Treat's 'The Wild Card' - Album Review

Whilst a couple of final gig reviews will follow in due course, as I am away in Wolverhampton this weekend catching my last two gigs of the year, today's piece is the final album review of 2025. As I will cover when I round up the year as the month comes to a close, 2025 has been another excellent year. It will be hard to put together my Albums of the Year list as always - with the sheer amount of new music I have enjoyed this year being as vast as ever, and I know that there is an awful lot more that I am yet to discover. I will collect a few stragglers together as always before presenting my final list, so expect five mini reviews to follow, but this is the year's last in-depth review. I know that there are a few likely very strong January releases on the cards, so it will not be long before I am at it again, but a break over Christmas will be welcome - before I fire the keyboard back up again to talk about a lot more excellent new music. We head over to Sweden for this final review, then, and to catch up with the five-piece Treat - a band that formed in the early 1980s and have periodically released new albums since reuniting in 2006. Treat's sound has somewhat evolved over the years - with frontman Robert Ernlund and guitarist Anders Wikström both still with the band from the beginning (although Ernlund did not feature on the band's 1992 self-titled release - their last album before breaking up the following year). Both drummer Jamie Borger and keyboard player Patrick Appelgren have been with the band since the 1980s, too, meaning that much of the current line-up has been in situ for a long time at this point. Sound-wise, Treat have gone through a few different guises. Their first handful of albums, which featured a second guitarist in place of Appelgren, showcased more of a hard rock sound which was somewhat in-keeping with the glam/hair metal bands of the time - albeit less sleazy. Appelgren's arrival saw the band then morph into something more smooth and melodic - with their late 1980s albums sharing similarities with bands like Bon Jovi and fellow Swedes Europe. This sound has largely continued on since the band reunited, although some of the more recent albums have exhibited a somewhat tougher overall sound - with a bluesier guitar presence despite a more melodic hard rock sound retained. There have always been AOR touches, then, but Treat have generally kept things the more harder rock side of that melodic rock line. That perhaps changes on the band's latest album The Wild Card, though, which came out last month. It is the band's first album since 2022's The Endgame (which I reviewed here) and their tenth overall - which means that the band have now released as many as albums since reuniting as they did during their original run. The Wild Card features the same line-up as the previous album, with bassist Nalle Påhlsson once again joining the four long-standing members. Whilst I have not heard all of the band's albums, I have reviewed most of their reunion-era releases and have heard some of their early work. Based on this knowledge, The Wild Card is likely the band's most AOR-centric release to date. On previous albums there was always more of a focus on bigger guitar sounds and harder rock grooves - but on this album the pop hooks have been allowed to really dominate. Ernlund shines as a result, with the focus on vocal melodies pushing his voice to the fore, whilst Appelgren's keyboards also feel much bigger - despite Wikström still being the main songwriter here.

The Wild Card is very much a feel-good, summery album, then, which has certainly been welcome given all the rain in my part of the world of late - and it is one of those anytime albums due to its light-hearted feel and uplifting songs. The first three songs here are some of the best the album has to offer, with Out with a Bang kicking things off. Synths fade into view, setting an 1980s atmosphere from the off, before a big drum barrage from Borger kicks in - and a big guitar riff takes over. The juddering riff is very John Sykes-esque, whilst the synths double it to give the song a smoother boost. Those fearing the guitars would feel weak given my descriptions of the album's sound so far should not fear anything, as Wikström's riffing is still powerful. It is just that the keyboards feel bigger and brighter - and there is also a noticeable difference to how vocal harmonies are handled. The vocal harmonies throughout are much more sugary than usual - with a strong Def Leppard vibe. This is clear during the mid-paced chorus here, which sees Ernlund joined by layers of sweet harmonies - which again roots the song in the 1980s. The hooks really soar, though, and a busy guitar solo later, again, shows that there remains plenty of power here from a guitar perspective. Rodeo is similar, with some staccato drumming early on sitting around a snappy guitar riff - and once the song gets going proper, this propelling riff is augmented by a strong bassline and some symphonic keyboards. A snappy verse soon takes over, with a simplified version of the main guitar riff backing Ernlund's strong vocals - whilst the bass still does a lot of the heavy lifting. The synths are perhaps less bright here, but there remains a synthy halo around everything - and they ramp back up during a chorus which sounds simple at first before one of the album's best individual hooks expands around a couple of vocal lines. The chorus is very poppy, but the snappy melodies and strong harmonies make it irresistible for any AOR lover - contrasting nicely with the somewhat tougher guitar riffing and soloing elsewhere. Lead single 1985 really sums up the core sound of this album. It is a true melodic rocker and an AOR anthem - opening with a brief version of a chorus which later explodes with huge hooks and sugary synths, whilst another Sykes-esque riff leads the charge early on. Every part of this song screams hit, with a strong groove in the verses sometimes taking the song in a slightly different, but hookier, direction than may be expected - whilst the aforementioned is easily the album's best. It easily sticks in the brain from the off, with the Def Leppard harmonies pouring out the speakers, whilst a later instrumental section starts with a flashy synth solo from Appelgren before Wikström takes over a lengthy neo-classical guitar solo. When it comes to pure AOR, there have been few better anthems such as this one released this year. Endeavour slows things down somewhat following the opening three anthems, with a synth and piano intro setting a slow-burning tone - before a gentle guitar rhythm is added and Ernlund starts to sing. At first it sees as if the song might be a ballad, or at least a piece of pure pop, but it does grow in stature somewhat - with a softer rock sound achieved by the time the chorus is reached. Synth stabs to offset the vocals, more restrained vocal harmonies, and Neal Schon-esque lyrical guitar leads given this song some character - and overall it has a more cinematic feel which aided by the hooky but understated chorus.

Hand on Heart goes for a heavier feel, more akin to the sound the band have channelled on their other recent albums. A snappy guitar riff flies into view, and Wikström's tougher playing is ever-present throughout the track - his headbanging riff essentially driving everything. The keyboards feel a bit more old-school, too, with some synthy Hammond organ offsetting the riff - whilst some later synth leads feel a bit more 1970s in tone. This is not metal, though, as the band's core melodic rock vibe remains. This particularly pops during the chorus, which is another hooky one with plenty of harmonies, whilst pulsing bass playing and some shimmering piano later feel more rooted in the album's core sound. Heaven's Waiting immediately returns to the 1980s with a sparkling opening synth/piano melody - and Appelgren's playing soon forms the backing for Ernlund's smoother, more low key vocals. It is another song which feels like it is going to be a ballad, but like Endeavour it does ramp up somewhat - and it becomes a poppy mid-paced rocker with a bit more of an atmosphere. Some of the very synth-heavy sections remind me somewhat of Reckless Love's more recent releases - with the chorus here quite similar to the style on that band's last album. There is much less of a strong guitar sound this time, then, although some tougher rhythms do cut through occasionally - and a shredded solo is later thrown in, too. Back to the Future is more upbeat, with a driving rock beat early on over which Wikström adds some soaring guitar leads. Pulsing synths and an ever-present bassline help to keep the song moving - particularly during the verses which strip the guitars away somewhat. Occasional chords chug away in the background, and a riff does join in later, but generally the synths do the heavy lifting here - until the chorus when a bigger guitar pattern adds some weight as Ernlund lays down some more hooky melodies. Mad Honey then goes for a bit of a different sound, with some strings laying down a melody early on - before Wikström kicks in with a slab-like riff. This is another of the album's heavier pieces - again recalling some of the songs on the previous albums. The main riff here is very hooky despite its heavier feel, and it often surfaces throughout the track to give things a bit of a kick - plus the strings add a grandness. The synths are generally much more retro in tone, too, despite a few flashier moments, with the chorus having a strong modern Europe feel thanks to the mix of tougher riffing, the occasional synth lead, and the aforementioned strings. Wikström's guitar solo is much more cinematic, too, utilising slow-burning bluesy motifs around the strings to create something much more epic in scope. There are still plenty of hooks and vocal harmonies, but the heavier sound is welcome given the focus elsewhere on AOR anthems. Adam & Evil returns to the album's core sound, although some of the keyboard melodies early on are a bit more old-school in nature. Retro organ sounds are utilised on and off throughout the song - meaning that the flashier synths are less prevalent, despite keyboards overall still seeming to dominate. The verses have a bit more of a percussive sound to them, too, which helps the song to stand out. Borger's verse drumming is quite tom-heavy and somewhat busy, which gives the track a real energy, with these verses contrasting nicely with the smoother chorus which returns to something more overtly melodic.

Your Majesty opens with some chiming acoustic guitar and synth melodies, with the track slowing the pace down quite considerably compared to the last couple of songs. The overall sound this time is much more organic than most of the album - although there remain plenty of pretty sugary vocal harmonies here, which do clash a bit with the acoustic guitar depth during the chorus. Ballad-like, the song largely moves as a slower pace, with the acoustic guitars and mix of synths and organ largely the main focus - even if the rhythm section later adds a sombre groove. Occasional bluesy guitar lines and slide motifs take the spotlight away from the acoustic guitar depth - whilst a later solo section builds on some of these bluesy vibes. Night Brigade starts to ramp things back up again following the more organic and slower-paced previous track - opening with a hypnotic guitar melody which remains in place during much of the song. Whilst the band grow around this melody, the verses are grounded by it - and even the later chorus feels influenced by it, despite Wikström opting for some choppier rhythms instead. The drive of the drums and the more modern propulsion of the bass makes the song feel different from much of the rest of the album - whilst the synths feel a lot more restrained, too. They feel a bit bigger during the chorus, but the verses are quite spacious without Appelgren's big presence - and the change of tone somewhat allows some additional variety to permeate through the album. In the Blink of an Eye gets back to something more typical of the album's core sound - with a hooky, mid-paced guitar riff kicking things off and the synths coming back in a big way. Chiming keyboard melodies fill another smooth, mid-paced chorus, whilst plenty more vocal harmonies are also deployed, whilst the aforementioned guitar riff shines throughout the slightly tougher verses. The song does not really do anything especially different in the context of the album, but it is another song with strong hooks that do lodge in the brain after a few listens. It is certainly overshadowed by some of the other more anthemic pieces, though, despite some fast-paced shredded from Wikström in the later parts of the song. The album then comes to a close with One Minute to Breathe, another very memorable anthem which returns to the quality with which the album opened. In truth, most of what is heard here is strong, and the album does not outstay its welcome despite having 13 songs, but the first three are likely the best - and the closing statement is of a similar quality with its massive chorus refrain and the slab-like riffing which drives it. There are shades of more modern melodic rock acts like H.E.A.T throughout this one - with the synth and vocal arrangements reminding me quite a bit of that band, whilst Treat's trademark smoothness, at least on this album, still permeates despite this comparison. There is a lot to like here, then, with a good mix of guitar riffing and synth melodies - plus a final Wikström solo which is busy and full of energy. Overall, then, The Wild Card is a very enjoyable album from Treat - and I like the way that the band have just gone all out for hooks this time. The moments of heaviness are welcome, but this album is immediately more memorable than some of the band's other recent albums, which were all good, due to this focus on big vocal hooks and synth arrangements. It is a pure AOR-fest as a result - so lovers of good 1980s melodic rock will find something to love here.

The album was released on 21st November 2025 via Frontier Records. Below is the band's promotional video for 1985.