- Sleigh Bells isn’t exactly a band known for reinventing the wheel each time they pen a new album so it’s no surprise that when the electro rock duo release Bitter Rivals you can expect their signature howling guitars, cheer squad yelps and fast paced electric accents. The new album, produced by guitarist and Sleigh Bells founder Derek Miller, is consistent with their rough as guts, cheerleader from hell, pop rock jive, but its nothing new and in turn, nothing riveting.

If you’re a fan of Sleigh Bells former work you’re probably salivating over the possibility of a new release that bears some resemblance to their former work – aggressive electric horns, hand claps, clicks, Alexis Kraus sassily flicking her tresses all over the place as her soprano echoes underneath pounding drums – unfortunately, I found that most of the tunes on the record are lost in the anthemic guitars, primitive electro drums and claps. There’s a lack of distinctive melody and differentiation on the album and charisma is in short supply amongst the scuzz and aggression. In turn, a lack of excitement and engagement, after the brilliance of their first record, Treats and its groundbreaking energy and concomitant ability to soften down and get ‘real’ for the beloved ‘Rill Rill’, by comparison this latest effort is disappointing.

Lead single Bitter Rivals exerts the trademark Sleigh Bells energy, it's fitted with clicks and claps and is dressed to the nines in slick guitars and pulsating drums, however, it's also boring as hell and doesn't stand a chance of inspiring the hellish behaviour it inferences. Derek Miller has infused blues chords into an electro pop jam and it sounds plain wrong. I thought it might get its hooks into me after a few listens but, sadly, no, it is equally as unmemorable as its compadres on this record.

The album is meant to be a cathartic celebration of guitarist Derek Miller coming terms with his father’s death, going some way to explaining its sombre tone and lack of exuberance. To Hell With You is a choppy, down-tempo, angsty tune, coming close to capturing what SB seem to be after, but its potential vulnerability is lost in Alexis’ electronically altered vocals.

A highlight of the album is the uplifting synth line in Sing Like A Wire, the fact that I had to isolate an individual element of one of the songs on the album as something worth celebrating, is evidence enough that it’s not one to go down in the history books. As the youthful verve leaks out of their music, Instead of jams titled Young Legends and the very puppy love-esque Love Sick, Derek and Alexis should try creating some music with actual substance.

- Lizzie Irwin.