Courtesy: Tiny E Records
The Crystal Method has enjoyed a successful career as one of the leaders in the world of mainstream electronica. The duo—Ken Jordan and Scott Kirkland—has released four albums that have been received to critical praise from audiences and critics alike. Jordan and Kirkland released their fifth full length studio release in January of this year. In that time, their new self-titled release has met with largely mixed reviews from both sides. The arguments both for and against this record are quite interesting. That’s because the same things that some seem to think make the record good are exactly what others think make it bad. One of those aspects on which audiences can’t seem to agree is the duo’s apparent increased use of dubstep on this album. This critic must take the side of those not complaining about the duo stepping into the dubstep world on this album being that the men only incorporate that genre into their album one time over the course of the album’s eleven total tracks. There are also those that complain this album sounds like all four of TCM’s previous releases. On a more positive note, this is a good thing for those that are perhaps new to the music of The Crystal Method. And the album’s opener, ‘Emulator’ is a good first impression for those audiences. And then there’s the standout ‘110 To 101.’ This song is a perfect fit, sitting halfway through the album. Along with the previously noted songs, it is one more example of what makes TCM’s fifth full length studio effort an album that is deserving of at least one listen from audiences, regardless of how long they have been listening to TCM’s music.
One of the biggest points of contention on TCM’s new self-titled album is the fact that Jordan and Kirkland decided to test the waters a little bit this time out and incorporate a dubstep sound on at least one of the album’s songs. That song is ‘Difference (feat. Franky Perez). This song just happens to be one of the singles off of TCM. The incorporation of dubstep elements in this song isn’t minimalistic by any means. But it also doesn’t overpower the more standard electronica vibe established by Jordan and Kirkland on previous TCM records. And Perez’s vocals complement both elements quite well, not taking anything away from either the more standard sound or the experimental dubstep elements. For that matter, both the dubstep and more standard elements complement each other just as well. They all work together to make this song quite the welcome difference. Yes, that groaner of a pun was fully intended. Dubstep by itself doesn’t necessarily work. But Jordan and Kirkland prove with this song that dubstep with more standard electronica elements makes quite the interesting musical mash-up. And they make an equally welcome addition to TCM’s new album.
The use of dubstep (even in only one song) on TCM is a noticeable point of contention. Another of the proverbial lines in the sand on this record is the fact that to some, the album bears too much similarity to previous TCM records. It’s understandable why those that are more familiar with the duo’s body of work would feel this way. However, that similarity of sound makes TCM a welcome first experience for those that are new to the group’s sound. Right off top, Jordan and Kirkland impress with their techno/hip-hop mash-up that is ‘Emulator.’ It is a solid first run for the duo that is certain to be a club hit if it isn’t already. That is thanks to the fact that every element of this song is so well balanced. From the sampling to the various smaller elements, no one part overpowers the other. It is a song that any open-minded long-time fans will appreciate just as much as newer fans.
The Crystal Method has plenty to offer on its new self-titled album as has already been evidenced with the previously noted tracks. There is one at least one more song off the TCM that is deserving of note that shows just what makes it worth at least one listen regardless of how long one has been a fan of The Crystal Method. That song is ‘110 to the 101.’ This song is pure electronica in every sense of the word. The dynamic contrasts are spot on throughout the song and are noticeable right from the song’s opening moments. The song starts soft, but eventually builds to a big final moment before eventually fading away in its final moments. It’s no wonder that this song was chosen as the mid-point for TCM. Those contrasts and the control of said contrasts will have even the least of the duo’s fans on their feet.
There’s no doubt that fans of The Crystal Method will go back and forth on the duo’s new record for any amount of time. But it should be made clear by now that for all of the negatives that might be claimed about this record, it also has its share of positives and then some. The songs noted here are only part of what is offered on TCM. Each listener will find his or her own favorite moment when they purchase this album. It is available now in stores and online. Audiences will get to experience plenty of those songs live when The Crystal Method takes to the stage Friday, March 28th in Miami, Florida. More information on The Crystal Method’s new album, tour and more is available online at http://www.facebook.com/thecrystalmethod and http://www.thecrystalmethod.com. To keep up with the latest sports and entertainment reviews and news, go online to http://www.facebook.com/philspicks and “Like” it. Fans can always keep up with the latest sports and entertainment reviews and news in the Phil’s Picks blog at https://philspicks.wordpress.com.
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