Treeboy & Arc – ‘Natural Habitat’ album review: Leeds post-punk at its best
Leeds has always been inundated with DIY music, particularly post-punk. The genre is steeped in the city’s history – in the 1980s, the art school scene surrounding local pub The Fenton birthed the likes of Gang of Four and Delta 5. Now, there’s a new crop of art school kids combining abrasive guitars with deadpan vocals. At the centre of it lies a post-punk quintet called Treeboy & Arc.
Born out of the red brick terraces that line the streets of the LS6 postcode, Treeboy & Arc have cultivated a gritty sound through dingy basement practices and raucous gigs at beloved underground venues. After boosting their reputation outside of their hometown through a single release with Dan Carey’s cult label Speedy Wunderground and support slots alongside the likes of Shame, Parquet Courts, and Ulrika Spacek, Treeboy & Arc present their debut LP, Natural Habitat.
Amidst the increasing swarm of so-called post-punk bands taking over the suburbs of Leeds, Treeboy & Arc rise above the rest. The record tangles itself in intricate and danceable guitar riffs, thumping drum lines, and oscillating synths, while James Kay and Ben Morgan’s distinctively talky lyricism sits just atop. Each element of their sound fits into place seamlessly.
Though it sounds effortless, this synthesis comes from the band’s specificity and patience. The album was recorded twice, as the band decided the first recording wasn’t quite up to scratch. After some rearranging and experimentation at Leeds studio, The Nave, Treeboy & Arc finally landed on a sound they were happy with, one which encapsulates their city’s long-standing penchant for post-punk, retains a crucial DIY ethic, and cements the five-piece as one of the most exciting guitar bands around.
Treeboy & Arc set the precedent for the album with their very first single. ‘Retirement’ is a droning track with a darkly twangy guitar riff and vocals full of indifference. The mechanical instrumentation reflects its themes, as Morgan sings about the monotony and loneliness of everyday life: “All the time on my own, first world problems, second homes”. The track is accompanied by a video filmed at Leeds’ own Daves’ Pies & Ales.
Opener ‘Midnight Mass’ makes another statement of intent for the record ahead, beginning with whirring synths and building to a chorus overflowing with noise. It’s a track that’s sure to make an impact live.
‘Box of Frogs’ is another highlight, taking Treeboy into more downtempo territory. At its climax, Morgan laments, “I used to be as mad as a box of frogs, now I’m just as sad as a box of dead ones”. The guitars pick up, flitting around unpredictably until it’s hard to even keep up with them. The track leads straight into ‘Human Catastrophe’. Built around an understatedly jangly riff, the song discusses modern self-care techniques, dubbing them “a shiny new facade” hiding what lies beneath. It’s increasingly agitated as Morgan asks, “Well, I’ve been nothing but charming, so what the fuck are you laughing at?”.
‘Character Building’ is both an ode to and a rejection of their city, considering their residence there a “privilege” while also declaring, “there’s nothing left for me”. The closing track, ‘Winter of Existence’, is a culmination of the album’s efforts, underscored by an unrelenting riff, characteristically northern vocals, and a vast outro.
Natural Habitat embodies the Leeds sound. It’s an amalgamation of the city’s history and its current scene. Treeboy & Arc bring their northern edge to the revival of post-punk, which has become oversaturated with unoriginality. With satisfying lyricism full of wit and grit, an unflinching but polished DIY ethos, and masterfully interweaved soundscapes that are equal parts harsh and complex, Natural Habitat brings excitement back to the genre. Treeboy & Arc bury their rivals under a mass of caustic sound and prove that the North will always be the natural habitat of post-punk.
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