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Alight of Night

Rate It! Avg: 3.5 (310 ratings)
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Alight of Night album cover
01
The Dazzled
3:56
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02
Crystal Stilts
2:57
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03
Graveyard Orbit
3:26
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04
Prismatic Room
3:36
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05
The SinKing
2:35
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06
Departure
4:28
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07
Shattered Shine
2:51
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08
Verdant Gaze
2:08
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09
Bright Night
2:24
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10
Spiral Transit
3:45
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11
The City In The Sea
4:59
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Album Information
EDITOR'S PICK

Total Tracks: 11   Total Length: 37:05

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Write a Review 7 Member Reviews

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Suess aber tot

graf-zaroff

A sixties adaptation similar to The Jesus & Mary ChainĀ“s "Psycho Candy", with some organ instead of guitar feedback. I like it. If you do, check obscure german band named 39 Clocks.

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Sum of the Parts

shaundurkan

An outstanding album with a strong sense of composition and incredible attention to production. Can't think of an album I've played more this year. This is haunting, catchy and gloomy. Imagine Phil Spector producing The Sonics, sung by Ian Curtis on oxycontin. Sounds great right?

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This sound again? Interesting.

Verdunguy

This is a creepy little album with a large tired sound. It's nothing especially exciting, but it's very good. The sound is familiar and comforting, like an old pair of well worn sneakers that smell kind of bad, but that you keep putting on again and again.

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VU? Maybe a little, but I get NZ...

Terryville

..as in New Zealand. They really remind me a lot of an NZ band called The Terminals, but the weary vocals and woozy organ bits remind me of any number of Flying Nun bands. That being said, I really haven't heard an American band nail down this style as well as these folks do in a long time, if at all. I like their faster stuff as I agree that their slower stuff lacks some focus and gets monotonous at points. Overall though, I've found myself playing this more than anything else I've gotten this year except the Pete and the Pirates album. Check out the fast ones first. If you like 'em, dive on in!

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OK, but monotonous

Wanderer

The lead reviewer compares them to VU. They remind me more of a poor man's Joy Division, particularly on the more uptempo numbers (e.g., Crystal Stilts, the SinKing). While songs such as Prismatic Room and City in the Sea have a certain Velvet's quality, this band has a way to go before they can be remotely compared to VU. Many may imitate VU, but few (Luna and Ponys come to mind) actually succeed in approaching their sound and quality.

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I'm starting to come around...

ZGreen

For those who were left less than impressed by their eMusic Selects EP (and I was definitely one of them): this record is still very much worth checking out. In terms of sound, there's not a whole lot that's different about it; it's just that the album length format suits them a lot better, and they come off sounding weary, desperate, and even a little scary (whereas I felt like the EP just sounded kind of lazy). Check out "Shattered Shine", "Crystal Stilts", "The City In The Sea" and "Prismatic Room" if you want a taste.

user avatar

Something wicked this way comes....

Swift63

An ominous yet oddly hopeful soundtrack for the end-days of the Cheney Regency. Ignore the detractors who accuse them of being derivative: even if it does have one foot -- or should I say, stilt -- in Nuggets-era psychedelia and the other in post-punk Goth, this is authentic stuff. (Their nod to the Velvets, however, is pronounced on closing track "City in the Sea.") Complaints about murky sound quality, esp the vocals, miss the point of their lo-fidelity rejection of the culture of overproduction. Cheapskates should know that "Departure" is an extensively reworked version of "Converging in the Quiet"; "Shattered Shine" is now better for cutting the previous overlong intro.

eMusic Features

0

eMusic Selects: EULA

By Wondering Sound Staff, Contributor

Since 2008, we've used our eMusic Selects program to spotlight our favorite unsigned bands, releasing their albums exclusively to eMusic members and giving you a first look at bands whose music and vision inspires us. We're proud to say that bands like Best Coast, High Places, Yellow Ostrich, Julianna Barwick and others are all graduates of our Selects program. We feel just as excited about the latest members of our Selects family, EULA. This band… more »

1

2011: Garage Rock Grows Up

By Mike McGonigal, Contributor

Four years ago, I flew from Portland to New York to see my favorite band, New Zealand's garage-pop trio the Clean, play three shows at a glorious pit called Cake Shop. The openers were Crystal Stilts, a Brooklyn group with no records out whose moody and noisy music pushed all the right buttons. I quickly befriended the group, especially guitarist JB Townsend and his then-girlfriend Frankie Rose, whose own band Vivian Girls were soon-to-be favorites.… more »

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Interview: Crystal Stilts

By Leonard Pierce, Contributor

Getting bogged down in the specifics of the familiar-yet-particular sound made by Brooklyn's Crystal Stilts often leaves critics describing the trunk and tail of an elephant and concluding that it's a whale. You can hear whole record collections in their songs – the Joy Division lows of Brad Hargett's evocative vocals, the pumping highs of Kyle Forester's Dunedin Sound keyboards, the gnarly Jeffrey Lee Pierce reverberations in JB Townsend's guitar, but attempts to reduce them… more »

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Label Profile: Captured Tracks

By J. Edward Keyes, Editor-in-Chief

File Under: Ragged, guitar-based indie pop; jangle-'n'-reverb forever! Flagship Acts: Beach Fossils, Wild Nothing, the Fresh & Onlys, the Girls At Dawn Based In: Brooklyn, New York When I first meet Mike Sniper, he's drinking Patron Silver at an Oyster Bar in Greenpoint, Brooklyn. From any other record executive, the scene would be typical to the point of almost seeming mundane. But Sniper is the founder of the tiny, ragged Brooklyn indie Captured Tracks, a label that prizes… more »

They Say All Music Guide

On Crystal Stilts’ first full-length album, Alight of Night, the bandmembers aren’t afraid to rely heavily on their obvious influences. On display for all to hear are the reverbed darkness of the early Jesus and Mary Chain, the twee punk energy of the Shop Assistants, the classic autumnal songcraft of Black Tambourine, and the raw and ragged production values of a hundred bands from the Seeds to Green on Red to Boyracer. Throw in some Velvet Underground, some C86, and some Love, and stir vigorously. What you end up with could be tired and derivative-sounding or it could be a thrilling mess of distorted energy. Alight of Night falls squarely in the latter half of that equation, and this is how they pull it off. For starters, there are the vocals of Brad Hargett. He mumbles and croons in a deadpan voice so mopey it feels like his face would crack if he ever fully formed syllables, much less words. Hargett hovers over the songs like a disaffected ghost, never cracking a smile or betraying any hint of lightness. It may take a spin or two to get past the remote iciness of his singing, but once you do it sounds perfectly appropriate in the context of the music, and his broken soul begins to seep into your brain. Next, they never make a false move musically. There are no lame solos, no lapses in taste, no moments they will wish they had back to do over. The band (wire-tough guitars by JB Townsend, powerful and simple drums from Frankie Rose) rocks hard when the song calls for it and provides the energy and drive that Hargett’s vocals lack. It’s a perfect blend of psychedelic gloom and garage rock punch, of indie pop hooks and girl group drama, of noise and candy. It’s obvious from the first few seconds of Alight of Night that Crystal Stilts aren’t doing anything shockingly new or innovative, and that’s all right. They give the old noise pop formula enough of a kick to make this a very worthwhile addition to any noise pop fan’s collection. – Tim Sendra

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