Recorded at Chale Abbey Studios, Isle Of Wight, across the summer with the band’s long-term live engineer Sergio Maschetzko, it’s also an album that comes loaded with a deep-rooted conviction in the end result. “We were just so hyped the whole time,” says Hyde. “It was such a pleasure to make. I've kind of accepted that this might be the best thing that I'm ever part of for the rest of my life. And that's fine.” The result is a filmed live performance, directed by Greg Barnes, that took place over three nights at London’s Bush Hall. “It's about capturing the moment,” says Evans. “A little time capsule of these eight months that we've had playing these songs on the road.” In typical BC, NR fashion, the idea of doing a filmed live performance in a tired and predictable way held little appeal. “We had concerns from live sessions we've seen or done in the past,” says guitarist Luke Mark. “They are very obviously clumped together visually from multiple performances. That can take you out of the performance and make it seem artificial and like it’s not actually live. So we came up with the idea to make the three nights look visually distinct from one another. To scratch the idea of trying to disguise anything. We wanted it to be very honest and let people know that we had three goes at it. This isn't just us playing the whole thing non-stop.”

Each night has its own distinct theme and aesthetic inspired by amateur dramatic performances, based around school plays, a pastoral scene and a haunted pizza parlour called, yes, I Ain’t Alfredo No Ghosts. There’s even an end of school prom party. “We came up with fake plays,” says Evans. “And wrote a fake synopsis, dressed as the characters, and made programmes and sets for each play. It was really exciting and made it a lot more fun.”

My only point of criticism would be that the vocals on “Sunglasses” could have been mixed a bit louder (goes for the Tidal version as well), but this is not a big issue of course.

While this is a platform for the band’s excellent new music, this is first and foremost a film the band stresses. “We want the focal point to be this film,” says Wayne. “We've put a lot of effort into making it feel like you're watching a live gig. It's not an album in our eyes, it's a live performance.” As for this specific release, I’m really pleased with it. My copy is flat and has practically no surface noise. The vinyl color and the booklet look great. More importantly, the mastering is done well. The drums are spatious and hard-hitting. The sound stage is decent with separation of instruments, nicely centered vocals, and sparkling guitars. We see this as being a stop in the road” explains Isaac. I've always been interested in a really honest portrayal of what a band is and what they've been working on. I think it's really nice if people can see an artist like: this was them in the early days, this was their next phase and that they're quite clear and honest about genuine progression as people and musicians.” We wanted it to sound exactly how we love to sound live,” says saxophonist Lewis Evans. “This is basically representative of our first 18 months”, continues frontman Isaac Wood. It also means the feel of the film has the ability to transport viewers into the pulsing heart of the gig, often at crowd level. “It makes you feel a lot more like you're there,” says Evans. “When you see, like, I don't know, John Mayer at the Nokia Ballroom or whatever, it just looks like you could never ever be there. These things seem so inaccessible. But this is like you're literally in the room.”Selected items are only available for delivery via the Royal Mail 48® service and other items are available for delivery using this service for a charge.