I See Stars produced one of the finest metalcore songs in “Ten Thousand Feet”. It was an astonishing achievement. While it wasn’t catchy, it had deep textures using Trap music, a dynamic but focused structure, a beautiful melody and a strong candidate for heaviest breakdown ever. If the song is about a plane crashing, the breakdown at the end is the aural equivalent. There’s a similar, brilliant breakdown here in “Mobbin’ Out”.
They can make good heavy music, but their reliance on heaviness was always their undoing. After transforming into an artistic Trancecore band, the guitars always drowned out the vocals. You kept waiting for a beautiful texture or for a bass drop only to have the guitarist chug all over it with the dude screaming nonsensical lyrics. One song like “Ten Thousand Feet” is enough, but when the dance section of “NZT48” is barely a minute long despite being the band’s finest hour, it’s clear they’re is holding themselves back.
The departure of the screaming vocalist and the guitarist was a blessing. No Trancecore band will benefit more from getting rid of their heavy side. I See Stars’ charm wasn’t in the contrasting between loud noises and electronics. It never was much of a contrast, and their aesthetic put them closer to Celldweller than Issues. Treehouse is an opportunity to expand on their electronic side, but it doesn’t really do that either. This is the band’s most accessible and artistic record. If it was made by another band, it would be acclaimed as Indie Rock’s clever take on Trancecore.
The roots of Trancecore are here, but the approach is completely different. Trancecore/Metalcore is party music. It’s about slamming, having a great chorus and screaming profanities. I See Stars were more sophisticated about this than others, but “Ten Thousand Feet” still relied on the fun of the heaviness. They don’t go full EDM on Treehouse. Rather, they become softer, focusing more on beauty and vulnerability. Considering “Murder Mitten” is one of their best songs, this shouldn’t be surprising.
What is surprising is to hear such tenderness over breakdowns and wobbles. “Break” is the album’s defining moment. The chugging riffs with the wobbles are ready for a DJ set, but the context is different. There’s something so pretty and cute about Devin singing “Did your heart let someone in?” over twinkling electronics. It’s almost like they’re moving towards Midwest Emo. When the guitars hit again, it’s not so much ready for partying as it is the sound of the song’s subject breaking.
Wobbles and dance beats appear, but the departure of the loudest members lets the band experiment with a new kind of electronic. The sounds more warmer, more fragile. It has more in common with Skrillex’s soft work. The album’s obligatory detour into pure electronic territory isn’t a club banger. “Walking on Gravestones” is a slow dance track with chopped vocals. It’s more gloomy than Skrillex’s soft tracks, tackling that sort of nostalgia you feel at the end of a great social event knowing you probably won’t see those people event.
There are some heavy moments here, but now the band is liberated they sound even better. “Mobbin’ Out” is the closest they come to their old style, but even that song is bizarre. It has the fragility of the album, with verses sung over beautiful soundscapes. It all builds up like an EDM track to two different breakdowns with bass wobbles. What’s bizarre is that between those breakdowns, you still get the emotional resonance. In a way, it’s a misstep. It’s too heavy and fun to be beautiful but too beautiful to be in a party playlist. Still, it’s fun enough. “All In” is inspired by Trap without actually containing any Trap beats. At first it’s too much of a tease, but hearing semi-rapping over breakdowns is pretty cool.
In their previous efforts I See Stars forgot about catchy hooks. Their melodies were pretty, but not immediate. This is the same story here, but that’s okay. The melodies may not be immediate but they’re beautiful, especially when Devin lets the gentle side of his voice out. Pretty much every song here has such a moment that sounds so cute – “Light in the Cave”, “White Lies”, “Calm Snow”. They return to the teen atmosphere of The End of the World Party, only now it’s wide-eyed but scared. If that album was about a party full of weird people, this is the aftermath – when relationships fall apart and you sometimes have to say goodbye
Treehouse is a beautiful rock album. For once, the band doesn’t just tease something. It’s no longer a good Metalcore record with some EDM interludes or soundscapes. The band has a different promise this time, and they deliver it. Breakdowns, for a change, aren’t just heavy but add weight to an album full of beautiful melodies and soundscapes. I See Stars aren’t a part of any scene now. They combined their influence with a specific vibe they want and made an original album that anyone who likes guitars will find something to enjoy here. If this was a debut album by a new band, it’d get massive hype.
4 portals out of 5