Treble Zine

Our goal is to explore a broad range of music genres, including electronic, punk, metal, and hip-hop, with a strong emphasis on independent and underground artists. Treble is not limited to a single perspective; rather, it is a diverse community of individuals with varying opinions and ideas. We are committed to fostering an inclusive environment, both in the topics we cover and the contributors we collaborate with, as we firmly believe that bigotry, racism, and misogyny have no place in the future of music. Each week, we introduce new features and articles about music, including interviews with artists, career retrospectives, personal stories about music, and much more. Our approach is to examine music from different angles, which is why we continuously add fresh columns and features to our lineup. Treble thrives because its team is united by a shared passion for music and a love for writing about it.

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Mizmor interview: 'Alluvion,' doom and catharsis

6 days ago | treblezine.com | Michael Pementel

Over the years, Mizmor’s A.L.N. and Hell’s M.S.W. have collaborated with each other on and off. They’ve played in bands together, but A.L.N. and M.S.W. have likewise performed in each other’s bands. Now 20 years into their friendship, the two have joined forces for a brand-new collaboration. Alluvion is not only a brand-new album from Mizmor and Hell, but also the first proper collaboration between the two.
Panchiko : Ginkgo

1 week ago | treblezine.com | Michael Pementel

Upon the discovery of an old copy of Panchiko’s EP D>E>A>T>H>M>E>T>A>L uploaded onto the internet in 2016, listeners became enamored by the band’s electronics-tinged indie rock. Its ambient sound conveyed a sense of nostalgia that evoked sounds of the late ‘90s and early 2000s. The EP itself was, in fact, initially recorded in 2000, and in this light, Panchiko’s music proves even more fascinating.
Gentle Leader XIV : Joke in the Shadow

1 week ago | treblezine.com | Jeff Terich

Gentle Leader XIV evoke a sense of grandeur through the sparsest of means. The drama that the Ohio group harness and sculpt on “Pig Dream,” the leadoff track on their second album Joke In the Shadow, suggests something so much bigger than it is.
Apparitions : Volcanic Reality

1 week ago | treblezine.com | Brad Cohan

Intrepid noise-making titans such as Earth, Melvins, Sunn O))) and SUMAC have each singularly deconstructed the metal genre through an intensely out and sonically heavy prism. The outward-looking experi-metal the aforementioned outfits explore is one of constant reinvention that uses metal’s underpinnings as a springboard into ear-splittingly loud drone, noise, prog and electronics and improvised music investigations.
Lucy Dacus : Forever Is a Feeling

2 weeks ago | treblezine.com | Edward Croft

Lucy Dacus’ enters her fourth album and first for Geffen, Forever is a Feeling, at the peak of her abilities. It arrives on the cusp of her 30th birthday, though her sophisticated songwriting having been a signature since she made her debut at 21 with No Burden in 2016. Will St. John’s beautiful portrait on the album sleeve alludes to what is musically in store, fashioning Dacus’ in a strategically placed golden drape, bearing the album title as a chest piece tattoo.
Shellac : At Action Park

2 weeks ago | treblezine.com | Kurt Orzeck

One year, one month and three days after Nirvana released In Utero, the breakthrough album that served as as a truce of sorts in the decades-long war between independent and major labels, the engineer behind the 1993 LP—Steve Albini—helped deliver one of the most seismic anti-corporate records in the annals of underground music.
Backxwash : Only Dust Remains

2 weeks ago | treblezine.com | Adam Blyweiss

Prior Backxwash albums like I Lie Here Buried with My Rings and My Dresses found Canada’s Ashanti Mutinta methodically smothering her rap with death-metal screams and clanging percussion loops. On her newest LP Only Dust Remains, she drops that industrialized shroud of production in favor of more accessible trap sampling and arrangements meant for a proper band. In clarifying the medium, Backxwash ends up clarifying her message.
Father John Misty live is anything but understated

2 weeks ago | treblezine.com | Jeff Terich

I have no firsthand evidence that Father John Misty‘s ever done a low-key, small-scale performance. For one, I’ve never actually seen him in a venue as small as the one he’s seen playing “Chateau Lobby #4 (In C for Two Virgins)” in the first season of Master of None, nor did I ever catch him in his J. Tillman days. And by the time he released his 2012 debut Fear Fun, he was already playing Coachella and releasing videos with famous actors in them.
Momma : Welcome to My Blue Sky

2 weeks ago | treblezine.com | Virginia Croft

On the title track of Momma’s fourth album Welcome to My Blue Sky, the group’s co-founders Etta Friedman and Allegra Weingarten sing, “It’s just my blue sky to see… I’m getting kind of sick of seeing it through, but I have to.” Within this confession lies the thesis of the band’s latest album—throughout its twelve tracks, themes of reflection and introspection inject the band’s solid rock sound with bursts of nostalgia and moments of growth.
Sleigh Bells : Bunky Becky Birthday Boy

2 weeks ago | treblezine.com | Ernesto Aguilar

If 2010 is in any way a musically formative year for you, you no doubt remember Treats, the debut album by Sleigh Bells, fondly. The New York duo were a precursor to hyperpop and breathed rambunctious life into mainstream sounds during this period. And though follow-ups like Reign of Terror and Bitter Rivals didn’t quite reach the heights or cultural currency of their debut, Sleigh Bells amply demonstrated a commitment to blending contradictions.