|
| ||||||||||||||||||||||||
Listen to Samples and Buy MP3s
Songs from this album are available to purchase as MP3s. Click on "Buy MP3" or
view the MP3 Album.
Special Offers and Product Promotions
- Get $1 in Amazon MP3 credit with qualifying purchase. Limited to one promotional credit per customer. Here's how (restrictions apply)
Frequently Bought Together
Product Details
Would you like to update product info or give feedback on images?
|
Editorial Reviews
The New York City duo known as Sleigh Bells emerged in the Fall of 2009 with rhythmic pop songs that combine overdriven guitar riffs and sugary female vocal melodies. Derek Miller, who played in the popular Florida hardcore outfit Poison the Well, teamed up with singer Alexis Krauss after he happened to serve her and her mother at a Brazilian restaurant in Brooklyn. As proof of their winning formula, Sleigh Bells quickly earned the adoration of critics at the New Yorker, Pitchfork, Rolling Stone, and the Village Voice. They are celebrated by both their hometown's outer-borough lo-fi rock scene and international pop acts like Major Lazer and MIA, who collaborated with Derek on her forthcoming third LP.
Customer Reviews
Most Helpful Customer Reviews
81 of 83 people found the following review helpful
Format:Audio CD
This one is going to split the jury. Sleigh Bells are not a Christmas novelty act (some will disagree) but another band from the People's Independent Noise Republic of Brooklyn and an immense grungy dance punk juggernaut consisting of Alexis Krauss and Derek Miller a former hardcore rock guitarist. For influences think Bow Wow Wow, crossed with Lil Wayne and then throw in the Beastie Boys, White Stripes and Le Tigre.
As for the music Sleigh Bells elephantine beats don't just hammer the damn things could pile drive concrete supports into the foundations for skyscrapers. Their primitive guitar fuzz is wickedly distorted and married to the simplest of pop melodies. Krauss's ever so sweet voice provides tranquillity amongst this cacophony. Thereby this irresistible mix combines with room-shaking production and big guitars and is the reason why so many people are salivating over this album on the blogosphere.
When I first played the opener "Tell em" on my car stereo it was so bloody loud I swerved to miss a passing cyclist. It is a full blown aural assault, the musical equivalent of a punch in the face and one of the quieter songs on the album. It may just be 2010's musical counterpart to last years "My Girls" by Animal Collective. In terms of what follows there is no let up or escape. "Riot Rhythm" has drums which pound and Millers guitar introduces a razor like cutting riff. "Infinity guitars" sounds like a cross between the Beastie boys and Japandroids. "Run the heart" is Abba for the Twitter generation. It is a staccato composition punctuated by bubbling noises, shimmering synths and the dreamlike vocal of Krauss. Then there is the Phil Spectorish "Rill Rill" formerly "Ring Ring" from their demo's which is a charming confection of a pop song that is a temporary if welcome relief from Miller frankly going mental. His return however comes back with all the force of a wayward Katyusha missile on "Crown on the Ground" which sounds like the treble button has broken and someone has sucked the bass out. Your graphic equalizer is I am afraid onto a hiding to nothing but it works brilliantly and is actually quite sweet in comparison to the 90 second riff monster "Straight A's" that follows which could be Husker Du having a bad soundcheck. "A B Machines" is a surf guitar hip hop mash up (I kid you not) with Krauss repeating a two line lyric throughout. Finally the title track sounds like Mastadon making a bid for the charts with a girl singer.
There will be many of you wonderful people on Amazon who will state that "you don't get this", that "you've heard it all before" or will use that ubiquitous insult that it is the "king's new clothes". Even more will complain that the level of distortion on the album (at Spinal Tap "11") is giving your speakers a workload which they neither desire or can cope with and that perhaps "Treats" should come with complimentary Paracetamol. Yet there are on occasions when certain albums for just a very elusive moment on the space time continuum appear to make all other game players sound a bit wrought and tired. Sleigh Bells new album "Treats" falls into that category and will nudge popular music into different directions.
Granted "Treats" is so bound for mainstream success and overexposure that you sense that a brief romance with this band may be the extent of your involvement, but so what it will be fun while it lasts. Thus we have an album that is very loud, trashy, and disposable and pulled off with the sort of brazen audacity that would find the state police visiting in the dark of night in a less tolerant society. "Treats" describes itself, get it on Amazon MP3 download now and be prepared for a complete sensory overload.
As for the music Sleigh Bells elephantine beats don't just hammer the damn things could pile drive concrete supports into the foundations for skyscrapers. Their primitive guitar fuzz is wickedly distorted and married to the simplest of pop melodies. Krauss's ever so sweet voice provides tranquillity amongst this cacophony. Thereby this irresistible mix combines with room-shaking production and big guitars and is the reason why so many people are salivating over this album on the blogosphere.
When I first played the opener "Tell em" on my car stereo it was so bloody loud I swerved to miss a passing cyclist. It is a full blown aural assault, the musical equivalent of a punch in the face and one of the quieter songs on the album. It may just be 2010's musical counterpart to last years "My Girls" by Animal Collective. In terms of what follows there is no let up or escape. "Riot Rhythm" has drums which pound and Millers guitar introduces a razor like cutting riff. "Infinity guitars" sounds like a cross between the Beastie boys and Japandroids. "Run the heart" is Abba for the Twitter generation. It is a staccato composition punctuated by bubbling noises, shimmering synths and the dreamlike vocal of Krauss. Then there is the Phil Spectorish "Rill Rill" formerly "Ring Ring" from their demo's which is a charming confection of a pop song that is a temporary if welcome relief from Miller frankly going mental. His return however comes back with all the force of a wayward Katyusha missile on "Crown on the Ground" which sounds like the treble button has broken and someone has sucked the bass out. Your graphic equalizer is I am afraid onto a hiding to nothing but it works brilliantly and is actually quite sweet in comparison to the 90 second riff monster "Straight A's" that follows which could be Husker Du having a bad soundcheck. "A B Machines" is a surf guitar hip hop mash up (I kid you not) with Krauss repeating a two line lyric throughout. Finally the title track sounds like Mastadon making a bid for the charts with a girl singer.
There will be many of you wonderful people on Amazon who will state that "you don't get this", that "you've heard it all before" or will use that ubiquitous insult that it is the "king's new clothes". Even more will complain that the level of distortion on the album (at Spinal Tap "11") is giving your speakers a workload which they neither desire or can cope with and that perhaps "Treats" should come with complimentary Paracetamol. Yet there are on occasions when certain albums for just a very elusive moment on the space time continuum appear to make all other game players sound a bit wrought and tired. Sleigh Bells new album "Treats" falls into that category and will nudge popular music into different directions.
Granted "Treats" is so bound for mainstream success and overexposure that you sense that a brief romance with this band may be the extent of your involvement, but so what it will be fun while it lasts. Thus we have an album that is very loud, trashy, and disposable and pulled off with the sort of brazen audacity that would find the state police visiting in the dark of night in a less tolerant society. "Treats" describes itself, get it on Amazon MP3 download now and be prepared for a complete sensory overload.
18 of 19 people found the following review helpful
Format:Audio CD|Amazon Verified Purchase
As many have stated, Sleigh Bells have gotten a lot of buzz over the past year for their unique sound. There isn't an easy way to classify Treats; Some have drawn parallels to late 90's rap infused with The White Stripes and Le Tigre or MIA's Arular. There's even some classic rock influences to be found. All are valid, but there's enough going on here that the album as a whole has no comparison.
Derek Miller's hardcore roots are evident here, as is Alexis Krauss' previous work in a girl group. The two seem destined to clash, but defy the cynics and become one of the most interesting new acts this year.
From the beginning track, "Tell 'Em," I was hooked on the booming bass, storming guitar and Alexis' beautiful voice. The following track, "Kids," is one of the primary tracks that draws comparisons to late 90's rap. "Riot Rhythm" follows the first track's sound closely, and uses some addictive guitar riffs at that. "Infinity Guitars" is among one of the harsher tracks on the album, and also seems slightly out of place, but the change of pace is definitely appreciated. "Run the Heart" reminds me again of "Kids" in it's use of rap synth and beats.
"Straight A's" is the loudest track on the album. Without doubt. It brings a whole new meaning to loud, and makes the music seem larger than life. It's followed up with "A/B Machines," a simple 2 line song that will probably become some sort of dancehall remix favorite. It will also immediately remind some of MIA with the vocal style.
The namesake of the album, "Treats," is an interesting culmination for the album, and seems like an appropriate closer. It starts off by sounding like a Smiths song, then returns to form. I was happy that it didn't end on a poor note; too many albums as of late have and it just seems disappointing when an otherwise strong album leaves off weakly.
What is most obvious and interesting is the shear noise and force that Alexis' often crystal, proper voice sings through; Pitchfork compared it to a tempest that she seems accustomed to and has no problem singing over. I agree completely; they pull off this dynamic over most of the album, but give the listener a few moments of rest. A couple of instances of this are in the tracks, "Rachel" and "Rill Rill," both of which slow down the album appropriately for the coming storm of the second half of the album.
Each consecutive listen of the album has me more excited for the possibilities and future of Sleigh Bells. At the same time, I'm slightly worried they may become "the new thing" and get played to death. Their sound may wear thin, or become a gimmick. Also, (and this has been stated by many) the band will polarize listeners. It's enough pop to draw a lot of otherwise Top-40 only listeners, but some will find it too loud and aggressive.
For now though, I'm going to listen to and enjoy the album. I suggest you do to.
Derek Miller's hardcore roots are evident here, as is Alexis Krauss' previous work in a girl group. The two seem destined to clash, but defy the cynics and become one of the most interesting new acts this year.
From the beginning track, "Tell 'Em," I was hooked on the booming bass, storming guitar and Alexis' beautiful voice. The following track, "Kids," is one of the primary tracks that draws comparisons to late 90's rap. "Riot Rhythm" follows the first track's sound closely, and uses some addictive guitar riffs at that. "Infinity Guitars" is among one of the harsher tracks on the album, and also seems slightly out of place, but the change of pace is definitely appreciated. "Run the Heart" reminds me again of "Kids" in it's use of rap synth and beats.
"Straight A's" is the loudest track on the album. Without doubt. It brings a whole new meaning to loud, and makes the music seem larger than life. It's followed up with "A/B Machines," a simple 2 line song that will probably become some sort of dancehall remix favorite. It will also immediately remind some of MIA with the vocal style.
The namesake of the album, "Treats," is an interesting culmination for the album, and seems like an appropriate closer. It starts off by sounding like a Smiths song, then returns to form. I was happy that it didn't end on a poor note; too many albums as of late have and it just seems disappointing when an otherwise strong album leaves off weakly.
What is most obvious and interesting is the shear noise and force that Alexis' often crystal, proper voice sings through; Pitchfork compared it to a tempest that she seems accustomed to and has no problem singing over. I agree completely; they pull off this dynamic over most of the album, but give the listener a few moments of rest. A couple of instances of this are in the tracks, "Rachel" and "Rill Rill," both of which slow down the album appropriately for the coming storm of the second half of the album.
Each consecutive listen of the album has me more excited for the possibilities and future of Sleigh Bells. At the same time, I'm slightly worried they may become "the new thing" and get played to death. Their sound may wear thin, or become a gimmick. Also, (and this has been stated by many) the band will polarize listeners. It's enough pop to draw a lot of otherwise Top-40 only listeners, but some will find it too loud and aggressive.
For now though, I'm going to listen to and enjoy the album. I suggest you do to.
12 of 13 people found the following review helpful
Format:Audio CD
Sleigh Bells - Treats (2010)
I can understand why some people reject this music out of hand. It's a little gimmicky, maybe a bit contrived . . . but ya know what? I couldn't care less about that. This album is super pumped up and fun to listen to. It's got a heavy electronic sound with booming rock beats and electronic drums contrasted with airy, high-pitched vocals. The drums are intentionally distorted, sounding like they were overloading speakers with the volume turned up to 11 (they aren't too loud on the album though). Alexis Krauss has that sexy little girl thing going on in spades. She sounds quite juvenile - and that's intentional. These musicians are indeed young and this record comes from an unapologetically youthful place. Her vocals sound a bit like she's cheerleading at times. You can dance to this music, and while it might seem overly repetitive to some, a good listen reveals plenty of melody. The first four or five songs may give the impression that they've hit on one particular formula and they're sticking to it, but keep listening and you'll hear TREATS trying different approaches. Sleigh Bells maintain a basic template of sound throughout the album but there's actually a fair amount of diversity here. People who like the "Rill Rill" single getting airplay these days should be aware that the rest of the album is quite different from that particular track. TREATS incorporates divergent elements and manages to come up with its own unique sound.
Breakdown! (notes and impressions of each song) -
"Tell 'Em" - anthemic guitar, booming bass drums, finger snaps, ethereal rap/singing and distorted shards of guitar...."Did you do your best today?" ****1/2
"Kids" - infectious, loopy rhythm - "Oh, oh, oh..." - with actual sleigh bells (or something that sounds like em!). Similar sound to the first track, interspersed with dialog from real kids. ****
"Riot Rhythm" - same sound - loud drums with 80's-style "drum claps," squirmy synth touches, cheerleader chants. ***3/4
"Infinity Guitars" - more drum claps, "uh,uh, uhs," and a simple guitar figure - more of the same, catchy as hell. ****
"Run The Heart" - While it's true that the album maintains a distinctive sound throughout, things begin to change starting with this song. Intersperses a spacey synth pattern with severely distorted drums and helicopter guitars. "I wanna know what's good for you..." Very sexy! ****3/4
"Rachel" - taking a break from the massive drums, this track is dominated by some awesomely corrosive synths. Sweetly sung. Moody, evocative. ****1/2
"Rill Rill" - presumably called "Rill Rill" since there's already an ABBA song named "Ring Ring," this tune is a complete left turn. It's a gorgeous pop song that gently swings with piano, orchestral bells and some sweet acoustic guitar. The big drums are back, but they're much more laid back. "Have a heart, have a heart/ Sixteen six six six and I fell apart..." A great summer song, I loved hearing it on alt-rock radio over the past few months. *****
"Crown On The Ground" - The intensity level gets cranked up to overload once again - a huge heavily distorted sound fills the speakers and hits some particularly compelling chord changes. This is their trademark sound - crazy-catchy, relentless, mind-blowing. *****
"Straight A's" - a strange, noisy little diversion with heavy metal-ish guitars and screamed vocals. Very cool. ****
"A/B Machines" - repetitive, almost hypnotic, makes use of some Duane Eddy-ish guitars and more "elevator-going-up" effects. Kicks ass! ****1/4
"Treats" - The final track has an ominous sound, beginning with a guitar loaded with heavy tremolo reminiscent of The Smiths' "How Soon Is Now?" before lumbering drums and heavy Black Sabbath guitars kick in. As always, Alexis' airy vocals stand in stark contrast to the swirling musical miasma which takes the listener to some truly bizarre places. *****
I can understand why some people reject this music out of hand. It's a little gimmicky, maybe a bit contrived . . . but ya know what? I couldn't care less about that. This album is super pumped up and fun to listen to. It's got a heavy electronic sound with booming rock beats and electronic drums contrasted with airy, high-pitched vocals. The drums are intentionally distorted, sounding like they were overloading speakers with the volume turned up to 11 (they aren't too loud on the album though). Alexis Krauss has that sexy little girl thing going on in spades. She sounds quite juvenile - and that's intentional. These musicians are indeed young and this record comes from an unapologetically youthful place. Her vocals sound a bit like she's cheerleading at times. You can dance to this music, and while it might seem overly repetitive to some, a good listen reveals plenty of melody. The first four or five songs may give the impression that they've hit on one particular formula and they're sticking to it, but keep listening and you'll hear TREATS trying different approaches. Sleigh Bells maintain a basic template of sound throughout the album but there's actually a fair amount of diversity here. People who like the "Rill Rill" single getting airplay these days should be aware that the rest of the album is quite different from that particular track. TREATS incorporates divergent elements and manages to come up with its own unique sound.
Breakdown! (notes and impressions of each song) -
"Tell 'Em" - anthemic guitar, booming bass drums, finger snaps, ethereal rap/singing and distorted shards of guitar...."Did you do your best today?" ****1/2
"Kids" - infectious, loopy rhythm - "Oh, oh, oh..." - with actual sleigh bells (or something that sounds like em!). Similar sound to the first track, interspersed with dialog from real kids. ****
"Riot Rhythm" - same sound - loud drums with 80's-style "drum claps," squirmy synth touches, cheerleader chants. ***3/4
"Infinity Guitars" - more drum claps, "uh,uh, uhs," and a simple guitar figure - more of the same, catchy as hell. ****
"Run The Heart" - While it's true that the album maintains a distinctive sound throughout, things begin to change starting with this song. Intersperses a spacey synth pattern with severely distorted drums and helicopter guitars. "I wanna know what's good for you..." Very sexy! ****3/4
"Rachel" - taking a break from the massive drums, this track is dominated by some awesomely corrosive synths. Sweetly sung. Moody, evocative. ****1/2
"Rill Rill" - presumably called "Rill Rill" since there's already an ABBA song named "Ring Ring," this tune is a complete left turn. It's a gorgeous pop song that gently swings with piano, orchestral bells and some sweet acoustic guitar. The big drums are back, but they're much more laid back. "Have a heart, have a heart/ Sixteen six six six and I fell apart..." A great summer song, I loved hearing it on alt-rock radio over the past few months. *****
"Crown On The Ground" - The intensity level gets cranked up to overload once again - a huge heavily distorted sound fills the speakers and hits some particularly compelling chord changes. This is their trademark sound - crazy-catchy, relentless, mind-blowing. *****
"Straight A's" - a strange, noisy little diversion with heavy metal-ish guitars and screamed vocals. Very cool. ****
"A/B Machines" - repetitive, almost hypnotic, makes use of some Duane Eddy-ish guitars and more "elevator-going-up" effects. Kicks ass! ****1/4
"Treats" - The final track has an ominous sound, beginning with a guitar loaded with heavy tremolo reminiscent of The Smiths' "How Soon Is Now?" before lumbering drums and heavy Black Sabbath guitars kick in. As always, Alexis' airy vocals stand in stark contrast to the swirling musical miasma which takes the listener to some truly bizarre places. *****
Most Recent Customer Reviews
Raise the volume until you think your sub is going to burst.
Treats has a super punchy, raw sound that's actually pretty unique amoung all the stuff out there right now. Read more
Published 11 days ago by Zandar Brovloski
Awesome Band
This is such great music. You can't exactly sing along, but it's good to listen to on a walk/run or just while hanging out. Read more
Published 1 month ago by A. S.
Deconstructed Blondie
The vocalist sounds just like Deborah Harry and they've taken the melodic beats and substituted different time signatures and more obscure lyrics. Read more
Published 1 month ago by applecore
What!!!
And they get paid for this? Man, who said the guys on Wall Street deserved to be locked up for ripping us apart? This is undiluted crap - end of story. Read more
Published 2 months ago by R. I. Carter
OMG. Lana Del Rey has nothing to be embarassed about
Sleighbells' embarassing, tuneless performance on SNL was atrocious. My God. Grasping, un practices Kewpie doll vocals are only going to get you so far.
Published 2 months ago by tierny
Free at last
Fantastic irreverent sound explosion. Throbbing gristle you can dance to, a delicious sound of descent. Punk new wave pop hardcore with moments of depth. Read more
Published 3 months ago by Paul Robeson
I thought it couldn't get better
I've loved this cd since it first came out. The energy and flow of each song is just great. I don't see how they'll be able to top it in their next album. Read more
Published 3 months ago by Jdot
Excellent Treat
I listen to this album any time I'm looking to get pumped up for an event or when I'm out on a run. Really pumped for their sophomore album to come out next month.
Published 3 months ago by Artie2day
Great top-down driving music
Along with Ratatat, this band is my favorite driving music. The beats are infectious, and it's one of the rare albums where the later songs are as memorable as the beginning ones.
Published 3 months ago by Luke
Can't Wait for the Next Album
Terrific, rocking sounds. Blend of beats, vocals and electric guitars that gets the anger out or the groove into your day.
Published 4 months ago by Larry Yarborough, Jr.
Tags Customers Associate with This Product(What's this?)Click on a tag to find related items, discussions, and people.
|
Customer Discussions
|
This product's forum
Active discussions in related forums
Search Customer Discussions
|
Related forums
|
![[Start the discussion]](http://g-ecx.images-amazon.com/images/G/01/x-locale/communities/discussion_boards/start-new-discussion-sec._V192250339_.gif){kind=small}
Listmania!
|
|
So You'd Like to...
SoundUnwound - the personal music encyclopedia
Sleigh Bells' album Treats was produced by Derek E. Miller.
Derek E. Miller and Alexis Krausshave been a member of Sleigh Bells.
Derek E. Miller and Alexis Krausshave been a member of Sleigh Bells.
Passionate about music?
Learn more at SoundUnwound, the personal music encyclopedia, or challenge your friends with our music quizzes.
You might be interested in Ed's library
With 1 release, Ed is a fan of Sleigh Bells
Their library contains 1205 releases from artists including The Beatles and Neil Young
