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Ian Cohen, a contributor for Pitchfork, analyzed that while the content on Crystal Castles goes through multiple genres and types of structures, "the body of the album can be distilled to an essence of the glassy, ten-lane stare of Last Exit with Ed Banger's egg-frying EQ." Mehan Jayasuriya, writing for Pop Matters, called it the "most iconoclastic and the most convincing" record of 2008's electro dance scene, reasoning that "their stripped-down, yet grimy aesthetic spits in the face of maximalist electro, offering a counterpoint to the polished, melodically overstated sound of Daft Punk and their progeny." He wrote that it "smash[es] all allusions to the Atari/cartoon generation of the '80s into their minute molecular parts and then piecing their electrum fragments into a bigger, newer, musical battlecat." A Drowned in Sound critic went as so far as to call the music "otherworldly" and "almost new-worldly" and compared it to the works of My Bloody Valentine, The Velvet Underground, and Sonic Youth in that the band "strike out to the edges of their own sensibility and return with the most unwieldy, uncomfortable sounds they find there before trying to work that noise inwards 'til it passes for pop." Cohen noted that this unpredictable aspect was especially true in the LP's last two tracks: "the mad dash of "Black Panther" is probably what nu-rave was supposed to sound like (the Goth! ), and then the record ends on a disquietingly beautiful shoegaze comedown played on an acoustic guitar of all things ("Tell Me What to Swallow")." The random element of Crystal Castles also applies to Glass's vocal performances where, in the words of All Music journalist Heather Phares, it can be "terrifying on one track and kittenish on another." Bryan Sanchez of Delusions of Adequacy called it "one of the best electronic albums of the year," highlighting how it was "stylishly sequenced," where "change of paces happen and come in at just the right times." All Music journalist Heather Phares was one of them, describing the album as "fresher, more complex, and much less gimmicky than might be expected, especially for those familiar with only the band's singles" and a "familiar-sounding, edgy, innocent, menacing, bold, nuanced, and altogether striking debut." Tony Naylor, in his eight-out-of-ten review for NME, noted feeling "intrigued and awestruck" after listening to the record and opined that "you will hear nothing better this year than" the tracks "Untrust Us," "Crimewave," "Air War," and "Vanished." A reviewer for Drowned in Sound stated that "what makes Crystal Castles so thrilling is that [the duo] turn the fruits of [the availability of technology] into weapons to use against it, using [it] to cut through the shitty mire." He praised it as "a crystal castle of technological rubbish fusing together under the harsh gaze of a falling sun, Kath and Glass digging around in the molten plastic for things to bang together, new-age Stigs dreaming of leisure's lost golden age in a data dump." Crystal Castles also had a few mixed critical opinions.
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