WASHINGTON — The track to indie rock stardom these days is lickety-split. And the fall can be even faster. But if that ever-shrinking shelf life is on the minds of guitarist Derek Miller and vocalist Alexis Krauss, the two members of Sleigh Bells, they’re not showing any signs of it.

The Brooklyn, N.Y., group, barely a year old, has shot to the heights of indie success with its much-heralded album, “Treats,” released in May on M.I.A.’s N.E.E.T. label.

With its startling meld of thrashing distortion and sugary-sweet pop vocals, Sleigh Bells has earned a ceaseless stream of attention and online hype almost since its inception. We reached Miller recently by phone to chat about the origins of the band’s breathtaking sound and how he and Krauss are dealing with their out-of-nowhere approval.

Q: (The album’s) so unbelievably distorted and other than just liking how that sounds, I wondered if you were trying to make any kind of statement with that.

A: Definitely not, it was necessity. … When I was listening back to the mixes, I would listen to it extremely loud so that my headphones would literally break up. And then I would turn it down, and it just sounded like a joke. I just thought, wow, this is god-awful; it lacks energy and immediacy. So I was trying to get it to sound like it did when it was turned up but at a reasonable volume.

Q: The contrast between this intensely aggressive music and Alexis’ sweet voice works surprisingly well.

A: I love really heavy confrontational music, but I (expletive) hate the macho testosterone idiocy that occurs with heavy music. I despise it. So Alexis is kind of the antidote. She provides this sugary pop element that I also love very much.

Q: You’re on M.I.A.’s label and you produced a song on her new album. How much of an effect has she had on your music?

A: In a way she’s always been a part of what we’re doing, because I’ve been listening to her since “Galang” and “Piracy Funds Terrorism.” I just think we have similar interests. She makes pop music but from a really creative point of view. She sort of re-imagines it and that’s something that I really admire. When she got in touch with us, it was flattering and encouraging because I was just full of self-doubt and always a ton of fear.

Q: Do lyrics matter or is it just the sound of the vocals that you’re after?

A: The sound is first and foremost, but that being said, the lyrics are really important to me. I’m aware that they’re not easy to decipher. We are going to put the lyrics online, but I sort of didn’t want that to be the focus right off the bat. I just wanted the record to be taken in sonically and almost abstractly as just a mood.

Q: Who writes the songs?

A: I write 95 percent of them. … In previous bands, it has been of case of there being too many cooks in the kitchen. I’m really happy controlling the entire process. Alexis trusts me, and it’s nice to have her support and not have to fight with somebody. … I like the accountability. I’m responsible for all of the record’s weaknesses, but I’m also responsible for any strengths and I’m comfortable with that.

Q: So what’s Alexis’ role?

A: If she doesn’t like something, we don’t use it. Live is her thing. I just want to be the guy in the shadows in the back. I’m aware of the fact that she’s the center of attention — and that’s her world and she loves performing and it’s rad. She’s awesome.

Q: Why do you think this album has generated so much enthusiasm and excitement?

A: I have no idea, no (expletive) clue, man. I don’t get it.