Producer, Singer, Songwriter, Engineer

Neo Soul, Trip Hop, Alternative, Downtempo, Electronica

Libertree does things her way.

The Berlin based producer, singer, songwriter and independent artist combines genres as she goes. Her new project CYOTFS is a love letter to the album format and a smooth, laid back, gloomy but sophisticated perspective on the way we live.

„I enjoy mixing things that don’t seem to belong together. Weird and catchy. Retro and modern. dark and dreamy. The inner and the outer world. Contrast and distortion have always been inspiring to me. I think you can feel that in everything I do.

CYOTFS is a short album with skits instead of fillers. It ́s supposed to feel like an artwork, an essay and a journey alike. Edgy but timeless. Always seeking the sweet spot. Always searching for meaning.“

The Album is 25 minutes short and comes with a Visualizer / Lyric Video for each song.

Listen / Watch HERE



Catch You On The Flip Side [CYOTFS]


The "flip side" is the reverse side of a vinyl record; A term that was used by radio DJs in the days of record-spinning. 


They might say "I'll catch you on the flip side" to mean they will let a particular album play through, and won't start talking again until they have to change or flip records. 



Brewery X Libertree // Interview // Read HERE

Libertree, you are one of very few females in the engineering/mastering domain. Tell us, how did you become a mastering engineer and what makes this field so interesting to you?


Hey Katie, thank you for having me.


Well, I remember a few years back when I started releasing music and frankly didn’t know much about anything or myself. And there somehow I stumbled upon this blog article where the author was referring to mastering as „the dark arts“ that „nobody really understands“. Obviously, I had to get involved afterwards. It was one of these „challenge accepted“ moments, you know.


But all jokes aside, for me going into mastering was a process with different reasons behind it.

I am an artist myself, so when I started out I felt like learning and understanding some „music vocabulary“. It´s good to know how to properly communicate your vision with engineers and other musicians. Later on, I wanted to understand what makes a good mix that is ready for mastering. Evaluating things from different angles always helps me with the process so looking at my mixes from the perspective of a mastering engineer made sense to me.


Now I feel like I´ve developed a certain fascination for being able to shape music and feelings and eventually create an aesthetic that sounds like the stuff in my head. After all mastering feels like one piece of the puzzle to me.


Read The Full Interview HERE