History dictates that each year there is at least one band that will emerge from the seismic undercurrents of Brooklyn, New York, and go
on to have a sudden large-scale rise to notoriety; one that reverberates throughout the media,
beyond Pitchfork.com, and ensures them a place amongst the higher echelons of near every End of Year List published.
Many would have laid all there chips on The Drums being that band in 2010 but it is Sleigh Bells who have gallantly trotted their way to the honour at year’s close.
Though many could passionately canonise their finely tuned blend of distorted noise pop as being the type of hipster-adored Treats
nonsense that only connects with a handful of people in each of the world’s major cities (fashion fans, not music fans etc.),
there is little denying that this M.I.A.-approved and signed duo of Derek E. Miller and Alexis Krauss have cooked
up a debut album that positively bustles with frustrated energy,
gnarly synthetic beats and acutely channelled anger.
And via the viciously pent-up power chord riffs (born from Miller’s hardcore punk past),
and vocals that flit between hip-hop sass and
being almost coquettish (thanks to Krauss’ pop history),
‘Treats’ was the year’s best party record, with as sense of beastly fun that
overshadowed the duo’s aesthetic and hipster tag.
Whether people will be looking back and proclaiming this to be a contender for Album of The Decade in just under ten years time is another matter, but right now this is an album that needs to be enjoyed
captivating punk bands of the year, giving us the blatantly scary ‘Scare’ and baroque horror show ‘Juried’, which, with its falsetto wails and
axing time changes, rightly suggest that this band are more imaginative than a lot of the DIY crowd.
They are named after the ghost from early 90s, shit-ya-pants BBC show Ghost Watch, after all.
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