The item fetched $2,250.įor more information on the “Plainsong” lyric sheets, see the listing. The lyric sheet is Smith’s second recent contribution to a charity auction in September, he provided a signed vinyl copy of Disintegration to be auctioned off in support of the West Memphis 3 legal defense fund. Bonhams auction house estimates the item will sell for £500 to £700 (or about $790 to $1,107). Smith’s contribution to the auction is a lyric sheet with the words written out in black felt pen and then re-written above in black ink, mounted alongside a Disintegration: Deluxe Edition promo poster and framed. 15, a fundraiser for the Teenage Cancer Trust. And while the typical goth jokes came easy when "Affection" dropped on Halloween, look at it in the context of being just another day: the New York Marathon planned to go on despite the destruction of Hurricane Sandy, the cover of the latest Sports Illustrated featured a story surveying the "resilience" of the Penn State football team a year after the Jerry Sandusky scandal erupted, and we were in the homestretch of an American presidential election that actually fostered the discussion of what constitutes "legitimate rape." Whether you listen to Crystal Castles or not, this is a time of confrontation, conflict, and stress, and the success of (III) is how it brings you close enough to the evil that men do to be shocked, repulsed, and affected by it.Fans of The Cure’s iconic Disintegration album will have a chance next month to purchase a one-of-a-kind memento of the 1989 record: A set of lyrics to the opening track “Plainsong” - handwritten and autographed by Robert Smith earlier this year - will be included in the “Art of the Song” auction on Dec. Albums by Swans and Godspeed You! Black Emperor view 2012 in the Mayan sense, predicting a form of divine retribution that will be cataclysmic but also possibly awesome. Pop music is often considered to be synonymous with escapism, but it can also be cathartic, and many records this year have shared (III)'s apocalyptic bent. So how is this popular, exactly? Fair question. At the end of the tightly coiled "Kerosene", Glass reveals a desire to connect, breathing a promise of equal menace and love: "I'll protect you from all the things I've seen." Glass' lyrics are often addressed to children facing horrors they can't quite process or future atrocities they can't imagine- references to blood, wounds, antiseptics, and soil are frequent, as well as a warning to "sell your bones for ivory." Shortly after the release of Crystal Castles (II), they re-cast its cover of Platinum Blonde's "Not in Love" with Robert Smith on lead vocals, resulting in their most successful single to date, but it had the unintended effect of making the emotional illegibility of their own version more apparent. Insularity is nothing new for Crystal Castles, as both of their self-titled records existed in a sort of personal airlock. (II), formerly titled Crystal Castles, is the second studio album by Crystal Castles.Originally scheduled for release on June 7, 2010, an early mix of the album leaked in April 2010, causing it to. Even the all-texture tracks ("Telepath", "Insulin") are more driven by rhythm than abrasion they contribute to the overall flow rather than hijacking it.
Crystal Castles songs could once be split into two camps, the "pretty" ones and the "aggressive" ones (III) is the duo's most focused record, and the fact that it avoids assaults like "Doe Deer" or "Alice Practice" demonstrates an alluring confidence. While not as immediately striking as either Crystal Castles (I or II), the streamlined sound allows more maneuverability and subtle variety in the actual songwriting. 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 couldnt help but repeat 'Baptism' and 'Suffocation' to a fault. "Pale Flesh" exhumes witch house for just long enough to beat it at its own game, "Sad Eyes" is pure rave throwback, and the call-and-response hooks that materialize as scrambled vocal transmissions ("Kerosene") and longing synth countermelodies ("Affection") come off like power-pop played by catatonic automatons.
As promised, it is unyieldingly "bleak." Even the catchy songs are filtered through a forbidding darkness. The music now conveys a sense of unease somewhere between waiting for the drugs to kick in and wanting to leave the club as soon as possible. It retains Ethan Kath's trademark staggered synths and Glass' acute wail still pierces through thick reverb. Though the duo claims to have overhauled their recording process for (III), trading in all of their gear and disallowing the use of computers in the studio, the album couldn't be mistaken for the work of anyone else.
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