![]() ![]() ![]() So we went back to that world a little bit, but we also decided that we’re going to make an album in two parts – so this is part one, and we like the idea that part one is beginning at dusk and ending at dawn, and then part two is the opposite it’s the next day. And we’ve always loved the shadowy, night-time aesthetic, anyway – we’ve channelled it into a lot of our music, and we love playing in that world that we’ve built. I kind of knew what the songs would be about, because I had decided that I was going to make a personal record about some issues that I have, and use that as a bit of therapy, really. Teaming up in a Brixton studio with Hundred Reasons’ Larry Hibbitt on production duties, Henry and his bandmates – guitarists Mike Cunniff and Ash Wilson, bassist Dan Cunniff and drummer Jordan Pugh – took their time over the pandemic, distilling a more cinematic sound and accompanying moody aesthetics, and enjoying the artistic freedom they were afforded.Īmidst a “day of admin” and fresh from watering his plants and walking his dog, Henry talks us through all things Datura…Īt what point within the whole process of making Datura did the concept of having a ‘night-time’ feel come about? While Datura certainly sounds much more meticulously put-together than that those childlike images (despite Henry joking that there’s a lot of “chaos” floating around the band’s shared Dropbox folder of music), it was one of the most interesting creative endeavours of the Blackpool band’s career so far. Don’t get me wrong, it was also challenging – but it was a lot of fun.” “We were all just picking up weird stuff at times, and bashing away at it all. “You know when you were in primary school and you’d do music, and the teacher would come with a big box of weird things that made weird noises?” the singer chuckles. ![]() Henry Cox paints quite the picture when describing moments in the studio working on Boston Manor’s excellent fourth album, Datura. ![]()
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