In toning down the shock and awe, they’ve revealed the beating heart at the centre of their work.
There’s something to be said of their “if it ain’t broke” methods, and this latest entry is a testament to their skill. Make no mistake: (III) is a great album.
The success of (III) is how it brings you close enough to the evil that men do to be shocked, repulsed, and affected by it.
I still can’t make up my mind whether Crystal Castles peaked too early and are now coasting, or if this is their new peak.
(III) is the sound of two people jumping off the edge of the world by their own free will.
III is less playful than the duo’s previous couple of offerings, but it’s thematic mood is much tighter and more fully realized.
Rarely is an electronic album like sparked with such radical confidence.
(III) may not be as shocking or challenging as I or even II, but it does mark progression for Crystal Castles, with some highly impressive dance tracks in one aspect, and moments of haunting tenderness in another.
(III) is worthwhile in that it is an interesting take on dance music, yet that doesn’t seem quite enough for a group predicated on delivering an onslaught of emotional energy.
In running time and number of songs, (III) may be their shortest album, but it’s also their most cohesive personal statement yet.
It isn't what you'd expect with Crystal Castles. Normally you're left wondering at what point in proceedings they're going to try and set fire to your carpet.
A quantum leap it ain’t – and Glass could do with putting her fangs back in – but ‘(III)’ has just enough up its sleeve to keep Crystal Castles on track.
Instead of anarchist dance jams full of crunchy 8-bit noise, (III) is more like a static-filled radio station fading in and out of range.
What’s left is moodier and muddier, overly dark and rarely danceable, with little of the excitement or energy we’re used to from this band.
|# 39 -||Consequence of Sound|
|# 4 -||NME|
|# 47 -||Obscure Sound|
|# 49 -||Pitchfork|
|# 34 -||Spinner|