Album Review: Crystal Castles - Crystal Castles
- Written by Jim Merrett
Need some perspective? Ever since Bon Iver’s epiphany that became his out-of-nowhere all-conquering album For Emma, Ages Ago, the humble log cabin in the middle of nowhere has become the venue of choice for alternative musicians in need of regrouping. Like monks retreating to Tibetan monasteries, these secluded spots offer the chance for reflection. And on a press release, they provide a story, a cause, even an injection of mysticism, and PRs love that crap.
Like backpackers bragging about the to-die-for untouched beach they stumbled on (that's about to get royally fucked by tourism as a result), the bar has been raised. So when Crystal Castles came to record their second effort, a self-built outpost in the wilderness of Ontario suddenly seemed a bit pedestrian (not to mention an unlikely spot to find their kind of racket). This might explain why the pair were then whisked to a church in Iceland, a disused convenience store in Detroit and finally Paul Epworth's underground lair in London to finish the job. Have biscuits ready in case they decide to bash out album number three at your place. Hobnobs would be nice.
Regardless of the narrative behind it, that bit of space has paid off. With their snappily-titled Crystal Castles II – setting themselves up as the Led Zeppelin of post-industrial electronic headfuckery – Ethan Kath and Alice Glass seem to have taken a step back. The core values remain intact, but this is less abrasive and punishing than its predecessor. Not that you would assume that from the opening bombardment of broken 8-bit squeals.
As with the majority of the album, 'Fainting Spells' levels out, allowing some melody to creep in. Second track and lead single 'Celestica' reveals more. Instead of rupturing your ears with the shards of noise, it beckons you in. True, the deceptively named 'Doe Deer' then wraps anyone who thought it was safe to turn the volume back up, but the frightening juxtaposition the debut was built on has largely been cast aside in favour of a more balanced listening experience.
If you didn't get the first album, it seemed purposely designed to rub you up the wrong way. They may have avoided eye contact on the sleeve, but both on record and live, the band seemed to be an exercise in confrontation. The development of sound runs parallel to Fuck Buttons. The audience has become something to involve rather than pick off one-by-one and alienate.
The instant rush of some of the first album is missing, but overall this is a more-rounded offering. The Sega Megadrive to the debut's Mastersystem, the second incarnation of Crystal Castles sees the band understanding the dark powers they possess and begin to control them. It still sounds like a glitchy computer that's become sentinel and turned on it's owner, but it seems less inclined to snap at your fingers when you go to press the off button this time.