But – and it’s a bigger but(t) than even Sir Mix-a-lot might be able to endorse – despite the oodles of enjoyment to be had, the clever tasteful genre switching and master-craftsmen blending of sounds and styles, it’s hard to locate a beating heart at the centre of it. There’s a persistent worry, or perhaps lingering resentment, that this is a cold, calculated record, made by a sonic experimentalist rather than someone utilising an array of sounds to express a range of multihued emotions. While, for example, ‘Of Moons, Birds & Monsters’ is a beautiful and autumnal-like Floyd meets the Mamas and Papas through the looking glass effort, its immense charms feel only paper thin. Then there’s the whiskey balladry of ‘Pieces of What’: while it initially feels like an A-grade piece of Exile...-era Jagger, it never ultimately transports you into his head or heart.

All of which doesn’t stop Oracular Spectacular from being a blissful 40 minutes of high-end stereophonic joy, but it does severely hamper the listener from imbuing their own emotions back into it. Of course, not all good records require this, but certainly the best ones do.

Given time and a couple of more albums, MGMT may distill all that is good about them into something a little more honest and human – something which may be quite a thing to hear. Until then, they can capture our heads and our smiles, but the hunt for our souls proves fruitless.