With their arguably harsh sound and intense robotic rhythms, I realize that the music of Crystal Castles is somewhat of an acquired taste, one that I have recently learned to love. The duo, composed of vocalist Alice Glass and producer Ethan Kath, first made waves in 2008 with their first album, eponymously titled “Crystal Castles,” receiving fair critical reviews. With the release of their second studio album, “Crystal Castles (II),” on May 14 (it was released digitally on April 19), the group maintains their signature experimental dance style, but adds a hint of maturity that showcases their development as musical artists.

I’ll admit, probably like many other novel listeners to the duo, that I initially dismissed their music, finding it just overbearing and loud. However, after really giving them a thorough listen, I now understand that their sound is much more than just the electronic beats, and this characteristic is very evident on their newest album. From song to song, and even within a single song, their music spans many different tones, yet all the while staying true to the overall aesthetic of the group. For example, the first track on the album, “Fainting Spells,” seems chaotic and shrill, while a later track, “Violent Dreams,” is somber and faint. The way they combine so many varied sounds to produce such imaginative songs, not to mention a thoughtful, comprehensive album, is remarkable.

“Crystal Castles (II)” does well to maintain the vigor of the group’s previous work, with a sometimes-subdued flavor that allows for more expression. Their expressive insight is undoubtedly the strength of the group, with this album in particular. They don’t just create lively, electric dance hits–that would be too easy. Instead, they manage to inhabit the energetic dance genre while still infusing tangible, real emotion in their work, using both beats and vocals (and even sampling Sigur Ros). Two songs that really capture this sentiment, and my two favorites on the album, are “Baptism” and “Vietnam.” Both records make you feel explosive and profound all at once.

Although a minor detail of the overall album when compared to the actual music, I want to quickly mention that I love both the title and CD cover. The fact that they are self-titling their album for the second time indicates to me two things: they’re not bogged down by trite, meaningless names and they are primarily concerned with the music, and the music alone, two implications I can certainly respect. The album cover is mysterious and cool–a young girl in a cemetery. It makes me wonder.

The more I listen to the album, the more I love it. “Crystal Castles (II)” is effortlessly a story I want to dance to. The songs on the album cover a whole spectrum of vibes, both musically and emotionally. While their style still remains extremely electronic, they have honed this sound to make an understated declaration, as if robots wrote a music manifesto. Some say what differentiate robots from humans is their lack of emotions. Apparently this idea is one that Crystal Castles has never heard of, or dares to prove wrong.