If Cat’s Eyes self-titled debut was grown in the dark, then Treasure House, their second, is born in light. If the nocturnal interiors of Cat’s Eyes were a cult flick viewed in smudgy black and white on cathode ray, then Treasure House takes everything into the great outdoors and shoots it in Technicolor on wide silver-screen; an old school blockbuster, of the kind they no longer make.
It might be that composing the soundtrack for Peter Strickland’s The Duke of Burgundy last year – for which the first-time film composers were awarded Best Composer at the European Film Awards – awakened in the duo of Rachel Zeffira and Faris Badwan a whole new world of possibilities. It is doubtless a product of the potent sense of location – specifically the deserted town in Canada where Rachel grew up - but everything about Treasure House feels cinematic. The arrangements are lush and expansive, the touch deft and the drama high. The whole of Treasure House is pervaded by a sumptuous sense of class.
Treasure House was produced by Steve Osborne and recorded at Real World Studios, Eve Studios in Stockport and Abbey Road.