Thanks to everyone who has given us love and support along the way. We love making music, and we love that you listen to our music.

Here’s a link where you can download it for free. But, if you like it, please support our music by buying the EP on iTunes.

<– DOWNLOAD THE EP NOW FOR $5

SOMETHING NEW

VERSE 1:

Are you even aware that I can’t help but stare at your smile? It radiates. My heart melts and breaks. I wanted to say — undaunted by my ways — maybe I’m falling for you, though maybe you’re just something new.

CHORUS 1:

I hope that you remember how I wanted to blow your embers afire. I don’t know what the future may bring, but I”ll pull the sutures, though it might sting.

VERSE 2:

Trying to living a life of good health — trying, in spite of myself. You incline me to unwind and put my past up on the shelf. Terrified that I just might be scared to try to trust inside of me. This could be something good. I’ll wait and see if it could.

Repeat CHORUS x 2.

TOO GOOD FOR HIM

VERSE 1:

Looking good on a Friday night, I’m going out and I’m feeling good and all is right in the world at this time.
And I begin to look around the room, and I notice you standing there talking to some other guy. But I don’t even care.

CHORUS:

You look too good for him or me for that matter, but I don’t care. I’ll try — might fail — well, might as well try. I walk across the room and ask if maybe you would like to dance. You look at him, you look at me. Come with me and, baby, take the chance. Take the chance.

VERSE 2:

You take my hand, I take you on the dance floor. I can’t help but stare, but you’re all to aware of how good you look, but that’s fine. I like that you know. It means that I can forgo formalities that can slow down the time to say how good it could be if you come now with me, and you don’t go home with that guy.

Repeat CHORUS.

Repeat VERSE 2.

Repeat CHORUS.

GIVE IN

VERSE 1:

(I) Like how you move and the cut of your dress catches light just right, and tells me, baby, that you’re ready to go. (I) Know you like my eyes on you now, girl, but the look you cast my way tells me, baby, let’s take it slow.

CHORUS 1:

Give in (c’mon now). Let’s sin (I want you), and forget all the things your momma told you. Let’s go (let go now) back home (you know how) and get undressed. You won’t need ‘jamas on you.

VERSE 2:

You say I walk with a swag and that’s now your bag, but I know that you want me. (I) Know what you are and what you want — it’s me — do what you please, but we both know you can’t go.

CHORUS 2:

Give in (c’mon now). Let’s sin (I want you), and forget all the things your momma told you. Let’s go (let go now) back home (you know how) and get undressed. You won’t need nighties on you.

CHORUS 3:

Give in (c’mon now). Let’s sin (I want you), and forget all the things your momma told you. Let’s go (let go now) back home (you know how) and get undressed. You won’t need nothing on you.

As One You Love

Verse 1:

Kicking snow, just walking, wishing for a time once come, now gone. Just feeling sorry, but it’s too far gone to say that I was wrong. But I’m sorry for the way that I acted; I wish I could take it back — take it back now.

Verse 2:

When I saw you I saw sunflowers in my eyes. To know I’ve hurt you makes me feel as though I’m crumbling inside. Please forgive me. Think of me fondly, as I will of you. And I still dream of you.

Verse 3:

(It’s) Strange coming home again — change in family and friends. (It’s) Too hard to make it right, but Houston never seemed so bright.

Verse 4:

But I miss those Cambridge nights — twilight highs (and) Digamma nights. And I miss my boys in Boston; (they) made a trip from Galveston to Austin.

Verse 5:

Where do I go now? What do I do now? When all is said and done, will you still hold me dear as one you love?

MAKE IT

VERSE 1:

Push on through, my friend. Keep your chin up, too. Let cool heads prevail, and play it cool instead of firing your mouth off. Have fortitude in that it’s more to be good to them than it would if you were firing your mouth off. Don’t work too hard or keep your eyes down too far, lest you forget the stars that are shining above us.

CHORUS 1:

Say that you will pray with us that we could make it after we part. Take a picture right now; forget the strictures on how we thought that we should live.

VERSE 2:

Hold on to these times. Maybe in passing you could learn these rhymes, and we could sing together for Big Time (August Spies) before someone signs us. Self-irony is wearing thin and it’s not funny now that I’m aging and now that we have so much behind us. Push on through, old friend. Know that I’m here for you. I’ll say again that I always knew that we would make it.

CHORUS 2:

Say that you will pray with us that we could make it after we part. Grow your hair out long. Remember how this song makes you feel when you sing it.

STILL GOT

VERSE 1:

By and by I’m moving on. Plans awry — well, I was wrong. Nothing’s left when all is said and done. Driving through the streets with the windows rolled down. Feel the rhythm of the beats, and get lost in the sound. Looking for my song — where has all the music gone. I feel as though I’ve lost something or someone.

CHORUS:

But I still got something inside of me. I still got music inside of me. And nothing can take that away. Nothing anyone can say. Not that I would even care. Not that I should even care.

VERSE 2:

And so we push on, and we move on, and we try not to stare. Turn up the sound, and let’s hear it blare. Looking for my song — where has all the music gone? I feel as though I’ve lost something or someone.

Repeat CHORUS.

As two of the rare philosophy students at Harvard, Andrew Livingston and Steven Duque discovered that they were kindred spirits. As freshman, they jammed on their guitars, messed with recordings, talked about life and pondered the future.

Now separated by the continental United States after touring cross-country in the summer of 2009 — joined by fellow bandmates and friends Nathan Eberhart and Logan Pritchard — not much has changed. The writing, conversation and passion continues, enabled by the power of technology coupled with a deep love for music.

Starting in the winter of 2004, late-night sessions between Andrew and Steven continued on-and-off for a few years until Andrew, inspired by their nocturnal sounds, spurred Steven into helping him start a band.

Joined by Jacob Benson, Tyler Hall and Alex Meyer (all of whom no longer play with the band), Big Time was born in the fall of 2008. After playing together a mere few months, Andrew suggested that they create a demo.

Taking their gear from the Harvard Quad to Newbury Street, the newly founded Big Time enlisted the help of Cybersound’s Jeremy Page. Recording in spurts, the band and Jeremy produced a rough demo whose sound defined Big Time’s early start.

The band’s first gigs took place in social spaces hidden among Harvard’s storied final clubs. Their first audiences, to whom they are forever grateful, included their friends and classmates.

Positive response to their demo from producers, booking agents and, most of all, casual listeners inspired the young band to take their music to the next level. While more than half of the band did not commit to the transition, Steven and Andrew persisted.

Logan Pritchard was first of the new members of Big Time to join. Seeking a creative outlet, he discovered the joy of working with Steven and Andrew, and immediately brought a contagious enthusiasm to a project that was facing the first of many uncertainties to come.

Nathan Eberhart — characteristic of his look-before-you-leap approach to life — joined the band after a few phone conversations and listening to the demo tracks Andrew sent him in his UC Berkeley dorm. His basslines and creative flair provided a much-needed groove to the band’s music, and his humorous antics provided endless comic relief on the road.

‘The Procession’ (as the tour was ironically named, during the depths of the economic recession) took Big Time across the country. They played 14 gigs in New York, Boston, Raleigh, Charlotte, Durham, Denver, San Fransico and Los Angeles, making countless friends along the way. The tour was an adventure, to say the least, and the journey remains among the fondest memories in each member’s minds.

Post-tour, a confluence of life factors contributed to the band’s physical separation. But writing, recording and hope for the future of their lives as musicians continued and remains ongoing.

With the loss of one bandmate and friend, Will Magid, and their eyes on the future, the band made the decision to change its name to Mount Auburn, named after the street along which the group first practiced and performed.

Now in the planning stages of making its official recording debut, Mount Auburn is set to release two EPs in 2011.

The first, a six-song EP, is produced by by Grammy-nominated producer Greg Wells (One Republic, Katy Perry, Mika, Rufus Wainwright). The second will be both self-produced and self-released, accompanied on a few tracks by the lovely vocal stylings of Yvette Pylant, front woman of the Bay Area band Feelosophy.

In the near future, the band aims to record a full-length album with critically-acclaimed producer Adam Lasus (Clap Your Hands Say Yeah, Yo La Tengo, The Orbans).

With hope and music in their hearts, Mount Auburn hopes that some inspired force will help make its dream of being full-time professional musicians a feasible reality.

STEVEN DUQUE (VOX, RHYTHM GUITAR)

As the son of two Filipino immigrants in Houston, Texas, Steven Duque began playing piano as a young child. As life would have it, he began playing bagpipes, which held his interest until he taught himself how to play guitar from his mother’s old guitar magazines from the Philippines. From the moment Steven picked up the guitar, he began writing songs, singing as front man of an art-rock band in high school. Influenced by his mother’s love of folk music and pop, Steven’s songwriting reflects his upbringing and penchant for indie/art rock and classic pop. Steven currently resides in Boston, and works in marketing and sales at Bullhorn, the global leader in recruiting software.

ANDREW LIVINGSTON (LEAD INSTRUMENTALIST)

Andrew Livingston grew up in Palo Alto, California, and began composing music as soon as his little infant brain figured out that pressing piano keys produced noise. Andrew began with piano lessons, progressed to various woodwind instruments and eventually settled down with the guitar around age fifteen. His formal guitar studies have focused on jazz theory, with an emphasis on incorporating jazz harmony into rock and pop music. Andrew’s passion for sonic creativity has led him to pursue further knowledge of production and audio engineering. Andy currently resides in Palo Alto, and is working at Heartsy, in addition to other start-ups.

NATHAN EBERHART (BASS)

Nathan Eberhart grew up in Palo Alto, California with Andrew. At thirteen, Nathan started a deep rhythm and blues band. As a musician, he takes his influences from a wide array of musical languages — from jazz to noise and, of course, rock ‘n roll. Nathan attended UC Berkeley, lived in Europe, worked as a journalist, got some degrees, and kept playing music. Now he’s embarking on a wild musical journey with his friends. Nathan currently resides in Cambridge, where he is studying and preparing to go to medical school.

LOGAN PRITCHARD (DRUMS)

Logan Pritchard, born in Toronto, Canada, picked up his first pair of hickory sticks in the fifth grade and has since drummed on most household surfaces and strangers in his vicinity. He blames his overdeveloped right foot on his Zeppelin LPs, though he attributes most of his sound to prog rock drummers Carl Palmer and Bill Bruford. The youngun of the band, Logan recently graduated from Harvard and will begin work in finance at The Blackstone Group in New York City.