The first album from indie band MGMT on the Columbia label, “Oracular Spectacular” is filled with infectious melodies, with noticeable influences ranging from Crosby, Stills, Nash and Young (“Weekend Wars”) to Scissor Sisters (Electric Feet).

MGMT, currently on tour with of Montreal, consists of duo Andrew VanWyngarden and Beno Goldwasser. They were signed to Columbia last November.

Their album kicks off with the joyous “Time To Pretend,” previously released as an EP in 2005, which is reminiscent of “Light and Day” by the Polyphonic Spree. There is a discourse between “Time to Pretend” and the song that follows it, “Weekend Wars.”

The latter is more acoustical, and subdued, harkening 1970s acoustical rock, like CSNY, or Hall & Oates. Likewise, “Pieces of What,”a later track, finds similar influences; the vocals are raw, but still hold onto the feel-good spirit of the album.

Towards the end, “Weekend” finds the Polyphonic influences once again, in the en masse chorus.

“Electric Feel” reminds me strongly of Scissor Sister hit, “Laura,” with the same falsetto lead vocals and dance beat. The shining moment is a keyboard solo that is percussive and jubilant, a celebration that echoes in the catchy lyrics.

The album begins to develop as it plays through, almost as it represents their struggle to find themselves artistically. One such point occurs with “4th Dimensional Transition.”

The track is dominated by deep, somewhat brooding vocals and beautiful electric harp harmonies. It seems to be more original than those who have preceded it.

“Of Moons, Birds & Monsters” is also strong, effectively blending the more dance-like feel of “Electric Feel” with the down-home acoustics of “Weekend Wars.” These tracks also have a more present string element, where earlier tracks were heavy on keyboards.

The final track, aptly titled “Future Reflections,” seems a culmination of all the sounds that have come before it. It opens with a dynamic tension between bright, dominant keyboards, and delicate, rapid strumming.

This is the most experimental track, with stylized reverberations that recall the Flaming Lips, and an arrangement that changes cleverly in tempo, melding, even more succinctly than “Of Moons.” If this is a reflection on where Mgmt is going in the future, I certainly will look out for their follow-up album.

The “sound” of the CD is kind of all over the place, stylistically. But that is not necessarily a bad thing. MGMT is writing some clever beats and some poetic lyrics.

While it is clear that MGMT is still stretching to reach its own creative voice, playing around with a number of different genres. Only time will tell if they settle into their own niche.

Regardless, “Oracular” will find a relatively happy home in my iTunes collection.

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