Sophomore albums have always been an awkward period of growth for bands. Artists are still finding their sound and meshing as a group when they return to the studio after their debut. Most bands are given the common courtesy of releasing their second album into relative obscurity, without a substantial following to witness the growing pains.

MGMT are given no such courtesy. After experiencing an overwhelming success with their debut album Oracular Spectacular and gathering fans the world over, Paul McCartney included, MGMT have returned with Congratulations.

Ring leaders Ben Goldwasser and Andrew VanWyngarden have abandoned the catchy electro-pop of their first album and traded it for a somewhat indie version of Electric Light Orchestra. With their new experimental sound, which at times seems forced, MGMT reveals that not even they are immune to the curse of the sophomore album.

With only a few melodies that one could hum from memory, Congratulations strays far from its predecessor. The songs on the album feature a more conventional instrumentation than the synth-slathered hit single after hit single format on Oracular Spectacular.

Its Working welcomes listeners to the album and summarizes it at the same time. Sounding like a cross between R.E.M. and the Beach Boys for the digital age, the opening track sets an overall tone that is unbroken throughout Congratulations.

The following songs are almost difficult to listen to and even harder to categorize. Best described as digitally rehashed 60s psychedelic folk, with hints of space doo wop and the demo songs included with old Casio keyboards, Congratulations may disappoint and confuse fans of the previous MGMT installment.

All is not lost though; Congratulations still has its moments of triumph. Flash Delirium gives listeners the coolest amateur flute solo since Ron Burgundy’s performance at Tito’s Jazz Club in Anchorman, along with some tasty disco-punk hi- hat aerobics.

Siberian Breaks is essentially three songs rolled into one. While the majority of the track is forgettable, the second song-within-in-a-song resembles 60’s folkie icon Donovan in a concert hall filled with synthesizers.

Congratulations attempts to cover ground that has already been claimed by The Flaming Lips and The Shins. It has been done before, and done better.

Although unmemorable, the release foreshadows better things to come for the band and creates enough interest to maintain a following until their next album. Unless you are hopelessly devoted to the handsome Brooklyn based duo, MGMT’s second release offers nothing groundbreaking or life changing. One should bear in mind though that MGMT is only in their infancy as a band and will have many more opportunities to redeem themselves