Sleigh Bells - "Jessica Rabbit"

Sleigh Bells are a noisy, abrasive pop duo that I've always been on the fence on.  Their first album "Treats" I enjoyed overall, the clash between Derek Miller's noisy rock instrumentals bashing you in the face matched up with Alexis Krauss's sweet pop vocals just made for a really interesting album.  On the groups follow up, "Reign Of Terror", there was a lot that I really liked and a lot that I found a little boring and gimmicky.  The duo were clearly writing more anthemic instrumentals and were harsher sounding than ever, which I loved.  But at the same time, they were going for a much more pristine, glossy production.  I still enjoyed most of the album, but what made "Treats" so interesting was how chaotic it was, it constantly sounded in the moment to me.  Then we have "Bitter Rivals", the duo's embarrassing third album.  While there was a few tracks on there that I really dug, most of the album showed Krauss going for a more pop performance and more sugary lyrics.  There was nothing "in the moment", barely chaotic.  All of that slapped up against the noisy instrumentals didn't even come off as edgy, they came off as ugly.  So going into "Jessica Rabbit", I really didn't know what to expect.  From some, I heard this was a "true return to form for Sleigh Bells", well I sure hope so.
The album starts off with “It’s Just Us Now”, and from those opening guitar tones all I have to say is, oh how the mighty have fallen.  While yes, there is a little meat on that riff, it really doesn’t go that far.  Miller’s instrumentals here come off as predictable almost, which is absolutely the worst when it comes to noisy music like Sleigh Bells.  I want to be throw off every time I hear a blast, not expecting it from a mile away.  The main riff that shows it’s ugly face soon after really isn’t that much better.  Everything about this is just so clean and predictable, and that main riff sounds like something out of a radio pop single, which is what I was fearing the most.  Then we have Alexis Krauss’s vocals, that’s a whole different story altogether.  There was a point years ago when she sounded sharp, always on edge, they were seriously incredibly piercing.  Now, they just sound like pop vocals.  Honestly, that’s not the worst thing in the world.  My problem is, these are pop vocals that I couldn’t pick out of a lineup if my life depended on it.  There are solid grooves here and there on “It’s Just Us Now”, and if I was falling asleep this would probably jolt me right awake.  But where’s the spontaneousness?  Where’s the excitement?  Not to mention, that chorus is just awful.  Krauss sounds legitimately flat, and everything else just sounds like so many other pop tracks I’ve heard recently.  This is NOT the start that I wanted.  Up next is “Torn Clean”, and atleast the opening atmosphere on this one is enjoyable.  It has an actually quite refreshing dreamy, hazy feeling to it, which is kinda odd for a Sleigh Bells track, but it works.  Miller’s instrumentals here are much more enjoyable, as they punch their way through the atmosphere seemingly from a distance, it’s actually a really cool effect. When his instrumentals aren’t front and center, it’s a little easier to swallow just how less chaotic they’ve become.  Krauss does sound a little better her, mostly because she sounds muffled by this thick atmosphere to be honest.  I mean that in the best way though, I really feel like when her vocals aren’t the main attraction they come off wonderful. Sadly though, “Torn Clean” just kinda ends abruptly.  What’s even worse is that that seems to be a recurring theme.  A lot of the better concepts and tracks here, while they’re scarce are on the shorter, more incomplete side.  Late in the album, “I Know Not To Count On You” is tough to listen to right from the opening bars.  Instantly, Sleigh Bells is bringing in this heavy electronic sound.  Now you may think that they can pull this sound off, hell maybe even a little CyberPunk sound.  But to be honest, it’s just as sloppy as other tracks on here.  Sleigh Bells need to stay away from anything with a keyboard to be honest, it just doesn’t work for them.  And then, because “I Know Not To Count On You” wasn’t already grating on my nerves, it makes the switch from an electronic-semi beatdown to an acoustic ballad.  And let me tell you, if you thought Sleigh Bells couldn’t pull off frantic electronics, they REALLY can’t pull off acoustic ballads.  And OH BOY, because I wasn’t already in such a good mood listening to this, “Rule Number One” is up next.  And *ahem* LET ME TELL YOU SOMETHING BROTHER (I’m working on my Hulk Hogan impression), if you thought grating electronics and acoustic ballads were bad, just wait until Alexis Krauss starts attempting to rap.  Because that’s what we get on “Rule Number One” ladies and gentlemen, and yes it’s as awful as you would think it would be.  I hate to say it, but I’m actually embarrassed for her, and to think this was a freakin’ single from this album?  Oh boy.  Then we have the lyrics, which seriously aren’t helping anybody or anyone.  They take the already ridiculous concept of Alexis Krauss rapping, and make it even more ridiculous and even harder to take seriously.  Sleigh Bells at one time in their career sounded like some twisted, other worldly cheerleading practice.  This on the other hand sounds like the worst Super Bowl halftime show you’ve ever heard.   Ugh.  But all of that being said, yes there are a few tracks on here that are listenable.  “Lightning Turns Sawdust Gold” may start off with the most laughably cheesy piano licks you’ve heard in a while but it does get much more interesting.  Krauss, while I’m not a fan of her vocals throughout this album, you gotta give her some credit.  Over the years, she’s become so much more comfortable as a performer, it’s pretty overwhelming.  I’d almost go as far as to say that she’s almost gotten too big for Sleigh Bells, at least as far as her vocals go.  “Lightning Turns Sawdust Gold” is still over-produced as anything, but it actually has a lot of decent melodies here and there.  When it comes to the production, no I’m not looking for another Lo-FI Sleigh Bells album, that would probably come off as awful at this point, but I would like to hear just a little more grit.

https://www.youtube.com/watch?v=OXVJiAyGyJg

Continuing on with some positives, there are a few tracks on “Jessica Rabbit” that really create an awesome atmosphere.  Take for example “Loyal For”.   This track lands about halfway through the album, and right from the intro were dealing with some seriously dark stuff.  I’m not talking about “kinda sorta edgy” dark, I’m talking a darkness rivaling Chelsea Wolfe’s “Abyss” (And that album is DARK).  However, it’s not as overwhelming as you would think, as here Krauss lightens up the mood just enough.  Her vocals on this one aren’t nearly at the forefront as they usually are,  and while her vocals are sort of floating through the background atmosphere, they come off so much more powerful and memorable.  I just wish this track when on a little longer, because some of those instrumentals here are absolutely ridiculous.  “Crucible” is one of the album’s darker moments as well, but this one is a little more over the top.  Here, Sleigh Bells right off the bat sample what sounds like a scream from an old B-List horror movie.  But in all of it’s cheesiness, I actually kind of really like it.  The instrumental here is quirky, and is absolutely a little more spontaneous sounding.  And even though Krauss’s vocals and the production are still squeaky clean, I can’t say no to this track, everything just works.  Hell, there’s even a really solid groove here.  So what did we learn on “Crucible’” class?  Clearly, Sleigh Bells can still write a good song.  The over the top feeling here just worked for me so well, and the punchy instrumentals were actually exciting, not bad.   But for every track like “Crucible” there are tracks like “Baptism By Fire”.  When it comes to the later tracks on “Jessica Rabbit”, Sleigh Bells’ material gets harder and harder to listen to.  Now let me just say, I can handle pop songs.  But tracks like “Baptism By Fire” aren’t even pop, it’s just bubblegum bullshit.  It’s even more awkward when Sleigh Bells try to throw in a few swear words here and there to sound edgy.  Even the instrumentals here sound like Sleigh Bells have completely given up even trying anymore.  “Baptism By Fire” overall doesn’t have a single element I can really sink my teeth into and enjoy.  But the biggest travesty here is just how hard the duo are trying.  They’re seriously trying very VERY hard to sound like themselves in 2008.  But while back then, their blend of noise and pop came off as adventurous, now it just comes off as really ugly.  “I Can Only Stare” starts off with an instrumental that honestly really isn’t that bad, but once Krauss’s vocals come in I really can’t help but wince.  Here, her vocals are totally out of place.  There was a time where Alexis Krauss’s vocals complimented Derek Miller’s abrasive instrumentals.  But now her vocals are literally going toe to toe with the instrumentals, with neither one really coming out on top.  Also, so many of these tracks may start decent but overtime just fall flat!  On “I Can Only Stare” the instrumental goes from genuinely interesting to completely generic, really quickly.  Honestly, I don’t really even know what Sleigh Bells are even aiming for on these tracks.  Every time I hear an element I really dig here, Sleigh Bells come back and aggravate me with something else.  Take for example “Throw Me Down The Stairs”.  Once again we’re treated to a seriously bombastic intro instrumental.  But that’s all throw down the drain super quickly by just how pop-oriented everything else here is.  If it wasn’t for the instrumental, I would think I had by accident turned on the radio.  Even when there is a solid instrumental like there is here, my biggest problem of this entire album is still prevalent, everything sounds so planned out.  Listening to the first Sleigh Bells album and its sequel, you got this feeling that you were at their live show, and neither you nor them really knew what they were going to do next, and that was exciting.  This, sounds like they planned these tracks out for months, leaving nothing to feel spontaneous at all.  There are a few super punchy instrumental bits here and there, but then I hear these awful cheesy guitar licks toward the end of the track that seriously need to burn in hell.  This album is a mess.

https://www.youtube.com/watch?v=m_fPapxjHYE

Sleigh Bells do still have a few more semi-interesting tricks up their sleeves.  “Hyper Dark” surprisingly enough, actually comes off sounding like some of their classic material, especially in that instrumental.  Here, the instrumental is on the quieter side and Krauss’s vocals boom over them, making for a legitimately interesting dynamic.  Honestly, I never thought I would say this, but a more subdued, quieter direction for Sleigh Bells may actually work really nicely.  It comes off really nicely, almost as if Krauss is singing over a John Carpenter movie theme.  And when those noisy guitars do end up making their way in towards the end, they don’t come off as too intrusive at all.  “Hyper Dark” is very well done.  “Unlimited Dark Paths” is OK at best, it’s certainly not terrible.  I feel like so many of these tracks though start off the right way and get me on the edge of my seat, but in some way or another I’m let down.  On “Unlimited Dark Paths”, it’s that electronic sound that forces it’s way back in that really gets on my nerve, seriously who invited this guy?  However, Krauss’s vocals here are once again on the more subdued side and once again are more memorable.  But at the end of the day, there’s no beating around just how messy this album is.  “I Can’t Stand You Anymore” is absolutely painful to listen to.  Once again Sleigh Bells are going so hard on trying to bring back their classic sound and just falling so short it’s not even funny.  The main riff here literally sounds like something off of an 80’s hair band reunion record, ouch.  Take all of this, add in some of the most watered down breakdowns you'll ever hear, and that’s really what can you expect for the majority of the album.  Finally, let’s talk about the finale here, “As If”.  Once again, not too shocking, we have Sleigh Bells clambering to reach the sound they once had.  On “As If” though, it’s truly hard to swallow.  Miller’s instrumentals here sound like something off of a cheesy Nu-Metal album, and Krauss’s vocals are at their most soulless and unrecognizable here.   There are some legitimate blasts of harsh noise which actually get me going, but it’s just way too late at that point.  Not to mention that last little electronic section is just a waste of time, like most of this album sadly.

https://www.youtube.com/watch?v=gLCZDsd2E10

Rating: 5.5/10

Give A Listen To:  “Crucible”, “Loyal For” "Hyper Dark", “Unlimited Dark Paths”

Overall Thoughts:  Sleigh Bells spend most of this album trying desperately to grab on to a sound that they really lost so many years ago.  There was a time, a great time, when Sleigh Bells combo of noisy guitars and pop vocals was scene as edgy and really fascinating.  Now, it just comes off as a clash of styles that's just plain ugly to sit through, and it's not fun.  There are tracks on here that will grab your ear, and some other may even pump you up and excite you.  But the majority of this album you'll just spend mourning over the simpler days of Sleigh Bells.