Crystal Castles - Crystal Castles (III)

Whether it's socially acceptable that I should start with new noise-pop acts and then work my way backwards onto 2008's debut Crystal Castles album or not, it's what I've done. Back then I was still quite wide-eyed and eager to just delve into classic rock stuff, and it wasn't really until the release of Sleigh Bells' debut that I thought "hang on, maybe this sort of stuff is nice too". Thus I found Alice Practice, the Toronto duo's biggest shot at a crossover hit, and a love bloomed.

Although something of a nightmare for album title searches, Crystal Castles have done little that disappoints thus far. They've pulled off collaborations with Robert Smith and Thurston Moore, so y'know: good signs all around. With their third release, though, something fails to click.

Sonically, the record's fine - it opens with the haunting, echoed 'Plague', a rich house influence poised with these screeching, ripping synths that make for a simultaneously rapturous and frightening experience. On 'Kerosene' we're treated to distorted, looped vocal hooks and a desire to start afresh: "Light of God dimming weak... I can clean impurity/ wash away with kerosene". Naturally a more violent and visceral approach to spiritual cleansing, but what did you expect? A prayer circle? That 'Wrath of God' pops up again and sends Glass into her most distant and disillusioned yet: "they'll strip you of your heritage!" she screams, over some 8-bit symphonics and a growing gust of chords. Again, the synths reign supreme in 'Affection' and 'Pale Flesh', both delicious melodies coated in skin-crawling aesthetics to try and alienate us, but only succeeding in luring us further in.

Where this first half of the album excels, though, the rest lingers. The instrumental to 'Sad Eyes' is so unexpected and corridor-clearing that it might hijack the album for the wrong reasons. "Feign care and warm concern, the kiss you didn't earn" Glass pouts among the euphoria, as though spokeswoman for the death of club music. The static assaults make their advance in 'Insulin', and the resulting effect is largely incoherent - and its brief length only propagates this effect. There's also the puzzling attempt at eerie on the melody of 'Transgender', which resolves "you'll never be pure again" as though purity is something to be lamented. The duo even enter a last-minute attempt at disco-funk with the catchy, stuttering 'Violent Youth'.

The one real misfire for me is 'Telepath', which is the same musical effect as repeatedly putting your fingers in your ears, and just as irritating. In 'Mercenary' they inadvertently produce the digital recreation of the Bond theme for its intro, and not a terrible deal else, but they save something special for the finishing 'Child I Will Hurt You'. Initially sweet and serene, it puts across arguably the most pretentious lyrics ever written but in a style so unusual for them that you're granted with the idea that Crystal Castles are still capable of surprises.

Not their best. But still fascinating, still engaging, and still well-written.

Rating: 7.5/10
Highlights: Wrath of God, Plague, Sad Eyes, Violent Youth,
Avoid: Telepath

Artwork Watch: A Yemeni activist afflicted by tear gas isn't the first thing that comes to mind re: Crystal Castles, but okay.  
Up next: Bruno Mars