2 Aug

Tall Ships are a Brighton based three-piece who have been featured in Q Magazine, The Guardian and House of Fraser (yes, that’s right). With recording starting next month on a new album, a follow up to their well recieved EP There Is Nothing But Chemistry Here, they’ve been blazing around England and playing as many gigs as possible. We caught up with them at the frenetic Sheffield festival Tramlines in order to sit down (in a disabled toilet, of all places) and have a chat…

So are you Tramlines virgins?
Yes, we popped our cherries tonight, yes.

And what did you think of it?
Filthy. It was great! This is our first time here, our first time in [the Bowery], and The Harley’s always wicked fun but tonight was mental. It’s great, playing in really tight, small spaces. It was awesome!

The Guardian described your music as complex math rock, how would you describe it?
No. We’re like primary school level maths. We’re not math rock at all. Not even close. We do drama — religious metal drama. Cult rock. Religious metal drama cult rock.

Who would you count as your musical influences?
Beyonce! But musically, the big ones. Battles, Sigur Ros, all that stuff, but generally I think we’re just influenced by — I don’t know. Just stuff, really. Anything that makes us feel good! It’s just experience, I think. Just everything. Each other.

What would your ideal gig be?
On a spaceship! I don’t know how it would work with zero gravity. The mosh pit in that would be insane! Floating. We’d be playing with the cast of Jurassic Park, a re-enactment of Jurassic Park. We’d have Battles as well. And Robbie Fowler would be there, doing the lights. Slash’d be in the back room, just shooting up heroin. Katy Perry would be dancing!

Where do you see yourself in five years?
Oh, raising a family together… Oh, God. We’ll have a lovechild. No, five years time, hopefully still doing this. Like in this toilet, doing interviews.

Still doing Tramlines?
Oh yeah, this is a wicked festival, it’s a great festival. It’s free music, all weekend! You’re very lucky to have a festival like this.

Any aspirations?
Tramlines 2012. 2013. 2030! We always just want to play bigger venues — just keep on sort of going up and playing!

What about your next record?
Oh, well, it’s an album, so just getting it done, I think. We’re recording it next month. We just want to make it as ambitious and ridiculous as possible. We’ve been really lucky, but we’ve also — you know, we’ve been a band now for nearly three years and we’ve toured for two of those years. And it’s only really now that we can start playing to people and they sing along and stuff. So we’re working hard, playing lots of shows.

And how do you feel about the current X Factor music phase?
There’s no longevity in that music. It’s fad. It’s all manufactured for that specific time. If you want to be a real band then you’ve got to write your own songs and get out on the road, and learn how to be a band. We started out and we were just happy to be on the stage. And we’re still learning things like etiquette, I think, and how to be a band, and how to record, how to play our instruments properly. I think generally, with music, it’s so readily available now on the internet that any band can just put their stuff online and people don’t really give a shit. It’s only through actually playing live — I think that’s where, for me, personally, music is at it’s most powerful when it’s live. When you’re seeing it and you’re experiencing it and hearing it. That’s when music just… it’s just completely magical. It just takes this whole new thing. You know? So live shows are very important.

Are you against the whole ‘download culture’ then?
It’s getting more people to gigs but at the same time it’s taking away people from buying CDs or records and things, which is bad. Because that’s the whole point of making a record, it’s that it’s something physical and you spend months, and some bands years, creating something that somebody can just click and download. You need to buy the physical thing. But then, the MP3 and the download thing’s good, because more people listen to your music, more people come to shows, which is…

A double edged sword?
Yeah, it’s a double edged sword. It’s good and bad. It’s been good for us because a lot of people check us out on the internet who’ve never heard of us but heard like a bit of buzz. But at the same time we’ve really wanted to try and create things — like screenprint everything we do or handmake everything we do so that people keep buying what we’re doing, because we’re really proud. That’s probably one of the most educated things that’s been said in the last five minutes.

Everything’s internet based, isn’t it? Eventually everyone’s going to worship the internet as a god, I think. If the internet disappeared today, everyone would be fucked! It’s going to get to the point where we’re so dependent on it that it becomes a god. I only use it for two things.

Do you know who’s followed you onstage tonight?
I can’t remember their name but they sound really good. They sound sick from up here. Not Mother’s Ruin, they’re called… I can’t remember. Oh, fuck! Wet Nuns, that’s it! They’ve got an upside down crucifix on their stage.

Are you going to be going to see Olly Murs later?
No! He reviewed us and he hated us. Fair play.

He hated you?
Yeah, he hated on us, yeah. Said it was shit — gave us a bad review. He was a guest reviewer in a magazine and our last single got reviewed and I think he gave it like… two out of five. But that’s basically making it! Two out of ten, as I remember.

So your last words: what do you want to say to Olly Murs?
I’d say take that fucking stupid hat off, you talentless X-Factor prick. I heard he was anti-semitic. Just putting it out there. Olly Murs is a cunt! No, I’m sure he’s a lovely guy but — he’s a bit like Peter Andre, basically. Peter Andre, I would happily date him rather than Olly Murs. Team Peter!


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