Treats is the debut studio album by the American noise pop duo Sleigh Bells, consisting of the vocalist Alexis Krauss and the producer-guitarist Derek Miller.

[9] It drew attention for its distorted sound and hybrid of genre elements,[10] including pop hooks, the guitar riffs of punk and metal, and beats from hip hop and electro.

[9] AllMusic called it album "one of 2010’s most attention-getting debuts", writing that "Derek Miller and Alexis Krauss craft a sound that’s all climax," featuring a "boldness, immediacy, and sense of fun that’s missing from too much other music".

[24] Pitchfork writer Mark Richardson stated that "the music's essentials-- jackhammer riffs clipped from punk and metal, mid-tempo beats from hip-hop and electro, and supremely catchy sing-song melodies-- [are] remarkably fresh and unlike anything else right now.

"[1] Bob Boilen of NPR described the album as a "thrill ride" which is "somehow both an aural assault and a piece of pop candy," noting its "excessively compressed beats and abrupt guitars" along with Krauss's "melodic counterpoint, with a sweetness that can turn fierce.

"[33] Paste called it "a supremely raw and visceral pop masterwork" and "32-minute sonic rollercoaster that’s totally, gloriously, devoid of subtlety and restraint [...] with mixing cranked so high your speakers sound like they’re about to combust.

"[10] Rolling Stone reviewer Jon Dolan described the music as consisting of "neck-snapping hip-hop beats and blasts of gonzo riffage from producer Derek Miller; bratty, bubbly chant-singing from Alexis Krauss; everything air-raid-siren loud," citing it as "noise that's friendly and cute, primitivism that masks pop smarts and respect for tradition".

"[30] Leah Greenblatt of Entertainment Weekly praised its "genre-swerving sound—primitive guitar fuzz, pastiche beats, sugar-buzz vocals" which "bypasses the default snark button and burrows directly into jaded listeners’ punch-drunk pleasure centers.

"[8] Alarm Magazine stated that the album established the band as "the new master of noise pop, infusing overblown electro beats and crunchy, gritty guitars into raucous compositions," concluding that "it was an unapologetic exploration of pushing 'pop' music to its threshold and crossing it.