COOL KIDS
#6: GNARCISSISTS
★★★★★★★
Punk rock is a word used by dilettantes and heartless manipulators about music that takes up the energies and the bodies and the hearts and the souls and the time and the minds of young men who give what they have to it. And give everything they have to it. It’s a term that’s based on contempt. It’s a term that’s based in fashion, style, elitism, satanism, and everything that’s rotten about rock ‘n’ roll.
– Iggy Pop
We all wanna live in New York City
We all just wanna get by
We all wanna live in New York City
We all just wanna get high
– Gnarcissists, “We All Just Wanna”
I still have my college essay saved on my computer. I’mma drop one paragraph here for the next few columns until it’s over: Sitting in the back seat of my babysitter’s Toyota Prius, I had no clue that my soul was about to withdraw from its 4th-grade, listens-only-to-Hannah-Montana self. As violins strummed through the CD player and began a song about a walrus, I was suddenly flung into the ageless realm of psychedelic submarines and mystifying lyrics. That night, I found myself listening over and over again to a self-proclaimed “egg man,” trying to follow a story that both confused and inspired me.
Gnarcissists is
Matthew Orr (vox)
Matt Tillwick (lead guitar)
Jerome Peel (drums)
Baby Delgado (bass)
Ben Arauz (guitar)
James Hernandez (guitar)
Newest release: Gnarcissists, debut album, November 7, 2025
★★★★★★★
Marisa Whitaker: I’m severely hungover.
Matthew Orr: Does anyone wanna do the Anchored Inn burger special after this? They have a lunch special.
Matt Tillwick: You just said you’re hungover and your stomach hurts from Taco Bell. Now you’re gonna eat a greasy bar burger?
MW: Is this the original band lineup?
MO: We’ve been playing for about a year or two. Though there’s been a lot of change over the years.
MW: You’ve been in it from the start, right?
MO: Yep. Me and Jerome. We’re founding fathers.
MW: I love the album. I feel like it’s one that I’m gonna like for a long time. It’s a compilation of old stuff and new stuff. Did you re-record the older songs?
MO: Some of our earliest songs are on it. Everything on the record was re-recorded. We did it over a week.
MW: How long have you been working on it?
MO: We wrote a lot right before recording. We realized we needed more and then made it pretty quick. About half the album is new.
[Baby walks in.]
Baby Delgado: Hey, nice to meet you. Have we met before?
Ben Arauz: I think you’ve all met Marisa in one capacity or another because she’s been at a lot of shows and events.
MW: I’ve actually only seen y’all play one time, at the AC15 show.
MT: Was that at the sword dojo?
MW: Dad’s Dojo. That was so fun. I remember the energy was so good. My friend Truman was on my other friend’s shoulders and was being crowd surfed the whole time.
Jerome Peel: I thought she was on your shoulders at first, Matty. I was like, I don’t think that’s good for your heart.
MW: When I was listening to the album way after that show, when “Counterstrike” came on, I remember y’all had played that at that show.
BA: I played that song one note up from everyone else. It was like Captain Beefheart.
★★★★★★★
MW: I remember asking Ben after the AC15 show, Why are there three guitars? And he was like, We like to make noise.
MT: Two is fun …
BA: But if you can have three, have three.
MW: I would think it’s harder with a bigger band, on a lot of fronts, but y’all seem to like it.
MT: Oh, yeah. When everyone comes in together, it’s powerful.
MW: Has it always been a big band?
MT: Every year, we get one to two more.
MO: Someone joins the circus.
★★★★★★★
MW: Do you play a lot? Are y’all picky with gigs?
MO: We’re picky, I’d say.
MT: We like playing shows we’d go to. And if everyone’s in town, we play.
MO: We try to play as much as we can. Going back to living in New York, it’s hard to justify playing on a Wednesday at a small venue that we have to take off work for. There are six of us; it’s hard to wrangle. We try to do as much as we can. Getting this record out was a process. Doing that and playing shows around it was fun. Hopefully, we will write some new stuff and record it soon.
MW: The Strokes’ former producer helped y’all with the album. What was that like?
BA: Gus. He’s perfect.
BD: It was fucking intense.
MO: We almost lost Rob.
MW: Was he hard to work with?
MO: No. Not at all. Quite the opposite.
JP: He was a breeze.
BD: He has these beautiful blue eyes you lose yourself in. That was the hardest part about working with him.
MO: You’d do a take, and you’d see him staring at you, smiling. And you knew you did good. Or you couldn’t tell.
JP: Or he makes you do it again. What happened to Rob? You fainted or something?
MO: He made him do that bass riff from hell.
MT: He did over a thousand takes of a bass riff and then passed out.
★★★★★★★
MW: And y’all have opened for cool people, too.
MO: We have quite a nice resume. Not to toot our own horn. But we’ve played with a lot of cool bands, and a lot of rock greats, like Walter Lure, The Dead Boys, Richard Lloyd, The Voidz, The Black Lips, James Chance, and Keith Morris’ band Off, which was the worst show of our lives. We were the bread and butter for the older musicians.
MW: Do they reach out to you guys?
MO: Yeah. And then they usually die a couple of months later.
MW: How did they say they found your music?
MO: I don’t know, probably Facebook.
MW: Did any of them give you good advice?
MO: Richard Lloyd didn’t like us.
BA: I went up to him and said, I play in Gnarcissists, I’m really happy we’re playing with you tonight. And he looked at me, he said, OK, and walked away.
MO: They asked us to play again. I guess they liked us.
JP: Didn’t y’all play with The Butthole Surfers?
MO: Oh, yeah, that was cool. It was the lead singer playing with the School of Rock kids at Market Hotel. That was fun. And when we’ve played SXSW, there were big bands on the lineup, and we’d hang with them.
MW: Y’all have played with these bands y’all grew up listening to. What was attractive about music when y’all were kids? Were there certain bands or people that y’all admired and made y’all want to become musicians?
JP: Silversun Pickups.
[Laughs]
MO: Music videos. Music in general was always the cool thing.
JP: If I keep playing and keep going, Matt will let me join Navy Gangs.
MW: I’ve never heard of Navy Gangs.
MO: You would love them.
MT: Off the record.
BA: Before I knew Matt, I’d listen to Navy Gangs when I was a teenager. I didn’t know he was in the band until after a year of knowing him. He never talks about it.
JP: They’re very underrated.
MO: Matt’s very humble.
MW: Are they big? Am I out of the loop?
MT: I have over a thousand plays on Spotify, so.
[Laughs]
MO: Music is cool. It’s sweet. It’s a great form of art.
MW: What are some of your favorite music videos?
MT: Basement Jaxx, “Where’s Your Head At?” I just had this conversation.
JP: What’s the Interpol one with the puppet? I think “Evil.”
BA: “Virtual Insanity.” That’s a great video. Anything with choreography.
MO: Safety Dance, or maybe a Beastie Boys video. Anything Spike Jones does is great.
BA: What’s the Björk one with the robots?
MW: Back then, videos were so much cooler. Whether they had a bigger budget somehow, or they were just cheaper and easier to make.
BA: They were so much more important. It was how you’d get people to listen to your songs.
MT: It’s so much easier now, so it’s less of a craft.
MW: Who had the idea for the “Dr. Ed” video? It’s funny.
JP: Matty. It’s his magnum opus. He’s a NYU film school graduate.
MO: I did film in school, briefly. It was my idea for the video. It was inspired by Franken Hooker, a movie I like.
MW: The “Broadway Baby” you used AI, right?
MO: This guy in England, kingkong2k11, did it. We were in the VHS era of AI then; it was still disturbing and quite off. It’s cool. I like music videos and storytelling. It’s important. Music can do it, too. A lot of people don’t do it, but it’s cool when you do. A good video and a good story and good characters is all fun.
★★★★★★★
MW: The album is a compilation of songs from the band’s beginnings through now.
JP: The songs change over time. As we add new members, they change. People have their own styles. The songs have evolved. So we wanted to rerecord them because they’ve changed so much.
MO: Get a lil freaky.
JP: “Celebrity” is a perfect example. There’s a whole new minute-long part to that song.
MW: What’s the oldest song?
JP: “We All Just Wanna”
MO: 2018 is when our first EP came out.
MW: Did y’all want to do an album sooner?
[Laughs]
MO: Yeah. We did. But it takes us a while. The pandemic.
MT: It takes us about 10 years to get something done.
MW: How long did it take to put together the album?
MO: We recorded it all in that one week, but leading up to it, we were writing a lot.
MT: We had everything that was already out. But then we were like, Oh shit, we gotta make some more.
MO: We did it pretty quickly. Half of the album is new.
MW: I wrote them down: “Dr. Ed,” “Daisy,” “Cure,” “P.L.A.,” “Broadway Baby,” “Hk Ultra,” and the “Intro.”
BD: What’s the Hk Ultra? Hare Krishna?
[Laughs]
MO: Yeah.
MW: I didn’t know what it meant. I thought maybe it was a beer. When I Googled it, I found out that it’s a Samsung watch.
MO: I thought of MK Ultra.
MW: The record’s comprehensive but has a through-line – narcissist, fentanyl, celebrity; very anti-that-stuff, and very New York. Especially “We All Just Wanna.” I dig it. Do you aim for themes or just write from experience?
MO: A combination of both. Some are real stories or funny events. A lot of it is making fun of shit.
MT: A lot of satire.
MO: Yeah, holding a mirror back up to the fucking world.
MO: Masochistic, social commentary, a little bit. The newer stuff is that too. But they’re a bit more structured, more like pop songs, which is fun.
MW: Yeah, a little more pop punk. I feel like “Cure” is an outlier in that way.
MO: That one’s a wild card, yeah.
MT: It was supposed to sound like The Cure. And then we ended up just naming it “Cure.”
JP: There are so many people in the band that there’s a song for everybody: Rob wanted a Cure-like song; Tilly likes the ones he can go wild on; James likes heavier metal stuff. When we jam …
MO: It’s a melting pot. It’s gotta a little bit of everybody and everything.
James Hernandez: Albums should have that.
MW: And everyone here worked on it?
BA: Except me.
MO: Ben was just a spirit. He’s on the cover.
BA: I was just a baby back then.
MW: The sequencing is great. What would you say is the biggest change from the early songs to the new songs?
MT: We’re technically better now. We can write more technical songs and have technically more fun.
★★★★★★★
MW: How did you come up with the album cover? Did you have a vision in mind, or did someone just draw it for you?
MO: I asked our friend Dan to do it.
JP: Say his last name.
MO: Krupin. He’s a painter based in Greenpoint. He used to manage Black and White. That was a bit of a hangout spot for us for a while, but it closed. We all wanted a cool cover, and I had this picture in my head, and Dan delivered and then some.
MT: We were looking at a lot of fantasy artwork at the time.
MW: Is there a vision of how you want the band to look and come off? Through the album cover, merch, your visual identity.
MO: With the album cover, like how we were talking about the songs earlier …
MT: A hodgepodge.
MO: I thought it’d be funny for us to be in a hellscape version of New York that’s destroyed. And we’re still all friends together – a ragtag, skeleton crew.
MO: A psychologist’s wet dream.
★★★★★★★
MW: Are y’all signed?
MO: No. We’re fully independent.
MW: Do y’all want help?
MO: I thought a label would help us put out the record. We talked to a few different ones. Then a year went by. And then another six months or a year went by. And then we were like, we just gotta put this out. I would say it felt good to put it out on our own, but it cost a lot of money and time. But we did it.
MW: I know a lot of kids and bands in town without a lot of knowledge about the industry and how the behind-the-scenes all works. It doesn’t matter sometimes, but it would be more beneficial for kids to know that side of things.
MO: Ben’s in a couple of commercially successful bands that are intertwined in the industry. He gives us a lot of advice and resources.
JP: People will have resources and could help other people, but won’t. I was just DMing a dude, asking how he was doing, and the moment I mentioned the band, he went silent. This dude could really help us, but so many people refuse to help. It really sucks when people are gatekeeping.
MO: When we book shows, it’s nice to get a younger band on the bill. People did that with us when we were first starting out. You gotta be kind and have fun.
MW: Y’all have a big gig coming up. At Brooklyn Steel?
JP: Shoutout to Fcukers for putting us on. That’s someone who came through.
BA: Jackson’s awesome.
MO: Fcukers is cool. And untitled (halo). I haven’t listened to them yet.
MW: They’re fun. I produced a show of theirs at Jean’s. They’re really sweet kids. I really like their sound. The whole bill is sick, and every band has a pretty different sound, but it works together.
MO: That’s something else that doesn’t happen much anymore, that is cool, a mixed bill.
BA: That should be the next thing again, mixed bills. I would go to a show if it were a mixed bill. You don’t want to go to one show where all the bands sound the same.
JP: Did you see recently, there was a metal lineup, and Juicy J played, and everybody went crazy. People went more crazy for Juicy J, even though it was a metal crowd.
BA: That’s awesome.
MW: I didn’t see that, but that’s so fun.
MT: That’s sweet, but it can be so risky, though. It’s sad when everyone leaves.
MW: Yeah, that would be the fear. The bill at the AC15 show was pretty mixed.
MO: That was awesome. An eclectic bill. Shoutout Nasa.
BD: She does such a good job.
MW: She’s the best. She’s someone who helps around town.
MT: She cares about community, the scene, music, and art.
MO: That’s what it’s about.
MW: I wish more people cared enough to do it. Most of the places I write for, there’s only a handful of writers, like at AC and The Deli.
MO: Deli Mag is cool.
BD: That guy Jason, who runs The Deli, I love that dude. I’ve had a few lunches with him. He’s friends with our friend who mastered the record. He’s been doing it forever.
MW: He cares so much. There are a lot of people doing work for free. Some take credit and don’t do anything. But, of course, lots of people are doing hard work out of love and passion. In New York, there are lots of phonies …
MO: Lots of phonies.
MW: Lots of (g)narcissists … but I feel like you kind of have to be a little bit of a narcissist if you move here.
MT/MO: Yeah, I would agree with that.
BD: You walk that fine line where it becomes genuine confidence over ego.
MO: Care about yourself. Self-care.
★★★★★★★
MW: Y’all are working on an EP?
MO: Yeah, we got some ideas. We’ve started on it.
MW: What do y’all want to do?
MT: We’re doing whatever we want.
MO: No rules, no regulations. We’re out of the shadow of the past, so this is new ground. And this is the first time making music with this lineup. That’s the biggest change. We have an opportunity to record at a nice studio with a nice producer and a nice other producer. Hopefully, we can get some songs together and get it out soon.
MW: Will it be an extension of the album? Or a full left turn?
MO: We’re gonna get in the car and see where it goes.
MT: Ooh. Nicely put. Woo!
MO: Some of the riffs we have now don’t sound like the older stuff, but at the same time, we have a sound going into it.
MT: It’s gonna be like MGMT. No one is gonna like it at first.
MO: And then it’s gonna be a modern classic.
MT: Then it’ll be better than the first one.
★★★★★★★
MW: Y’all have been here for a long time. What would you say New York City affords artists? And what is the flip side? How can it hurt artists?
BD: The challenge is being here and doing it. It’ll push you if you really want to do it or not. It’s a double-edged thing. Good and bad.
MT: Well put.
MO: It’s expensive. It’s hard to survive. Most people who are able to be artists in New York City have resources …
BD: There’s a good communist thing here where most musicians are bartenders, so they drink for free.
[Laughs]
MO: People try to take care of one another.
MT: New York is good. There are so many people here.
BD: There is good community here.
MO: Lots of people, lots of places. It’s still New York City, which is awesome, but it’s tough. And it’s getting harder. Places like this studio still exist. If you lived in Alabama, you’re not gonna have a massive warehouse with shared studio spaces. You could just buy a warehouse. [Laughs] But you won’t have the community. I can rag on venues, but at the end of the day, it’s still fucking nice that something is happening every night of the week. You can still see music, though live music in general has changed.
MW: People don’t go to shows as much. Or it’s harder to get people to come to shows.
MO: It has to be an event. It’s expensive.
JP: Shows are like $30 now.
MO: Before COVID, everyone would go to, like, whatever venue on Friday. You saw whoever was coming through town or playing.
BD: It was pre-Internet. You would go to a cool place, and it didn’t matter who was playing. Now you find something on Instagram.
MO: A lot of big bands are starting to not tour through New York anymore, which is bizarre. It’s expensive, tough.
MW: I’m from Dallas, and when I go back home and hang around all the new kids, I’m like, you don’t know what it used to be. And I know kids, of course, say that about here. We all like to romanticize what was, be nostalgic for the ’90s and CBGB days. But I do think we’ll look back and think, it’s still fun now.
MO: We’re still doing it, just trying to roll with the changes. We make our own little community and our groups of friends. We don’t have CBGB, but the community still exists, and people still want to make music.
★★★★★★★
MW: Who else plays other projects? I know Ben does.
MO: Rob has a solo project called Baby Delgado. He just released a single and video today. James and Matt play in Malice K. Matt sometimes plays in Navy Gangs. Lots of side projects, but this is a main focus for most of us.
MW: What are some of y’all’s friends’ bands in town? Or other bands you like?
JP: The Mystery Lights.
MW: I love The Mystery Lights. They’re so good.
JP: We also have bands we don’t like. Off the record …
[Laughs]
MO: I like Licks. Licks are cool.
MT: I like Clovis. I like Dan English.
MW: What do you think is missing in town?
BA: We need more DJs.
[Laughs]
MT: We need more people who want to make music just to make it, to have fun.
MO: The state of venues in New York is not sustainable for a lot of people. And the people who it is sustainable to, they’ll just quit after a year or move somewhere else.
BA: It’s cooler to start a band and then move here than to move here and then start a band.
MW: Everyone does things because they think it’s cool. But at the same time, some bands start because of that and …
BA: You should only play music if it’s cool.
MW: Some bands are really cool, but sometimes it doesn’t always come off authentically.
BA: Authenticity is the most important thing.
JP: A lot of people might say, posers suck. But I would never even care if someone was a poser. There needs to be more bands, because it helps the whole scene. Whether you’re a poser or not, we need more bands.
MO: There are no scenes anymore. Not even in just music, but in culture in general. People are moving here and making the city change for them, vs. coming to escape whatever or let the city change them. It’s weird.
MW: What do you mean?
MO: Especially with social media and the internet, there’s no need for subcultures or communities anymore, since everyone has access to them 24/7. For venues, your options are to play Tattoo Chili’s or fake Pyramid Club. People play there once a year to like validate themselves as musicians, then go back to flexing their job and being a pervert at Clandestino and the comfort of their $5,000 a month Chinatown apartment, and that’s it.
MW: There are so many pockets of bands and friend groups, and those seem to thrive. Y’all seem to be hanging out with the same people and bands, too.
MO: Yeah, it’s just changed a bit.
JP: Our band’s been going on for 10 years. We’re not a new band.
MW: There are so many new ones that are under a year old that I know. And I know many others like y’all in the 10+ year range.
MO: Native Sun is a good example. We started around the same time as them. And Surfbort, when they lived here, it was a circuit between Baby’s, Alphaville, places like The Glove. Baby’s has changed. Silent Barn is gone.
MW: I see what you mean about venues being so integral to scenes. It’s hard not to reference CBGB when that was the spot. It brought everyone together, even though there were other venues and other scenes.
MO: People are trying to do that now. Like Nightclub 101. TV Eye kinda. Do people hang out there as a communal space?
BA: I think people hang out there.
JP: Remember Cabin? All the cool bands and cool kids hung out at Cabin. And the door guy wouldn’t let you in unless you were wearing a leather jacket and came in with a guitar case.
MW: I never went to Cabin.
MO: Matt fought Jack White there.
MW: What happened?
MT: We’re friends. We’re good. It’s all good.
MO: Enough about venues. I mean, even the punks are playing in parks again. Which sounds cool, and then it happens, and you’re like, I wish there was a place we could actually go.
MW: What’s an ideal venue? There should be more underground ones.
JP: Venues want to give us, like, five drink tickets, but there are six of us in the band.
MO: Everything is a business. It has always been, but it’s hard to justify having people come and pay $20 for a ticket, then $15 for a drink, and expect them to have fun.
JP: We wanna play free shows and still get paid.
MO: The ideal situation is something cheap, inclusive, and not temporary. A lot of these places are temporary.
★★★★★★★
MW: Would you call yourselves a punk band?
MO: I would not. No labels, no trends.
JP: That’s edgy as fuck.
MW: Why anti-label?
JP: If you’re talking to someone who doesn’t know anything about music, what would you call our band, Matt?
MO: I think we’re a rock band. We write fucking pop songs. It sounds heavy; people mosh around. But anything’s punk, I guess.
MT: We’re party rock, punk.
MO: A lot of our songs can be structured like punk songs. We have some sad songs. Rock songs.
MW: I recently saw an interview with young Iggy, and he was talking about how he hated the punk label. When it was first coined, it was more of a derogatory term by suits towards heavier rock bands. You guys embrace the ethos, emotion, and culture of punk.
MO: That’s much more important than identifying as it. Anybody can buy a vest and put some fucking patches on it.
MW: Y’all get compared to Richard Hell a lot. Does that get annoying?
MT: Now that I’ve been in the Richard Hell cover band, I don’t mind.
★★★★★★★
MW: What keeps y’all going? Why continue with Gnarcissists?
MT: So we can keep hanging out with one another.
MO: Genuine friendship. We are real friends.
JP: The validation of others.
MW: Do y’all get sick of one another?
MO/MT: Yeah.
BA: No.
JP: Because you don’t hang out with us.
MO: It’s hard to get Ben around.
MW: You’re a busy guy. How do you keep track of all your bands?
MT: You need four or five group chats, with the same people …
BA: And you text the wrong ones all the time.
JP: We have a lot of fun playing. I don’t know about you guys, but it’s like the highlight of my week.
MO: It is a lot of fun. It’s genuine.
MT: You never know what you’re gonna get.
MO: Sometimes it can be bad. For better or worse, there’s a genuine connection or authenticity to us playing together. Sometimes it’s bad, sometimes it’s good.
JP: I’ll be in the back watching Rob or Ben or Tilly, and Matt the most, and sometimes I can’t play because I’m laughing so hard. Rob will start crab walking or whatever, or Matt will do something funny, and I can’t hold it together. I almost have to stop because I’m crying laughing. … Matt will freeze up before every show. Even if we’re playing to six people, that’s worse. He’ll throw up. I bet he even throws up before practice.
MW: Which Matt?
MT: I’ve never thrown up in my life.
MO: I throw up a lot.
MW: So, will you not throw up before Brooklyn Steel because that’s way more people?
MO: I’ll probably shit myself. My stomach just turned.
JH: Shows that require an actual soundcheck with monitors and stuff make it a lot more nerve-racking. Usually, it’s fine, because no one can tell what’s going on anyway.
MO: Yeah, we can hide the flaws. But at Brooklyn Steel, you’ll see all the warts and everything.
JP: Fucking warts.
MO: The sonic warts.
JP: Make sure you put Matt’s name next to that quote.
★★★★★★★
MW: What are the plans for next year?
MO: I’d like to travel with these guys. Go on a tour. A little one, even if it’s just a California run, or down South and back. We always get asked to do weird shit, like some festival in Jacksonville or something in Louisiana. It’s fun, but it would be fun to do something for longer together. A week or two together on the road. It’s probably all we could last for.
MW: Are y’all still working out any kinks with this lineup?
MO: Every day.
[Laughs]
JP: It keeps us on our toes. But we’re growing. You’ll see.
MO: We’re excited to make more music. We’ve all gone through crazy shit, as has everyone, but it’s nice to play music with your friends and try to stay alive.
MW: What are some of the weirdest gigs offered to you?
BD: Bar mitzvahs, weddings, children’s birthday parties.
MO: We played a show in Nashville for Doc Martens. We played in front of a massive LED screen that was showing …
MT: How many people weren’t there?
MO: No, it was showing giant moving chicken wings. When we were going down to SXSW, we stopped in Nashville to play this thing, and everyone was at the silent disco. It was one of those Kid Rock-like bars, with like six floors of music. We played with this band called Bully. We get there, and I think it was the president of Doc Martens who came over, or some exec, and he was like, Get whatever you want. Everyone is here for you and has been waiting for you guys. I am a massive fan. We ordered one of everything on the menu. We ate everything, felt sick, and went out to play, and there were like 10 people. Everyone was on whatever floor the silent disco was on. After we got really drunk and rode those Lime scooters on the highway naked.
MT: Why are you saying we about all this stuff? All these things he did by himself.
[Laughs]
★★★★★★★
MW: What is the message of Gnarcissists?
JP: You can’t kill us.
[Laughs]
MO: No. Don’t say that.
BD: You can try.
MT: Double off the record.
MO: We’re just gonna keep doing what we’re doing.
MT: Seriously, don’t take anything too seriously.
MW: Never.
MO: That’s great, seriously.
MT: For serious. That’s our message.
MO: For serious. Why so serious? … Keep making music. Put out on EP. Maybe go on a little tour. Hope nothing bad happens.
JP: Survive.
MT: 50/50, the lineup will be the same next year.
MO: Usually, when we make something, or something good happens, something bad happens. Who knows what’s gonna happen this time.
MT: It’s almost time for my annual quit. I quit and then unquit from the group chat twice a year. That’s how good of friends we are.
★★★★★★★