London based emo / screamo trio TREEHOUSE are about to drop their 2nd EP Unappealing on July 3rd via Beth Shalom Records, and today we’re stoked to give you an exclusive first listen of all 4 tracks, with variety and consistency that made the record an artistic statement that deserves your time. When rehearsing the tracks, the trio noticed a change from their original twinkly, almost pop like emo tracks following in the footsteps of Nai Harvest, to a more full on, honest and basic stab at a blend of old school and current emo, such as Pianos Become The Teeth and Seahaven.
TREEHOUSE is: Billy Young β Drums/Vocals, Dom James β Bass/Vocals, Max Whitby β Guitar/Noise
Track by track commentary, by Billy Young (drums / vocals):
Iβm so proud of these songs and of the 3 of us for finally being able to find our feet and solidify a sound weβre all happy with to take this band forward. Lyrically, these songs are a lot more honest than our previous work, and music Iβve released in other bands too.
Seek β as the opening track, we really wanted something that would pack a punch, so this fast paced, angry track was perfect. It touched on the subject of the anxiety of feeling annoying and a burden and the desperation to be better or hide those feelings. The anger behind the track is what I see as taking out the frustration of those feelings. Which I think is conveyed fairly well as I always get an adrenaline rush playing this song live.
Purple was written about a significant person in life who youβre happy to sacrifice things for in order to keep them safe and happy whilst putting your own mental health at risk. Iβd argue against it being a direct love song, but definitely a song to show the good in people who are willing to go above and beyond for others.
Nurture was put together by two separate sets of lyrics by myself (Billy) and Max that incredibly happened to be about the same themes, almost like how Tom DeLonge and Mark Hoppus wrote Feeling This. The song itself is a quick, sharp sounding skramz/post hardcore track but the lyrics are more melancholic and display the metaphor of a human growing and being shaped as a flower would, and that desperation of trying to be the best version of yourself you believe people want to see.
Bliss is the perfect way to end the EP, as we also always close our live sets on this song as that huge instrumental is really complimented by the final lyrics βDrift away forever. Bliss.β Always leaves a chill as this is the song that focuses heavily on how mental health can really pull someone into this mindset and becoming numb to it. All of our songs are from personal experiences and Bliss definitely encapsulates an overall insight into depression and worthlessness. However, I do hope that when people listen to this song, they can relate it to their own personal struggles and be able to say βI smashed it, Iβm still here.β
Unappealing was recorded by our dear friend and Southampton legend Joe Burgess at The Ranch Production House, previously recording Creeper, Milk Teeth and Boston Manor to name a few. It was great to record there not only because of the fantastic gear and producers but the creative atmosphere. We were also incredibly lucky to have our friend Tom Webb of Jetski Babylon and Scarecrow Boat fame lend his drumming expertise on the single Nurture. We are also blessed to have Beth Shalom Records and Old Press Records in the USA involved helping us with everything from production and distribution to moral support and giving us hope in this strange covid times!
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Also with us all living in different areas of the south and all working full time made it difficult for rehearsals and recording so having finally set a date and getting these songs recorded is such a relief and an amazing feeling. In the 2 and a half years since the debut EP, weβve changed our style so much and for the better, and now we have a much more fulfilling concrete sound weβre all very happy with. We were also lucky enough to record this new EP with our mates Joe Burgess and Henry Marshall at the ranch in Southampton, so being able to hang with friends while recording an EP took some pressure off and made it feel less like work.
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Luckily, we hadnβt actually booked any shows, so didnβt have to go through cancelling and rescheduling but Max (guitar) was due to go to Australia for a while this September, but has pushed that back further into 2021 in order for us to tour the EP once we have the all clear.
Covid-19 pandemic and its impact on music scene
Billy: The current pandemic has been catastrophic and I canβt imagine what the families who have lost someone to this virus must be going through. I personally feel the UK government reacted poorly to the virus and not quickly enough in regards to closing businesses and going into lockdown. Johnson missed important meetings regarding the virus and even joked about it, and now the UK has one of the highest death rates. Iβm fortunate enough to be on the furlough scheme but really did feel for friends of mine who are self-employed and went quite a while without money in the bank, which is why I called upon my mate Jake Owens to help with photo/video edits I could pay him for regarding our release.
The local music scene has taken a hit due to COVID-19 too, with venues closing and struggling to support themselves, which is a great shame as without those independent venues, thereβs no avenues for small bands and people lose out on work and money. For bands in general, the lockdown could be a blessing in disguise, as more people are on social media and have more time to listen/watch to the music/videos you post. However, that could just be me trying to find something good to take from this situation.
