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The album cover for the new Crystal
Castles LP is a photograph taken by Samuel Aranda, depicting a woman cradling
her son after he was exposed to tear-gas during a street demonstration in
Sanaa, Yemen. Leading up to the release of the album, Crystal Castle’s vocalist
Alice Glass, remarked, "I didn't think I could lose faith
in humanity any more than I already had, but after witnessing some things, it
feels like the world is a dystopia where victims don't get justice and
corruption prevails.”
Crystal Castles is a duo
consisting of Ethan Kath who composes and produces the electronic tunes, and
Alice Glass provides vocals and lyrics, both hailing from Toronto, Canada. I
remember when I first heard about Crystal Castles; they were featured playing
their first single ‘Alice Practice’ on an episode of the UK TV show, Skins. At first,
I found the music too abrasive and disjointed paired with Alice Glass’ barking
vocals. Nonetheless, their debut self-titled album was released in 2008. Then after hearing songs like 'Reckless' and 'Air War', I was converted to a Crystal Castles fan. Kath
utilised novelty Gameboy 8-bit chip tunes and chopped up vocal samples over buoyant
electronic beats on their first record. The duo’s second album, Crystal Castles (II),
moved towards dance and noise electronica, with less Gameboy sounds and more diverse,
moody and dense songs. This LP contained the band’s most popular single yet, ‘Baptism’,
a club-ready tune with an extremely catchy distorted synth hook and pounding beat.
I was really excited when I learned
that Crystal Castles were releasing a third LP. Apart from ‘Alice Practice’ and
‘Doe Deer’, I've enjoyed most other songs by the band. I was even more
overwhelmed when I heard the first single and
opening track ‘Plague’. It opens with atmospheric buzzy synths, while Alice
sings the verse softly. The chorus is a menacing, dense wall of droning and pulsating
electronica with a quarter note kick drum beat. Alice shouts, “I am the Plague”
and her vocals are then distorted to match the danceable noise. After hearing
this song, I knew I would love the whole record, considering the witch house
influences, electronic laptop sorcery and its eerie aura. The lyrics in
‘Plague’ are in line with Alice Glass’ current perspective; “Infants in infantry,
rewrite their history. Uproot their colony. You’re ripe for harvesting”. I
believe she is referring to the civil wars in Africa where children are taken
from parents by resistance troops are forced to kill. The next track,
‘Kerosene’, uses a hip-hop percussion structure, with menacing a background
drone and high-pitched chopped up vocals.
Alice’s voice is clearer than usual in this track as she sings “Light of God, dimming weak. Nothing’s wrong go back to sleep. Lend them comfort for sorrow. I
can clean impurity. Wash away with Kerosene”… “I’ll protect you from all the
things I’ve seen”. This is suggestive of government cover ups, while also
echoing the cover photo of a mother protecting her children. ‘Wrath of God’ is
fine example of how Crystal Castles can create songs that are simultaneously
abrasive and irresistible. It is another pumping dark and noisy dance track
with some 8-bit bleeps and an awesome build-up. Everything slows down when the
song ‘Affection’ begins. Alice’s vocals are both tender and ethereal as she almost
whispers, “Catch a moth hold it in my hold in my hand, crush it casually.
Without past I can’t disappoint my ancestry. Forever can I sleep inside your
menagerie.” I think it’s about realising how much power and responsibilities we
have as humans. Followed by the shame we feel when we think about humanity’s continual
misdeeds and destructiveness over time.
‘Pale Flesh’ feels ritualistic with
a trip-hop influenced beat accompanied by squeaky, sinister synths and Alice’s
manipulated vocals: “Adolescent fiancé, I’m just flesh to give away.” The sixth
and seventh tracks are less appealing to me. ‘Sad Eyes’ is an industrial
darkwave dance tune, where Alice sings, “you can’t disguise sad eyes”, possibly
referring to women who’s culture require them to wear a burka, with only their eyes
visible to the public. I find that this track doesn't draw me into the song as
others do and the melody isn't very creative. ‘Insulin’ is a ferocious and
smothering sonic attack on the ears. I think it serves as an experimental break
in a mostly pop focused album. The next song ‘Transgender’ is a stand out track
for me. It begins with twinkling bleeps, spectral vocalisations and achingly
beautiful melodies, then transforms into a skittering dance tune which is simultaneously
ethereal and dizzying. ‘Violent Youth’ is the only track reminiscent of
anything from the band’s first album. With an high-energy and bouncy rhythm, the
vocal distortions make this song particularly disorientating, but eventually it slows down. The second last song ‘Mercenary’ is an ominous electronic ballad
with searing synths and hip-hop beats. (III) finishes with an
gentle melancholic lullaby called ‘Child I Will Hurt You’. Crystal Castle’s
third album is probably their most focused piece yet. I’m also impressed by
political and philosophical ideas within the lyrics. Oppression, nihilism and sorrow
never sounded so good.
