#i had a feeling that their newest album was gonna head to this direction given how vastly different the prod is

[thewhizzyhead]

okay but AJR'S new song "Yes I'm A Mess" is one of their coolest concepts to date cause like, AJR has been hyping up the chorus for a long while now and from the frequently tiktoked verses "I could hate my guts when the sun comes up but I like myself like this" and the overall tune of the chorus, the most common impression on the song is that it's a song about the brothers "blowing up their lives" through partying and all that because they "like themselves like this". Basically it's your "wooo let's fucking party song" but in the perspective of them using it as a means of escape in a way. This impression is confirmed with the release of the full song whose lyrics include them wanting to quit their jobs and start over ("I'm in it now, I'm in it now, could I start again somehow?)

And of course, the theme of wanting to escae start over and becoming what you like yourself to be even if you make yourself into a mess is something quite relatable especially for young adults right? So that concept is good in it of itself but what makes this song so much fucking different IS HOW AJR FLIPS IT BY THE BRIDGE. By the time Jack sings "I could hate my guts when the sun comes up but I guess that's what this is. I like myself like this", there is a layer of acknowledged resignation that them blowing up their lives and escaping in the interest of starting over and "liking themselves" is something that's not that all good AND THAT POINT IS ESTABLISHED WITH HOW THE SONG ENDS - WITH THE OUTRO BEING ALL SLOWED DOWN AND REVERBED AS IF THE PARTY IS STOPPING AND YOU'RE COMING DOWN FROM YOUR EUPHORIC PARTY HIGHS.

This part especially took a lot of people off guard because they simply weren't expecting this shift of tempo to happen in a song marketed as a partying fun song and holy shit that's the whole point! The constant escape for a new and clean slate through indulging yourself into becoming someone you like to the point of self sabotage won't ever end up well - cause sooner or later, the tempo will turn slow, verses will be slurred, and the fun beat and whistles will stop. And for a band who prides upon having their songs be fun to dance to while being relatable in its woes of having to grow up and wanting to escape that, holy fuck is that an amazing point to make.

[marvel-ousnesss]

Hand in Hand

Pairing: Harry Styles x reader

Summary: Y/N and Harry the night of the Brits.

word count: 2806

masterlist 

A/N: I wrote most of this on my phone so sorry for any typos or mistakes. Lots of love 💜💜💜

“Y/N, Y/N!”

You approached the source of the storm of voices with a wide grin on your face. You still couldn't hide the thrill that your fans brought you, nor you could stop yourself from just hanging with them for a bit. You ambled through the red carpet exchanging smiles and posing for selfies until you reached the end of the path.

When you stepped inside, you greeted a few other people who had arrived at the event and went to freshen up a bit so you could pose for some photos.

You looked at yourself in the mirror and grinned widely. You felt like the girl singing covers in her room, yet here you were, attending your first-ever music awards as a nominee —with one of the best albums of the year under your arm.

As you made your way back from the restroom, you felt a presence behind you. Before you could turn around, they spoke.

"Well hey, fancy seeing you here.” Harry's voice was raspy, tinted with mischief.

You stopped, turned toward him with an amused half-smile.

"Right back at you,” you joked back. “Do you come here often?"

He exhaled a fruity laugh and smiled at you, finally allowing his gaze to drift down onto your figure and then back to up to meet your own. "You look… wow."

He made you blush with almost no effort but you were quick to cover it up, doing your best to get rid of the tension that seemed to constantly glide around the two of you.

"Well, don't you look 'wow' yourself", you smirked.

It had been going on for a few months now; flirting here and there, hanging out at parties, and even a few dates which you had tried to keep out of the spotlight. Nevertheless, headlines hadn't stopped gushing on about 'the newest, freshest face of the industry' and the 'beloved, eclectic Harry Styles.'

Looping your arm around his you subtly prompted him to continue walking toward the awaiting cameras, where you were headed before bumping into him. He obliged, smoothly guiding you through the crowd of crew members, press, and artists.

After a moment of hesitation, his hand traveled to the small of your back. When you felt his tender fingers against the silk of your gown, you lifted your head to look at him.

"So, what’s the game-plan for tonight?”

“Y’know how ‘t goes,” he explained. “Step one: performance, step two: get hold of all the tiny statues, step three: world domination.”

You laughed, but insisted, “really, how’re you doing; ready?”

Even if he seemed to be perfectly collected, you knew that tonight’s show had his head spinning. This was gonna be his first live performance of the year, and, to be honest, you thought it was admirable that he decided to go through with it after what had happened that weekend.

“‘m just a mess of nerves and excitement right now. Tonight needs to be brilliant.”

He didn’t wanna talk about Caroline’s death and you were ok with it, so you didn’t push on the topic.

“I’m sure it’ll be. The whole album’s just amazing; and, you know, the guy who sings it isn’t that bad either.”

He chuckled lightly, then sighed, “just hope I make it justice.”

You smiled, “you will.”

That’s when you found yourselves between the gray wall upholstered with logos and brand names and the army of photographers equipped with cameras of all sizes.

You both faced them and quickly displayed your best angles.

Offering a smirk as he fixed the collar of his blazer, Harry asked, “what ‘bout you, eyes on the prize, I assume?”

You turned around with grace, so that the back of your outfit was visible, then faced the cameras over your shoulder.

“Well, yeah,” you sighed dramatically. “But, to be frank, I’m not sure I’ll be able to keep them there with you looking so dashingly handsome.”

His eyes widened for a second and he let out a ringing laugh, his cheeks reddening slightly. It was truly a beautiful sight. However, no longer than a moment later, he concealed the gentle blush with a snort and a devious grin, which he directed at the cameras.

“I know ’m irresistible, love,” he smirked. “And I hate to tell you this, but I‘m ‘a be professional tonight, no funny business.” His tone was dripping with feigned seriousness.

"Your loss," you flipped your hair.

_______

You guided Y/F/N to the table where your team had been placed. Being honest, she was thrilled to be there with you, but also quite surprised that you had honored the promise you both made back in middle school. When you had first told her about your YouTube channel —after a fair amount of bugging on her part—, she had shown complete support and joked about being your date to the met gala. But, as the met was still clearly out of your league and you had missed the Grammys because of your mom’s birthday, here you were.

She already knew your manager so you introduced her to the rest of them before taking a seat, ready to enjoy the rest of the evening.

The first few minutes were full of laughter and conversation. When the event officially began, you watched the presentations with a gaping mouth and cheered hastily when every award was presented.

Before you knew, it was already time for Harry’s performance. You bit the inside of your lip when he climbed upstage, effortlessly rocking a lace jumpsuit that gave a deific, but simple air to him.

“Can’t believe you turned that down to bring me,” your friend whispered to you.

“Seriously?, my first ever-awards were something I needed to share with you, dork.”

“Awww, friend.”

“Aww”, you mocked, then hit her shoulder lightly. “Shush, let me listen.”

Everything happening on stage was truly breathtaking. You mouthed the lyrics as your gaze followed his every move. His eyes were full of stars and his voice was so flooded with emotion that it made chills run down your spine.

“I’ll rip his throat out with my teeth if he ever fucks up.”

Those words somewhat pulled you out of your daze-like state. Part of you wanted to ask her what she meant, but it was no use. For her, you were an open book, so you didn’t even try to hide how bad you had fallen.

Only with a glance your way, Y/F/N managed to catch the way in which your eyes twinkled when you looked at him and the way you blushed ever so slightly when she brought him up.

You tried to conceal the impact of her words with a sip of your drink, to which she responded with a smug wink.

The following half an hour or so went by uneventful. You nearly fainted when Lizzo performed, and it didn’t get better when you discovered she was but a few tables away from you, next to where Harry had been placed. A couple of categories where presented and the moment you dreaded the most arrived.

Celeste was flawless on stage, and you couldn’t be happier for her. Yet, as you listened to her song, your brows were glued in a frown and the corners of your mouth seemed to weigh a ton. It was time for the rising star award, and then came international female solo —to which you had been nominated.

You turned your head to the side when you heard the scratching of a chair against the floor, and offered a quivering smile to Harry, who had not so discreetly sneaked to your table.

“Hey,” he mumbled, taking hold of one of your hands under the table.

“Hey.”

Celeste’s speech, which ended before you would’ve wanted, was followed by Sporty’s introduction to your category. You tried to stay positive as the nominees were announced.

Y/F/N managed to dodge Harry and get her hand on your shoulder. She gave him an awkward attempt of a smile, then looked at you. “You got this.”

You nodded at her words but, not so deep down, you knew this wasn’t gonna be your year.

“I’m so excited, they’re all so brilliant,” Sporty began.

Harry’s grip tightened on your hand while she opened the envelope, and you barely heard him mumble, “come on.”

That’s when the winner was announced. Billie’s name echoed through the speakers across the place and your face fell for a few seconds.

You were quick to recover and clapped just as eagerly as you had for the rest of the winners, but the smile plastered on your face quivered a bit as you swallowed a wave of disappointment.

That changed when she got to the stage, that’s when utter pride kicked in. While Billie said a few words in acceptance of the award, Jack Whitehall made his way to the table and squeezed a chair between you and Harry. You let out a snicker as he clumsily tried to sit comfortably, then you moved a bit back.

He was given his cue by the camera guy and began.

“Congratulations, to Billie Eilish! Now, I’m just so excited to be here with this power couple who, for some reason, are not officially a couple yet.”

"Glad to have you."

His eyes drifted between the two of you, then settled on Harry. “Harold, you’ve been coming to the brits for 10 years. Not to make you feel old.” Then he looked at you. “Y/N, on the other hand, this is your very first time here.”

"Yup," you chuckled. "Total newbie."

“Sorry for the stock question, but how’s it feeling so far? Kidding, we don’t wanna talk about that, do we? I bet you’ve already got at least five rehearsed versions of the answer to that question.”

You snorted.

“Let’s get to the point here.“ Jack leaned closer to the table, to which you responded by mimicking his posture. “Ever since the ‘Up All Night’ era, when Harold here was just a lad with his little bow tie and a mop on his hair, he’s been a ladies man.

Harry scoffed and waved his hand dismissively.

"And, as such, he can only be paired to someone like you,“ he pointed his finger at you in mock accusation, “my dear Y/N, who has been leaving a fair share of lads and ladies’ hearts broken —including my own— ever since your very flare-up on that strange platform which somehow houses both Rebecca Black’s ‘Friday’ and your phenomenal album ‘Tears of Blade’. However, putting my broken heart aside, I wanna Know… you didn’t come as each other’s date, why’s that?"

Harry took a sip of his drink, "I tried, but she turned me down."

Jack faked shock. "Should I get my hopes up then?"

"Oh no, none of that."You shook your head. "I just brought a friend tonight."

His mouth opened in realization, then he smirked, wiggling his brows. "Not to intrude, but… a special friend of yours or a friend friend."

You threw your head back, laughing, then said, "Jack, this is Y/F/N. Y/F/N, Jack."

"Hi." She stretched out her hand, which the host gladly took.

“I like the way your hand fits in mine,” he gushed.

——————————

You struggled to stay awake in the car to your place, your eyelids didn’t seem to be obeying you anymore and your head was feeling too heavy for you to lift. Harry chuckled when he looked at you, bringing you closer to him so you could use him as a pillow. For the rest of the ride, he quietly hummed to the music playing and did what he could to ignore the feeling of numbness that was beginning to invade his arm.

You woke up when the car stopped and raised your head, scanning your surroundings. When your gaze met Harry’s, you smiled. He grabbed your purse and helped you out of the car, then you both took the lift to your apartment.

"Make yourself at home," you said, taking off your coat and shoes.

"Thanks, love." He hanged his blazer on the rack by the door, together with his vest and the purple pashmina that adorned his neck.

After changing into some sweatpants and a t-shirt, you made your way to the living room and found Harry, neck deep into your fridge. That's when you recalled you hadn't done any grocery shopping.

"Tell me if you find something, my fridge's just sad to even look at," you jested, standing behind him.

"S'not that bad. I mean, carrots, beer, tortillas, we could do wonders out of this," he scoffed, still looking for something worth looting.

After no avail, he closed the door.

"Or… we could order pizza."

He chortled, "Y/N/N, we ate like an hour ago."

"Is that a yes or a no?"

He sighed, letting himself fall to the couch in fake exasperation. "Woman, you’re a bad influence." Now, that was a yes.

You giggled when he ended up sitting on the floor, then taunted, "worried your Gucci suits won’t fit you anymore?"

"Ha-ha very funny." Harry settled on the floor, grabbing one of the decorative pillows.

"C’ mere," he patted the spot beside him.

"The couch’s right there."

"So?"

"So?" you mocked, "you come here." You clumsily sat on the couch, but he grabbed your ankle and pulled you to the floor. You let out a squeal but, taking advantage of the boost he had given you, managed to place yourself on top of him, caging his body between yours and the couch.

You were about to gloat, but he placed a hand on your waist and used the weight of his body to push you back, turning the cards.

"You got me where you want me, what are you gonna do?" When you spoke, your voice came out quieter than intended.

Harry's hand found the hem of your shirt and he began tugging it faintly, brushing your skin ever so slightly. He looked at your lips for a moment, then your eyes.

"'Ve got a few ideas-" his words were drowned by the doorbell ringing.

"Fuck," he groaned, head burying in the crook of your neck. Your fingers curled around his silky locks, then you mumbled, "I have to get up, you know."

He grumbled something else, but you pushed him off you.

You received the pizza and locked the door, proceeding to put the cardboard box on the marble counter. As you cut the tape with a small knife, Harry joined you in the kitchen. Stepping behind you, he placed his hands on your sides and a kiss on the line where your neck met your shoulder.

"Patience is a virtue, Harold," you teased.

"Don't care."He rested his head on your shoulder but his hands carried on with the feathery strokes.

Just then, you opened the box and swiftly turned around, giving him a quick peck before stepping out of his grasp.

"Help yourself," you instructed while grabbing two beers from the fridge.

After giving him one, you took hold of a slice and walked toward your previous spot on the living room floor. "Don’t know bout you, but I’m starving."

Harry followed with the box in hand, after settling once again, he placed the box between the two of you and grabbed the remote control.

You shook your head and scoffed, "all that wailing and you're just as hungry as I am."

"Not my fault that the bloody doorbell killed the mood." He took another bite.

Three beers per head later, as the credits of Dirty Dancing rolled up the screen, the pizza had been discarded long ago. You hummed to the credits song as your head rested on his lap, enjoying the feeling of his hands playing with your hair.

"Thanks for tonight," he mused.

"What d'you mean?" You adjusted yourself so that you were looking up at him.

"Just, you know, "he hesitated, finding the words. "You made sure it was a great night."

Your mouth opened in realization before you smiled, lifting one of your hands to his cheek. “That's what 'm here for." Then you sat up, and joked, "besides, 's only fair to admit that, for a business night, it was fun."

"You break my heart, love" he sighed, "all your business partners get after parties like tonight’s?"

"Nah," you avowed, "just the cute ones."

"I'm relieved, then." He pulled you to him by the waist.

You beamed, throwing your head back, "you're unbelievable."

When you straightened up, after your laugh died down, his gaze found your lips once more and he leaned in. "Can I kiss you?"

Your hands moved up to the back of his neck and, without a word, you pressed your lips to his.

Requests open!

[goodbysunball]

Quarantine Rock

Been a minute. I’ve been driven back to the ‘net by the unfortunate situation the entire world is in. I’m trying hard to keep occupied and keep cool instead of binging news and Instagram, and music, as always, has been a salve. Most of the below titles are just new to me, though not necessarily new - but we’ve pretty much all got the time to reminisce or to go back and search for buried gems, so here goes.

Tori Kudo, The Last Song of My Life LP (An’archives) / Tori Kudo & Kayo Makino, Ein Traum Für Dich LP (Black Truffle)

Tori Kudo’s always been on the periphery of my listening, but aside from the Mu Ji Ge 7″, this is really my first time diving into his extensive body of work. His newest solo LP is The Last Song of My Life, where as bandleader Kudo leads a melancholy saunter meditating on one motif for its duration, occasionally pocked by noise, apparently “depending on their response to the film work that was being projected.” You don’t need the film to get to the emotive heart of this, and the motif will be stuck in your head for days. Strangely beautiful, and somewhat disarming, even if the errant elbow strikes you in the ribs now and then. My go-to reading soundtrack lately. Beautiful presentation by An’archives, as usual. This one flew off the shelves, so be sure to grab it if you see it in the wild.

Last year Kudo released a collaborative LP with Kayo Makino on Black Truffle, and if you’re daunted by The Last Song of My Life, this one goes even further down the rabbit hole. I prefer Ein Traum Für Dich though; Kudo’s on piano, playing Satie on the A-side and some meandering progression on the flip, and Makino digitally distorts and heightens Kudo’s playing, occasionally adding spoken word samples and processed noise. The A-side is interesting, both of them playing with the possibilities of this pairing, Makino layering and offsetting Kudo’s melody to nauseating effect. The B-side is the reason for tuning in, though: Makino’s static stretches and overwhelms Kudo at points, making for a hypnotic and immersive 20+ minute ride. It’s a trip, the whole album acting as an audial blackout curtain, or the mesmerizing escape we all could use. Grab the LP from Forced Exposure for 15% off now.

Hardijs Lediņš, Tiny Crabs of Deep Waters LP (Musiques Electroniques Actuelles)

Been digging into the NSRD collective’s work a bit lately, though I’m not gonna pretend like I’m some sort of expert - the Latvian Centre for Contemporary Art published a comprehensive book about the group a few years ago if ya wanna become one, though. I’m partway through the book; my takeaway so far is that the NSRD collective, led by Hardijs Lediņš and Juris Boiko, found ways to subvert oppressive Soviet rule through a freedom of expression and thought seldomly encountered. Part of that expression was of course music, and the Workshop For the Restoration of Unfelt Feelings compilation on Stroom is the best introduction (good luck finding the LP). The music was largely electronic, somewhat ahead of its time and also totally cracked given the relative isolation of Latvia during this time. Tiny Crabs of Deep Waters is another entryway to the group’s music, this time a reissue of an impossible-to-find CDr from Hardijs Lediņš. The synth-heavy, largely instrumental record should appeal to fans of the soundtrack work of Tangerine Dream or John Carpenter, but the whole thing carries this strange sense that something is a bit off. Cartoonish keyboard effects collide with rich bass tones in a conventional yet dizzying manner, if you lean in close. The LP’s been a great shot in the arm when the day gets too sleepy, especially when the beat kicks in on the 13-minute “La Danse Binoculaire De Paris.” Top notch reissue, released at the end of last year, and can still be had on Discogs.

Teitanblood, Death 2xLP (Norma Evangelium Diaboli/The Ajna Offensive)

Yeah, this one makes sense right now: absolutely blistering black metal from Spain, the 2014 follow-up to modern classic Seven Chalices that I didn’t check out for some reason until now. Teitanblood is smothering and chaotic, and hardly conventional, but an admittedly complicated method exists behind the screen. There’s hardly a more cathartic record available to me than Death, especially the duo of “Plagues of Forgiveness”/”Cadaver Synod” that takes up face B. The band released The Baneful Choir last year, and that one smokes, too. Grab both LPs from Hell’s Headbangers or direct from the Ajna Offensive and burn straight out of this reality.

Martina Lussi, Diffusion Is a Force LP (Latency)

A totally engrossing and absorbing sound world created by Switzerland’s Martina Lussi on Diffusion Is a Force. The samples used - wheezing breaths, dribbling basketballs, roaring crowds - introduce a human element to the rich, warm tapestries. No beats to ride on here, but a track like “Higher Energy” cuts to the core with a Loren Connors-esque guitar part, which is then slowly displaced by rumbling, punctuated bass. The album feels very light and warm, as if in a fog, and the careful sequencing shifts the mood imperceptibly from track to track. Obviously I am not well-versed in electronic music, and there’s probably a name for what Lussi does so well here, but whatever it is, Diffusion Is a Force hits me right in the chest while gettin’ the synapses firing. Find the LP on Discogs, or support 2 Bridges Music Arts during this time of small business strain.

Reek Minds, s/t 7″ (Edger) / Suck Lords, True Lords Music 7″ (Edger) / Pig DNA, Mob Shity MLP (La Vida Es Un Mus) / Pig DNA, Strong Throat 7″ (Square One Again)

It’s inevitable that some anger will boil over from time to time, from the ineptitude shown by governments worldwide to the jackass hoarding hand sanitizer right here in Tennessee. These four records will stomp the anger right outta ya so you can get back to staring at the ceiling and forcing yourself to breathe calmly. Reek Minds’ 7″ is new this year, and they blaze through 8 tracks, coming off like the late, great Sickoids while still sprinkling in some mosh-worthy bits (see “A.M.”). Matt K. at Yellow Green Red thinks Iron Lung will be calling for Reek Minds to join their ranks soon, and I agree. Apparently there are 2 copies of Reek Minds’ self-titled 7″ left at Bandcamp as of this writing. They share members with Suck Lords, who somehow play even faster, approaching powerviolence speeds, their drummer giving Jerry’s Kids’ Brian Betzger a run for his money. The Lords are a little more goofy than Reek Minds, though you wouldn’t know it if they hadn’t included a lyric sheet and a “Getting to Know the Lords” insert with last year’s True Lords Music record. Grab some Lords from Not For Everyone.

Pig DNA, for their part, drop an atomic bomb on the whole thing, their 2015 MLP Mob Shity sounding strangely prescient and utterly unforgiving. From the opening track “Foire,” Pig DNA throw down the gauntlet, every track seeming to possess more ludicrous levels of noise smothering the piledriving riffs than the previous one. There’s d-beat in there somewhere, but I’m not gonna stick my hand in the caustic stew to find it. “Scums (City Rockers)” is my pick, but the whole thing is an unrelenting assault and worthy successor to Kriegshög’s s/t LP. Hard to handle nuclear material, so it’s still available for as low as $6. The band followed up Mob Shity with Strong Throat, possibly the shortest 7″ record I own, that continues down the same path. It’s worth hunting down (here ya go) for the B-side, where the drums drop out and the band still gnashes and claws at the walls with all its got. Insane. May their message live on in these chaotic days ahead.

[930club]

9:30 INTERVIEW: Chris Thile of Punch Brothers

Punch Brothers’ new album, All Ashore, has been described by mandolinist Chris Thile as "a meditation on committed relationships in the present day, particularly in the present climate." He continues, "we were hoping to create something that would be convincing as a complete thought, in this case as a nine-movement, or nine-piece, thought. Though it's rangy in what it's talking about, and in the characters who are doing the talking." We asked Thile some questions about the album and more ahead of their upcoming show at The Anthem.

Jon Chen [9:30 Club]: So, I was a pretty big fan of your newest album— I saw how it kind of kept in step with The Phosphorescent Blues. I felt like they were both sort of meditative takes on some nuanced aspect of society. The Phosphorescent Blues was about connection in an increasingly digital age, and All Ashore being about more committed relationships. I was wondering, who do you try to reach with these albums, and is there a common link in what you try to communicate?

Chris Thile [Punch Brothers]: I think both records share a yearning for a deep connection, or a feeling that there’s some sort of salvation in forging a lasting connection with another human being, or that there’s a salvation or an antidote to the malaise of our times. In a way, looking back at The Phosphorescent Blues, I almost wish those were our problems still: just railing against a life of distraction or never being fully present in any one moment. If there’s a silver lining to everything going on right now, it’s that I think people seem a little more engaged than before all this stuff that’s happening, between Brexit, and Trump, and this sort of creeping— although I guess it’s not really even creeping anymore— this advancing nationalism, which seems to be something of a global phenomenon. It definitely has gotten our attention, so I do think those records are thematically related, although not directly or intentionally. I think in All Ashore, stakes have been raised, on a macro level as human beings, and also on a micro level for us as bandmates, in that we’re having children now: two out of five of us have kids, myself included; three out of five of us are married, and everyone’s in a committed relationship. The record is very much a product of the times, as is Phosphorescent Blues, and I guess that’s the main connection, that they’re both records of their respective times. I think especially now, you’re seeing a whole lot of that; I think artists can’t really ignore what’s going on right now, our work is fairly consumed by it.

Absolutely. I think all of you have kind of been in different projects, living in different cities, being in committed relationships. And somehow in spite of this, I felt like All Ashore really showed signs of growth as a band: I thought you guys seemed tighter, and I felt closer to the message you guys conveyed through the writing. Maybe it was a result of hearing your music that was a product of the times. I was wondering, how have you managed to keep growing as a band while being so far apart?

I think everyone’s growing as musicians individually, and Punch Brothers takes up less of the year since its inception. You know, these days people becoming family men, myself becoming the host of this radio show [Live From Here], the band sorta just has less “acreage.” I actually think that may have brought us closer together creatively because when we’re together, there’s this sense of urgency, and this necessity of focusing on getting the job done in maybe less time than we’ve had before. There’s also this real joy and refreshment and affirming aspect of being in a band— it’s a treat now to work together, which is a pretty crazy thing to say twelve years into a collaboration. Every time we get together to put together new music, or deliver to the people who are interested in it, it’s just taken on a new identity. To maybe put it more simply, I think we know what we have now, since we’ve taken more time away from it, and every time we get to do it, we are fully engaged.

Wow. I’ve often been fascinated by how as a band, your actual instrumentation is, you know, officially “bluegrass-y,” but you often borrow from pop, rock, classical, and other repertoire. What makes you want to pursue this genre-bending, and how does it inform your songwriting and composition?

The main thing for me is that the string band is kind of what my bandmates and I understand the best, just texturally. So that’s what we’re going to use, it’s what we understand. I almost feel like the genre discussion is a discussion of medium, like an artist might use pencils, or watercolors, or oils, or whatever. That’s how I feel about the bluegrass ensemble; me saying, “I play in a bluegrass ensemble,” is like saying, “I work primarily with oil.” But that doesn’t give you any more information than that. If I say, “Yeah, we play bluegrass instruments,” I have given you no more information than if an artist says, “I paint with oil.” You can think of that, but as far as what we’re gonna paint, you have absolutely no clue yet. For me, when a musician says “I play ____,” that’s how I take it. “So, what do you paint?” would be my next question. A lot of times I think people maybe assume something, like how we play bluegrass instruments, and all of a sudden what you’ve heard before on bluegrass instruments is popping up in your ears. So, we’re not interested in that, not because we don’t love it, but because it’s already been done. And so, I think most musicians or artists, that’s kind of where they’re coming from: you love what has been made well. You don’t wanna do it because it’s already been done well; you wouldn’t be doing your job if you just did something the way someone else did it.

Yeah, that makes a lot of sense. Genres are just labels to a lot of us, and as an artist I guess you wouldn’t want to constrain yourself to that.

Yeah. It’s not that it’s not important— it is, the choice to paint with a specific kind of medium is a choice worth talking about and thinking about. But I would just always encourage people to think of it like that: there’s still a lot of questions to be asked after the question of genre.

Totally makes sense. Kind of along the same lines, your last tour was the American Acoustic tour where you kind of represented a lot of American folk music. I’m wondering, what do you think the future of American folk music is?

I guess I think that all music is folk music— any music made by humans. That tour was a celebration of this medium of acoustic instruments, but it was also something to give people a vague idea of the aesthetic that they were in for. To talk about where acoustic music is headed… I do think people kind of think acoustic music is synonymous with folk music and that they’re one and the same. That’s fine with me, just a question of semantics, all of which is interesting, but again, doesn’t tell the whole story. I think that acoustic music is headed in precisely the direction we’re aiming this conversation, which is forward, forward, forward. What are we going to do now that we’ve made this textural decision? How do we justify our existence as artists, I think, is the question. The way that you justify is by doing something that is both new and useful. Doing something new is pretty easy. I could just play an old fiddle tune on stage, and, I don’t know, rip the stuffing out of a plush giraffe, and that would be new, nobody would’ve ever done that before. But is it useful? No. Well, beauty is in the eye of the beholder, but I would argue that’s not terribly useful. The fiddle tune might be useful, but again, a lot of people have already done that. Again, that’s not to decry purely doing something new— doing something useful by definition is of use— but I think we all have to concern ourselves with doing something useful and new. I think that’s what most of my peers, I hear them striving to do, that’s what I’m trying to do, and certainly what Punch Brothers is trying to do — make something new and useful.

And it sounds like you’re doing it well! Going back to American Acoustic, which ended almost exactly a year ago, you were on stage then with a lot of your most frequent collaborators, and it had kind of a “Punch Brothers and Friends” kind of feel. Your All Ashore tour seems like, though Madison Cunningham will be joining for a large part of it, the tour will be a much more intimate gathering of the band members. Would you say this tour will carry a different tone than the last tour?

Yeah, for sure. Madison, first of all, is incredible. She’ll be opening for us, there hasn’t been a “collaboration” as of yet, it’s more of a traditional concert experience. I absolutely feel like it’s a pretty intimate experience, like the boys and I are inviting you to a small gathering at our favorite bar. It’s like we’re there to escape, and then to discuss what we’re escaping from, and I think that’s kind of how a lot of small intimate social gatherings are functioning right now. You’re looking to escape the cares of the day, which are many, and many of them are shared. You have a lot of mutual cares right now with human beings, like climate change, how divided we are as a country and world, and a lot of stuff that’s really happening to us as a people right now, not in the abstract. They’re serious, life-affecting issues, and we’re all experiencing them. The record is also about how these kinds of issues are affecting our daily lives. For example, the record starts at the micro level with this small, new-ish family, and kind of ends with humanity, in “Like It’s Going Out Of Style” as something of a mantra. It takes a pretty major political detour as well, which basically all conversations are doing right now. That’s kind of where this record is, as the second round is hitting the table at a good cocktail bar, amongst close friends, and the conversations that arise at that moment.

I think that sounds really great, and I think The Anthem is going to be a really special place for that to happen. I’m excited to see what you think of it.

Yes, my first time there!

My last question is: what’s next for Punch Brothers?

The boys and I are more committed than ever to forging ahead as a creative entity. I think the experience making and now disseminating All Ashore has just underlined this project’s importance in our respective lives, and I think we’re presenting a pretty unified front, and want to continue to. We’re already starting to talk about what the next project will be, and have some ideas. I think whatever it is, it’s going to be ambitious, is the best I could give. It’ll be fun.

-Jonathan Chen

Tickets for Punch Brothers at The Anthem are available here. 

[taybigailsweirdheart]

Anon.

Okay, well it's truly up to you if you'd like to submit this (for people to see.) Anyways... This is a very long post, I apologize. It's hard to explain.

Okay, Come Back, Be Here isn't about Harry, it's totally a rumor simply created because Harry is British, so, we naturally assume it's about him. Which makes sense, but it simply isn't true.

Come Back, Be Here was written with Dan Wilson on a two-day period with Taylor same with Treacherous.

Source: https://www.youtube.com/watch?v=CoWL8Bd3eS0

Source: http://www.emusician.com/artists/1333/dan-wilson/45268

Taylor's co-writer Wilson also admits that the song was written sometime in Spring of 2012, so basically from there... That doesn't disallow it being about Harry. But how can it simply be about Harry given that the fact that Taylor called off her flirting with Harry in late April 2012 -- which was a mere one month after she was first originally flirting with him. That would make it incredibly strange and unpredictable for Taylor to immediately rush to write a song about longing for him and falling in-love with him. Keep in-mind Taylor's Vanity Fair interview article is further proof she called her flirting off with Styles during that era of time (temporarily.)

Most people will still not think that's convincing enough to believe it's not about Harry. So, if you still don't believe it, well.. It is true, Harry DID had to leave for work-related reasons (like Taylor talks about in her song meaning) But, the thing is, Harry and Taylor met at the end of KCA's (March 31st, 2012). When Harry left for work, he never went to New York City, or London which the song recalls...

Harry actually was in the middle of a tour in Australia, and as soon as the KCA's were done, Harry flew back to Australia with his bandmates.

Don't believe me?

Source: https://en.wikipedia.org/wiki/Up_All_Night_Tour

Scroll down to One Direction's concert schedule. You will see Harry and the rest of One Direction were in the middle of a tour. Hundreds of YouTube videos were posted in early April of 2012, of Harry and his bandmates doing interviews in Australia.

Keep in mind, during the night of the KCA's ... Harry kissed another girl shortly after meeting Taylor. So, that is further proof that it isn't about Harry, because he never went to NYC and London, and because he was all over the place in terms of girls (at the time.) And, was in the middle of a tour in Australia and went back to Australia straight away after KCA's.

Now, ok.. You may assume (like most people.) The song has to be about Gyllenhaal then... The funny thing is, it isn't about Gyllenhaal either, which is the plot twist. Let's start off with Taylor and Jake's timeline as a source:

https://kaylorcastle.tumblr.com/post/156876596961/swifthaalgyllenswift-timeline-2010

Jake started dating Taylor in October.. Like officially dating.. It wasn't just dates, they were literally dating. Keep in mind Taylor's and Jake's relationship started in NYC. It also ended in NYC. They never went anywhere else, besides Nashville and LA (in the early start of the relationship.)

In November, Jake left to promote his movie Love and Other Drugs... Leaving Taylor Swift in NYC. On the 16th of November he's arrived the movie premiere alone.

Source: https://68.media.tumblr.com/d3bd41c317b1a2fd8566c6a6c7248836/tumblr_inline_okx1zebwKs1up6r6z_500.jpg

Now, this is where people actually mistake the song for being about Gyllenhaal, because he left Taylor... But, again, just like Harry, the song doesn't follow the timeline of Jake, either.

The funny part is, Jake and Taylor were not away from each other long at all. Jake as soon as he got to London arranged for a jet to pick-up Taylor right away as he couldn't wait.

Source: https://68.media.tumblr.com/d3bd41c317b1a2fd8566c6a6c7248836/tumblr_inline_okx1zebwKs1up6r6z_500.jpg

So basically... Taylor and Jake were not even apart. Ironically, Jake didn't even have to do that because Taylor was already heading to London in a week to show up to an event.

November 24th Jake's movie is then released... November 27th, 2010 Taylor and Jake are back in Nashville on a date, they continue to go on dates.

So, that being said. The song isn't about Jake. The proof is his timeline.

Also, the lyrics do not match up with Jake either, not to mention, Come, Back Be Here is about Taylor not in a relationship (like you said months ago on your blog.) Because, basically it's about meeting someone, but as soon as you got feelings for the person, they're gone. So, a relationship cannot blossom, and because of that, you're stuck wondering how would a relationship work anyways when you are far from each other? It can't. So, you deal with the feelings of long-distance, which is torture, and missing someone you won't be seeing, because you now have feelings you originally did not know, so you have to deal with them.. The hardest part is dealing with them is not being able to see that person when you're in love.

So, the question is, why would Taylor write a song "longing" for Jake, and "just falling" for him, when, her and Jake were an offical couple? And only spent less than a week from each other? They didn't even spend time away, because Jake flew her out.. Lol. Not to mention they went back on dates, again. Why would Taylor play nonchalant towards Jake... When he was her BF?

Not to mention, why would Taylor write a song about Jake (Come Back, Be Here was the newest song on the album, and Treacherous.) Few months Before RED was released... When she officially was over Jake... Cause we got WANEGBT.

Still don't believe me that the song isn't about Jake?

Ok, well, the song in the lyrics state the guy kissed Taylor from wherever he and Taylor was, then he left to NYC for work-related reasons... Jake lives in NYC, he never "left" anywhere to go to NYC for work-related reasons, he only left to London for work-related reasons then was back with Taylor right away. Also, there is no literal possible flight that flies you in NYC when you're already in NYC.

Jake left Taylor in NYC when he left for London. The song talks about.. This guy going to NYC -> London and when he finally arrives in London, Taylor finally is now in NYC and he still isn't with her.

More confirmation proof the song isn't about Jake.... :)

Now on who it's about? This one is gonna shock you, simply because nobody noticed it and it slipped under everyone's eyes... (Because no one looked into it.)

The song is actually about Zac Efron. (Gasp, I know!)

Proof? Taylor and Zac were flirting from the end of late 2011. To early 2012. In early 2012, Taylor wasn't interested in Zac (despite re-tweeting she wishes she was dating him.) It was actually until the end of February when she started liking Zac. Zac in multiple interviews says he really likes Taylor and Danny Devito exposed him (there are sources for that too.) He even says if he could have anything from the Lorax and take it to his house, he wants Audrey, lol, aka. Taylor.

Here is Taylor playing nonchalant about Zac (like the song recalls):

Source: https://www.youtube.com/watch?v=PeHFU8yILUM&t=119s

Starts at 1:58 y'all.

Source 2: https://www.youtube.com/watch?v=WwJv7yyW3K0 (plays nonchalant again.)

Nonchalant means, to not care, be cool, eh, not giving a shit, oh well, be coolly unconcerned. Basically to be uncaring, not enthusiastic, or angry, or even annoyed by things going on. You're calm and don't care. That was Taylor playing nonchalant in the interview (2 of them, same reactions, which were nonchalant.) 

Near the end of Feb she started crushing on him and flirting back. That's why Ellen pushes them so much because they both were flirting and Ellen could easily see (she's always right.) Taylor kept blushing over Zac, and even almost accidentally said he was cute until she caught her word. She also blushed over his body and Zac raised his eyebrows.

The day before Ellen they were flirting on the carpet, Taylor was eyeing him from the corner of her eyes (there is a source for that too and proof.) While smiling. Zac was checking her out and paused his interview to stare at her. Zac kissed Taylor on the neck. (Taylor's LAST kiss.) Which the song mentions.

In another interview (end of Feb.) They were hand holding and Taylor was doing more flirting.. Even laying on him too.

Zac then had to leave suddenly and leave Taylor behind to go promote their film with Danny Devito.

Zac is the ONLY one to follow Come Back, Be Here's LYRICS and timeline and was the ONLY one who was in NYC/London during the time the song was written.

Zac arrives in NYC on March 1st:

Source: http://www1.pictures.zimbio.com/fp/Zac+Efron+Zac+Efron+Leaving+Hotel+New+York+0uF8WmM9akPl.jpg?theme=inline

Those photos were also posted at 4 AM btw and he was on his phone.

Zac on March 7th arrives in London: 

Source: http://cdn03.cdn.justjaredjr.com/wp-content/uploads/headlines/2012/03/zac-efron-lorax-london.jpg

Out of Harry, and Jake. Zac was the last one to kiss Taylor (Harry actually never kissed her when he met her.) And there is proof of Taylor playing nonchalant about Zac in those two interviews. Zac was also the only one who left from the location he was in (with Taylor.) To go to NYC for work-related reasons then had ended up in London. As soon as Zac was in London, Taylor was in NYC.

Zac, also actually spills the tea as, his quote actually links up to Taylor's song meaning:

Source: https://www.youtube.com/watch?v=s0Tqqfy8DMk

Zac (asked about working with Swift): "It was great. Amazing. Taylor is the best, she's such a sweet heart, and I'm just... (catches his word) Uh.... Hopefully she's back soon, I know she's been working REALLY hard travelling and touring and doing all kinds of stuff...But, I need another guitar lesson, quick! I'm starting to lose it." (April 18th, 2012).

Taylor's quote: "I wrote about falling for someone and then they have to go away for work. They're traveling, you're traveling, and you're thinking about them, but you're wondering how it's gonna work when there's so much distance between you." 

Second quote: It's a song that I wrote about a guy that I met.. You know, you meet someone, and then they just kinda happen to go away and it's like... long distance all of the sudden and you're like... But but.. but [whispering] but.. Come BACK! Be HERE!" - Taylor Swift

Match that up to what Zac said from the interview. Him and Taylor were both travelling and working the same time, Zac was the one who left first.. Then Taylor was back to travelling and working, and because they were both apart, and working, they would've never been able to work a relationship because they were both working and "worlds away."

(It's long distance all the sudden) which she means by that is.. Because her and Zac were together for awhile then instantly had to go away in the middle of no where for work.

Lastly Taylor refers to Zac as someone she has met before.

Source: https://www.youtube.com/watch?v=zae8uOf8gqE

She then mentions how they never saw each other during the filming processing, despite having met each other, and why they are hanging out (because they are strangers.)

In multiple interviews in 2015, and 2014.. And even 2012.. Taylor refers Zac by his full name, Zac also refers Taylor to her full name only. Why? Because they're strangers :)

Taylor only refers her friends by first name, same with Zac, in multiple interviews when talking about friends, he'll be like; "Adam...Is a ____" (Adam Devine) Taylor.. When talking about her friends.. "Cara.. Is..."

Taylor and Zac were strangers, despite having met. They never actually knew each other well.

Finally Zac has a song called Right Here, Right Now while Taylor's is Come Back, Be Here

Which is kind of like what she did with Harry. "Take Me Home" (STYLE lyrics) while his album name was TAKE ME HOME.

:) Hope that helps, I hope you have a good day.