Sleigh Bells was a Bit ‘Tricks’ and ‘Treats’
If someone were to ask me today about the status of quality music that is coming out, my answer to them would be there is a plethora of great music of all shapes and sizes being released to the public. The problem of course is finding that music.
While word of mouth is still a strong component of the music that you listen to, the other sources of finding out about new music have largely changed. 25 years ago, people would rely on MTV, the Radio and Music Magazines to get their fill. Today, conventional radio is a fraction of what it used to be, MTV doesn’t even play music anymore and like the rest of the Newspaper and Magazine market, most people prefer blogs and websites to magazines.
On top of this the number of bands have multiplied several times over when it has become difficult to follow a handful of bands closely. Stadium-filled shows have been replaced by festivals, which can attract a greater amount of fans to experience and explore the sounds around them.
Being a “Thirtysomething” that has a steady job outside of writing on this site and others, my music fill is both one that relies on time and need. I just do not have the time in the day to rely on every single music release and base my own thoughts around friends, cohorts and sites that promote music.
One of those sites that I have used is Pitchfork. Pitchfork has built upon a solid Indie Rock Formula of good reviews, a level of irony and a lack of acting “Too Corporate”. While they might go to bed with certain bands like Radiohead, Vampire Weekend and Animal Collective, I do not take their word as “Holier than thou” but a word nonetheless.
Recently they reviewed the inagural release ‘Treats’ by the band Sleigh Bells, one of those “Buzz” bands. These bands will have a paragraph or so in their reviews about somehow being the talk of the hip indie community as being one of the next big things. Discovery is important and to put it in writing is even more important so that they can reflect on that years later about how they gave certain artists high grades early on.
What of course I noticed about the release was that Pitchfork gave the Sleigh Bells new album the title “Best New Music” and a score of 8.7. This title is given to any album that receives a score above 8.0 on their grading chart. They are fairly tough reviewers as you see very few releases above 9.0 on their grading system and since 8.7 is pretty high up there, it meant that I should check it out.
Another factor in my immediate purchase was that they were planning on playing Pitchfork Music Festival which I am attending. What better way to get acquainted with my music listening decisions that weekend than checking out the talent.
My initial reaction to this album was one, which would make me call it one of the best albums of the year or one of the worst. If anything it is one of the most intriguing releases of 2010 which will probably command a lot of disparate opinions across the internets.
At first listen to this album, my deepest fears were being met. A combination of the “Pussycat Dolls” and “Heavy Metal Guitars” with an equal amount of electronica to make Lady Gaga have an orgasm. Not that I have a huge problem with ‘Lady Gaga’ or her talents withstanding, but better to the point that it reminds me of those yuppie bars I would attend in my youth.
No there is no doubt talent on this record and there will no doubt be many thoughts and reactions about this album. But how do you write about something that you are either going to admit is a “Flash in the Pan” – Jesus Jones moment or something that is a genuine record of the year candidate?
According to Wikipedia, they have been defined as “Dance Punk”, what that means, I have no clue. Sorry if I find that there are more music genres in music these days than bands.
For me the moments of annoyance are when Alexis Krauss’s vocals venture into the “Pop Stardom” vs. sticking with the Miki Berenyi-Lush stylings such as my favorite song on the album so far “Rachel” which combines that Spooky/Gala style on top of some great electronica. Personally, I prefer the latter but also understand there is more money in the former.
However, the guitars on this album is why it was posted to Pitchfork to begin with. Derek Miller’s guitars on ‘Infinity Guitars’ among others are meant to bleed eardrums and what makes this album from being a favorite at the yuppie clubs and also the indie rock circuit. When the initial shock wears off, you understand the conflict in the music. Alexis Krauss would have no part in a Heavy Metal/Punk outfit in her life and yet, this odd combination actually works on many levels. It tries to break barriers in the same way that Prince did by bringing R&B and guitar-driven rock together. It is a combination that you do not expect and at times abhor but you listen anyhow.
And that is half of the problem. You finish listening to the album and it slightly kicks you in the ass and you are really not sure if the ride was worth it or not. For me, the album has not been immediate but rather bone-jarring. The opening to the song ‘Straight A’s’ for example would have heavy metal fans on their feet. Ever pissed at a neighbor? Play this track at 11 and you will be noticed.
There are other songs such as “Ring, Ring” or “Rill, Rill” depending on where you are getting your knowledge from. which provide a gentler, luscious side, that should be a mainstay at Proms if they have a pretty good DJ.
Its strength’s are in the music and the vocals and would provide a thumbs down to the lyrics, which I would characterize as pedestrian. This is a blaring, sweaty party album. It’s an album that will do well on the tour circuit on a hot summer venue.
This album crosses genres and based on your own musical preferences, I would suggest the purchase if only to experience it and create your own opinion. This is not your average “Boring” rock record. This record takes chances and for that I applaud it.
But as any music listener will attest to, opinions change. The Buzz today could be in the trash tomorrow.