Wigan lads Boss Keloid are a band that seem to be on a bit of a journey, from the sludgy roots of Angular Beef Lesson (2010, self-released) and The Calming Influence of Teeth (2013, Pipelord Records), through the muscular swagger of Herb Your Enthusiasm and Melted on the Inch (2016 and 2018 respectively, Holy Roar Records), to the more melodic and expansive Family the Smiling Thrush (2021, Ripple Music) and now Float & Aperture (2026, Church Road Records). Their sound has evolved while never really resembling anyone else, and the band’s DNA has remained intact: Alex Hurst’s distinctive voice and Paul Swarbrick’s unconventional guitar are recognisable throughout.
Opening track ‘Breeze’ begins with the aforementioned guitar, softer than on previous albums, using layers and overdubs to add melody and colour. Alex’s vocals float over the riffs, powerful but restrained. It took a few listens for me to ‘get’ this album. Our opinions are coloured by previous experience, I suppose, and I was expecting the track to build or get noisy, but instead it patiently flows along. ‘Pedestal’ has a similar feel. Liam Pendlebury-Green’s bass is more prominent and adds a nice thick low end, while Ste Arrand’s drums carry things along, with the cymbals acting as punctuation. Alex really shows off his vocal range here. The band’s press release mentions a more collaborative approach to songwriting and it shows: there is a lot going on, but everyone is given room to breathe and the songs don’t end up where you think they might.
‘Landslide’ has more of a funky feel, with some cool bass effects and a contrast between the band’s angular timbre and Alex’s melodic vocals. The track builds slowly as the vocals soar, and just as you think it is going to descend into chaos it slips back to sparse bass and guitar. It’s a standout track and a mammoth beast at just under nine and a half minutes. ‘Weight’ is another hefty track, with Paul’s guitar taking centre stage as he layers several quite different parts to great effect. It’s on these first few tracks that the new, collaborative approach is most apparent. It is an expertly produced album. Even when there is a lot happening it’s well balanced, and different instruments are pushed to the front across different tracks to change the emphasis.
The band’s press release also mentions using life experiences to generate ideas. This comes across, and not just because the song titles are less cryptic than they have been in the past. ‘Aros’ (which I thought was a made up word and contradicted my last statement but it’s apparently Welsh for ‘to wait’ or ‘to stay’) is another track dominated by Paul’s guitar, with a rare and beautifully crafted solo midway through that is given plenty of time as the vocals drop in and out. On ‘Accord’ the bass is pushed forward, with a nice interplay between it and the drums.
Closing the album, ‘Sanguine’ has a lovely thick riff, with bass and guitar working together to create a hefty low end punctuated by angular guitar lines, a nod back to the Boss Keloid of old.
Float & Aperture did take some understanding. It is a departure from the band’s previous work, but an evolution rather than a revolution, the band’s DNA is still there, but the more open, collaborative approach has produced a more mature and accomplished work. Give it time and let yourself become immersed in it.
