We worked 12-14 hour days, slept eight hours, ate and went right back in. We lived and breathed these two albums for those eight days. We did an enormous amount of work, and we only had eight days because of time pressure from Sony.
I made the drums sound much better with snares that stand out in the mix, kicks that are punchier, cymbal and high-hat hits that can be heard when they're supposed to be a bass that's tight that you can feel now instead of just hearing it power chords on guitar that are way more gutsy than they were on those original mixes lead guitars that are full and aren't piercing in the high parts vocals that are out front now and warm and not thin in the mix. I literally went through the records note by note.
I made dynamic changes that followed specific instruments to change sustain or apparent levels. We went in and pinpointed percussive attacks and adjusted levels and changed them on what I wanted to get in the original mix. We did ultra time-precision adjustments of level changes. I used everything I learned from the last 35 years, learning about the physics of music to what happens aurally when you change certain things dynamically or in various frequency spectrums. We put that on and adjusted it note by note. We got the transfers done by Sony from the original two-track stereo mix to 24-bit. I was under its influence the moment I heard the. Magical that’s the word I would use for the Boston sound. We sat down and started with "More Than A Feeling." We went in and adjusted every single thing on these stereo mixes. Because of its universal appeal, great production value and adoption of quite accessible, easy to digest sounds, the debut album marked the beginning arena rock a pivotal and unavoidable moment in the development of rock music. So I sat down and listened to all of the tracks on CD and made copious notes of all of the things that didn't come out the way I had hoped or don't sound good on CD, everything from the intro bass note on "More Than A Feeling" to the last note at the end of the Don't Look Back album. People will be listening to this, and then they put on something that was recorded last year in these magnificent studios with limitless capabilities. ‘Be Nothing’ will prove that Boston Manor are primed to leap to the forefront of the new wave of UK rock bands on an international scale.What I tried to do was address all of the shortcomings that were a result of having to do this by hand a long time ago. Ultimately, this has manifested in the form of a loyal and ever-expanding fan-base within the burgeoning UK rock scene and beyond.īoston Manor’s last release was 2015’s ‘Saudade’ EP – a collection of tracks channeling a generally darker and more downbeat sound than most of their peers and becoming the cornerstone of their career to that point.
As a band who’ve been absolutely dedicated to their music since their 2013 inception, Boston Manor have previously toured with the likes of Knuckle Puck, Moose Blood and This Wild Life and have played festivals such as Slam Dunk and 2000trees in front of significant and enthused masses.
From 1994-2008, it was ranked as the top-selling debut of all-time before losing that title to Guns N Roses Appetite For Destruction, which was later overtaken by Hootie and the Blowfishs Cracked Rear View. A decidedly melancholic composition, it’s a song about inevitable failure knowing you’re going to lose before you’ve even begun.Ī tour supporting Moose Blood comes immediately after the record’s release and Boston Manor have also now announced their first full UK and European headline tour in November and December, with Can’t Swim set to support them. Bostons self-titled debut album has been certified for sales of 17 million in America. Produced by Neil Kennedy (Milk Teeth, Creeper, More Than Life) and mixed by Kyle Black (New Found Glory, Set Your Goals, All Time Low), the first song to be revealed from the record, along with its own music video, is ‘Laika’.