Treat's 'Tunguska' - Album Review

While certainly not a household name, Sweden's Treat are a very well-respected band in melodic rock circles. The band were formed back in 1981 by frontman Robert Ernland and guitarist Anders Wikström and found moderate success in Europe throughout the 1980s with their somewhat heavier take on the melodic rock genre. My general knowledge of the band's catalogue is not that good, as many of their albums seem to be extremely hard to track down on any format, but I did manage to acquire a second hand copy of their 1985 debut album Scratch and Bite a couple of years ago. My main introduction to the band however was 2016's Ghost of Graceland (which I reviewed here), a purchase which came about as a result of taking a punt on the video for the album's title track on Youtube. Sometimes it can be hard to sift through all of the projects that Frontiers Records promotes, but it is often worth persevering as every so often you discover something worth exploring further. I purchased the Ghost of Graceland album off the back of enjoying the title track, and it proved to be an entertaining listen. There are lots of bands writing what I would call 'mature' AOR these days, and Ghost of Graceland did little to really stand out from the crowd, but there were certainly a few songs there that stuck with me. I have since gone back and listened to my copy of Scratch and Bite, and was surprised to find that material there to be heavier. There was clearly a big glam metal influence on the band's early work, and Scratch and Bite sounded quite different to the modern Treat sound I had become accustomed to. Sadly, as mentioned earlier, these two albums are my only exposure to the band. Even 2010's come-back album Coup de Grace seems to command ludicrous prices online, as do many earlier Frontiers Records releases - presumably due to small print runs, so I have sadly not been able to listen to what I understand was a very well-received album. However, my collection of Treat albums has now expanded to three - as last month the band's latest album Tunguska was released. According to Wikipedia, the Tunguska Event was a large explosion that happened in Russia in 1908 that destroyed 2000sqkm of forest. While none of the songs on this album seem to reference this event, I assume that this incident must have been the influence for the album's title. Tunguska is the band's eighth studio album, and is the second to feature the band's current line-up. Ernland and Wikström are the band's only remaining original members, but they are joined by long-time members keyboardists Patrick Appelgren and drummer Jamie Borger. Only bassist Pontus Egberg is a relatively new face, but he participated in the recording of Ghost of Graceland and has been touring with the band since.

Opening with atmospheric, swirling keyboards; the album's first number Progenitors builds up nicely from this initial soundscape with some marching drums from Borger and a choppy riff from Wikström that soon gives way to a simple, fairly fast-paced verse which shows Ernland still possess a strong voice. The verse is driven by a fairly powerful riff, which helps the song build towards a big chorus which is packed full of soaring melodies. Given the AOR traits that the band display in their more modern sound, it is unsurprising that this chorus is instantly memorable. While at times throughout the album it sounds as if there is a little autotune on Ernland's voice which can grate a somewhat, he still soars when necessary. This chorus is one such moment, and the layers of harmony vocals added really increase the enjoyment of the piece. While Treat are not exactly a hard-hitting band these days, this is a song that is sure to grab the listener and encourage them to listen further. Always Have, Always Will is more of a mid-paced piece, with a keyboard-heavy pomp rock intro which soon gives way to a muscular verse with Wikström's weighty guitar giving the song a rather strident feel. The mix between the more melodic intro and the heavier verses is a good contrast, and shows a nice amount of diversity in a relatively short space of time. The choruses have a smoother feel however, with Appelgren's keyboards dominating to create a mid-1980s soundscape of synths. While the chorus is not as catchy as the previous song's, it is still one oozes with tight melodies and some great vocals from Ernland. Best of Enemies opens with a frantic keyboard riff, which soon has Ernland singing atop it in a lower register than what he usually employs. A guitar riff that is the heaviest moment of the album so far soon kicks in, and this also later forms the basis of the chorus. The chorus is a bit of a fist-pumping moment, with moments of screaming lead guitar filling the gaps between the vocal lines. I think Treat are at their best when they employ a more AOR-esque sound, but these heavier moments also work well for the band. They still seem to be able to ensure that the melodies are prevalent enough to stop the track feeling like a lumpy metal tune and changing the overall tone of the album. Rose of Jericho is one of my favourite pieces on the album, and employs a more cinematic sound throughout. The main riff here is once again a little tougher, but there is a constant keyboard backing which adds a certain feeling of class. The chorus here is one the album's best in my opinion, with Ernland's simple melodies sitting nicely atop the previously described mix of sounds. While it is not as energetic as some choruses, the melodies really take hold. I do not feel that Treat want to become a true AOR band, and have settled on a somewhat in between sound that mixes tougher bluesy guitar with synths - and this song is probably the best example of the sound.

Heartmath City is less interesting, although it is blessed with a solid chorus that definitely contains its share of memorable melodies. Sadly however, the rest of the song does not really live up to it with a fairly unremarkable main riff and a verse that plods along a little with some fairly laboured drumming. There is a lengthy guitar solo however that does impress. Wikström often takes short lead breaks here and there, but rarely takes the opportunity to cut loose. This song sees a rare moment of over-the-top lead guitar pyrotechnics, with Wikström laying down a selection of bluesy licks part-way through the song, and then once again during the song's extended outro. His playing certainly makes the song more interesting, and saves it from being true filler. Creeps ups the pace, and is mostly built around a simple, driving guitar riff. The keyboards here mostly take a backseat, often providing a simple atmospheric backing, letting the guitar and the bass provide the main meat of the song. As a result, the song has a much simpler feel when compared to many of the other songs on this album. While it might stick out somewhat, I feel that it actually works quite well. It is certainly not the catchiest song here, but the more lo-fi feel of the song helps it to stand out and creates the illusion of changing the overall pace of the album. Build the Love returns to the album's more typical sound, but this time with a greater emphasis on the band's AOR elements. This is an extremely catchy and memorable song, so unsurprisingly it was chosen as the album's first single. Appelgren's keyboards dominate throughout, and instead of laying down tough rock riffs, Wikström's guitar often chips in with fluid, melodic guitar leads which really helps to up the overall feel of the song. The best part of the song however is the chorus, which is probably the most melodically-powerful pieces on the album. Ernland's vocals shine, and the layers of harmonies really transport you back to a time when choruses like this would have filled radio stations around the world. Man Overboard is a little heavier again, with tougher guitar driving the song but with the odd synth lead cutting through the mix to add a different feel. The verses feel very stripped back, with almost no keyboards at all, and they really rely on the crunch of the guitar to keep them going. I do not feel that this works quite as well as it did on Creeps however, and it is relief when the more synth-heavy chorus kicks in. Strangely, given the song's general aversion to prominent keyboards, there is a pretty meaty synth solo from Appelgren which is great, but sounds a little out of place.

Riptide is better, and ups the pace somewhat with a powerful intro and tough bass-heavy verse. This more prominent bass playing allows the guitar to take on a somewhat more colourful role, with clean arpeggios filling the space between the bass and keyboard perfectly. Many of the verses here are driven by guitar chugs, so it is nice to hear something different here, and it really allows Ernland's vocals to stand out more. The chorus, while not as good as some of the others here, is still packed full of enough melodies to make it memorable. Treat seem to have a knack of coming up with choruses that are full of subtle power. They might not be up there with the stadium fillers of the past, but they have enough weight behind them to entice the listener in. Tomorrow Never Comes opens with some fairly mournful piano melodies, something which soon comes to define the overall sound of the piece. This is the album's ballad, and the only song here that really slows the pace down somewhat. It is a rare instance of prominent piano playing on the album, and it proves to be a nice change of pace from the synths and soundscapes that dominate elsewhere. Wikström's guitar is mostly a background instrument here, but he does add a fairly busy solo in towards the end. While a more emotional, bluesy solo might have been more appropriate given the song's slower pace, his more-shredded delivery is still impressive. All Bets are Off ramps the pace back up, and opens with a simple, slightly sleazy riff that really feels like a throwback to the 1980s. In fact the whole piece feels like a tribute to that era, with a poppy chorus that is packed full of catchy wordless vocal melodies and a guitar tone that certainly feels more retro than modern. This is also echoed during a fairly lengthy synth solo that is packed full of sounds that most modern bands would turn their noses up at. I love it however, and it really evokes the style of the 1980s perfectly, further cementing the song in that period. The album's closing number Undefeated has a somewhat more dramatic sound, with a heavy opening riff that is backed by Appelgren's powerful symphonic keyboard stabs. The rest of the song does not quite live up to this grand opening, and sounds like a fairly typical example of the band's sound rather than the heavy symphonic rock that the intro promised. That being said, this is still a strong song and the chorus in particular is a moment that is likely to stay with the listener. The heavier feel of the song makes it a worthy closing piece, but I just wish the symphonic rock style that was debuted in the song's intro was experimented on further. Overall, Tunguska is a solid album by the Swedish band and one that continues the good work of their last album two years ago. It certainly will not set the world on fire, but anyone who enjoys strong melodic rock will find lots to enjoy here.

The album was released on 14th September 2018 via Frontiers Records. Below is the band's promotional video for Build the Love.