Sea Ghost. — Photo courtesy of the band.

There are so many bands popping up in Brooklyn (and Bushwick specifically) that it’s very easy to get lost in the flood. For every Beach Fossils, there are ten or twenty bands with the same influences that get washed away in the ocean of blogs. But Sea Ghost (see, the water metaphors were valid!) are a new Brooklyn band that don’t seem to care too much about the “scene” or “fitting in.” Led by LA transplant James Higgs, Sea Ghost take a more classic direction than a lot of bands popping up today, focusing on classic melodies, clean strummed guitar tones, and energetic, jazzy drumming.

I talked to Higgs (full disclosure: a good friend of mine) about his project, Sea Ghost’s upcoming LP, and his opinion of NYC vs LA. Enjoy!

BBK: James, hello! How are you doing today?

SG: Doing well.

BBK: So, let’s talk a bit about Sea Ghost, your band. Tell me a bit about how the project originated — I believe it started up as more of a solo project, right?

SG: Yes, that’s correct. I initially started playing guitar in my room through a loop pedal to make guitar parts. Later on, I met a drummer and we would jam every weekend as a “band.” With Pat Curry drumming, I was able to put those guitar parts in the context of a pop song.

BBK: From what I’ve heard of the music, there seems to be much more emphasis on clean tones and complex chord progressions compared to what a lot of other Bushwick based bands are doing. Was that a conscious choice? Has living in Bushwick effected the direction the band has taken?

SG: It wasn’t really a conscious choice. That is just how I write songs. I start ideas out on an acoustic guitar and take it from there. I do like clean tones though; I feel that with a lot of effects you can sometimes limit your songwriting ability in the sense that you’re relying completely on timbre rather than good melodies, chord progressions, et cetera. I feel it’s good to limit yourself sometimes.

I’m sure subliminally Bushwick has an influence on us but I wouldn’t say Sea Ghost sounds like Bushwick at all (whatever that sounds like).

BBK: How long has the band resided in Bushwick?

SG: Well, I’m the only member of the band who lives in Bushwick. Pat (drums) lives on Beverly Road. Chris Ibrahim (keys) lives in Jersey. Mike Donnelly (bass) lives in Harlem. I’m the Bushwick influence if there is any.

Actually, Pat lives in Park Slope now.

BBK: Ok, I see. You guys released a free EP, and are set to release a new LP. How did the two differ? The EP seems a bit more stripped down. Was the recording process similar for both?

SG: Well, the EP was free. That deal is long gone.  The EP isn’t as hi-fi as the LP. The recording process was the same for both releases. The songs on the EP were just beefed up a bit and put on the LP version.

We re-recorded drums on the old EP versions and put them on the LP. Paul Gold at Salt Recordings also mastered the LP whereas the EP was not. Overall, the LP got a lot more attention production-wise.

BBK: Gotcha. How did you go about recording the album?

SG: It was what I call guerrilla recording. I work as an intern at Seaside Lounge Recording Studios. I would go in on slow days and track, track, track.

Usually my drummer wasn’t available to come in so it would be me tape op’ing and recording. I’d hit record, go into the live room, fuck up a part, go back into the control room hit stop, re-record. It was very unorganized.

BBK: Sounds like quite a feat. Did you record most of the instruments on the LP yourself then?

SG: I recorded everything except drums and some percussion. Pat did those.

BBK: Did working at Seaside effect how you approached the recording at all? How much recording experience did you have before starting there?

SG: Oh yeah, from working there I learned a lot about recording in a proper studio. Honestly, a lot of the recording process was me actually learning how to use all the gear!

I had a good amount of experience doing home recordings but it’s nothing like recording in a studio. In the studio you can be much more effective as the whole space is catering to the nuances of having to make a record, i.e., iso booths, guitar stands. The little things make it so much easier.

BBK: Right, of course. Did you work on any sessions at Seaside that were particularly memorable? They’ve had some big names come through.

SG: Well as I’m doing this interview, Okkervil River is in the other room doing some vocals. Obviously, I don’t care! Joking.

Memorable? The new New Pornographers stuff sounded cool. There’s been so many good bands come through, so many funny people but it’s hard to pinpoint one.

BBK: Oh, wow. Cool.

SG: We were supposed to get Moby in a few weeks ago but he opted out. He’s reunited with his high school punk band.

BBK: Oh, I hadn’t heard that.

SG: Yeah, the Ted Leo sessions were fun. He’s a funny guy.

BBK: What do you think is the hardest part about being a band in Brooklyn?

SG: No one gives a shit about your band. Even if you’re Grizzly Bear or someone like that, Brooklyners never let you know how much they love you. They need the upper hand in the relationship. Brooklyn is like that 30-something year old fox that goes to the bar and just talks on her cell phone. Everything is in jest, martini attached. At least that’s how I see it.

BBK: Haha. I take it you aren’t originally from Brooklyn, then.

SG: None of us are.

BBK: Where do you hail from?

SG: Los Angeles. It’s New York’s spoiled step-sister.

BBK: What brought you to NYC?

SG: I went to school at Hunter College. I met Pat and Mike from school. Chris is a childhood friend with Pat.

BBK: How do you see your band in relation to the Brooklyn music scene? Any bands that you feel camaraderie with? Is that something you pay attention to?

SG: I don’t think there is a scene. There are so many bands from so many different genres in Brooklyn that I feel like almost all of them are on the outside looking in at a MGMT party.

There are bands that we like and are friends with. I’m Turning Into are a great band. Soft Black is awesome as well.

BBK: Yeah, there’s such a diverse group that sometimes it doesn’t feel like there’s much solidarity. Well James, thanks for taking the time to talk!