Publisher

Treble began in fall of 2003 as a way of presenting a fresh and intelligent set of viewpoints on music. Though it started out as a casual group of friends posting thoughts on some of their favorite records, it evolved into a professional, legitimate site very shortly thereafter, and since then has been updated daily with music news and reviews. Though our staff and readership have grown significantly, the concept behind Treble remains unchanged: to provide thoughtful discourse on music, representing music as both personal and universal experience. Though we make no claims to be the utmost authority on what someone should or shouldn’t listen to, we do give honest, descriptive reviews while attempting to do so creatively. We try to cover a wide spectrum of music, ranging from electronic to punk to metal to hip-hop, and not all of us may be as well-versed, individually, in certain genres as we are in others. But the beauty of Treble is that it doesn’t represent one viewpoint—it’s a collective of many different people, with different opinions and ideas. And as music fans, we’re always keeping our ears open for what sounds new and exciting, no matter the style. Every week, we include new features and columns on music, ranging from mixtape ideas, interviews with artists, personal experiences in regards to music, and various other topics, with new ones emerging all the time. We try to cover music from many angles, and because of that, we’re constantly adding new columns and features into our regular rotation. One thing that makes us different from many other music magazines is the absence of a ratings system. While we like to highlight our favorite new albums as “Album of the Week,” we have a philosophy about putting a number on an album, which is best explained in our review of Tetuzi Akiyama’s Pre-Existence: Albums like this are the perfect example of why Treble doesn’t believe in number ratings. Besides being completely arbitrary, assigning a number rating becomes a source of comparison from one piece of music to the next. For instance, how can one say that this piece of minimalist avant-garde acoustic guitar is better or worse than say, Kanye West? They’re completely different, but yet that number rating automatically acts as a comparison barometer. Not only that, but how can one person possibly speak for everyone as to the merits of one particular album? Not even the small amount of Treble writers agrees on everything…art is there not just to be appreciated, merely to exist, to prove our place in the vastness of nothingness… One thing that will always remain constant is that Treble exists because its staff consists of people, no matter how diverse, are unified and driven by their love of music and joy of writing about it.