includes a notably integrated title track, a six-and-a-half-minute power ballad that resonates with me personally. It encompasses an extensive instrumental prelude and conveys sentiments of apprehension and uncertainty.
The tone shifts with a triumphant trumpet interlude leading into a more optimistic segment that proposes a resolution to an iconic Greek mythological narrative: “Sisyphean daily life… Push the boulder off to the side.”
Another standout from the album, “Nothing to Declare,” directly precedes “Nothing Changes.” Could one argue that this album is essentially “A Whole Lot of ‘Nothing’?”
Released as a single on January 11, “Nothing to Declare” embodies classic existential musings, a theme that resonates deeply with me. It stands alongside its more upbeat counterpart, “Mother Nature,” at the pinnacle of my album rankings.
The track “Loss of Life (part 2)” serves as an intriguing yet somewhat underwhelming opener. It features a spoken recitation of a poem rather than traditional singing, a stylistic choice that didn’t particularly resonate with me. The instrumental accompaniment, however, harkens back to their previous production styles.
While their infectious synth melodies have garnered acclaim in the past, “Loss of Life” delves into themes of maturity and shedding old patterns. Throughout the album, the synth embellishments feel somewhat superfluous, almost like an afterthought.
An illustrative instance is “Dancing in Babylon,” a collaborative effort with Christine and the Queens. The composition is predominantly stripped-down, featuring acoustic guitar, percussion, and exquisite vocal harmonies. The sporadic electronic elements feel out of place, especially at the onset, between choruses, and towards the conclusion, detracting from the overall cohesion of the piece.
In essence, this album took me by surprise, albeit in a positive manner. While the title might suggest a somber tone, the album exudes optimism despite occasional melancholic undertones.
In an Instagram post announcing the release, the band articulated their creative intent behind the album.
“It is an album that celebrates the resilience of love in the face of inevitable human mortality and decay, striving to foster communal solace by acknowledging the universe’s relentless yet often harsh pursuit of equilibrium and unity,” they shared, a sentiment I wholeheartedly echo.
Similar to their previous works, it’s evident that the band both reveled in the creative process and sought to convey a message through this album. Personally, I found the listening experience quite enjoyable.
Is “Loss of Life” destined to be a groundbreaking record that shatters all existing norms? Probably not. However, does it serve as a fitting companion for passengers embarking on a contemplative journey during a lengthy car ride on a dreary day, gazing pensively out of the window? Undoubtedly, and such music is undeniably essential in our repertoire.