"We are just about to hit our perfect stride": British Sea Power talk to Skiddle

The title of British Sea Power’s fourth non-soundtrack album is said to be inspired by the mouse-infested farm-house where recording took place.

The band will not confirm such whispers but there isn’t much denying going on either. Their most recent Valhalla Dancehall is the ‘fairly epic indie rock album’ that followed 2009’s Man of Aran, a soundtrack ‘about sharks and potatoes’. After celebrating ten-and-a-bit years in pop the last thing these lads are is stale.

After such longevity British Sea Power speak to Jasmine Phull about creating music that is less insular, while still managing to ‘engage the feet and the brain (all) at once’. If it’s anything like rubbing your stomach while patting your head, we take our hats off to the band of the imperial titular.

Valhalla Dancehall was released in 2010. Man of Aran was released only a year before. Being only a year apart. Was there much of a difference in your approach to the album?

Both albums were recorded in the same place, a farmhouse on the edge of the Sussex Downs. We did it ourselves, fairly DIY, really. Musically they’re different beasts though. One’s a mostly instrumental soundtrack to a 1930’s film about sharks and potatoes and the others a fairly epic indie rock album.

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Was the order of the tracks important?

The order of the tracks was important because of the dramatic mood changes on the record. It’s an enjoyably, demanding recording with a lot of depth but we wanted it to be as easy to digest as possible. Like with boozing where the ordering of drinks can mean vomiting or a lovely night.

British Sea Power is celebrating ten-and-a-bit years in pop. What are you celebrating after ten and a bit years? 

Several things really. Surviving, still being friends, having had a lot of good experiences together and also staying true to making music that is real to us and of exceptional quality. We’re just about to hit our perfect stride.

Where are you based now and if you could uproot where would you go and why?

We’re 80% Brighton and 20% Scottish Isles now. At present we’re just leaving San Francisco. I’d maybe give it a go here, it’s very likeable in an open human zoo kind of way. I quite fancy Dungeness Beach at the moment too. It’s very surreal down there.

How does being an artist affect the way you hear other people’s songs? Do you ever find yourself dissecting songs so much so that you‘re unable to enjoy them? 

I’ve found I’ve become a lot more open-minded about music and less insular. I used to hear just the whole song but now I hear all the parts too. It’s easier to see the component parts and you realise it’s just the attitude of the people making it that matters.

Festival season is fast approaching, in terms of ‘pleasing’ the different crowds of people do you have to approach the festival show differently to that of a gig? 

We’ve always strove to both please, entertain and expand the thinking of our audiences. I like the sound of a lot of people all singing together. Communal fun is good. I don’t think it has to be mindless to connect with large masses. I hope not anyway. We’d like to ideally engage the feet and the brain at once.

First album you bought? Would you still listen to it today?

Pixies, Bossanova. Most definitely, yes.

Last but not least, why is collaboration better than competition?

I don’t know if it is or not. I see it could lead to personal animosity and forms of mentalism but at the same time two football teams collaborating wouldn’t be too exciting. (Laughs). There’s probably a difference between friendly competition and one spurred on by deep psychological flaws and a need to be superior.

Interview by: Jasmine Phull

Twitter.com/j_fool

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