UK prog rockers Boss Keloid took a few years between albums, and are now issuing their sixth full-length Float & Aperture. Drummer Ste Arands gives us the scoop on everything Boss Keloid.
Chad Bowar: What led to the five plus year gap between albums?
Ste Arands: The delay has been due to us upending our writing method, and approaching this album in a completely different way. We decided early on that every possible part of the album’s creation which could be done differently, should be. It was a challenge, and a lot to get used to, but we’re very proud of the result and we learned a lot throughout the process.
How did the writing process for Float & Aperture compare to previous records?
When the band started, our writing process was very segmented. Paul (Swarbrick) and I would arrange a rough outline of the song before handing that to someone else to add their parts. Over time, we’ve become more and more involved as a unit with formulating each part of the song. This time around, we wrote in the most collaborative way so far, with everyone being present and
contributing to all parts of the process. That probably sounds quite normal for most bands, but it was new for us, and at times quite challenging. Our previous material also tended to be based on Paul’s riffs, which the song was then built around. With this album, once everyone else parts had been added to a section, the original idea was taken away or mutilated in some way to become a completely new part. This allowed space for more experimentation and dynamics, and for some really interesting interplay between the guitars.
What will be your strongest memory of the recording of the album?
I’ll always remember listening back to the first mix in the control room with everyone, and being absolutely baffled at the clarity and power of it! I felt in that moment like five years work had paid off. A few tweaks were made here and there to minor details, but the sound was pretty much 100 percent there after the first pass. Barny (Barnicott – mixer) has such an incredible ear, and a brilliantly no-frills approach, and Clay (Bennett – engineer) made the tracking so easy that getting the sound we wanted was almost effortless.
What was the biggest challenge in its creation?
We tried to step outside our comfort zone with every aspect of this record, and didn’t want to tread old ground or make things easy on ourselves. I think Paul definitely challenged himself more than anyone on this album. He approached everything about his playing completely differently this time, from tone to technique, and put a lot of work in to make sure everything was right.
How has your sound evolved from Family The Smiling Thrush?
This album is far more melodically and harmonically interesting to me than anything we’ve released previously. Since Alex started to play guitar with us, we’ve enjoyed the way his and Paul’s parts work together. We pushed that relationship a lot further with this material, as well as being far more dynamic with the guitar tones used. Everything from acoustic guitar to a quad tracked wall of meat are on offer here. Liam’s bass parts are a huge part of the sound of this record too. While on previous albums, his bass would have been more often backing up or doubling a riff, his parts are far more intricate on this album, while taking a more traditional role sitting below the guitars and combining with the drum parts.
As for the actual sound of the album; we wanted a far more raw, less produced sound this time around. The brief we gave to Clay and Barny was basically, “make us sound like four people playing in a room together.” The drum sound especially was very important to us, and we tried for a more punchy, natural sound than is heard on a lot of modern records. Drums on a lot of heavier records these days are far too dry and unnaturally dead sounding to my ear. Cymbals make no impact, and snare drums and toms and bass drums are sounding more and more like each other. Each to their own of course, it’s all personal taste at the end of the day, but these modern production choices make a lot of drums sound like samples to my ear, like I’ve heard the same kit on hundreds of different albums. I’ve always loved those big, open drum sounds of the ’90s when bass drums were deep, snare drums cracked, and cymbals sounded glassy and bright.
What lyrical topics do you cover this time around?
Alex always prefers not to elaborate on any of the specific meanings behind his lyrics as it can stop people from interpreting the song in their own way. That being said, I think this is the most emotional and varied output from us so far in terms of subject matter. Without being specific, I can tell you that the lyrics cover a wide range of topics from love and hate, life and death, and everything in between.
How did you come to sign with Church Road Records?
We worked with Justine and Sammy before when we released Melted On The Inch via Holy Roar. Since they set up Church Road they’ve made a huge impact, and have put in a lot of work to make the label what it is today. We’d been talking for a while about approaching them, and we finally did a few years ago about re- releasing our first album The Calming Influence Of Teeth which they put out on vinyl for the first time in 2023. Writing for Float And Aperture had begun by that point, and before we had any idea when it would be finished, we started talking with them about the possibility of releasing it.
What are your goals and expectations for the album?
There were so many goals we had during the writing and production, and I’m happy to say they’ve all been achieved. In my opinion, it’s our best writing, best playing, and best sound on record so far, so I couldn’t be happier with it. As for expectations, I don’t have any. Sorry, I appreciate that’s a terrible answer to your question! Of course, I hope people like it as much as we do, but I try not to put any expectations on our work and just let people enjoy or hate it as they wish so we can move on to the next project.
Do you have any upcoming show/tour plans?
Some personal commitments have meant that we haven’t been able to get out and play again as soon as we’d like to. So far, we have nothing set in stone, but we’re hoping to be playing live again by spring next year. We’re all really looking forward to playing this new material for people.
A.I. has become popular in both the creation of music and album art. What’s your opinion on A.I.?
I don’t understand it to be honest, or what would drive someone to use a short cut where art is concerned. The creating is the best part. If you can’t be bothered with that part find another hobby.
What are some of your non-musical interests and hobbies?
I like to read a fair bit in my spare time, and I love walking anywhere on my own and getting lost. Also like cooking when I get the chance. Old person hobbies… I’m aware.
What’s currently in your musical heavy rotation?
I’m listening to a lot of Miles Davis at the moment. I’m in the middle of reading his autobiography and it’s been interesting to re-listen to the albums with new context as they’re mentioned in the book.
Anything else you’d like to mention or promote?
I’ve recently become a big fan of everything bagel seasoning. It’s delicious.
(interview published October 22, 2026)
Watch Boss Keloid – “Landslide” Video
