From panoramic vistas from the peaks of stately Yorkshire ridges to drug-running ranches in the deserts of Texas, The Chevin are a band steeped in natural grandeur. They’re a band who grew up relishing the magnificent swathes of moorland stretching from York to Leeds visible from atop the hill overlooking their home town of Otley – the geological marvel after which they’re named – and instinctively destined to recreate the wonder of it in music. They demoed Borderland in the band’s makeshift studio (recordings The Chevin were so pleased with that they kept many of the original keyboard tracks for the finished album), and using them to lure in a manager, the band concentrated on perfecting their songs in rehearsal rather than playing live and opted for the increasingly fashionable approach of self-financing their debut album and approached L.A. producer Noah Shain early in 2011 to find them a studio as dramatic and dislocated as their music and origins required. That meant heading to a studio on the Mexican/American border where they would hone Peter Gabriel-like drum sounds and huge organ-fueled epics like the title track. Fans of The Arcade Fire, Springsteen and Morricone will find much to love in Borderland’s mountainous sound.

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