Treestakelife
Biographie Treestakelife
TreesTakeLife
The project TreesTakeLife was born from an idea of Martina Sanzi e Mina Chiarelli in May 2009 as a challange: produce a different and easy-listening sound able to bring people into the world of dreams and imagination.
After the first debut EP Let Children be Children Again and the production of the short-movie Urban Man in No Coffee Land, in October 2012 they recorded their first Album Roll Sound and..Action! edited by RAI and Smoothnotes Publishing.
During these years they continued performing in a lot of shows in Italy (Arezzo Wave Lazio last selection), growing up as live musicians and, meanwhile, they worked on music for films, the first passion of the band. After a working period with the violinist Veronica Giuffrè and other music stuff, they started collaborating with an old friend of them, Emanuele Presciuttini, a multi-instrumentalist musician who joined the project permanently.
They have worked on some TV advertisment such as Mondial Day Against Woman Violence's spot produced by RAI, and on the FPZ's spot (for the challange of other important companies at the MOVI&CO at IULM of Milan). One of their song called Catch the Fox has been choosed for the end credits of Il Caffè è morto directed by Camilla Martini and produced by Scuola Romana di Fotografia. After working on the webseries' soundtrack Il solito sesso (which had a nominee in the category BEST ORIGINAL SCORE at the Rome Web Awards), TreesTakeLife worked on music for two short films produced by the Centro Sperimentale di Cinematografia (Il Manichino, Cosmic Anxiety by Renato Muro and La collana ny Lorenzo Caproni).
In 2015 TreesTakeLife worked on La Forma Perfetta, directed by Francesco Fanuele, and Colla, the Graduate work of Renato Muro. Currently they are working on a new soundtrack for their first movie, My Saviour, directed by Steven Murphy and produced my Breezeblock Production, that will be out in 2016 and Unconditional love, a shortmovie produced by the New York Film Academy and directed by Cheuk Yan Ng.
