Sleigh Bells

Will Deitz_myspace

Sleigh Bells’ Myspace

Dance pop isn’t aggressive enough anymore. College airwaves, a prime locale for truly gratifying party tunes, are now filled with the mundane: sexy (yet soulless) club hits such as Emory’s expectation-failing stoner Sean Kingston to hip (yet uber-sappy) dance tracks from MGMT or Passion Pit. Head-bangin’, speaker-bustin’, straight-up violent dance is fading fast.

Sleigh Bells hopes to deter this decline of righteous rock. Sleigh Bells, duo of producer Derek Miller and vocalist Alexis Krauss, met up when Krauss was dining at a Brooklyn restaurant where Miller waited tables. They started talking about music — Miller, a former member of Florida hardcore band Poison the Well, and Krauss, a singer in bubble-pop group RubyBlue. Like a scene from a movie, the two became excited at the possibility of collaboration, and Miller left the chance meeting with far greater profits than minimum wage. Their dissimilar tastes merged into a fuzz rock band that both delights and assaults the eardrums.

Through extensive touring, including a hotly-attended spot opening for The xx at CMJ, Sleigh Bells developed a fanbase bridging pop and hardcore, balancing their disparate musical histories. Synth-rave sensation “Crown on the Ground,” bursts open with bent guitar notes that explode into a noisy, yet sonically-pleasing cacophony of amped-up power chords and rambunctious dance-ready drums. Krauss’s subdued vocals ring bells of a Santogold on Ambien or a female Julian Casablancas — the cool indifference and sporadic wails keep songs on edge, like a garage band wandering into a night club.

Halfway through the song “Beach Girls,” Krauss belts out what can best be described as an orgasm solo: moaning out erotic melodies to Miller’s distorted bass riffs.

According to the band’s MySpace, all four of the tracks available online are currently just demos — low-fi, complex-FM samples — which will be professionally rerecorded for an LP in the near future. And their return to neck-breaking jams couldn’t come soon enough

— By Entertainment Editor
Geoff Schorkopf

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