Between Coachella Appearances, MGMT Records a Live Set

Photo: Jeremiah Garcia

Fresh from a performance at Coachella MGMT played a set of songs at Apogee Electronics Studios in Santa Monica, CA to benefit LA-based radio station KCRW.

If you want to listen head to on Monday, April 28. The live sets are usually played around 11am.

MGMT’s Oracular Spectacular is one of those albums that will be pulled out at some point in a future Rolling Stone article to talk about music that defined a generation. In my opinion it doesn’t so much define a generation as mark an important point in time: its 2007 release coincided with the beginning of the worldwide financial collapse and the erasure of 80 years of social progress in the US. Just as Buffalo Springfield’s self-titled album came to symbolize the underlying unease of the '60s, so has Oracular Spectacular become emblematic of the horror of the late 2000s. The album, replete with apocalyptic imagery of decadence, decay and a post-technological rebirth, had great timing.

I have heard Oracular Spectacular played in the houses of middle-aged Burning Man attendees in Santa Cruz, in the million dollar condos of computer-assisted stock trading experts in New York City, in inner-city high school gymnasiums in Los Angeles, on college campuses of Ivy League schools, and in virtually every bar in America. And, its success was not all due to timing: it’s truly a great album. However, nothing MGMT has released afterwards has come close to being as good.

Which is probably why when they played for the radio station KCRW in Santa Monica they made sure to throw in several songs from Oracular Spectacular and only played a smattering of new material. PopMatters was invited to the show, which occurred in between the band’s two headlining appearances at the Coachella Music and Arts Festival outside of Los Angeles in Indio, CA.

Describing a show is a relatively worthless endeavor when you can just click on a web stream and watch it (which you’ll be able to do on Monday, April 28th here:, which you should if you’re a fan of MGMT. It wasn’t transcendental but if you enjoy their songs, hell, why not watch?

I couldn’t enjoy the show, however, and it was mostly due to my outlook. Lately everything has taken on a darker cast and I’m having problems with my ability to self-reflect on the reasons why. I think part of it is due to reading Thomas Piketty’s Capital in the Twenty-First Century. Using the relentlessness of big data sets he shows that we have literally gone back to a time in the US, and most of the world, where almost all money and property were owned by an oligarchy. And this is not due to the financial crisis of 2008, but is a process that has been going on since the era of high-taxation of wealth begun by FDR during World War II was ended by Reagan in the '80s.

That would be fine if I were listening to a working class band like the War on Drugs, but I was listening to a group of kids from Wesleyan, one of the most expensive private schools in the United States, sing and play songs for a bunch of people that all seemed to be talking about making business deals. At one point between songs a guy next to me asked his friend, “Can I get in on that deal? I’ve been looking for an investment ever since I sold my company.” Which is all well and good, more power to them, but you usually don’t want to listen to deals getting made when you’re hoping to experience magic.

On the walk home from the venue I happened by a narrow alleyway that upon closer inspection led to what was almost a city block of mobile homes that looked like they were from the '50s and '60s. There were even one or two classic Airstream trailers. Large pine trees hung over the mobile homes like aging guardians, and Christmas lights marked the walkways.

I assumed that I had walked in on a high-concept enclave for people with lots of money to spend to live in their own Museum of Natural History diorama. After wandering around for several minutes and taking in the otherworldly setting I reluctantly left, having not seen anyone around. As I walked out I saw a sign on a fence that read “Village Trailer Park Reaches Development Settlement With City”. After a quick web search I realized I had just walked through a ghost town. Apparently Village Trailer Park, one of the oldest surviving communities in Los Angeles, would soon disappear.

The article stated that where there had been a community, populated by pensioners and retirees, of people that all strove to help one another there would be a high-rise condominium development for the elite of Santa Monica. MGMT will undoubtedly be playing from the stereo systems of the new residents, keen to experience their lives to the fullest.





Ivy Mix's 'Spirits of Latin America' Evokes the Ancestors

A common thread unites Ivy Mix's engaging Spirits of Latin America; "the chaotic intermixture between indigenous and European traditions" is still an inextricable facet of life for everyone who inhabits the "New World".


Contemporary Urbanity and Blackness in 'New Jack City'

Hood films are a jarring eviction notice for traditional Civil Rights rhetoric and, possibly, leadership -- in other words, "What has the Civil Rights movement done for me lately?"


'How to Handle a Crowd' Goes to the Moderators

Anika Gupta's How to Handle a Crowd casts a long-overdue spotlight on the work that goes into making online communities enjoyable and rewarding.


Regis' New LP Reaffirms His Gift for Grinding Industrial Terror

Regis' music often feels so distorted, so twisted out of shape, even the most human moments feel modular. Voices become indistinguishable from machines on Hidden in This Is the Light That You Miss.


DMA's Go for BritElectroPop on 'The Glow'

Aussie Britpoppers the DMA's enlist Stuart Price to try their hand at electropop on The Glow. It's not their best look.


On Infinity in Miranda July's 'Me and You and Everyone We Know'

In a strange kind of way, Miranda July's Me and You and Everyone We Know is about two competing notions of "forever" in relation to love.


Considering the Legacy of Deerhoof with Greg Saunier

Working in different cities, recording parts as MP3s, and stitching them together, Deerhoof once again show total disregard for the very concept of genre with their latest, Future Teenage Cave Artists.


Joshua Ray Walker Is 'Glad You Made It'

Texas' Joshua Ray Walker creates songs on Glad You Made It that could have been on a rural roadhouse jukebox back in the 1950s. Their quotidian concerns sound as true now as they would have back then.


100 gecs Remix Debut with Help From Fall Out Boy, Charli XCX and More

100 gecs' follow up their debut with a "remix album" stuffed with features, remixes, covers, and a couple of new recordings. But don't worry, it's just as blissfully difficult as their debut.


What 'Avatar: The Last Airbender' Taught Me About Unlearning Toxic Masculinity

When I first came out as trans, I desperately wanted acceptance and validation into the "male gender", and espoused negative beliefs toward my femininity. Avatar: The Last Airbender helped me transcend that.


Nu Deco Ensemble and Kishi Bashi Remake "I Am the Antichrist to You" (premiere + interview)

Nu Deco Ensemble and Kishi Bashi team up for a gorgeous live performance of "I Am the Antichrist to You", which has been given an orchestral renovation.


Rock 'n' Roll with Chinese Characteristics: Nirvana Behind the Great Wall

Like pretty much everywhere else in the pop music universe, China's developing rock scene changed after Nirvana. It's just that China's rockers didn't get the memo in 1991, nor would've known what to do with it, then.

Collapse Expand Reviews

Collapse Expand Features
PM Picks
Collapse Expand Pm Picks

© 1999-2020 All rights reserved.
PopMatters is wholly independent, women-owned and operated.