May 18, 2010
2010 | Mom + Pop/N.E.E.T. Recordings
The internet hype-cycle can be a fickle thing. Either you live up to the acclaim like The Strokes did back in 2001, or you don’t and get completely screwed over like the Black Kids a few years ago, or you just find yourself perpetually trapped in the blogosphere like, well, most bands. It’s been less than a year since Brooklyn duo Sleigh Bells found themselves in this world after playing a handful of breakout shows at last year’s CMJ and releasing a five-song demo that seemed to make its way to every corner of the internet. Throw in two national tours opening for Major Lazer and then Yeasayer, and signing to M.I.A.’s N.E.E.T. Recordings, and the buzz surrounding the group’s debut, Treats, grew to a fever pitch—not to mention the fact that before it’s online release on May 11, the album had miraculously not even leaked.
Treats is loud and relentless—thirty-two minutes of non-stop, in-your-face, cranked-to-11, ear-drum-shattering noise pop. Derek Miller’s guitar screams wildly over hammering 808 beats and claps, creating a hurricane of sound that provides the perfect foil for Alexis Krauss’ blissed-out voice that’s still got just the right amount of bite. And while much of the charm on Sleigh Bells’ demo was the bedroom-production values, getting into a studio has been far from detrimental. As producer, Miller has given the re-recordings of demo songs new life: “Kids” (formerly “Beach Girls”) is tighter and more powerful, its once drawn-out synths now staccato punches; and “Infinity Guitars” retains its Spartan, lo-fi glory until the last forty-seconds when the volume gets kicked up a few notches more, ending in a pounding whirlwind of noise and distortion.