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Songs From The City That Destroyed Us

by The Here and Now

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1.
Home? 04:08
I got my bags packed, all my goodbyes off my back; I’m going home, away from you. Cars out in the street, all you’ll hear are my two feet; I’m running home, away from you. When the rooster crows at dawn I’ll be gone ; heading east, away from you. I’m gonna take this burnt-out car and see what it can do. Going away, away from you. Spent my last buck, chalk this all up to bad luck; I’m leaving town, leaving today. Don’t dare ask me why, all I’m gonna do is drive; I’m leaving town, straight away. When the rooster crows at dawn I’ll be gone; heading east, away from you. I’m gonna take this burnt-out car and see what it can do. Going away, away from you. Oh, going away, away from you. You should know that this is a lie . There’s no home without you. Had to leave so you wouldn’t see me cry. Is this goodbye? When the rooster crows at dawn I’ll be lost; how to get back to you? This car is a holding cell straight on its way to hell. Gotta get back to you.
2.
12.31.09 03:29
Staring away from a blank sheet of page, that I’ll write. Can’t find the words to make you stay, it’s alright. You said I’d be fine but that’s not too kind, tonight; When the phone rings and rings and answering machines blink twice. But, what do I know? What do I know, oh, oh? What do I know? Finding the means to pack all these things so slow. Dust down the hall, memories and all must go. In ten minutes cheer the new year is here, hooray. A toast with good friends, “Here’s to the End” we’d say. But, what do I know? What do I know, oh, what do I know? I know that we’ve got to own our decisions, wouldn’t you say? And how expectations can become our own reality. And when the clock strikes midnight there’s no one at the door. But, what do I know? What do I know, oh, what do I know? I know that I won’t lie. I know I’ve got this time, this night. I know that I can’t fight. Oh no, I can’t, not tonight, not this time. I know that I won’t lie. And no, my dear, you’re not here tonight.
3.
Oo, Oo, Oo, Oo. I knew her when, we were so young. That smile, green eyes I knew “I’m done.” Then in evening light, holding Winter Dreams tight, she said “Come to dinner tomorrow night…” Oo, Oo, Oo, Oo. In my best suit, her dress bright blue. Outside we kissed Winter Dreams came true. She said “I love you” that Fall. “Maybe someday, Doll.” I knew she meant none of it at all. My life; deconstructed twice. Void of malice or of spite. Just searching for that Summer night. Oo, Oo, Oo, Oo. Beat it out of my head. Judy Jones is dead. I’ll get sensibly married instead. “Hello Darling”’s all it took; bait, sinker, hook. “I’ll come in” I said. In her arms I shook. Oo, Oo, Oo, Oo. It didn’t last that long. Again Judy was gone, oh, oh. I tasted pain reserved for the strong. Seasons turned to years. Her name crossed my ears; her beauty washed away by all my tears. My life; deconstructed twice. Praying for malice and spite. Just searching for that Summer night. Long ago, there was something in me. Now it’s gone that Winter Dream. I cannot cry, or care, I know in my core. “I can’t get it back any more…”
4.
Don’t go back inside. You won’t make it out alive. When your heart’s made up, besides. Don’t go back home. Riding that wind that’s long gone. When you refuse being alone. And on the night that you asked me “Is this how it’s supposed to be?” I lied when I said “I don’t know.” I should have said or screamed “Hell no! I love you girl, don’t let me go…” Instead I hid deep inside me. So pick up a new song. You’ve been singing that regret for too long. When you feel it in your bones. Open up and find a way, Oh, to express the things that you had meant to say. Would they matter, somehow, someway? And on the night that you asked me “Is this how it’s supposed to be?” I lied when I said “I don’t know.” I should have said or screamed “Hell no! I love you girl, don’t let me go…” Instead I hid deep inside me. Oh, Honesty’s arrow cuts deep to marrow. You’re asking the blind to see how it’s supposed to be. Wanna know what I know? Oh, I know. I know what I want, what I need, but the difference between is too damn far from me. And on the night that you asked me “Is this how it’s supposed to be?” I lied when I said “I don’t know.” I should have said or screamed “Hell no! I love you girl, don’t let me go…” Instead I hid deep inside me. Oh, instead I hid deep inside me. Oh, instead I hid deep inside me. I won’t go back inside. No, I won’t make it out alive. My heart’s made up besides. And I won’t go back home. Oh, ‘cause home’s a place I no longer know. And I’m not through loving you.
5.
Season's End 04:22
The vendors are closing up all their stalls. The sheds are all asleep; the market’s closed, what’s left becomes antique. Remember Saturday’s laughter? Sunday’s sorrow sings a lament for our dreams. What if I’d known the way? What if I’d known what to say? How would all of this be changed? All our sadness rearranged? I can’t even bear to look, or think about the chance we never took. “No more flowers for the season.” The weathered bard proclaims, “all I’ve got are seeds forgot their name.” “Soils scorched these Latter Days .” “Hide ‘em deep below tenuous skin, grow!” What if I’d known the way? What if I’d known what to say? How would all of this be changed? All our madness rearranged? I can’t even bear to look, or think about the chance we never took. What if I’d known the way? What if I’d known what to say? How would all of this be changed? All our sadness rearranged? I can’t even bear to look, or think about the chance we never took. I can’t hold you now. I can’t hold you now. We lost us somehow. And I can’t hold you now. Oh, no. I know but I can’t believe. Searching for a song of reprieve, when all I’ve got are seeds. I know but I can’t believe. No love, no home, or relief. I can’t afford deceit. I know but I can’t believe.
6.
No! 05:37
No! Oh no! Complacent me how could you never see the urgency and potency of dreams? Wake up. The Fall has come and gone like what we had, flowers on the table wilt and sag. And now. The paint bleeds from the walls, another petal dries up and starts to fall. Whiskey breath, cigarettes, and thyme . And they burn with all the fire in my mind. Simmering in blood and brine. When you said that I’d be fine, were you lying? Oh, no! Glasses empty, ashtrays full, dim red light and laughter fill this hole. Don’t look! A stunning girl with long, dark hair; floating more than walking, with no cares. And me. In search of reprieve; amused by the irony of come to leave. Whiskey breath, cigarettes, and thyme. And they burn with all the fire in my mind. Simmering in blood and brine. When you said that I’d be fine, were you lying? Oh, suddenly, it becomes clear; as the corner of Cass and Canfield draws near. Self-destruction or deceit? I need to know what is, and isn’t me. My consolation corner seems a pathetic and inglorious scene. Fingers flirt with phone dials; piano starts, I fake a smile. On the juke box Old Tom Frost calls Martha , his love lost. The cello sways soft and slow, he mutters his “hello.” Last call for alcohol and relationships. Time to leave my seat; cash, credit, or defeat. Whiskey breath, cigarettes, and thyme. And they burn with all the fire in my mind. Simmering in blood and brine. When you said that I’d be fine, were you lying? Oh, No!
7.
Hello Darling, are you really listening? This is what I need to say. Forget the hard times, the mind games, and land mines. I just need you to know that you’re the reason for the seasons and me. You’re the reason for the seasons and me. So hold me. Hold me forever; at least this young boy can still dream. I know that this time’s much harder; to say it hurts more than it seems. Forever and ever I’m true. Forever and ever I’m true. Forever and ever I’m true. Hello Darling, are we wake or dreaming? Seems I meet you here every night. We’re alive, the clock died at one, one, and one, five. Stay awhile. Is that alright? We’ll watch the sunrise through our eyes closed tight. We’ll watch the sunrise through our eyes closed tight. So hold me. Hold me forever; at least this young boy can still dream. I know that this time’s much harder; to hear it hurts more than it seems. Forever and ever I’m true. Forever and ever I’m true. Forever and ever I’m true. I’m true. I know I won’t forget it; the hopes and fears, laughs and tears, and love. So I’ll make a toast to what I’ll miss the most; “To rail ties and sunflower eyes…” Oh, to the soft cries of rail ties at night. Oh, to the firelight of your eyes burned bright .
8.
I sit and watch the traffic lights begin to change; red to green and yellow’s caught somewhere in between . Cars race around and down the veins of this old town; raising dust and moving dreams across open seams, In the skeleton of architecture where the city’s song is home but not for very long. Oo, Oo. Witness the shifting of the skyline what once were beacons of Eden at least, now banished east . In place are Sirens tragically no comfort to the weary or the blind, the young at heart, unsound in mind. Warning! The thunder of the Sirens’ refrain claims; it rises, falls, and moves to change; and I remain. Oo, Oo. This street knows the sound of obsolescence that hollowed, hurried sound of Fall echoed on frozen ground. And the not so subtle difference implied by repeating and retreating. Afraid of the gravity that first step brings to being, and changes to what happened from what’s happening. Songs from, the city, destroyed us, did we? Songs from, the city, that destroyed us, or did we?

about

All of this happened, more or less…

You don't write because you want to say something, you write because you have something to say. – F. Scott Fitzgerald

The Here and Now began more as a collection of songs than a band. Writing in the waning days of two-thousand nine, I began to work on songs that were a direct reflection of the place (both literally and metaphorically) I found myself in. I wanted to write simply and in an unassuming (however unnerving) state of mind about what I knew, where I was, what I was going through and who I am. I wanted to write songs which were at once universal in their imagery and acutely specific in their details; songs that were remarkable not in the singular sense but as a whole – songs that informed each other organically. The songs, if I’m being completely honest, wrote themselves. Several months later, I met with old friends and fellow musicians Danny Jenkins and Ben Cybulsky to discuss what I had been writing. Whether it was the alcohol or lateness (earliness?) of that [in hindsight, fateful] night I’ll never be sure but I remember playing the ragged skeletons of songs I had and hearing, “we should record these.” And just like that, The Here and Now was born.

Here we are, trapped in the amber of the moment. There is no why. – Kurt Vonnegut Jr.

As we began arranging the songs that eventually found their way to our first album, a thematic direction emerged. Emphasis, it was decided, would not be achieved through layering or building up – we wanted to strip away and break down any unnecessary flourishes to better represent the raw and melancholy tone of the songs. We endeavored to tell stories honestly and ably to capture and illuminate the sinews of struggle and redemption – in real time. There’s beauty in the natural, whether it is string buzz, an ill timed drum hit, or vocal crack and we wanted to embrace those inconsistencies, those perfect imperfections. So, we called the project The Here and Now in a nod to the present moment – its beautiful immediacy made all the more precious by its inevitable disappearance.

These are the days that must happen to you. – Walt Whitman

Written on the brink and in the wake of a failed relationship, our first album Songs From The City That Destroyed Us is a searing portrait of the myriad of emotions that accompany leaving a relationship, a city, and the physical and proverbial home. We wanted each song to represent and embody one of those emotions through its lyrics, arrangement, and performance. To accomplish this we entrusted the recording of the record (and bass playing) to Ben Cybulsky’s able hands and recorded it throughout two-thousand ten at Treelady Studios (Pittsburgh, Pennsylvania) and Chapman Recording & Mastering (Kansas City, Missouri). Songs From The City That Destroyed Us was released on May tenth, two-thousand eleven.

This is what you shall do…read these leaves in the open air every season of every year of your life, re-examine all you have been told at school or church or in any book, dismiss whatever insults your own soul, and your very flesh shall be a great poem and have the richest fluency not only in its words but in the silent lines of its lips and face and between the lashes of your eyes and in every motion and joint of your body. – Walt Whitman

credits

released May 10, 2011

Recorded at Treelady Studios (Pittsburgh, Pennsylvania) and Chapman Recording & Mastering (Kansas City, Missouri). Additional recording at Stella Sound Studios (North Canton, Ohio) and Cybulsky Studios & Salon (Mission, Kansas).

Mixed by Ben Cybulsky at Chapman Recording & Mastering. Mastered by Garrett Haines at Treelady Studios. Art Direction & Photography by Shad D. Gross.

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