The idea of being a “guitar band” in Brooklyn seems like a funny thing. As expansive as the scene is, with all sorts of offshoot niches, and as timeless as Tomorrow’s Hits feels, I can’t think of another local band that sounds anything like you.
MP: I’ve noticed that a few times when trying to figure out who to ask to play with us or something. I don’t think we really have too many people who fit in musically with what we’re doing.
There are some pretty good guitar bands here, though. There’s a band called Pampers, who are really cool. We did a tour with them. And Nude Beach. Chuck [Betz] is a great guitar player. There’s a pretty thriving hardcore scene that we were loosely affiliated with when we started, and all of those bands have some pretty cool guitarists. But a lot of Brooklyn bands do use it in a different way where it’s secondary. There aren’t a lot of big solos. It’s changed.
So how did writing and practicing work with you, Nick? You mentioned you aren’t living in Brooklyn anymore…
NC: I was at that time. I just moved to Long Island last year, so I’m close by.
Ah, ok. I thought maybe you meant you moved to LA or something.
NC: I mean, if I were cool, that’s where I’d be. [Laughs]
That’s another thing that seems to be happening a lot these days, though: bands who have been closely associated with Brooklyn for some time are relocating.
MP: It’s tough to survive as a band here. It’s so expensive—not just rent but to find a place for a five-piece band to play. You could move somewhere else and have a house and land and space.
Did having neighbors ever become an issue during the writing/demoing process in your apartment?
MP: Well, we played during the day. I live over a subway train, so it’s pretty loud anyway. We also stripped down a little bit by being there. We deadened the drums, played acoustic guitars, had smaller amplifiers. That’s a totally new situation for us. We typically have big, loud amps. That definitely impacted how these songs came out.