The album appears to be Miller’s attempt to deal with these tragedies. The shift makes sense: Just before the release of “Treats,” Miller’s father died in a motorcycle accident, and while the band was touring later that year, his mother was diagnosed with cancer. Miller described “Treats” as “party music.” In contrast, “Reign of Terror” is laden with heavy emotion. “Reign of Terror” may lack instant pop appeal, but the album more than makes up for this deficiency in its craft and production. While “Reign of Terror” is not as instantly stunning as “Treats,” the sophomore effort exhibits a new maturation. By the second track, “Born to Lose,” it is clear based just on the first few lyrics that the noise-pop duo has changed immensely: “Heard you say suicide in your sleep / just get on with it / you were born to lose.” This is no longer the band that wrote entire songs consisting of nonsensical lyrics like, “Got my A machines on the table / got my B machines in the drawer.” Sleigh Bells has added depth to the blaring potency that made them famous.
Once the applause has subsided, Krauss and guitarist and producer Derek Miller are finished with congratulating themselves on a job well done on their debut. It’s as if nothing has changed.īut “True Shred Guitar” is a false opening. The deafening roar of a stadium crowd builds as vocalist Alexis Krauss screams, “New Orleans! What the fuck’s up?” This mock-live opening track has all the hallmarks of the band’s wildly successful first album, “Treats”: the heavily distorted guitar, the explosive snare-drum hits, and Krauss’s cheerleader-shout vocals. The new Sleigh Bells album begins with applause.
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