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on November 8, 2012
Although this is not the lengthy, pulsating, driven, and at times bewildering chaos that made (II) such a massive follow-up to (I), (III) stands its ground. True to their nature, Ethan and Alice have made a spasmodic and rapturous collection of tunes to throw into the vault. Tonally and thematically their most cohesive album, by no means can the same be said for flow or structure. These are separate tracks that speak of discord, trauma, beauty, and violence. Alice is more muted and twisted in her vocals, but it doesn't come off as childish. There is a method to the madness. I'm slowly falling in love with these songs as much as any of their other tracks, and if you're a fan, it probably won't take you too many listens to get into the album either.

For people just coming into the fold, this may be a great introduction. There is emotion and emphasis sized down for the average listener whereas their first two albums can be over-whelming to take in at once.

If anything I'm left, as always, wanting more from a duo who seem to try to give everything of themselves to their audience. Each album is a different monster. This monster seems to be hiding in the shadows- small, sharp, desperate, and willing to run away with you if you let it.
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on December 25, 2012
I never liked them before I heard a song from this off pandora and it haunted me to the very core of my soul. I couldn't get it out of my head. After noticing my life was incomplete without this piece of music in my collection I hopped on here in hopes of putting it on my wish list for the holidays, however I noticed it was 4$ and almost did 2 consecutive backflips. I've listened to it an unimaginable amount of times since I bought it 2 days ago. Seriously, just get this album. It's almost stupid not to.
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on November 14, 2012
It's an age old question. There are those among us who feel like music should strive to be cheerful in nature: that it should be something to lift our spirits and should always provide a rosy disposition. Yet there are others who see beauty in the bleakness, who view despair as a delicacy. If you're one of these, Crystal Castles has an album for you.

They haven't taken long to leave their mark. After a promising debut in 2008, the Canadian electronic duo struck gold with their sophomore album II, one of the most distinctive electronic albums of the past several years. The release of III reinforces a striking fact about Crystal Castles that every album they have released are markedly different from one another.

Their debut was a visceral, aural experience rife with clinking and clunking of old video game machines, while their sophomore release drew much more heavily from IDM and refined their production; the electronics on that record were as sharp as a razor's edge. Main composer Ethan Kath has ensured that III shares little in common with those, so it's tough to make a direct comparison. But it doesn't take long to determine that it's much more atmospheric and even more dream like than its predecessor.

Crystal Castles have typically been a tough nut lyrically, with most of the vocals being glitched beyond comprehension. But would you have guessed Alice Glass as defender of the downtrodden? It seems to be what she's going for. In numerous interviews, she's spoken extensively on issues pertaining to women's rights and equality as well as flagging quality of life and limited rights of people around the world. These themes heavily inform III.

Lead single "Plague" shares fears of military and economic oppression on a third world scale, while noting we may be contributing to this descent with our own actions. The music is carefully building up in the background, bubbling and broiling until Alice at last reaches her grand realization: "I am the plague!" Her sense of rage and apprehension is palpable from the instant you hit play.

The theme is revisited several times later, including "Wrath of God," where Alice's muffled voice warns against the loss of independence and heritage. With its thumping, throbbing bassline and its organ driven, cathedral like lead melody, this is techno that feels fit for the Sistine Chapel.

The presence of muffled vocals is a recurring trend the band uses to augment the downbeat and dreary sound of the album. The technique shows up again on "Pale Flesh." The lead in consists of high pitched, glitchy electronic work that pushes the upper frequencies of your sound system. Alice's voice is so muffled, echoy and reverb coated that it sounds more like a flock of birds frantically fluttering in their cages than an actual human voice. This is one of the most suffocating, bleak and oppressive songs on the disc, but it does soften up a bit here and there so as to allow time for some quiet musing.

Some of their greatest opportunities to honestly affect a listener have come on their more melodic work, and they certainly haven't abandoned that. "Affection," for example, has the heaviest IDM influences and as such resembles the material on II most closely. Like "Celestica," it stakes its reputation on Alice's breathy vocals, and when her voice goes low it is truly one of the most stunning moments on the album.

"Kerosene" is also one of the album's more melodic pieces. Its rumbling, phantasmal bass synth glides into your eardrums like a storm front billowing out of your headphones. It rests on a variety of glitch/IDM lead melodies to augment the effect, along with Alice's crystal clear vocals.

One of the big strengths of III is its diversity "Sad Eyes" is one of the album's heaviest rave pieces. A pulsating bass beat gyrates underneath, creating a hot dance stunner that still manages to evoke a cold emotional spectrum. "Insulin," at just over a minute and a half, follows in the tradition of "Fainting Spells" and "Doe Deer" as one of the most difficult, dissonant, and experimental tracks in their catalog. A liberal static fuzz emotionally distances you from the track, while Glass's voice is garbled far past the point of recognition.

Elsewhere, "Violent Youth" proves Crystal Castles are capable of injecting warmth into a song. With its fun, bouncy beat, it's easily the most upbeat of III's offerings. The low, warbling bass synth from "Kerosene" also shows up in a couple of other tracks, including "Transgender" and "Telepath." "Telepath," the album's only instrumental, goes through a variety of phases. It's very glitchy sounding at first, then becomes more spacey and atmospheric.

Despite its violent title, album closer "Child I Will Hurt You" is quite the opposite of what you might think. Like their previous album closers "I Am Made of Chalk" and "Tell Me What To Swallow" it is much more downbeat and low key, while sounding nothing like either of those songs. "Child I Will Hurt You" presents a mellow, tranquil and peaceful vibe for the first and only time on the album, while the twinkling electronica provides a familiar dreamlike element.

Because each Crystal Castles album is so vastly different from one another, it all comes down to the listeners' own musical preference as to where III will rate in their catalog. This is an album dominated by rave elements, atmospherics, and presents generally cold and bleak but beautiful sonic dimensions. Personally, II is their most consistent album and therefore is a slightly stronger overall. But there are more than a few guy/girl electronic duos around, and none of them are nearly as distinctive as Crystal Castles. They have their own style, and the variety of ways in which they express it on III is truly remarkable. Tragedy doesn't have to be your true love to appreciate that.
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on November 12, 2012
Of the albums thus far, this III one feels the most focused of the bunch. Without any over-layered tracks, each song has a unique feel independent of the other tracks. Alice's lyrics are darker, while the driving beats by Ethan suit her vocals perfectly.

I was hoping to not be disappointed, and this album is excellent! The first time I heard Affection was while I was driving with the bass up, and DAMN, what a great song. Ethan is surely underrated as a producer, and what's not to love about Alice's use of her voice?

My favorite album of the year with only a month left to go.

Notable tracks: Affection, Plague, Child I Will Hurt You, Wrath of God
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on May 23, 2015
I think that this music is hard to explain but it definitely has something to do with Goth. Experimental, dark, wavey, at times kinda pop......but always Goth sounding. Not poser goth...real creepy, dark, mysterious goth. This is a great album...what kind of fans...I don't know. Maybe Gary Numan, Dead Can Dance, Messey, Christian Death, Trance To The Sun, Venus Walk fans...I don't know. Hard to explain.
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on November 10, 2012
Loved their first batch of songs, but I was personally disappointed with their previous "Crystal Castles ii" album.

Initially, I set my hopes pretty low for this album "iii", but their occasional leaks & teasers via their Facebook page like "Plague" & "Wrath of God" got me excited.

I ended up liking this album much more than "ii".

I think these songs are more in touch with Crystal Castles' roots, & what I believed they were all about.

There's more of that retro-video game background music sound & feel, with the eerie lyrics that make you do a double-listen your first few times around.

For me, these tracks have everything that the 2nd album lacked.
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on January 14, 2013
What Crystal Castles is to me (personally) is truth in music. absolutely everything this band puts out is exactly the way I imagine it should go. To me the first album was the "last good times with failure and rage", the second album was "an attempt to stay alive while kicking and screaming and clawing at life", this third album feels like "death and acceptance".. I don't say any of this with a sense of claiming to know what the band was actually thinking, but it is what and how it felt to me. It is beautiful and gut wrenching at the same time. The rasps in Alice's voice are at their softest and most surreal. The music is haunting and melodic as always. My only gripe about this perfect album is that most people who expect Crystal Castles I still might be turned off if they skim through the album and miss a truly poetic and BEAUTIFUL album. Everybody who tries to listen to this album, I ask that you listen to every song and all the way through. You will thank yourself for it and wait painstakingly for more.
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on April 25, 2013
As a big CC fan I enjoyed this album. I will say this seems to be a bit more mellow than the other two albums out. My favorite track is "Insulin" which has that classic gritty Crystal Castles vibe. Also, the name of the last track escapes me but it definitely doesn't belong on this CD. It's entirely too slow. I would have preferred a remix of something already on there than that poop.
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on November 13, 2012
If you haven't realized by now Crystal Castles are not satisfied with making the same album over and over again, then maybe you shouldn't listen. If you get what Crystal Castles are all about then this is another amazing album.

III takes the overall dark feel of II and expands on it, wallows in it and celebrates it. I feel like I am listening to the soundtrack to someone's beautifully haunting dream. Like the last album it wasn't what I was expecting, but like the last album it gets better with every listen. In some ways III reminds me of their first album, it's a little more raw and many of the sounds have a vintage feel due to Ethan using analog equipment. The only problem I have with the album is overt use of reverb on Alice's vocals, it get a little monotonous after awhile. Like the last album, it leaves some of the old CC behind and picks up something new. The greatest asset to the album is the melody and hooks buried beneath the atmosphere. I feel like I'm in a room filled with fog trying to find my way through and that really sums up how I feel about this album. Everything I love about CC is here and that's really all i need.
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on March 2, 2013
If Hell or Purgatory had a waiting room, this is what would be playing. Trip-hop like beats to the spookies. It's what would happen if Die Form were crossed with Terminator-X from Public Enemy. If the cenobytes from Hellraiser had a social club, CRYSTAL CASTLES would be the house band.
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