Soundbite: Crystal Castles

Consider what would have happened if the Atari were released today. An updated version, but with all the simplicity of just two buttons, and dinky sound effects reminiscent of the error messages from an original Macintosh computer. Crystal Castles’ recently released, self-titled album could serve as the console’s perfect sound track.

This idea probably won’t seem so outlandish to those who know that the Canadian group actually uses an Atari sound chip in its recordings, creating an overall sound that could be described as a layering of electro madness, on top of Ms. Pac-Man, sprinkled with distorted vocals.

The LP opens with “Untrust Us,” which quickly establishes the album’s speedy and strangely upbeat tone. The bass-y drumbeat underneath the bouncy synth sets the aforementioned tone, while the distorted vocals make you think you’re hearing a heavily upgraded spin of Madonna’s “Isaac.” The track would fit perfectly over an empowering training montage in some foreign film about a guy running a marathon.

That leads into the track that made the group famous, “Alice Practice.” The track was birthed when instrumentalist Ethan Kath recorded vocalist Alice Glass in a practice session ““ hence the name. The track was posted on the group’s MySpace page, and the record deals followed. Opening with a harsh synth contrasted with high-pitched chimes, the focal point of the track seems to be the severely distorted vocals, which at times sound like they’re coming from a female version of the vocalist of The Killers.

Next comes the group’s collaboration with Health in “Crimewave.” Laser-like sound effects blast over a Fischerspooner-esque drumbeat, while Beverly Hills Cop techno synths contribute intermittently. The distorted vocals spit out even more indiscernible lyrics through to the end, when the percussion switches to something straight out of “Stomp,” the musical production.

Later on in the album comes “Xxzxcuzx Me,” which is essentially a two-minute orgy of sound effects drowning out Glass’ electrified vocals. The chiming of the sound effects provides the melody, and as soon as it seems to get going, it ends. Certainly motivating, but only succeeding in teasing the listener.

“Air War” starts out sounding like a transition in some Girl Talk creation, with its spacey chimes, dancey drumbeat and seemingly random vocals. The song later becomes something that deserves its title, emitting heavenly beeps over a blur of bass and synth, topped by a squeaky sound effect, like when someone with clammy hands rubs a shiny surface.

When “Courtship Dating” opens, you would swear you’re hearing 50 Cent’s “Ayo Technology,” only to realize that Crystal Castles is only sampling another Atari sound effect. The song quickly turns into the ultimate dance party song, with a very upbeat but still intense drumbeat beneath the same “Ayo Technology” electro harp sound, and Glass’ distinct vocals.

After 15 tracks of a somewhat repetitive and very intense combination of sound effects and synths, the album closes with “Tell Me What To Swallow,” a very refreshing, almost palette-cleansing song. It’s like leaving a Dan Deacon concert at the El Rey at one in the morning. You just left one of the loudest, most hyperactive dance parties of your life, only to find Wilshire Boulevard completely empty. The music is still buzzing in your ears, but the peace, in a normally hectic area, is overwhelming. The song consists of the strumming of a guitar behind truly heavenly vocals. That’s it.

Overall, the video game sampling and the crazy synthesizers make the album fun, but some of the tracks seem to lack substance, which makes the album ideal for dance parties in one’s head, and that’s it. However, it does seem to prove the point that modern society lacks the creativity it once had, and so we look to our past (in this case Atari, circa 1982) for material, but that’s an entirely different story.

““ Rob Kadivar

E-mail Kadivar at rkadivar@media.ucla.edu.

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