The second full-length from this genre-defying duo is a somber and richly-detailed work that constructs a dystopic environment where the ‘natural’ and ‘organic’ are inseparable from electricities, radioactivities and the detritus of military-industrial technologies and materials.
Through micro-recordings of metallic objects and resonances, field recordings, and raw filter-bank improvisations, Aden Evens and Ian Ilavsky (Sofa, Silver Mt. Zion) constructed a sonic landscape of polluted signal sources, weaving tentative, provisional signs of humanism into the mix by way of piano, organ and drums.
Alms is an invocation and critique of the distortions and remainders generated by the violence of the war machine. It is also a confession, of computer indulgence and easy access to technology, of leisure and the freedom for creative play – a tiny sonic treatise on the poverty of our times and how we shield ourselves from it.
This is not ambient music, or electronica. Please play as loud as possible.
Crystal Castles songs could once be split into two camps, the "pretty" ones and the "aggressive" ones. (III) is by a large margin the most focused record by the band, and front vocalist Alice Glass' lyrics take on a new importance.
In contrast to the first two Bersarin Quartet albums, III offers a few darker shades and succeeds even further in narrowing down the arrangements to the absolute essentials without loosing the characteristic grandeur of Bücker's sound.