Should probably update this properly again soon.
It’s been a pretty quiet summer for us (mostly due to me being locked up writing a ridiculous amount of words) but we’re busting out of our hovels to play at this rather awesome looking festival in a few weeks:
You should definitely all book yourselves a ticket and come along, it’s going to be fantastic!
And just look at the nice words that they wrote about us:
So we’re going to be played on the Amazing Beats radio show this Friday, sometime between 7pm and midnight! It’s a dance music show, so we’re assuming it’s one of the Treehouse remixes that’s going to be played - but we don’t know so you’ll have to listen in to find out (as will we).
This is how you can listen:
Through the website -
Here’s another little review of Treehouse. Nice. Though it wasn’t us who described what we do as lo-fi/electronic wizardry - that was from a different review! Not quite that arrogant…
The very nice people over at Echoes and Dust have written a very lovely review of Treehouse. Here it is:
“You know how you drive or train through a cutting sometimes and can see the different layers of soil, clay, slate and other previous crusts of the earth. Some layers are only there a few seconds, most change thickness, approach and decline. They tell different stories, have different histories, served a different purpose from one other. One layer may entomb the remains of creatures long extinct, another could be ancient volcanic ash, perhaps that grey one there one was once a sea bed. Yet now they have the same history, serve the same purpose and tell the same story. This becomes more obvious as you leave the cutting and only see the surface, still aware of the layers beneath.
Music is a bit like that. A lot of it is designed so you see it from above the ground, perhaps a field of wheat swaying in the wind. You give no thought to the invisible layers that are there, even though the field of wheat wouldn’t be there without those layers. It’s two dimensional.
I think the more interesting music has a visible cross section. It’s three dimensional. You can see the layers underneath, but it does pose a problem – how do you show the layers without losing the big picture. How much do the music makers dare to expose of the layers and how contrasting do they dare make them?
So when I look at the view perched here in Collider’s treehouse, what do I see? Well, I can see the ground below, and I’m not sure if I feel safe up here, or whether I’d feel any safer down there. Because the ground is not some flat lawn, it’s perched on the edge of a deep crevice. At times it feels like the ground beneath is crumbling, and although the different layers hold together, you never feel quite sure. You wonder, if only you couldn’t see them, would you feel safe?
There’s no wasting time sliding into this song, setting the mood from the first notes of that bass line and the spasmodic flashes of electronics behind it. Drums are mechanical, sparse, and all they need to be while Bill Vine’s vocals flow over the top full of emotion and fragility. Yes there’s nods to Radiohead but it feels fresh like The Narrows and other emerging bands at the same time.
This song is addictive, haunting, compelling. It climbs into your brain, your heart, it flows through your blood to your extremities. It’s not two dimensional, it’s not even three dimensional. It’s one of those rare treats, those delicious morsels that comes along once in a while.
Go on, have a taste.”
Original is at http://echoesanddust.com/2012/07/collider-treehouse-single/
And you can grab yourself a copy of the single at http://zigguratcreative.bandcamp.com/album/treehouse-single
We thought we should try and give the single another little shove, since we’re rather proud of it and hope you’ll have a listen and maybe even buy yourselves a copy, so please head on over to the Ziggurat Creative bandcamp page linked below and wrap your ears around it. If you do buy it, it’ll help the lovely Ziggurat boys to be able to afford to put out more records by more bands, which can only be a good thing right? Right.