Sleigh Bells certainly made a lot of noise back in 2010 — both literally and figuratively. Darlings of the indie world, with the release of _Treats_, the group made its mark with a distinct blend of pop hooks as well as heap of distortion and feedback. The songwriting potential was present from the get-go, but _Treats_ seemed almost too energetic and stylized to prove this. The combination of literal noise and blogger hype propelled the group forward, and _Treats_ was a formidable debut, but the question has hung over the band ever since: Could its big splash and distinct sound be pared down or stylistically maintained to produce an impressive follow-up?
The Brooklyn duo has answered with a surprising mixed bag. _Reign of Terror_ is a bit inconsistent, but it boasts some variety and musical ambition missing from its mostly party-ready debut. Comprised of producer/guitarist Derek Miller and singer/songwriter Alexis Krauss, the band has refreshingly stripped its sound of static and crackle and has revealed underneath a nice pop sensibility and chemistry. While _Treats_ was whip-smart and near hyper, _Reign of Terror_ is instead more knowing and merely energetic. It serves the pair’s natural dynamic well. Miller’s noise-pop production naturally augments Krauss’ unusually breathy vocal work for such a tinny and mercurial soundscape.
The template has been consistent. Blasts of beats and drum rhythms power Krauss’ singing, and the sonic fizz is punctuated with garage guitar runs and various sound effects. It’s both head-banging and danceable, yet is difficult to vary convincingly. Among the sound effects are audience cheers and bullets, sounds that seem inseparable from the band’s tone. The songs are fast and fleeting, never resting on any song for long and making mostly fleeting, memorable impacts. All the effects and musical mashups could have been overwhelming, but the pair shows its sophomore wisdom by letting the tunes breathe (relatively).
The energy is infectious most of the time. “Crush” is a wall-to-wall onslaught of hand-clapping, whooping lyrics and ’80s pop-metal guitar licks. It’s bizarrely similar to attending a metal show, with the crowd noise and rock-rolling atmosphere almost more about feeling than substance. The argument saying the group lacks it is largely disproved here, with little nuggets of musical cunningness slid in among the noise. “End of the Line” lies on top of its cobweb-like guitar work a piercing, hypnotic synth line run through some serious electronic manipulation that makes the quasi-ballad surprisingly touching. “You Lost Me” contains a haunting, descending synth line that’s mysterious and touching, while “Road to Hell” underlies its melody with subtle organ lines that add a sleek, futuristic feel.
Elsewhere the band forgoes these layers and instead goes for simple pop pleasures. Tracks like “True Shred Guitar” and “Demons” are simple and energetic, interestingly most similar to the high-pitched, rackety work on _Treats._ These songs are fine, but they revert more to the pitchy work of the past, and melodically, they are not nearly engaging as some of the work that minimizes the cacophony and focuses on the songwriting. On “Leader of the Pack,” the pair winkingly nods to the ’60s girl-group classic its title apes with ironic gunshots and finger snaps. The pair’s music hasn’t quite achieved the consistency of those classics, but it at least has the knowledge and scope to possibly make it happen.
_Reign of Terror_ is, in the end, a curious release; the group doesn’t quite break from its noise-rock formula, and yet the band is at its best when the songs are allowed to breathe and express some variety. It might ultimately be less enjoyable than _Treats_, but its promise and sense of discovery nearly make up the difference. That sense of promise and the unknown is what makes _Reign of Terror_ an ultimately very flawed but compelling release from an emerging artist with definite pop know-how and promise to spare.
