Comeback Kid

Album: Reign Of Terror (2012)

Songfacts®:

  • Brooklyn noise-pop duo Sleigh Bells comprises guitarist and producer Derek E. Miller and vocalist Alexis Krauss. The duo first got together in 2008 after Miller came across Krauss and her mother as he waited tables at a Brazilian restaurant, Miss Favela. When he mentioned that he was looking for a female vocalist to work with on a musical project, Krauss' mother immediately volunteered her daughter. Sleigh Bells signed their first record deal with M.I.A.'s label N.E.E.T. after director Spike Jonze recommended them. Their debut album, Treats, was released jointly on N.E.E.T. and Mom + Pop Music on May 11, 2010. Miller wrote the bulk of the record before he began working with singer Alexis Krauss.
  • This is a track from Sleigh Bells' second album Reign Of Terror. The record is more melody-driven and radio-friendly than their debut release, due mainly to Krauss's increased input in shaping the songs. "My interest in writing is dominantly informed by pop," she explained to Spin magazine. "I love bridges, counter-melodies, pre-choruses — that was definitely something I was interested in bringing to the record."
  • Krauss also explained how Miller's new instrumental emphasis affected the songwriting. "A lot of the chord progressions that Derek was writing lent themselves to having more interesting melodies on top of them," she said. "You can really hear that in a song like [the new] 'Comeback Kid.' It's almost an R&B melody. That's my style coming through."
  • "Comeback Kid is an R&B song," said Miller to The Guardian, "but I'm pretty indebted to Nirvana for the power chords."
  • The song's music video was directed by Miller and Gregory Kohn and was filmed in the town of Jupiter, Florida, where the guitarist and producer was brought up. The clip starts with Krauss jumping on a bed clutching a gun. In an interview with The National Post the singer compared the opening with the works of David Lynch. "The gun is used in the same way that directors like David Lynch play with suburban settings," she said, " where everything seems pleasant but there's a dark underbelly. We really enjoy that dichotomy, juxtaposing the light with the dark; I'm in a big robe with a big hat and a smile on my face, yet I have this weapon … [there's] the feeling that you don't know what's going to happen next, like something is off."

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