At the intersection of music and movies, there is a band from Ohio.
These are their conversations on life, music, and more.
We Came From Celluloid
Claim This Podcastby Nicky P
5.0(1 reviews)
26 episodes
Updated Daily
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Podcast Overview
At the intersection of music and movies, there is a band from Ohio. These are their conversations on life, music, and more.
Language
🇺🇲
Publishing Since
8/21/2025
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Recent Episodes
July 1, 2026
Band Loyalty, Lyric-First Songwriting, and the Real Cost of Touring with Day Jobs With PsyDefects | We Came From Celluloid 020-G
<div draggable="false" data-pm-slice="1 1 []" data-en-clipboard= "true">Welcome back to We Came From Celluloid, where Brian and I talk about the movies and music that keep us sane, and occasionally stumble into conversations that remind us why we started playing in the first place. I'm Nicky P., here with Brian Pritchard, and this week we're joined by Dennis of PsyDefects out of Sioux Falls, South Dakota.</div> <div draggable="false"> </div> <div draggable="false">Here's how this episode came to exist: Puma Thurman is going on tour, Brian posted into a local Facebook group trying to find bands and venues in Sioux Falls, and approximately nobody responded. Then Dennis raised his hand. One guy. Out of hundreds. And that's how we ended up with a genuinely great conversation about what it actually means to keep making original music when the world mostly just wants you to play Creep.</div> <div draggable="false"> </div> <div draggable="false">Dennis plays bass and handles a lot of vocal duty for PsyDefects, a band that's been through the full arc of lineup changes, cover sets, six-year hiatuses, and finally, an album. Mr. Nothing dropped in October with 12 or 13 tracks. The origin story involves a mutual friend, a funeral where Dennis and his best friend from high school looked at each other and said "why aren't we playing together," and a lead guitarist named Terry who can hear a riff once and play it like he's been doing it his whole life. Dennis is a lyricist first, he's got 20 songs' worth of words written with no music yet, and the whole episode is a pretty honest conversation about what that creative process looks like when you're a full-time worker, a family person, and someone who genuinely can't not make music.</div> <div draggable="false"> </div> <div draggable="false">We go deep on the covers vs. originals debate, the tension between wanting to play your own stuff and knowing that a three-chord banger gets the crowd when a 10-minute prog epic gets one guy in the corner nodding. We talk about Leonard Cohen, Pump Up the Volume, Kuffs, and the moment Brian's future daughter-in-law saw Christian Slater on Curb Your Enthusiasm and said "isn't that the guy from Kuffs?", which is maybe the proudest Brian has ever been in his life. We talk about art inspiring art, what Hollywood is missing when its writers haven't lived enough life to have a lens, and why sometimes the most honest place a song comes from is grief.</div> <div draggable="false"> </div> <div draggable="false">Dennis also tells the story behind a song called "Olive Juice," which I will let him explain himself, but I will say it is the best etymology of a song title I've heard in a while.</div> <div draggable="false"> </div> <div draggable="false">What We Cover:</div> <ul> <li draggable="false"> <div draggable="false">How Brian cold-called his way into a Sioux Falls tour date and Dennis was the only person who answered</div> </li> <li draggable="false"> <div draggable="false">Side Effects, Mr. Nothing, and what it takes to finally get an album out</div> </li> <li draggable="false"> <div draggable="false">Lyric-first vs. music-first songwriting and why having a notebook full of phrases is the best collaborator's superpower</div> </li> <li draggable="false"> <div draggable="false">The Creep argument, covers, crowdpleasing, and when the "artistic integrity" position costs you the room</div> </li> <li draggable="false"> <div draggable="false">Leonard Cohen, Pump Up the Volume, and a year-and-a-half hunt for a song that wasn't on the soundtrack</div> </li> <li draggable="false"> <div draggable="false">Art inspires art, the Tom Savini documentary that made Brian want to go make something immediately</div> </li> <li draggable="false"> <div draggable="false">Writing songs about grief and why sometimes catharsis cuts out mid-chorus</div> </li> <li draggable="false"> <div draggable="false">Olive Juice, the friend zone, and a brother who wanted the song to sound sadder</div> </li> <li draggable="false"> <div draggable="false">Why it's worth going on tour even when it's objectively a terrible financial decision</div> </li> </ul> <div draggable="false"> </div> <div draggable="false">If you're a musician who has ever had to argue that playing a song the crowd actually knows is not a moral failure, this episode is for you.</div> <div draggable="false"> </div> <div draggable="false">Subscribe, rate, and review We Came From Celluloid wherever you listen. And if you're in Sioux Falls, come out and see us.</div>
July 1, 2026
The Pre-Tour Send-Off, Peak Performance Philosophy, and Loving Being the Weak Link | We Came From Celluloid 020
<div draggable="false" data-pm-slice="1 1 []" data-en-clipboard= "true">Welcome back to We Came From Celluloid, I'm Nicky P, here with Brian Pritchard, and this one's a little different. This is the last episode we recorded before Puma Thurman hit the road for our first real tour. And I don't say that as a throwaway detail. By the time you hear this, we're already different people. Whatever version of us is in this recording, that's the old guys. The pre-tour guys.</div> <div draggable="false" data-pm-slice="1 1 []" data-en-clipboard= "true"> </div> <div draggable="false">So what do two guys talk about when they're on the edge of something they've never done before? Apparently a lot.</div> <div draggable="false"> </div> <div draggable="false">We start with the practical stuff: tour prep, backup gear, why I insist everyone bring two guitars so nobody has to retune mid-set in a city where we don't know a single person. Brian bought drum cases for the first time in his life, and the conversation about why, about how the stakes feel different when you're away from home base, away from your tribe, turns into something bigger pretty fast.</div> <div draggable="false"> </div> <div draggable="false">That something bigger is the idea Brian dropped about the best-band-in-the-world feeling. That moment on stage when you're locked in and you just know it. Not arrogance. Not competition. Just execution. Brian felt it at the Dome show. I felt it last Friday when Joe Petrick and the rest of those guys apparently had to follow us and knew it. And the thing is, when you play like that as an opening act, you make it better for everybody. You set a bar the whole room has to reach for. That's not ego. That's craft.</div> <div draggable="false"> </div> <div draggable="false">From there we go deep on what actually creates that feeling, and it's not talent, it's pressure. Brian tells the story of being tapped to play in Third World Leader, being a drummer who'd put out records and played hundreds of shows, and suddenly being the weakest person in the room. He almost backed out. Instead, he had what he now calls the greatest creative achievement of his life. I've been doing the same thing my whole career, seeking out bands better than me on purpose, because I love the feeling of having to earn my spot. Hot City Symphony, progressive rock tribute, me learning time signature music I had no business attempting. That's where the growth is.</div> <div draggable="false"> </div> <div draggable="false">Which leads to maybe the best back-and-forth of the episode: Brian making the case for pleasure for its own sake, and me explaining that for me, the effort is the pleasure. The dopamine isn't in the Starburst jelly beans. It's in finishing something. Pushing to the next level. Breaking through. Brian calling this philosophy a bummer before eventually admitting it resonates more than he wanted to.</div> <div draggable="false"> </div> <div draggable="false">We also get into substances and touring (neither of us exactly party animals at this point), travel personalities (Brian's a Manhattan-seven-times guy, I don't understand vacations as a concept), and pat Smear's decision to leave the Foo Fighters to spend time with his kids, what it looks like when someone at the big show decides a traditional life sounds better.</div> <div draggable="false">And then we sign off. "This is the old me," Brian says. "The old me signing off."</div> <div draggable="false">By the time you're listening to this, we've either figured out what we're made of out there on the road, or we've got some interesting stories.</div> <div draggable="false"> </div> <div draggable="false">Either way, come find us at a show. We'll be the band that already played by the time you get there.</div> <div draggable="false"> </div> <div draggable="false">Subscribe, rate, and review We Came From Celluloid wherever you listen.</div>
June 27, 2026
Tribute Bands, Imposter Syndrome, and Getting Out on the Road With Tlalok Rodriguez | We Came From Celluloid 019-G
<div draggable="false" data-pm-slice="1 1 []" data-en-clipboard= "true">Welcome back to We Came From Celluloid. I'm Nicky P, here with Brian, and this week we've got our Milwaukee connection on the pod, Tlalok Rodriguez, the guy who single-handedly made our Wisconsin tour stop possible by doing something apparently rare in this business: seeing a post and actually doing something about it.</div> <div draggable="false" data-pm-slice="1 1 []" data-en-clipboard= "true"> </div> <div draggable="false">Tlaloc is a Milwaukee-based multi-instrumentalist operating under the band name Tlaloc (spelled T-L-A-L-O-K, because his mom wanted to be hip), and the guy has his hands in more projects than most of us have had opinions about music. There's his original material, somewhere in the R&B/trip hop/indie bossa nova zone, a Latin band called Los Mipoteros, a Bee Gees tribute called Night Fever MKE that's actively searching for a better name, a Sublime tribute, a Grateful Dead tribute, a Nirvana vs. Green Day situation, and something he does with a saxophone player in his mid-60s that honestly sounds like the vibe I've been chasing for years. He also bartends, books music at a venue, runs a farmers market operation, and apparently has the entire Milwaukee musician Facebook group infrastructure memorized. The man contains multitudes.</div> <div draggable="false"> </div> <div draggable="false">What starts as logistics for our upcoming Milwaukee show, Who's playing? Where are we crashing? Is there a jam session at the end? turns into a real conversation about what it actually takes to build a music life from the inside out. We talk about the difference between being a hired gun and having a project you're trying to push. We talk about the grind of recording, the album that's been "coming out" for a couple years, the Christmas record that got used even though the vocals were peaking because sometimes you just gotta use it. We talk about how the best musicians Brian knows approached recording the same way Tlaloc does: just show up and be the talent. Let the engineer do their job.</div> <div draggable="false"> </div> <div draggable="false">There's a detour into imposter syndrome when I admit I ghosted a perfectly good Craigslist sax player because he had actual pedigree and I panicked. Brian tells the story of a classical trumpet-and-violin guy who just wanted to rock out with some dudes and found exactly what he was missing. Tlaloc assures me the jazz community is more reachable than I think. He's already offered to find me a sax player in Cleveland. I'm choosing to believe him.</div> <div draggable="false"> </div> <div draggable="false">We also cover: the Blues Brothers defense (the strategy of playing whatever three country songs you know when you accidentally book a gig at the wrong bar), genre snobbery in jazz versus metal and why the most dedicated practitioners of any craft become the most opinionated about it, and the name "Big Salty Tear," which is now the only Sublime tribute concept that matters.</div> <div draggable="false"> </div> <div draggable="false">At the end, Tlalok plays us an original , a live recording under his Burns to the Soul-adjacent sound, and it's a good reminder of why we do this whole thing. The music is real, the scene-building is real, and the people who hold it together are usually the ones you find through a Facebook post at midnight.</div> <div draggable="false"><a draggable="false" href= "https://tlalok.com" rev="en_rl_none">tlalok.com</a>. Go find the man.</div>
26 total episodes available
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