Music’s gonna be a reflection of that it’s bound to vary quite a bit.Īnd that’s also reflected in the influences you cited for this record: Queen, Nine Inch Nails, Pink Floyd, Aretha Franklin, etc. There’s just way too much going on in normal life. If you’re writing a lot about your life, it would be impossible to keep it all calm, or just raging. We are very autobiographical songwriters. The music that we share with people is as varied as our lives. I think we really enjoy a lot of music that has that kind of contrast and has that kind of range. You wrote "there are moments of undeniable celebration and camaraderie, others of quiet and lonely exhalation." That almost sounds like the definition of The Avett Brothers’ entire catalog. With liner notes sort of ending, something like this is one of the only ways to speak directly with your audience. Now a lot of that remains unsaid, or if it’s said, it’s heard by less people. If you’re someone like me who used to devour liner notes-because you were so interested in who played drum on track four-you miss that now.
The age of the liner notes has kinda passed. So it only seems natural that we would reciprocate on our end. It’s a meaningful back and forth where we’re made aware of what role our music plays in people’s lives. We have this great communication with our audience. I think it’s a natural inclination on my part to make a mission statement of sorts. I can’t really say why I chose to do it other than the ongoing dynamic we have with our audience which is one of the unique communications that goes on with the people who support our music. What led you to write the lengthy letter explaining the new album? It’s very clear, very open.Īnd you were very clear to your fans about what prompted this record. It’s definitely not an obscure presentation of a first-person experience with divorce. To be able to write something like that, at least for me, I had to be far enough away from the pain of a certain scenario to feel like it’s even worthwhile to write a song about it, while being close enough to convey a clear experience. Being able to write the song was an odd moment. It’s really kind of a bare-bones lyrical presentation of an odd moment in my life. You’re really not even cryptic about the pain of divorce.
And at this point in my life, as a songwriter, it would be dishonest not to share some of that stuff. It’s just so common, and yet the only songs you can think of are, like, Tammy Wynette’s “D-I-V-O-R-C-E.” I bought a Hank Snow tape not too long ago and didn’t notice the song was on it, and I looked at it and discovered “Married by the Bible, Divorced by the Law”-which is one of those awesome old-school country titles.īut divorce happens to so many people and yet it remains a taboo topic. I’m also surprised there aren’t more songs about divorce. And if you’re being honest in your art, genuinely, I think it would unavoidable to talk about these things. Honestly, any life-changing event is quality fodder for writing songs. It’s almost shocking how frankly you handle writing about divorce. You tackle your own break-up in “Divorce Separation Blues,” and it’s really quite candid. You said in the album announcement that True Sadness is autobiographical, but at times it feels more than that-it’s confessional. The Daily Beast spoke to Seth, shortly before the album’s release. For their fourth straight record with mega-producer Rick Rubin, Seth, along with his brother, Scott, 39, and their bandmates-bassist Bob Crawford and cellist Joe Kwon-emphasize those juxtaposed emotions with a variety of progressive new sounds: their classic guitar-and-banjo balladry meets polished orchestral swells, bombastic stomp-and-clap bass lines, and the occasional electronic texture.
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