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Dear Crystal Castles,
This being the second time I've seen your live show in the last month, it should go without saying that I really enjoy what you do. Your dedication to your music really comes through in the live setting in a way that I've rarely seen in all my years. Crystal Castles is one of the few groups who actually sound better live than on recordings (more or less).
Ethan is god-like. Whether he's playing a really cool retro synth or vocoding the crap out of Alice's vocals, his skills are easily the backbone of the group. And yet despite this, Alice remains a particularly mesmerizing figure live; bringing a punk rock authenticity to a genre of music that is typically plastic and hollow. Seeing her get molested by the crowd only to go back on stage and light up a smoke like it's no big deal is pretty badass. Oh and Chris' live drumming? Just perfect! You guys really have your thing down!
If you ever come back to Texas, I will be seeing you again. And so I thought I would politely request that if you're only going to play a 45 minute set that you make sure the intermission between the opening act and your act isn't an hour long. That seems like an especially shitty move, considering that the only thing required for setup is clearing off his table and pulling a couple of black sheets of a drumset. Also, it's also not good when the opening act "plays" a longer set than the headliner. I certainly didn't pay to see a dude try to hype up the crowd for an hour, and I feel as if I'm not alone in that.
But seriously, you guys rock. I have the sweatty clothes, sore muscles, and sleep deprivation to prove it! Just keep the bullshit to a minimum in the future.
Much love,
Cale
Tuesday, September 14, 2010
9/13/2010: Crystal Castles - Houston, TX
Monday, September 06, 2010
Review: of Montreal: "False Priest"
Like most of Montreal openers, "I Feel Ya Strutter" starts the album off with a bang! The piano-led, upbeat pop song showcases what is likely to be the most divisive aspect of False Priest, Barnes' heavy-reliance on falsetto singing. Barnes has never had the least-annoying voice in indie pop, but hearing him wail in falsetto makes his voice even that much more polarizing. As initially off-putting as it may seem, Barnes' embrace of this new-found liberation from vocal restraints makes the music even wilder and more enjoyable than it would have otherwise been. On "Strutter" you can practically hear him singing off his shackles, and to great effect! The song - about Barnes' realization that he is "blessed" to be with someone - finds its antithesis in the next track, "Our Riotous Defects" - a song about the crazy ex-girlfriend. Its spoken-word verses are not new in the world of of Montreal, and neither is its conspicuous humor. Kevin's reminiscing of the ex in question killing his beta fish as punishment for contradicting her in front of her friends is laugh out loud hilarious! Janelle Monae joins in on the song's coda, sounding lovely, if not underutilized.
Intra-album genre-hopping has never really been of Montreal's strong point, but on False Priest they manage to arrange an eclectic array of tunes into a relatively cohesive whole. Whether it's the unapologetic funk of "Hydra Fancies" or the smooth R&B sounds of "Enemy Gene," there are a lot of styles to take in here. The former song is my personal favorite on the album, featuring one of False Priest's catchiest hooks and an absolutely infectious synth solo towards the end. "Sex Karma" is equally as endearing and likely to be the album's second single. Solange Knowles absolutely kills it on the song's chorus, going tit for tat with Barnes' sex-crazed persona and singing such memorable lines as"You look like playground to me, playa" and "I kiss you where I shouldn't be." Also particularly brilliant is, "Coquet Coquette" - a great choice for the first single, as its easily the album's most "normal" , least-convoluted track. It's spanish guitars and catchy bassline make for repeatedly enjoyable song.
More often than not, of Montreal sounds more at ease with upbeat tunes than the more solemn songs. The depressing "Casualty of You" is a complete dud; not because it's unexpected and seemingly out of place on an of Montreal record, but just because it's boring and unaffective. of Montreal's "thing" in the last 5 years has been catharsis through pop music, but "Casualty" is a prime example of how to do that entirely wrong. Likewise, album-closer (and awesomely-titled), "You Do Mutilate?" ends the album with Barnes in the pulpit. His spoken-word sermon about respecting your fellow-man is admirable, to be sure, but it comes off as poor interpretation of a Michael Jackson acceptance speech and is no way to end an album.
But overall, False Priest is quite an enjoyable experience. Kevin Barnes has never been one to play it safe, and False Priest is an excellent example of this. Therefore, like all of Montreal albums, a listener has to go into it with an open mind. While a lot of it may seem too outlandish upon first listen; Barnes' unbelievable ability to craft memorable hooks from the most bizarre places will eventually win over the majority his detractors. Though the album's greatness wavers towards its end, there is very little on False Priest that isn't at least slighty awesome. It's a welcome addition to my of Montreal collection, and something I'll certainly be listening to for months.
Key Tracks:
1. "I Feel Ya Strutter"
2. "Our Rioutous Defects"
3. "Coquet Coquette"
4. "Hydra Fancies"
5. "Like a Tourist"
7 out of 10 Stars
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