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28 Feb

The latest installment in this ongoing attempt at self-sabotage took place last week at the Frank-Lloyd-Wright-designed basilica of the Guggenheim museum.Asked to perform surrounded by the irreverent iconoclastic work of Italian artist Maurizio Cattelan, the band wrote from scratch forty-five minutes of new songs, which sound like the meandering murky psychedelic score to a druggy hipster porno, except the Guggenheim is too exposed for public banging and the only drug on hand was bad art gallery red wine."We're going to leave them in there, like that," he says.

Yesterday, however, the band sent out a festive tweet teasing a new record in 2016 and showing the kind of self-confidence that suggests the pair aren’t content to sit back on the sidelines any more.

And while a far greater number of American bands have emerged from the ’burbs, most have immortalized their upbringings as boring, dysfunctional, or authoritarian.

Samuels finds out if psych-songsmiths MGMT have burned the bridge back to sanity—and pop—by entering a world of darkness and electronics with their third, self-titled LP. Above left to right: Andrew Van Wyngarden and Ben Goldwasser Working-class clout has appeared at the heart of the Anglo-American conception of authenticity ever since the late seventies, when narratives of pop music’s blue-collar roots became a kind of common knowledge and the terms “middle class” and “suburban” became epithets.

Van Wyngarden, the heartthrob, barely manages a greeting.

Ben Goldwasser, the rnerd, is in the middle of an argument with his girlfriend on his cellphone.