Port City Music Hall
Sleigh Bells

Sleigh Bells

Yvette

Mon, June 9, 2014

Doors: 8:00 pm / Show: 9:00 pm

Port City Music Hall

Portland, ME

$18 advance / $20 day of show

This event is all ages

Buy tickets in person at the Cumberland County Civic Center Box Office, charge by phone at 800-745-3000 and online at www.portcitymusichall.com The Port City Music Hall Box Office will be open one hour before doors on night of show

Sleigh Bells
Sleigh Bells
"Every song on this album merges a noisy kick in the head with a pop enticement, as blasts of low-fi drums and loud guitar bracket girlish vocals. Each whipsaw only whets the appetite for more." #8 Albums of the Year – New York Times

"Imagine the White Stripes fronted by Meg, powered by a malevolent drum machine, and bred on metal and hip-hop. Then pump your fist, bitch." Best Albums of the Year – Rolling Stone

"It's a take-no-prisoners album. Every track makes me feel as if I could rip my house off its foundation… it's one of the year's most potent and unforgettable recordings." Top 10 Albums of 2010 – NPR

"Take a vintage '80's Jackson guitar and strum thick-necked power chords. Take a vault of Kurtis Mantronik drum tracks and play 'em on a blown-out ghetto blaster. Take a never-was teen-pop diva and let her howl. Take a look at Sleigh Bells – rock stars." Best 40 Albums of 2010 – Spin

"…what the band are so carefully sculpting isn't diffidence, it's excitement: overdriven riffs, monster beats, and Alexis Krauss' layered babble all designed for chain-reaction impact…machine-gun beatbox, imperious riffing, and sing-song prettiness from Krauss. …mainly Sleigh Bells stick to their own, new-minted sound, and it helps the thrills stay fresh." #16 Albums of 2010 – Pitchfork

Sleigh Bells released their sophomore album, Reign of Terror, on February 21st, 2012 on Mom + Pop Music. Produced by guitarist Derek Miller, and written by Miller and singer Alexis Krauss, Reign of Terror is the highly anticipated follow up to 2010's Treats, an album whose deft, stylish combination of genres, sounds, and dynamics was simply unprecedented. Treats' own extreme volume was matched by the deafening roar of praise, landing the band on over 50 year-end lists for 2010. Sleigh Bells toured behind Treats relentlessly, opening for the likes of LCD Soundsystem, Hot Chip, Yeasayer and Major Lazer before headlining their own shows, many of which sold out in minutes. They played lauded, exhilarating sets at festivals around the globe, confirming their status as a sheer tour de force on the stage. It is this intense live energy, coupled with the continued desire to carve out new musical terrain, which runs throughout their new album, Reign of Terror. Engineered by Shane Stoneback, who helped to record Treats, songs on Reign of Terror are as crushing and authoritative as their title suggests; they're effortlessly robust and heavier than any of the band's previous output, but more melodic as well. Packed densely with stomping beats, shredding Jackson guitar riffs, sinister ribbons of Alexis Krauss' candy-coated vocals, and the cries of a pep rally gone terribly wrong, Reign of Terror is a record that, like its predecessor, redefines everything you think music can be.
Yvette
Yvette
YVETTE make deeply spiritual, wildly aggressive noise music in the tradition of early post-punk and industrial artists like Throbbing Gristle, Cabaret Voltaire, and This Heat. A barrage of rolling toms and sub-bass triggers, processed guitar noise, and monk-like incantations means the music is always physical. But the joy of YVETTE is how well they structure the chaos. "Theirs is a noise molded into the contours—if not the sound—of pop music, offering an accessible entry point into a world of ugly brutalism," wrote Pitchfork's Stuart Berman, who gave the band's debut record "Process" an 8.1. YVETTE are Noah Kardos-Fein and Dale Eisinger. The Brooklyn-based duo have performed alongside The Rapture, Factory Floor, White Suns, Metz, Talk Normal, and Hisham Bharoocha, and are part of the GODMODE family.

They're an industrial act in the truest sense of the term, transforming scabrous raw materials into beautiful, glistening, chrome-plated objects that cast an uncanny allure. Theirs is a noise molded into the contours—if not the sound—of pop music, offering an accessible entry point into a world of ugly brutalism. — Stuart Berman, Pitchfork (8.1)
Venue Information:
Port City Music Hall
504 Congress St
Portland, ME, 04101