The Crystal Castles exploded onto the scene two years ago with an amazing electroclash debut followed by tons of bratty behavior that galvanized plenty of people against them. In particular, tastemaker Pitchfork never seemed to miss an opportunity to grind their axe against the Ontario duo, blaming them for nearly every controversy they found themselves embroiled in, even when, sometimes, it didn't look like they were to blame. Personally, I have a soft spot in my heart for musicians' bratty behavior. What is more punk than Johnny Rotten and Iggy Pop pissing everyone off, and when did rock and roll become polite anyway? For their part, Crystal Castles' bratty stance found its way into their debut making for a truly satisfying mix of dance and punk. Mainman Ethan Kath built the band's sound out of the remnants of video game bleeps and Italo Disco, but subverted it every step of the way, turning influences and references on their head while vocalist Alice Glass' scream lacerated listeners when they got too cozy or things got too chill.Now the band that so many loved to hate are back. Rather than pay heed to the naysayers and their own bad press, the band has wisely decided to focus on what matters most - the music. Given the end result, Glass and Kath should be feeling pretty vindicated, since once again they have produced one hell of a record. The album skips the sophomore slump altogether and finds the band expanding on their original sound, exploring new territory and making great leaps in all sorts of different directions, and while I can't honestly say it is better than their debut, it is just as good, only in a different way.
The album noisily kicks off with the pulsating punky "Fainting Spells." The song sounds like anarchy being unleashed in the streets with Glass commanding destruction through a bullhorn. It's invigorating stuff, but not exactly indicative of what awaits on the other side of the barricades. While there are moments of chaos and disorder scattered throughout the album, the awesome "Doe Deer" being a highlight, for the most part the band eschews the bratty punk of their debut in exchange for an emphasis on pop and dance. While this may spoil the Castles for a few listeners, most will find plenty to love in the band's new approach. Songs like "Celestica" "Empathy" and "Suffocation" find the band producing what is hands down the best pop dance music in years. If there were any justice in the world, this is what would count for popular music among the masses. It is easily as accessible as any Beyonce or Lady Gaga song, and endlessly more rewarding. Other highlights include the trance damaged "Baptism" that initially sounds like a Sasha & Digweed workout, until Glass' howl demolishes all those pretty glow sticks and pacifiers, making for the worst ecstasy trip ever, and "Year of Silence," another techno-banger turned upside down by the looped vocals of Sigur Ros' Jonsi.
The band slows things down with the darkly beautiful "Violent Dreams," which owes more to Giorgio Moroder than any dance influence. Following that Glass and Kath finish out the album focusing mostly on their experimental side, with songs like the pulsating "Vietnam," which blends the Tangerine Dream and Goblin worship of acts like Oneohtrix Point Never and Emeralds with dance beats and the vocal harmonic weirdness that the Crystal Castles are known for. "Birds" and "Pap Smear" find the band further pushing the boundaries of their sonic experiments, and in doing so craft some incredibly subversive pop songs that are as challenging as they are accessible.
The album closes with "I Am Made of Chalk," a song that combines nearly every disparate element in Crystal Castles' arsenal. It's a perfect end to a near perfect album and one that exists as a statement, and a challenge, to anyone who doubts the band's musical prowess. One listen on headphones to this piece, which is by turns harrowing and beautiful, will have you convinced of the band's ability and talent. In the end, all the gutter sniping and shit talk about this band doesn't matter, what does matter is that along with Cold Cave, Crystal Castles are, and remain, the best, and most progressive, electronic-based indie rock band playing today.
Totally unofficial, but interestingly bizarre video for "Doe Deer"
"Celestica"
"Baptism" live
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