Reign of Terror

Metascore
77

Generally favorable reviews - based on 38 Critics

Critic score distribution:
  1. Positive: 29 out of 38
  2. Negative: 0 out of 38
Buy On
  1. Feb 23, 2012
    60
    Reign Of Terror still sounds like Sleigh Bells, but a more polite and conservative version.
  2. Feb 21, 2012
    60
    Having lost the shock of the new, this more tuneful follow-up privileges Krauss's pop instincts over Miller's mayhem.
  3. Uncut
    Feb 16, 2012
    60
    Derek Miller's flashy axemanship and Alexis Krauss' swoon are compromised by sanitized production. [Mar 2012, p.98]
  4. Feb 16, 2012
    60
    When the wrecking ball stops swinging, however, there are moments of emotional weightiness ('Leader Of The Pack') and glimpses of tenderness ('End Of The Line') that give this LP a more human edge.
  5. Feb 21, 2012
    58
    On Reign Of Terror, Sleigh Bells is cornered in by its own sound, unwilling to risk more adventurous metal excursions or get vulnerable enough to fully embrace its emerging lighter side.
  6. Feb 21, 2012
    50
    The problem is that all of the moves feel like they're pointed in the wrong direction.
  7. Feb 17, 2012
    50
    Unlike Treats, Reign Of Terror never feels new, fresh or exciting; it just feels like a chore.
  8. Feb 21, 2012
    40
    The net result is a lack of texture and the element of surprise that made this album's predecessor so wonderfully seductive.
  9. Feb 16, 2012
    40
    Everything is enormously compressed, then amplified: it's claustrophobic and oppressive, but without having any particular power.
User Score
7.7

Generally favorable reviews- based on 61 Ratings

User score distribution:
  1. Positive: 11 out of 13
  2. Negative: 0 out of 13
  1. Feb 22, 2012
    4
    Reign of Terror begins with the tacky canned bang "True Shred Guitar" transitions to the decent "Born to Lose" turns up the luster withReign of Terror begins with the tacky canned bang "True Shred Guitar" transitions to the decent "Born to Lose" turns up the luster with "Crush" and "End of the Line" half-heartedly attempts to regain Treats badassery with "Leader of the Pack" "Comeback Kid" and "Demons" ensues with seemingly endlessly ear-rape on "Road to Hell" (nudged next to the farty shoegaze failure of "You Lost Me") and ends with the almost-satisfying "Never Say Die" and "D.O.A." I appreciate Sleigh Bells exploring a new direction, but the incorporation of the faux-gauze pop-rock sleaze makes the album feel awkward and just 'OK'. The beats unnecessarily take backseat while Alexis' shrill voice tumbles through radio-flavored hoops with Derek's guitar trying (and failing) to reign terror. I didn't feel that this album incorporated ENOUGH innovation, either shoegaze it to heaven and back or burn it to dust with bass-flecked distortion. The songs definitely have interesting concepts, but the ideas are not built upon nearly enough and tracks drone on in chunky sing-song loops. Full Review »
  2. Feb 21, 2012
    7
    Darker than the debut album "Treats", Miller brings back loud shattering guitar riffs while Krauss intrigues the listener with her beautifulDarker than the debut album "Treats", Miller brings back loud shattering guitar riffs while Krauss intrigues the listener with her beautiful and catchy voice in "Reign of Terror". The difference in R.O.T. is the dark undertone based by personal traumatic experiences and influences of a horror film. The entirety of the album is intense and addictive. Full Review »
  3. Feb 22, 2012
    9
    People may say it is not fresh and new as 'Treats' was, but no one can deny they've grown. The musics have much more to say, the beats arePeople may say it is not fresh and new as 'Treats' was, but no one can deny they've grown. The musics have much more to say, the beats are even more noise-pop, and we can hear a lot of metal-influenced melodies all around. Watch out "Never Say Die", "D.O.A." and "Comeback Kid" (that seems to be a continuation to "Kids", from 'Treats'). It's like they throw Daft Punk, Van Halen and Aerosmith in a blender and mixed their music styles and references to compose this album. And it is a good damn thing. Full Review »