A few months ago I wrote a review raving about electro-thrash duo, Crystal Castles’ self-titled debut album. Months later, the album still holds up as one of the year’s best. As a live band, CC is a three-piece, with Ethan Kath on manipulatables, Alice Glass on whispers and shouting, as well as Michael Bell (Lymbyc System) on percussion. After several years of relentless touring, CC performances have garnered a reputation as raw and chaotic. This was no exception at Webster Hall in New York’s East Village two Thursdays ago.

The show started after a long break between opening bands. Friends and I showed up in the middle of the break, so I cannot comment on the opening acts (mission accomplished). Without the crowd noticing, Crystal Castles mastermind, Ethan Kath, snuck onto stage and mounted his electronic gear without many noticing. At that point, the bass kicked in and a strobe light provided the light on a mostly dark stage. The hypnotic lighting worked well, as Alice made her way on stage. The feelings among many concerning Glass’ vocal style are mixed to say the least. In a New York Times review of the show, Nate Chinen obviously doesn’t comprehend the Crystal Castles mythos:

The grinding screech of the L train after the show was more engaging, and less mannered.

The set was sporadic and short. Highlights included bass-heavy Black Panther which brought the crowd to a frenzy, as the second floor of Webster Hall shook relentlessly from the simultaneous jumping of the entire crowd. Crowd favorites were obvious. The place went absolutely mental when Crystal Castles’ hit Crimewave, a reinvention of a track by noise rockers, HEALTH. Alice, with her bottle of wine, running mascara, and tattered skirt, sang the inaudible vocals as Kath manipulated her voice even more. The sound in general at Webster Hall was impressive, and Kath’s beats sounded Godlike. Alice’s mics, however, were completely drowned out, which is annoying since she is the centerpiece of the live set. Let’s be honest. She’s merely a guest vocalist on the band’s debut album, and Kath’s beats are what makes Crystal Castles go. But on electro-thrash tracks like Alice Practice and Love and Caring, Glass is more of a focus, and it would be nice if her vocals were somewhat audible. Instead, we are left with her stage antics, which are entertaining in their own right. Not caring about the intentions of hundreds of wandering hands, she continuously stage dived into the crowd. It has been documented in previous shows, that crowds at CC shows are not always as respectful of the diving Glass as one would hope for. Throughout the night, Glass poured wine onto the heads of fans in the first row and jumped into the crowd numerous times from one of several stage amps.

And all of a sudden, it was over. The crowd lingered, confused and yearning for more. It wouldn’t have hurt CC to come out and appease the crowd for more, especially if they want to keep their growing fanbase happy. In this age of filesharing and creative distribution structures in the music industry, bands need to keep fans at their live shows happy. You would have thought that some of Trent Reznor’s fanlove would have rubbed off on them during the Canadian shows they opened up for Nine Inch Nails. For that reason, the show was a minor disappointment. The greatest trick that Crystal Castles ever pulled was convincing the world they existed. And like that, poof. They’re gone.

Due to the sporadic nature of the set, a setlist is not available at this time.