A few minutes into the Men’s previous album, New Moon, Nick Chiericozzi whooped “I got a rock band now and I’m on a roll!” It was a boast that would be out-of-character for this otherwise earnest group if it wasn’t utterly true on both counts. New Moon was the Men’s third winning record in as many years, and after years of sonic and personal instability, the quintet pooled their energy into being a rock band—one that liked their Neil Young loud, their beer plentiful, and their guitars in threes. A year later, the message on Tomorrow’s Hits is about the same for people who preferred to see them as they were on 2011’s Leave Home, revivalists of nearly every iteration of ugly and abrasive NYC guitar perversion, or as the comprehensive indie-rawkers of Open Your Heart: they’re a rock band and the roll continues.
As with New Moon and Open Your Heart, the Men’s accruing success lends to a welcome, optimistic outlook. There is an element of wishful thinking to Tomorrow’s Hits, from its self-deprecating title to the supposedly unintentional Big Star homage of the cover. This is the first Men record put together in a high-end studio, though we’re not talking about Capitol Studios; Bob Dylan and D’Angelo have walked through the doors of Brooklyn’s Strange Weather and so have DIIV and Total Slacker and O.A.R.. The horns that lace the shitkicking Stones rave-up “Another Night” are supposed to sound like luxuries, though Tomorrow’s Hits only sounds more polished compared to the rustic, cabin-tested New Moon. For all of their abrasive tendencies, Leave Home and Open Your Heart were loud and forthright and never sounded lo-fi.
Regardless of the slight upgrade in fidelity, Tomorrow’s Hits is much like what preceded it, with “the Men” serving as a fantasy camp construct for the record collectors making this record collector rock. “Get What You Give” has absolutely nothing to do with the New Radicals song, although it does share a taste for bubblegummy riffs and enthusiasm for music making: Chiericozzi literally gets out of bed only to chase the songwriting muse (on several other songs, they sleep in or don’t sleep at all). Even if the songs aren’t necessarily about them, the Men like to play up the transformative power of rock'n'roll, as “Dark Waltz” kicks off Tomorrow’s Hits with a litany of classic archetypes: a drummer with a badass, weed-dealing brother and mom buying your first guitar. This story begins in 1974, meaning that Chiericozzi would have to be nearly 50 for this song to be autobiographical.