Forty years after their debut with Scratch and Bite, Treat are experiencing one of the strongest and most coherent creative periods of their career. The Wildcard, the band’s tenth studio album, is not a nostalgic throwback but a carefully crafted record that connects every era of Treat’s history, blending classic Scandinavian melodic rock with the maturity and perspective gained over decades.
In this in-depth interview, guitarist and main songwriter Anders Wikström discusses the album as a musical timeline, the emotional weight behind certain songs, the band’s democratic creative process, their long-standing collaboration with producer Peter Månsson, and Treat’s renewed relationship with the live audience—especially in Spain. A revealing conversation that shows why The Wildcard stands as one of the most meaningful releases in Treat’s discography.
David Aresté
M.S: Thank you for your time and congratulations on the new album. What are your feelings during these first days after its release?
The feelings are really good, to be honest. The response has been fantastic and we’re all very satisfied. You always hope that people will like the album and that your fans will be happy with it, and it seems like that’s happening. I’d even say that this record is getting more attention than some of our previous ones, which feels great. We also had a good build-up before the release, with several singles coming out in advance, and that helped create anticipation. All of that contributed to such a positive start for the album.
M.S: The Wildcard is presented as an album that revisits your entire career. At what point did you feel it was the right record to look back while also closing a creative circle?
To be honest, I think every album needs to have some kind of story or concept behind it. In this case, since I handle most of the songwriting, I had the idea of looking a bit backwards and, instead of just writing standalone songs, trying to tell something bigger. I wanted to embed a kind of timeline into the material. That gave me much more inspiration when writing, because it allowed me to approach the songs differently and use more storytelling. Some songs look back at the past, while others point toward the future. Also, this album is being released almost exactly 40 years after our first album, Scratch and Bite, which carries a lot of historical weight for the band. It felt like the right moment to reflect that journey.
M.S: You’ve mentioned that the album works as a kind of “musical timeline” from the early ’80s to the present day. How is this reflected in the album’s sound—riffs, keyboards, production, or song structures?
If you listen to our entire discography, you’ll notice that there’s always been a fairly cohesive style. I write a lot of the songs, and I have a very specific way of doing it: I like big choruses, strong riffs, and a very narrative approach to lyrics. I use a lot of metaphors, but I try to tell real stories, often drawn from our own lives. In that sense, The Endgame and The Wildcard have a lot in common stylistically. They’re close to each other in time and clearly belong to the same sonic territory. If you look at our whole career, each album has a slightly different flavor, depending on where we were in life and what stage we were at as a band. Treat is constantly evolving, and now we have a lot more life experience. You can hear that. These two albums almost feel like siblings.
M.S: Unlike The Endgame, here you talk about a more subtle narrative running through the whole album. Was it challenging to balance that concept with songs that also work on a standalone level?
Not really. The songs still have to work on their own, with solid structures and strong choruses. The difference now is that some songs have an extra dimension. They’re not just melodic rock tracks with big choruses; they carry a deeper meaning for us. Not everyone will necessarily catch that right away, and that’s fine, but for the band it matters. For me, as a lyricist, it’s important that there’s something beneath the surface. Some songs are more tongue-in-cheek or straightforward, others are very emotional. I try to approach similar themes from new angles to keep the creativity alive.
M.S: This is your tenth studio album and the fifth since the reunion. Do you feel that this post-2006 era has redefined what Treat means as a band compared to your classic years?
Yes, absolutely. The first era of the band lasted about ten years, from 1983 to 1993. Then we took a long break and came back in 2006 with a compilation. But starting with Coup de Grace in 2010, the band clearly took a step toward a more modern sound. I think these last five albums have really redefined what Treat is today. We still have a very loyal fan base that’s been with us from the beginning, but it’s also interesting to see new people discovering the band now. Melodic rock doesn’t have the same commercial impact it had in the ’80s, but there’s still a strong and dedicated community. Personally, I love the youthful hunger of the early albums, but I also really value the musicianship and songwriting level we have today.
M.S: Your collaboration with Peter Månsson continues album after album. What do you feel he brings to your sound today, and how has your creative relationship with him evolved?
Peter is much more than just a great engineer or mixing guy. He’s a musician, he’s a drummer, and he can play almost any style, so he speaks the same musical language as we do. He also belongs to a younger generation and grew up listening to Treat, so he knows our history inside out. He’s involved very early in the process, and over time he’s become almost like a sixth member of the band. He brings a very objective perspective and knows the band completely.
M.S: There’s a strong sense that every band member really shines on this record. Was there a conscious decision to highlight the group’s chemistry and each member’s individual strengths?
It’s not something we really discuss explicitly. Our working method is very democratic. We always have more songs than end up on the album, and every song is voted on. Each member rates the songs, and the ones with the highest scores make the record. After 40 years together, this system is crucial for keeping the band united. Everyone gives their best to the songs they truly like, and nobody feels forced. We also have enough experience now to know when to let each musician shine.
M.S: If you had to describe The Wildcard in five words, what would they be?
I’d say it’s uplifting and positive. I’d also describe it as historical, well performed, and strong. Overall, it’s a very solid album.
M.S: When you say “historical,” do you mean looking back at a certain era, or more of a logical evolution?
Actually, it’s both. It’s a logical evolution, but there’s also a strong connection to our history. There are songs like 1985, which directly reference a specific year in our career, when we had our breakthrough in Sweden and Scandinavia. Then there are songs like One Minute to Breathe, which deal with people who are no longer with us—people who were part of our journey from the very beginning. It’s a celebration of those people, and it gives the songs a much deeper dimension.
M.S: You hadn’t played in Spain since 2017, and in 2024 you returned for the Lion Rock Fest. How was that reunion with the Spanish audience?
The Spanish audience is amazing. Every time we play there, the response is fantastic. The last show was really special and made us want to come back more often.
M.S: With the new album, you’ve been confirmed for the upcoming Rock The Sun festival in Barcelona. Is there a chance we might see more dates in Spain or elsewhere in Europe in the near future?
Yes, absolutely. We’re working on that right now. There will be more dates in Spain and across Europe. I can’t give any details yet because everything is still being worked out, but the plan is definitely to tour a lot more next year.
M.S: Thank you again for your time. Could you say a few words to our readers to close the interview?
I’d just like to say that we love Spain, and we promise to come back more often. We’ll see you very soon.
David Aresté