Sleigh Bells - Bitter Rivals

I don't think anyone was quite so eager to call out for another album so soon but hey ho! Let's roll with it. Their third release in as many years now, the initial shock to the system of Treats in 2010 has, even accounting for the rapidity with which we move through fads in the 21st century, quite completely worn off. That doesn't change the fact, of course, that Treats was a fantastic record - it's quite comfortably in my best five of that year (and with Kanye, Janelle and Arcade Fire, that was a strong year) - but the more critical reactions to 2012's Reign of Terror were the beginning of a fear that Derek Miller and Alexis Krauss had run out of ideas. They've carved themselves such an uncompromising musical direction that it's difficult to both remain punchy and keep the songwriting engaging, without becoming a parody of themselves.

Album #3 finds much of the songwriting shifted over to frontwoman Krauss, and considering the debut was largely Miller's work, that's a move that left me apprehensive. A lot of the band's image and buzz may have centred around the whole angry-cheerleader thing she had going on in 2010 but, aside from for the teens, that's never really been their appeal; they had a furious energy and collection of focussed knock-out-blow songs that were both earth-shattering (Tell 'Em) and gorgeously melodic (Rill Rill). Reign of Terror had plenty of the latter, and Bitter Rivals is lacking in both.

This album is rather like following the Kick-Ass franchise: the first one was a surprising and smart piece that was raucously entertaining, but the most recent incarnation is a gimmicky, childish affront of shoddy writing. The title track feels like Hit Girl building another fight scene montage, right down the sound effects included (dogs barking, a sword being unsheathed) and a whole host of soundbites ranging from A Tale of Two Cities' most famous quote, and the not terribly meaningful chorus ("you are my bitter rival and I need you for survival"?) That said, its hooks will prove to be one of the album's scant best. By 'Sugarcane' there're already strong resemblances to their own discography washing over us: this is surely just Born to Lose in a different key? I appreciate that complaining a Sleigh Bells record is too shrill is a little like going to an Ed Sheeran gig and complaining when you wake up five hours later, but 'Minnie's chorus is an absolute monstrosity. Without any appeal.

The duo retain some of their earlier excellence on the wickedly disjointed 'Sing Like a Wire', all air horns and sudden explosions that makes for an enjoyable, and unpredictable listen. The manic sampling of cow-moos and dogs woofing (it may just be an unusual keyboard filter though) of 'Tiger Kit' is another stand-out, although for some reason it conjures all sorts of Spin Doctors flashbacks thanks to its melody. The stuttering rhythm and rattling percussion of 'Young Legends' proves they have other tricks up their sleeve than piercing synths, and is really the direction they should be exploring further at this stage in their careers. And if you can wade through all of the silly sound effects (again - how many dogs do we have to put up with, guys?), 'To Hell With You' is a pretty, but not quite fully formed little song.

Unfortunately, the lasting impressions of Bitter Rivals are those of familiar melodies, shoddy lyricisms and a general lack of growth. 'You Don't Get Me Twice' spews all sorts of nonsense 16-year-old-girl-on-Facebook statuses like "it's a terrifying thing, the American dream" and "are you telling lies with your pretty eyes?", whilst '24' does just about nothing at all. Computer-game blips and beeps are the basis of the closer 'Love Sick' and that's just about the be-all and end-all of its structure.

It was the worst of times.

Rating: 5/10
Highlights: Sing Like a Wire; Young Legends; To Hell With You; Bitter Rivals; Tiger Kit
Avoid: Sugarcane; Minnie; 24

Artwork Watch: Was there an Instagram mixup or something? This is not album artwork. This is dicking around.
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