sleigh bells jessica rabbit download .rar Sleigh bells jessica rabbit album download .rar. Completing the CAPTCHA proves you are a human and gives you temporary access to the web property. What can I do to prevent this in the future? If you are on a personal connection, like at home, you can run an anti-virus scan on your device to make sure it is not infected with malware. If you are at an office or shared network, you can ask the network administrator to run a scan across the network looking for misconfigured or infected devices. Another way to prevent getting this page in the future is to use Privacy Pass. You may need to download version 2.0 now from the Chrome Web Store. Cloudflare Ray ID: 669d2f78984d169d • Your IP : 188.246.226.140 • Performance & security by Cloudflare. Sleigh bells jessica rabbit album download .rar. Completing the CAPTCHA proves you are a human and gives you temporary access to the web property. What can I do to prevent this in the future? If you are on a personal connection, like at home, you can run an anti-virus scan on your device to make sure it is not infected with malware. If you are at an office or shared network, you can ask the network administrator to run a scan across the network looking for misconfigured or infected devices. Another way to prevent getting this page in the future is to use Privacy Pass. You may need to download version 2.0 now from the Chrome Web Store. Cloudflare Ray ID: 669d2f788b78f15e • Your IP : 188.246.226.140 • Performance & security by Cloudflare. Jessica Rabbit. For Sleigh Bells, the blurring boundaries between pop's mainstream and underground were a blessing and a curse. Though they cranked out three of subversive sweetness and noise in as many years, Top 40 pop caught up with them almost as quickly: Demi Lovato's 2015 album Confident featured a song that sounded similar enough to their work that they sued for copyright infringement. More importantly, by the time they released Bitter Rivals, it felt like Derek Miller and Alexis Krauss had exhausted their music's extremes. During the years between that album and Jessica Rabbit -- a gap as long as the time it took to make all their other albums -- the duo recalibrated, borrowing some of the gloss from the mainstream pop so fond of Krauss and Miller's rough edges. The duo began splicing the opposite sides of their sound on Bitter Rivals, and they continue the trend even more creatively on their fourth full-length: instead of just tweaking their dynamics, they play fast and loose with the most conventional and experimental parts of their music. Sometimes the results are outlandish, even by Miller and Krauss' standards: "Throw Me Down the Stairs," which combines '80s metal riffs with ambient passages, is one of their wildest pastiches yet. Other times, they're almost straightforward; "Baptism by Fire" delivers sparkly pop that makes the most of Krauss' vocals. More than ever, her voice is the anchor for Sleigh Bells' stylistic swings. "I'm loyal -- for now," she sings at one point on Jessica Rabbit, capturing the moment-to-moment existence within their songs. It also feels like there's more purpose, and righteous anger, anchoring their experiments. Authenticity is a major theme, with Krauss crooning "the real thing" over guitar outbursts on "It's Just Us Now" and comparing blood to plastic on "Lightning Turns Sawdust Gold." Though the duo excel at putting their contents under pressure on songs like "Crucible" and "Rule Number One," where the riffs ripple like shockwaves, Sleigh Bells also allow listeners a few more breathers. The "uh oh"s that punctuate "Hyper Dark"'s shattered balladry hint at Jessica Rabbit's state of emergency, while "Torn Clean" is one of the band's prettiest songs yet. Contrasts like these have been Sleigh Bells' modus operandi since the beginning, but Jessica Rabbit's mix of brashness and finesse proves they can still thrill. album review: Jessica Rabbit by Sleigh Bells. Sleigh Bells’ new album, Jessica Rabbit, explores duo’s darker side. Sleigh Bells has never been afraid to push the limits of pop, and the band’s newest album, Jessica Rabbit , explores a new level of eccentric darkness. The Brooklyn noise pop duo, composed of vocalist Alexis Krauss and guitarist Derek Miller, first garnered critical attention through their 2010 debut full-length, Treats . This album defined the band’s sound as a combination of pop beats and noise elements punctuated by Miller’s riffs and Krauss’ defiant voice. Treats was catchy and accessible yet edgy and was embraced by Sleigh Bells’ fans, critics, and the media alike (for example, one of Treats ’ most recognizable tracks, “Rill Rill,” was used in an episode of Gossip Girl ). The band’s following albums, 2012’s Reign of Terror and 2013’s Bitter Rivals , continued this theme, though the latter began to drift away from the surprising, innovative sound of Treats, receiving mixed reviews. With Jessica Rabbit, however, the duo is diving deeper and abandoning sweetness. Unlike Treats , little of Jessica Rabbit is radio-friendly. As Kyle McGovern writes for Spin , it’s “a fussy, dizzying record that’s inviting at some points and quite alienating at others,” but that’s just as the duo intended. It’s not easy listening; the album is marked by a new kind of intensity and harshness (conveyed through Krauss’ vocals which, at their biggest moments, are nearly screams of pain). Quiet moments are outweighed by the album’s punchy choruses and heavy basslines. Evan Rytlewski (for Pitchfork) notes Jessica Rabbit ’s “indiscriminate maximalism” (displayed in songs like “As If,” “Rule Number One,” and “Throw Me Down the Stairs,” which feel like being thrown backwards by an explosive blast of fire and energy). The use of cacophonous sounds and sudden tempo changes give the tracks unpredictability and a sense of instability, as if they are a hair’s breadth from loss of control. Though these stylistic choices may seem random at first listen, they are deliberately used to illustrate Miller and Krauss’ lyrics, which focus on the band’s journey and Miller’s personal struggle with depression. He describes, in vivid detail, his internal struggle, writing in “It’s Just Us Now,” “When I am conscious, I am cursed.” He wrestles with darkness, looking towards the bittersweet past (“Lightning Turns Sawdust Gold,” “Hyper Dark,” “I Can Only Stare”) and charging headfirst into the future (“Torn Clean,” “Throw Me Down the Stairs”). Running is a constant theme throughout the album; as Krauss sings on “Unlimited Dark Paths,” “You can’t go back the way you came, / Full speed ahead.” It’s as if Miller has found that the best way to control his demons is to keep moving, pouring himself into his work; as he wrote on “Baptism by Fire,” “Every second I waste is a second to hate, / But time slips away with nothing to say.” His situation is spelled out in “Rule Number One,” which is a stunning portrait of the feelings attending mental illness. Krauss sings, “Mostly ok, but I’m bleeding profusely, / Mostly ok, but only on Tuesdays, / The six other days I’m pacing the ring, / Ripping down stars while I deal with this thing.” In light of this, the music begins to seem like a frenetic catharsis. Though he seems to be caught in the “permanent embrace of oblivion,” the album’s final track, “As If,” offers an angry yet bizarrely hopeful conclusion: “Why not take over the world . . . May as well be on my own terms, / Settle the score, this is what you asked for, / So go ahead and punch my ticket.” The electronic orchestrations act like the final blowout of a fireworks show, layering to create chaos over Krauss’ repeated “So go ahead and punch my ticket.” Despite the challenges Miller faces (as well as those of the band, especially in the formation of their own label, Torn Clean, and the future of their music), the solution appears to be found in making their own rules and moving forward in the search of further authenticity. “Throw Me Down the Stairs” addresses their choice to break ties with their old label and create their own, and it conveys the duo’s fierce pride over their work: “I’ll protect every fire I’ve built with my life.” However, while Jessica Rabbit shines in its honesty, it lacks structure. In a Vulture review, Frank Guan notes that the album marks a “decline in overall cohesion” in comparison to its predecessors, writing that, because Sleigh Bells was “born at the top of the world” with Treats , nothing that follows will compare to the debut’s freshness and delight. Jessica Rabbit has almost too much energy, but if that energy had been harnessed and directed, its overall theme might have emerged more clearly throughout the final product. Yet Jessica Rabbit ’s appeal lies in its expression of both a musical duo faced with the endless struggle for artistic perfection and integrity and of people searching for ways to still the storms inside them. Krauss and Miller’s partnership is one of rare achievement and friendship, and it has allowed for an enviable collaborative vulnerability throughout the years. While Sleigh Bells is saddled by the weight of its past success, it is still a project full of the passion and energy of its creators, and that will continue to benefit them as they move forward, full speed ahead. Sleigh Bells – Jessica Rabbit (Album Review) December 16, 2016 Sleigh Bells – Jessica Rabbit (Album Review) Those that were born under a Pantone sky on a digital storyboard, perhaps the name “Jessica Rabbit” conjures up the visual of a voluptuous cartoon bombshell, clad in red and with luscious auburn locks, parading across a television screen with the largest, ahem, rabbit you ever did see. If this is one’s idea of “Jessica Rabbit,” be prepared to be shocked. Noise Pop duo Sleigh Bells, comprised of Vocalist Alexis Krauss and Guitarist Derek Miller, were not born in Lapland, but instead hail from the hipster capital of Brooklyn, New York. No stranger to recording and touring, Miller is a Florida native who achieved success with the hardcore band Poison The Well. Departing from the band due to those ever-present “musical differences,” Miller would eventually find himself in Brooklyn in search of a female vocalist. Enter Krauss: a native of New Jersey, Alexis has a more Pop-friendly background, having appeared in a Nickelodeon Magazine commercial as a child, as well as performing with a Pop vocal group as a teen. The twosome met in a park to listen to Miller’s demos and the rest is, well, yes, it is history. The pair released their debut, full-length album, Treats , in May of 2010, to critical acclaim. Slots performing at the Coachella Valley Music and Arts Festival in 2010 and 2011 and the Pitchfork Music Festival in 2010, among many others, would follow. With the hype surrounding the duo growing, they made their network television debut on Saturday Night Live in February 2012. Follow-up albums 2012’s Reign of Terror and 2013’s Bitter Rivals have managed to bring more fans on board and keep the pair touring. To date, Sleigh Bells have had massive success with placing their songs, and sometimes even themselves, on television. Their music has been featured on such TV shows as the CW’s teen drama Gossip Girl , the CBS drama The Good Wife , Fox comedy Don’t Trust the B—- in Apartment 23 , and the HBO award-winning Girls . They have also had music featured in cellphone commercials, a Dr. Pepper commercial, video games, feature films, and film trailers, as well as a UK Kopparberg Cider advertisement. The duo have even been brought on-screen to perform, as themselves, in the Action-Thriller Premium Rush , as well as appearing with their crew on an episode of Anthony Bourdain: No Reservations. It was a beyond ample amount of exposure for a band that have not yet seen their tenth year together. Behold the rabbit. The pair’s fourth, full-length studio album, Jessica Rabbit , arrived this November. Throughout the disc, there is a juxtaposition at work in Sleigh Bells’ music between Pop hooks and rhythmic noise, strident guitar riffs, and soothing vocals. Call it what you like – be it Noise Pop, Noise Rock, Dance Punk, digital Hardcore, experimental Pop, or just, simply, Indie Rock – the contradiction of Sleigh Bells’ music creates a phantasmagorical dissonance. Lead-off single/video and the album’s first track, “It’s Just Us Now,” is the perfect amalgamation of shredding guitars and feminine wiles; a characteristic Sleigh Bells’ track. “I believe deeply in decency (indecency) . . . And when I’m conscious, I am cursed,” confesses Krauss in a seemingly biographical tale of love gone most foul. Unrequited love and relationships of the less-healthy kind are heavily represented topics, weighing in on . . . “Torn Clean” and “Loyal For” are both – at under two minutes in length – interludes rather than fully-developed tracks. One is whispy, the other equally hypnogogic but with heavier bass lines. “I’m loyal for, I’m loyal for now,” Krauss seemingly smirks in a track that quickly reminds us of the fleeting nature of relationships. In this category, we could also place “I Know Not To Count On You,” a piano-driven track of just over two minutes, containing minimalistic vocals. The title line is, of course, included and another dagger to the heart of human relationships. The winner for best song title on the album, “Lightning Turns Sawdust Gold” consists of gentle, twinkling piano and synths swirling between Krauss’ passion-filled cries of childhood memories; “I was dreaming of a dead-end street that we used to run down.” It is, metaphorically, a breath of fresh air before the onslaught. The contradiction and beauty of Sleigh Bells is the balance between “Lightning” and tracks such as “I Can’t Stand You Anymore,” where Krauss sings devilish taunts with the voice of a youthful angel. A perfect anthem for the social media generation, “You’re killing me but I’m killing me too” is a harsh truth in our co-dependent world of public lives. It should be noted that “I Can’t Stand You Anymore” is one of two tracks on the album co-written with noted Hip-Hop Producer Mike Elizondo. Moving on, “Crucible” begins with a scream that launches Krauss and Miller into what amounts to eighties Dance-Pop meets modern EDM; think T’Pau meets Skrillex, produced by Wang Chung or Fine Young Cannibals. The result is as catchy and danceable as the bulk of their music, which – on Jessica Rabbit – has a defined nineteen-eighties New Wave influence. “I Can Only Stare” is a perfect example of this: a classic Pop song that expresses sensuality as both lure and trap for the beloved. “Why won’t you let me come over and do what you want me too?” Krauss’ vocals show her range and power, the passion of her unreturned love. Fury fueled angst and aggression have Krauss taking no prisoners on “Throw Me Down the Stairs” and “Rule Number One,” each an experimental step over the Pop borderline into Heavy Metal. Altering tempos, heavy noise and feedback, and a clearly enraged vocalist mix together like Pop Rocks and Coke. Which, if the listener believe the lyrics, they will indeed make their head explode. At fourteen tracks in length, there does come a time when Jessica Rabbit lags. She loses her voluptuous, seductive sounds on forgettable tracks such as the Pop meets EBM “Unlimited Dark Paths,” lulling “Hyper Dark,” and the punishing bass/spoken word combination of “As If.” None are altogether bad offerings, just, well, filler. A track that is all killer and not a drop of filler, “Baptism By Fire,” the second co-written by Elizondo, is a delicious display of the best of Sleigh Bells: catchy lyrics, pixie vocals, and schizophrenic sonical explorations. “When your dream is made of everything you’re afraid of , hold on because you’re the definition of brave,” advises this duo that cannot possibly be pigeon-holed into any one genre: and that is their true brilliance. Like its femme fatale namesake, Jessica Rabbit is a contradiction of sorts: foxy, yet diaphanous vocals that are often times buried beneath discordant, caterwauling guitars and synthesizers. Deranged and poised, zigzagging and devilish, experimental or just mental, there is no defining these Sleigh Bells. For this reason, and many others, CrypticRock gives Jessica Rabbit 4.5 out of 5 stars.