Heave Media

Crystal Castles = Successful Sophomores

Duo’s second self-titled album offers more controlled chaos and a few new tricks.

Crystal Castles

Crystal Castles

Released on Jun 08, 2010

There is something fascinating about Crystal Castles. Since most articles about them seem to have that sentiment written somewhere in the copy, perhaps it’s repetitive to say that in this space. However, if Alice Glass and Ethan Kath have proven anything so far in their career, it’s that they are masters of maintaining an element of elusiveness in both their music and in regards to their band’s image.

The album is great, and it’s impossible for me to nail down their sound with fewer than eight potential genre classifications. It’s as visceral as their debut, but this time around, the emotion sounds a touch more sophisticated. Glass’ intense vocal presence isn’t absent by any means, but her voice has many more effects applied to it and the 8-bit influence on their beats isn’t quite as strong. The complexity of these tracks should make fans out of those who doubted the staying power of a duo with such an incredibly hyped debut.

There are two tracks on this album that terrify me and make me fear for the safety of anyone planning to see them live in the near future. Contradictory side note: I may be afraid for you, but do yourself a favor and see them live. You’ll feel like your ribs are being crushed by perfect strangers that want to kill you, but it will be the most entertaining show of your life. One of those two tracks is the opener, “Fainting Spells.” It’s more creepy than it is terrifying, as if it’s meant to soundtrack a particularly mature haunted house tour. The beats are menacing and almost primitive, and the only lyric I can decipher out of Glass’ desperate voice is “it tastes like medicine.” Pretty intense.

The other spine-tingling track is “Doe Deer.” While Glass’ grating screams alone would be enough to make me look over my shoulder, the overwhelmingly industrial feel of the track makes it toe the line of horror and dance music. Part of what makes “Doe Deer” so jarring is the fact that it follows a rather ethereal track—“Celestica.” This is one of the only Crystal Castles tracks in existence where the vocals can be described as pretty, and even the music is calm. Well, in comparison to the rest of the album. Don’t get me wrong—I love their choice to go from an almost sweet-sounding track to such a raw one,  but it certainly makes for an interesting listening experience.

Full disclosure: when I got a hold of the album, I immediately listened to “Baptism.” Thanks to The Hood Internet, I first heard the song when they mashed it up against Rihanna’s “Rude Boy,” and I couldn’t stop listening to it. “Baptism” sans Rihanna sounds like classic Crystal Castles, even though I don’t think that such a new band can necessarily have a “classic” sound. It’s a great dance track that has been stuck in my head for days now. No complaints.

Some of that complexity that I hinted at earlier is present on tracks like “Year of Silence”  and “Not in Love.” The former track features almost meditative vocals, and the latter plays entirely against its title. Someone may not be in love, but the upbeat music provides an interesting contrast to that assertion.

And now, one criticism. I would have given this album a 10 were it not for the inclusion of “Violent Dreams,” a downright boring track. The vocals sound like their slogging through something, and the beats leave a lot to be desired. It’s a simpler-sounding song, but it’s safe to say that in this instance, simplicity is not their strong suit.

If anyone hoped that Crystal Castles would fade away after their debut (and that their drama would disappear as well), it’s best to kill that hope now. Glass and Kath have proven that they’re not going anywhere anytime soon. Well, anywhere that’s not a packed venue.

Posted by Alyssa Vincent on Jun 08, 2010 @ 11:23 pm

crystal castles, review