REVIEW: Sleigh Bells - Reign of Terror

When Sleigh Bells emerged in 2010 with their debut Treats, they were a breakaway success - securing a wide-spread appeal, while making very loud and very unique guitar-pop. The term noise-pop is used quiet flippantly these days, but Sleigh Bells are probably the band that exemplifies the genre truly. Musical duo Alexis Krauss and Derek E Miller couldn't be from more different musical directions. Miller was formerly the guitarist of post-hardcore band Poison the Well, while Krauss was in an all-girl pop group as a teenager. Together, they combined their experience to do something a little... different.   

Taking full advantage of the odd dynamic they have, Sleigh Bells create music that really is like nothing else coming out at the moment. It's filled with riffs that would be well suited in a metal album and blends them effortlessly with pop sensibilities, forming bizarre, noise-filled mayhem. In anyone else's hands it may well have sounded horrendous, but Sleigh Bells manage to take this bizarre concept and make it interesting and addictive.

Originally planned to release on Valentine's Day, Reign of Terror is a surprisingly high-spirited album, given the title. The track titles follow example, with names like 'Road to Hell', 'Demons' and 'Never Say Die'.  It may sound a bit morbid, but they take to it with the attitude of, say, a grindhouse horror movie. It's filled with dark imagery but it's executed with just the right amount of self-awareness needed to not drag it down. The lyrics cover themes of winning, losing, and death in a more personal way than Treats, but they never delve too deeply. With a band like Sleigh Bells, lyrics aren't really a core component to the listening experience but they do the job fine.

The record takes many cues from contemporary pop and R&B while layering them over AC/DC influenced guitar slabs. Miller creates some of the biggest-sounding riffs in alternative music currently. 'Demons' highlights the sheer power of his guitar work, with a riff that would feel at home on a Black Sabbath album, while Krauss shouts "DEMONS, COME ON" excitedly. It shouldn't work, but it does. The tracks come quick and heavy, with Krauss's vocals as fierce as the music itself, at times.

The album opens with the sound of crowds cheering, and a Queen-esque guitar line, before launching into the familiar sound of Sleigh Bells. 'End of the Line' provides a nice contrast to the rest of the album. It's a relatively quieter affair, with Krauss whispering "I wish it didn't have to be this way / but it's the end of the line / so goodbye" in a confessional manner. The change of pace is welcomed, but the next track, 'Leader of the Pack' begins with a gunshot, signifying brilliantly that things are coming back into full-force.

For all the steps forward it takes, I can't help but feel like they haven't done enough to differentiate the album from the debut. It lacks the immediacy and novelty of Treats, and that leads to it having a slightly tired feel to it. It's certainly an interesting album, but it treads territory too similar to the debut.  

It was hard for Sleigh Bells to follow-up their debut in a way that didn't come off as cheap, but they've managed to get past that hurdle in most senses. With Reign of Terror, they've developed their sound and it definitely feels better off for it, but they haven't managed to escape the trappings of their debut entirely. Reign of Terror is an apt title for the album, with it feeling like a constant onslaught on the senses. If this is a pop record, it's one of the heaviest pop records I've ever heard. Turn it up. Loud.

7/10

REVIEW: Tennis - Young and Old

For me, summer is the best time of year; filled with sunny days at the beach, hanging out with close friends. So for a band to be able to evoke the feelings associated with said season even at the coldest times of year is, obviously, a good thing. Husband-and-wife duo Alaina Moore and Patrick Riley formed Tennis after spending a good 8-months sailing around the world. Naturally, they felt the need to express the experience through song, which eventually comprised last year's debut album Cape Dory; a modern day fairy tale in the alt-music world.

Tennis are back with a decidedly less nautical-themed sophomore release, Young and Old. For the follow-up, the production was handled by The Black Keys' Patrick Carney. Much like the recent new Perfume Genius album, they took the opportunity to expand on their sound. As part of the recent 'beach-pop' craze started by acts such as Best Coast and Beach House, Tennis create breezy, up-beat and altogether jolly tunes that will uplift even the most morose of people. The sugar-coated aesthetics drip with charm, but does the album do enough to establish itself among the greats?

Young and Old is definitely a step-up from the debut, with Moore handling vocal responsibilities with a more defined, self-confident tone. Her airy vocals have a very classic style to them, and they suit the music well. The retro style of the album gives it a nostalgic feel that is exactly what you'd expect from a couple such as Tennis. The entire premise of the album is grounded very much in the 60's; it's what the album title 'Young and Old' alludes to.

Lyrically, Moore sings dreamy and whimsical words that predictably deal with themes of love and romance primarily. This time they lack a core concept to focus on (like the seafaring nature of Cape Dory), so the album feels a lot more abstract. This lack of focus makes it all seem a lot less affecting - instead it relies on the charming melodies that pervade every surface of the album to keep your attention.

Tennis have ventured outside of the set-up they had on Cape Dory, implementing percussion on the tracks with more effectiveness than the debut. This isn't to say that they've strayed too far from the foundations they set out in the first place; it still has the fuzzy production values found previously, but they have been fine tuned somewhat to give the record an all-round more pleasing aesthetic. Piano keys are also more widely featured on Young and Old, diversifying the tracks further than the original and giving it a poppier feel.

As indicated by the kind of adjectives used thus far, you can assume that the album is a very happy one; maybe even overly happy. Every track has the same atmosphere to them, it's like the band are incapable of creating anything except sweet, loved-up songs. It's understandable, really, with Tennis being a couple who are so comfortable with one another to create music together. It would just be nice to see the music take a different tone on the album.

Much like a hazy, care-free summer's afternoon, Young and Old is a fleeting and enjoyable affair, but it struggles to truly define itself against all the other records that are in a similar vein to it. And like even the best of summer days, you eventually grow tired of them and long for the winter again. Still, you can always look back on it with fond memories. 

7/10

REVIEW: Perfume Genius - Put Your Back N 2 It

Second albums are usually anticipated with slight scepticism of whether the artist can truly live up to the expectations put forward by the first record. In the case of Perfume Genius, this has never been more true. 2010's debut, Learning, was a collection of ten highly personal songs which covered very delicate subject matter in a heartbreakingly sincere manner. Perfume Genius, AKA Matt Hadreas, really held nothing back in recording it.

Around two years later, he's ready to give it another go with the second offering, Put Your Back N 2 It. While Learning took advantage of a very minimalist set up, comprised primarily of just a piano and his falsetto voice, accompanied by the occasional synth, the second album treads similar concepts, but expands on them significantly. Like most good follow-ups, this record displays a much wider scope than the debut; everything feels on a grander scale, while retaining the haunting warmth of Learning.

Put Your Back N 2 It sees Hadreas tackling similar themes as the debut, he does so in a different way to Learning. He seems a lot more self-confident on this album, with 'Take Me Home' sounding especially triumphant; it's like he's transitioned into a much more extroverted person, both vocally and lyrically. On 'Hood', he questions how much we truly know about one another, highlighted using the line 'You would never call me baby if you knew me truly' to evoke self-doubt. Hadreas has a quality similar to early Sufjan Stevens in his ability to write songs about such topics so proficiently.

Musically, the album implements a wider range of instruments, be it the low humming guitar that percolates through album opener 'AWOL Marine', the upbeat drumming on 'Hood' or the subtle synths on 'Dirge'. There are a lot of little details on the album that really help flesh out the music and give it an intimate atmosphere. He uses simple piano melodies to illustrate his song-writing prowess, with them permeating every song on the album.

The real feat of Put Your Back N 2 It is the expansive range of emotions that are conflicted on the listener in such small bursts. The majority of songs from the album are miniscule in length compared to other contemporaries, but that's all is needed for the message to get through. Take, for example, lead single 'Hood'. At a mere 1:58 in length, the song leaves the listener craving more long after the song has finished. I guess it's both a blessing and a curse, if the song was longer then it would give the listener what they wanted but the very fact that it was able to have such an effect on the listener in just under two minutes is a testament to Perfume Genius's urm, genius.

Despite the emotionally heavy subject matter of the songs, Hadreas has a knack of giving each track an oddly warm and inviting feeling, whether it be through his enchanting vocals, the looping piano melodies or the triumphant finales found on some songs.  For example, while 'All Waters' is carried along by a brooding, melancholic tone, Hadreas uses his vocals to evoke tenderness which would otherwise not be found.

With Put Your Back N 2 It, Hadreas displays an innate gift for song-writing; he's created a legitimately brilliant follow-up to the original. It's bigger and bolder, but still pertains that same soul that made Learning so memorable - the poignant lyrics and melodies will stay with you long after the album closes.  

9/10

REVIEW: Brand New @ Southampton Guildhall - 10/2/12

It's been a fair while since Brand New last graced our shores, with their last show being a one-off performance at Wembley Arena in 2010. Now back on an eight-date UK tour, the band don't have a new album to support; they're just here for the fans. The Guildhall seemed like the perfect venue for Brand New, it was large enough so that enough fans could enjoy the sold-out show without it feeling overbearing.

The band played a career-spanning set list that took songs from every corner of their discography. Brand New have always enjoyed having an avid fan-base in the UK and it's obvious that tonight that they're totally humbled by that. "You always make us feel so at home over here, England." Frontman Jesse Lacey said to the admiring crowd, "It's quite strange and wonderful". Brand New were in high spirits, and their performance tonight showed it marvellously.

The band didn't play any new material at all, but that didn't matter - everyone knew why they were here tonight and the atmosphere was electric. They played through a robust set, spanning eighteen songs in the ninety minutes they were on stage. The set moved from album to album, playing chunks of each album at a time. Starting with The Devil and God Are Raging Inside Me, they moved onto Daisy, Déjà Entendu and Your Favourite Weapon respectively, before coming full circle with more tracks from The Devil and God Are Raging Inside Me.  

Brand New arrived stealthily on stage and were greeted with rapturous applause. Without saying a word they proceeded with the instrumental 'Welcome To Bangkok'. It set the atmosphere perfectly, with the track building up slowly towards the explosive climax, with a post-rock feel to it. It transitioned swiftly into 'The Archers Bows have Broken', with the upbeat rhythms getting the crowd into a frenzy.

Lacey's voice has an imperfect and raw nature to it, similar to Neutral Milk Hotel's Jeff Mangum - a hero of his. It really shows the passion being put across by the guy. He also shows a diverse range of vocal styles throughout, from the screeching vocals found in 'Vices', to the softer tones of 'Jesus Christ'. He makes alterations to the flow and melody of some songs, and it makes them feel more personalised to the specific show. It feels like he's so emotionally attached to the songs, few can replicate his intensity on stage.

When they were at their heaviest, you could feel the whole venue shake with ecstatic furore. Two drummers were employed during these moments, and it really emphasised how loud this band could actually be when they wanted to. Brand New are a band that enjoy taking advantage of making songs that can at one moment be quiet and serene, and the next, explode into a torrent of impassioned roaring from Lacey. The best example from the night was on 'You Won't Know'. The build up to the first instance of this happening was incredible - the crowd knew what was going to follow, and the build up was awe-inspiring.

'Soco Amaretto Lime' was the definitive apex of the gig. With Lacey alone on stage donning just an acoustic guitar, it felt very intimate despite the room being filled with just shy of 2,000 fans. Lacey had complete control of the room. He was like a hypnotist, keeping the crowd under his possession at all times. Every word  he sang was echoed in unison by the whole room. By the end the volume of people singing 'You're just jealous 'cause we're young and in love' was quite overwhelming. Jesse ended the song by changing the lyrics to "I'm just jealous 'cause you're young and in love". The sincerity in his voice was touching.

The last three songs in particular were a highlight for me, they were the perfect trio to send off the evening. It mixed in everything that made Brand New great - the tranquillity of 'Jesus Christ', the wholesome ferocity of 'Degausser' and the haunting intensity of 'You Won't Know'. Where 'You Won't Know' usually ends on record with Lacey repeating "You won't know", the crowd refused to stop echoing those three words until the band had disappeared from the stage, as if clinging onto their performance, not wanting it to end.

Whether or not Brand New will ever record a new album remains to be seen, but if they just kept doing what they did tonight from now until forever, I couldn't be any happier. They really do have no equal.

REVIEW: Cloud Nothings - Attack on Memory

Ohio natives Cloud Nothings emerged in 2009 as a means for Dylan Baldi to create breezy, lo-fi garage punk. With their third album in as many years, Attack on Memory seems like the record that it has all been leading up to. Not content with the style before, the band seemed to have moved on and gone in a very different direction. It's helped them find their voice and truly stand out; it feels like a band reborn.


Attack on Memory is the first Cloud Nothings album that was recorded with a fully-formed band behind it, as opposed to Baldi recording in his bedroom on his own. As far as the music goes, this is a massive advantage and it shows on the record. The arrangements are a lot more complex than they have ever been before, and it helps output the ferocity and angst buried within the record.


Baldi's vocals have a very raw nature to them, not dissimilar to that of Kurt Cobain and other grunge vocalists of the 90's, while at other times it shares similarities to Julian Casablancas. The guitar work on the album have very basic textures to them, virtually free from any effects or distortion. This helps keep the music very grounded and works well in unison with Baldi's piercing vocals. The band have enlisted the help of Steve Albini to produce the album this time around. Having previously worked with bands such as The Pixies, Electrelane and Let's Wrestle, the album was put in well-experienced hands. Albini's input on the recording is apparent and he's definitely helped them truly realise their full potential.


Album opener 'No Future/No Past' is certainly an unexpected song to start things off with. It's bleak, droning tones are very much unlike the band's sugar-coated power-pop of yore. The song shows a lot more complexity than their previous work, with a wider range of instrumentation and a slow-burning atmosphere that just builds up and up. The song culminates in Baldi screaming 'no future, no past' over and over. It's a great introduction to the new direction the band has gone in.


The album varies in style throughout, but they all carry that same raw passion. The radio-friendly 'Stay Useless' has a Strokes-like aesthetic to it, while 'Separation' is a 3-minute instrumental track that lets the band unleash all their energy onto record. 'No Sentiment' is a track which is set at full-throttle, in which Baldi laments 'We started a war / attack on memory / no easy way out / forget everything' with a whispering quality that contrasts with his otherwise abrupt vocals nicely.


Very much against the prior nature of Cloud Nothings is the sprawling 'Wasted Days'. At 9-minutes in length, it is very unexpected from a band who would previously rarely reached the 4-minute mark in a song. The song is fierce and exhilarating, with Baldi shouting 'I thought I would be more than this' before breaking down into a harmony of heavy drumming and guitars that just keep building on one another. The track ends with the return of Baldi's familiar chant to see it off. 


It might take some time for loyal listeners to adjust to the newfound direction, but Attack on Memory is without a doubt the best record Cloud Nothings have produced to date and shows a definitive evolution of the band. It's an album that grows and grows on you until it's right under your skin. It's astonishing to think that this is the same band who recorded the eponymous Cloud Nothings just one year ago. Attack on Memory has cemented the band as kind of a big deal, and if this is a sign of things to come, exciting times are ahead. 

9/10