All the while they maintain a distorted calm throughout the tracks. This is why Crystal Castles is the modern throwback to everything I missed out on for not being born a decade earlier, however avoiding the vapid 'sex and drugs' attunement in favor of alluding to melancholy love to abuse, fear, and gender confusion. Remember how Lords of Acid had sex and getting high as the pinnacle themes of every one of their drug-induced rave beats? Yeah me neither, because I was f*cking two years old at the time and there wasn't an internet to help underground electronic bands find their listeners. We're given a DIY production on their debut that appeared to sample and sound straight out of The Little Mermaid on Game Boy, and then two years later they drop a peerless lo-fi of a witch house electronic record that boasted an abrasive front and a melancholy backdrop a sequel that was sentimental and condoned to appear worthy of being played on a rave floor. To even consider that Crystal Castles is one of the most conspicuous groups to experiment with the so-called '8-bit Nintendo sound,' it would be stupid to think that they don't make as many enemies as they do listeners. When I first considered that Crystal Castles goaded their own success from the start with an awfully-named singer Alice Glass belting out moan-induced lyrics above a melancholy synth and a typical dance beat and had still sounded this good, I couldn't help but repeat 'Baptism' and 'Suffocation' to a fault.

I admit, I’m completely stricken by own respect for them. Then they begin to listen to it by themself, where it grows on them like a psychological capture-bonding monster, and I win my cycle of musical influence on them. I jam it hard and I annoy the crap out of my lover until they have been overwhelmingly subjected to it.

I don’t usually go for this kind of noxious bliss, but when I do, I obsess over it. Review Summary: You're still the one who makes me feel much taller than you are

Deicide by crystal castles lyrics