The Dreamkeeper stands over 30 feet tall in a field five miles east of Blackpool. A bristling glass monolith blown by local master John Ditchfield to celebrate the 20th anniversary of his company Glasform, on a clear day its subtly dazzling refraction of the sunlight glows in awesome contrast against the earthy browns and greens of the English northeast. For the many visitors who encounter it while visiting the crumbling holiday Mecca each year, it is a bewilderingly abstract distraction.
For locals like Henry Cox, however, it has become a beloved landmark emblematic of the shimmering strangeness of the seaside. And as the Boston Manor frontman explains today, its influence on fifth album Sundiver extends far beyond Nick Barkworth’s striking cover photo.
“I’ve been driving past that sculpture for about 20 years,” he says of his hometown’s landmark. “I still do every time I go to practice. It’s this big, shiny, slightly chromatic thing – exploding, but undefinable. When I think of certain songs or lyrics from Sundiver, it’s at the front of my mind. It embodies a cold but bright energy, like looking down a hot street on a sunny day and seeing it blur into wavy lines at the horizon. That’s the visual we were trying to channel into sound.”
Rewind four years. When Boston Manor started out on the journey that would lead to this point, they were still in the depths of darkness. Superb third LP GLUE had dropped to hugely positive response, but it was suffocated by the treacly stasis of lockdown. With the future uncertain and time on their hands for experimenting, they set to work on what Henry envisioned as “an album in two parts”. It was to be part diary, part wish for the future.
Chapter one would become 2022’s Datura. Conceptually chronicling the journey from dusk to dawn, it was a record reflective of the empty streets and shut businesses of Blackpool in winter. Its bold emphasis on electronic and experimental sounds were hallmarks of a band processing personal and sociopolitical demons, from addiction and mental health to the grim politics of the UK today.
Bolder still was the reassurance that Sundiver’s part two – like Datura, to be written in relative real time – would document a journey back into light, a recovery that was by no means guaranteed. Healthier, happier, and with Henry and drummer Jordan Pugh having both become fathers over its creative process, and guitarists Mike Cunniff and Ash Wilson, and bassist Dan Cunniff in high spirits, it’s a promise fulfilled.