By shelz.

Reign Of Terror, Sleigh Bells’ aptly-titled sophomore release, is pop noise crunchiness that will undoubtedly rattle your woofers, but still manages a melodic underpinning.  There is a variety in construction that wasn’t present first time around and Alexis Krauss takes on a bigger role in both creation and performance.  (Derek Miller wrote all the songs on Treats.) On their debut, Alexis’ fragile coos and cries were enveloped in so much noise, it rendered her more ambiance than vocalist. Reign Of Terror offers more clarity for her.  The fog still hovers, but breaks enough for you to follow the narrative.

That doesn’t keep this album from being a real downer. It doesn’t slump in quality or sonic aesthetic. Sleigh Bells is still sound bombing your speakers with enough riffage and thump to give your soul palpitations.  The difference here is in theme. It’s dark moody angst at the lowest level your tormented teen can muster. Derek Miller’s soundscapes play into that role as perfectly as they did the party.

The duo allow the sun to peek through on songs like the motivational “Comeback Kid” and “Crush,” both sports anthem homage replete with Queen-like bleacher stomps, Miller’s lacerating strings and cheerleader-esque chants. The sun rays don’t last long though as the rest of this album is full of suicidal notions, isolation and final goodbyes.  Don’t let the overly-styled cool kids fool you, there’s obviously much more to Sleigh Bells than a woofer-busting good time.

“Born To Lose” features a lethargic riff being dragged behind double time percussion and Krauss sweetly prods you to tie the noose and get it over with in a disturbing angel of death way. Her delivery is only rivaled by the dreamy distortion at the end.  A melodious depiction of your life draining from your body, maybe?

Miller’s guitar is relegated to a lower layer as cymbal washes and Krauss’ voice take center stage on “End of the Line,” a depressing ditty about being voiceless in a cold world.  No one sees you. No one hears you.  No one loves you. The sorrowful miasma is closed with a gunshot.  “Demons” will remind you of Treats, loud and obnoxious strings with Krauss having to yell to be heard.  It’s devilishly, head-bangingly aggressive and pays no mind to the evil it may conjure.  This song isn’t about the lyrics. It’s about Miller’s musical machismo. Krauss regains her coo on “Road to Hell.”  The quiet retro piece is the most tidy of the tracks, recalling 1950’s love lost with a modern twist.

Rounding out the fest of helplessness is “You Lost Me,” a ghostly story about a dual suicide behind a Circle K. “Never Say Die”’s track is the musical equivalent of a spinning black and white wheel.  It pushes forward quickly, rising and dropping just enough for it not to be a flat line. While not the best song on the album, it’s engaging enough to hypnotize.  The closer, “D.O.A.,” spirals downward beautifully, taking the stuttering synth and Krauss’ echoing voice with it.

Reign Of Terror proves that the Sleigh Bells sound isn’t static.  They have retained their signature spirit while twisting and tweaking it into new directions.  It’s not as good as Treats, but I’m not a sulky adolescent.  They obnoxiously speak to that frame of mind and offer some company for the misery.  Take a listen, but only if you think your woofers and disposition can handle it.

3.75 Out of 5

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