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Track List
01) Plague
02) Kerosene
03) Wrath of God
04) Affection
05) Pale Flesh
06) Sad Eyes
07) Insulin
08) Transgender
09) Violent Youth
10) Telepath
11) Mercenary
12) Child I Will Hurt You
01) Plague
02) Kerosene
03) Wrath of God
04) Affection
05) Pale Flesh
06) Sad Eyes
07) Insulin
08) Transgender
09) Violent Youth
10) Telepath
11) Mercenary
12) Child I Will Hurt You
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Data Complete
80%
Total Rating
80%Total Rating
(1 users)
Back Cover
CD Art
3D Case
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First Released
2012
Electronic
Sad
Electronic
---
Medium
Album
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Album Description
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(III) is the third studio album by Canadian electronic music duo Crystal Castles. The album was released in the United Kingdom on November 12, 2012. It was initially planned to be released on November 5, 2012 before being delayed. Produced entirely by Ethan Kath, (III) was recorded in Warsaw and mixed in London. The album addresses the theme of oppression, with the musicians using different pedals and keyboards to create a diverse "palette of sound". On October 9, 2012, the track listing for the album was revealed via the duo's official Facebook page.
The album's first two singles, "Plague" and "Wrath of God", were made available for free download on the duo's SoundCloud page on July 25 and September 26, 2012, respectively. The accompanying music video for "Plague" debuted on September 24, 2012 and uses footage from Andrzej Żuławski's 1981 film Possession. "Affection" was released as the album's third single on October 31, 2012. "Violent Youth" premiered on Zane Lowe's BBC Radio 1 show on November 1, 2012.
User Album Review
Crystal Castles’ roots lie in bleepy goth-dance, and the lo-fi, video-game style of their early songs sounded very much of the bedroom in which they were recorded.
It’d be wrong to say that the Canadian duo have completely left those origins behind with this, their third self-titled album – in fact, there’s much continuity across Crystal Castles’ output. But rather than peddle the same trick, they display steady progression.
Riding a ferocious tide of hype towards 2008’s debut, their graduation from toilet venues to top billing at festivals was swift, and it’s taken a little while for the music to catch up. With their third consecutive eponymous LP, the band’s sonic escalation finally matches the size of their popularity.
Epic more or less throughout, apocalyptically triumphant synths rage in surround-sound, while Alice Glass’ voice rings through the tumult like that of a demi-god trapped in a vast, complex machine. The cyborg singer’s anthropological side is indulged more here than before, as she struggles harder than ever against her robotic restraints.
Glass has always had the strange power to elicit emotion in spite of the dehumanising manipulation of her vocals. On (III) she goes further, frequently surfacing above the cogs and wires to affirm that her soul yet lives.
This dichotomy at the very heart of Crystal Castles is becoming more compelling by the album. On Affection, her performance is truly heartbreaking, words drifting delicately over stumbling programmed drums.
The ironic thing about (III) sounding so immense is that the tracks are typically less cluttered than the last two records. But the core elements are so big, like blasts of pure plasmic energy, that it sounds planet-sized.
It’s not meant for the riot-bating boltholes or ravey discos of yore; (III)’s rightful home is a colossal stadium in space, starships trading laser-blows overhead, as rogue stars collide in the far distance. Meanwhile, a clock above the stage countdowns from 39 minutes to zero, at which point one of two things will happen: Glass will finally break free of the machines that enslave her; or this, the ultimate cosmic venue, will self-destruct.
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Available in:
(III) is the third studio album by Canadian electronic music duo Crystal Castles. The album was released in the United Kingdom on November 12, 2012. It was initially planned to be released on November 5, 2012 before being delayed. Produced entirely by Ethan Kath, (III) was recorded in Warsaw and mixed in London. The album addresses the theme of oppression, with the musicians using different pedals and keyboards to create a diverse "palette of sound". On October 9, 2012, the track listing for the album was revealed via the duo's official Facebook page.
The album's first two singles, "Plague" and "Wrath of God", were made available for free download on the duo's SoundCloud page on July 25 and September 26, 2012, respectively. The accompanying music video for "Plague" debuted on September 24, 2012 and uses footage from Andrzej Żuławski's 1981 film Possession. "Affection" was released as the album's third single on October 31, 2012. "Violent Youth" premiered on Zane Lowe's BBC Radio 1 show on November 1, 2012.
User Album Review
Crystal Castles’ roots lie in bleepy goth-dance, and the lo-fi, video-game style of their early songs sounded very much of the bedroom in which they were recorded.
It’d be wrong to say that the Canadian duo have completely left those origins behind with this, their third self-titled album – in fact, there’s much continuity across Crystal Castles’ output. But rather than peddle the same trick, they display steady progression.
Riding a ferocious tide of hype towards 2008’s debut, their graduation from toilet venues to top billing at festivals was swift, and it’s taken a little while for the music to catch up. With their third consecutive eponymous LP, the band’s sonic escalation finally matches the size of their popularity.
Epic more or less throughout, apocalyptically triumphant synths rage in surround-sound, while Alice Glass’ voice rings through the tumult like that of a demi-god trapped in a vast, complex machine. The cyborg singer’s anthropological side is indulged more here than before, as she struggles harder than ever against her robotic restraints.
Glass has always had the strange power to elicit emotion in spite of the dehumanising manipulation of her vocals. On (III) she goes further, frequently surfacing above the cogs and wires to affirm that her soul yet lives.
This dichotomy at the very heart of Crystal Castles is becoming more compelling by the album. On Affection, her performance is truly heartbreaking, words drifting delicately over stumbling programmed drums.
The ironic thing about (III) sounding so immense is that the tracks are typically less cluttered than the last two records. But the core elements are so big, like blasts of pure plasmic energy, that it sounds planet-sized.
It’s not meant for the riot-bating boltholes or ravey discos of yore; (III)’s rightful home is a colossal stadium in space, starships trading laser-blows overhead, as rogue stars collide in the far distance. Meanwhile, a clock above the stage countdowns from 39 minutes to zero, at which point one of two things will happen: Glass will finally break free of the machines that enslave her; or this, the ultimate cosmic venue, will self-destruct.
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