Search The Line of Best Fit
Search The Line of Best Fit
Release date: 28 July 2014
08 August 2014, 11:30 Written by John Bell
Treefight For Sunlight are a group of five young men from Denmark who create twinkly pop music led by their characteristic jolly piano melodies and Kate Bush-esque falsettos. Their first album, self-titled in the UK but known as A Collection of Vibrations for Your Soul in Denmark and the US, harked back to the Summer of Love with its jubilant mix of psychedelic and folk-influenced pop, and received mixed critical response. Four years on, the Danes have returned with their second offering, Pizza, which ditches some of the lighter aspects of the debut and dives a little further into the psychedelic wave pool.

Most, if not all, responses to Treefight For Sunlight’s eponymous debut focussed on the record’s bright, happy and innocent qualities, and these viewpoints were well-founded. Try listening to tracks like “Facing the Sun” and “Riddles in Rhymes” and not envisage glowy footage of head-banded hippies bouncing jovially and flailing their arms in the air. When first listening to Pizza, you can tell it’s the same band - if not just from those exuberant wails - but it’s clear that somewhere in the last few years Treefight lost that almost childlike innocent sound. And it’s all the better for it, less sickly-sweet and more rounded.

The albums opening, an eerie ditty in the name of “Womp Zoom”, tickles the ominous; its reversed chimes sound like those in Dennis Kelly’s currently televised drama Utopia, and its lost vocals sound like a lullaby that’s gone wrong somewhere. It’s a strange start to the album, but does lay a good ground for the trippy, tribal sound that flowers at various points in the album. It’s an almost ineffable quality, but is certainly heightened by the tom-heavy drumming and bacchanalian chanting in tracks like “Somewhere In The Future”.

But there’s still always that classic Treefight joyfulness, and then some. “Memory Meeting” explores dynamics and genres to the extent that it resembles what Tame Impala would sound like if Kevin Parker hired Omar and Cedric of The Mars Volta. But quite simply it’s worth a listen if only for its infectiously catchy bass groove. Interestingly, the spritely pianos and folky acoustics of the first record have been replaced by a more engineered, electronic sound, and as a result it sits somewhere between the feel of Yeasayer and Jagwar Ma. “Come Closer”, the first single from Pizza is probably its strongest, features gorgeously bubbly synths and is complimented by powerful percussion to create sonic kaleidoscopes.

Pizza is surprising yet possesses a nostalgia that makes it seem comfortably familiar, and ultimately it’s an incredibly well-formed release that hopefully promises to give Treefight the exposure that they’ve not been entirely able to capitalise on yet.

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