Sleigh Bells - Reign Of Terror

Even though the gap between debut 'Treats' and the release of Sleigh Bells' much anticipated follow up, has been relatively short at about 18 months, this 'Reign Of Terror' could not have arrived sooner (bet you don't hear that too often).

It's very much a cathartic record, characterised by the bleeding sonics and screeching vocals. But this is further confirmed by the trying stories that have since emerged. The duo were faced with heartache and loss as their star grew brighter touring the previous album. With celebrity endorsement and instant cool (M.I.A put 'Treats' out on her Neet imprint) came the grave news that Derek Miller's father was killed in a motorcycle accident and then, to twist the knife further, his mother was diagnosed with cancer (thankfully now in remission). It's life events like these that give the record it's title and make it sound like all your personal baggage, demons and fears hitting the wall simultaneously.

No tragedy is worth defining a record's sound but it is impossible to deny the unique stamp it has left on 'Reign Of Terror'. 'True Shred Guitar' is the initial track, all crowd noise and Peaches-esque stutter with guitars coming on strong like a demented Queen or early Suede. Before any glam rock revivalist accusations can be levelled, the nihilistic 'Born To Lose' puts paid to the notion with it regimental riff and multi-layered vocal.

But the bombast of the opening volley soon gives way to the dreamy melancholia of tracks like 'End Of The Line' and 'Leader Of The Pack'. And with that obvious nod to the Motown greats of yesteryear the dancehall drums in 'Crush' take on a whole new feel.

There is quite the running theme of loss and death ('Never Say Die', 'D.O.A.') but there are enough nuances to keep things interesting. The Hawaiian guitar in 'Road To Hell' works surprisingly well. On occasion it sounds like 'Sleigh Bells' have torn the parts from the hair metal ballads you secretly love and wrapped them up tight with Alison Krauss' ghostly voice and processed beats. It shouldn't work. It shouldn't sound this good. But it does.

'Reign Of Terror' is a powerfully frenetic record. It is as considered as it is energetic. It warrants a play as soon as it finishes. It not as scatterbrained as some of 'Sleigh Bells' peers' output. It's a record that does not out stay it's welcome with each track clinging pleasingly close to pop songs' accepted duration. In short, it is a fantastic slice of alternative rock. The live show will be something to behold.

*****

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Hooray For Earth - True Loves

This is a majestic record. Make no bones about it. It's taken far too long for it to reach British shores since its release Stateside back in June (yes, June) of last year. It's also been a long time in the making, Hooray For Earth having been incepted in 2005, the brainchild of a Boston based Noel Heroux. Since then though, Hooray For Earth has expanded to a three-piece and made the move to the ever energetic creative hot bed that is New York. This album is the product of Noel's bedroom recordings and it's all the more amazing for it.

There's a clear line to be drawn straight back to the hey day of 80's synth pop so if you're of conflicted constitution about this sort of thing, look away now. If, on the other hand, there is the tiniest amount joy in that cold, hard soul of yours, let it free and live again. This is a record, as Huey Morgan put it quite aptly more or less, for those who can truly appreciate when Flashdance's credits roll. That's a little unfair given the love and care that has obviously gone into an album honed by a couple of decades of post-punk, post-rock electronic worship.

Since the title track came into radio rotation it's been hard to ignore this impending release.  The album's opener; a choral, ever so slightly gonzo statement of intent gives way to the effervescent 'Last Minute'. Motown drum fills, punctuated by harpsichord, start to sound deceptively festive against a backdrop of bass heavy synth. A similar euphoria is achieved with 'Sails'. Sequencers play out to drum hits on the off-beat and once again another perilously addictive refrain washes over. And then that charmingly magical lead single (literally) chimes in to remind you you're onto a very good thing indeed with this record.

'Same' is more of well... the same. Uplifting with an underlying sadness, it lollops along, keeping up the pace at the halfway marker. It's here that it becomes apparent just how seriously as a synth group Hooray For Earth take their drums and percussion. Drummer Joseph Ciampini has quite the arsenal of the real and the digital and his intricate arrangements delight as much as all else on offer.

'Bring Us Closer Together' is the track that distills some of the best of this album. It's the title track from a classic 80's movie that never was. It's the one that might turn the cool kids off but turn the nostalgia right on in the revivalists. For the rest of us, it's the one that'll make you dance like you didn't have a care in the world.

So, Hooray For Earth indeed. Convinced yet?

*****

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School Of Seven Bells - Ghostory

Since the release of 'Lafaye', the anticipation for 'Ghostory' has been nigh on explosive. The group made serious inroads with previous works 'Alpinisms' and 'Disconnect From Desire' and that difficult third album doesn't seem to have actually been all that difficult .

There have certainly been setbacks along the way, however. Former Secret Machines guitarist Benjamin Curtis and singer Alejandra Deheza parted company with Deheza's twin Claudia back in 2010 but it doesn't seem to have detracted from the band's music. Their songwriting ethos of working exclusively from the lyrics up has made sure they maintain their niche. And the loss of one voice is easily treated by the studio heavy noise they produce. It's just a shame the stark mirror image of these incisively beautiful twin singers on stage is most definitely a thing of the past. More than anything though, it's the sound, not the visual that defines School Of Seven Bells.

And, on occasion, what a sound it is. The kick of the previously mentioned 'Lafaye' is a jubilant one, defiant in the face of the dowdy. Counterpoints come in the form of the John Carpenter-esque synths that open the atmospheric 'Reappear', calm and ghostly in its execution. 'Show Me Love' opens on a menacing tip but is ultimately a little too laid back to make an impression. Things pick up a little with 'Scavenger' but 'White Wind' is when this record gets exciting again with programmed drums and synths reminiscent of the Chemical Brothers put to a twangy guitar loop.

SVIIB have always made luxurious sounding music. It's not that they're a soundtrack for opulence, more that they make music that just sounds rich, layered and wonderfully textured. It's a beautiful thing to behold - we know this much from the debut and sophomore records. Deheza's voice is stunning and Curtis' musical expertise is always interesting. But the magic bullet can be frustratingly hit and miss, moreso on this album than ever before. All the elements are there but in terms of individual songs on 'Ghostory', too many come across as coffee table music. Even for a band who carry themselves with such effortless cool this is never going to be enough. With only a couple of remarkable tracks populating their third album, 'Ghostory' is heartachingly difficult to recommend.

***