Audioholic Media

I’ve been a fan of Brooklyn band Elizabeth and the Catapult ever since the chiding tones of “Momma’s Boy” lulled me into their multi-colored, genre-elastic world, and they remain one of the most consistent songwriting units anywhere, let alone the competitive NYC talent pool. On the eve of the digital release of their fantastic new Taller Children album, singer and multi-talented chief songwriter Elizabeth Ziman was kind enough to let us tickle her brain and even cause her to geek out a bit with some of our curious queries. Let the inquisition begin:

Audioholic Media: How are you doing today?

Elizabeth Ziman: I’m in a wondrous place, the record’s coming out in just a few hours, and I’m trying to decide which karoake bar is calling out my name.

AM: Thanks abundantly for talking to us. You’ve been generating constant buzz mostly by word of mouth and press lovin’ for quite awhile now, and are finally poised to have a full-length album released by a major label imprint. How does that hit you?

EZ: It’s new and rather chewy. And definitely filling.

AM: You’ve written quite an amazing array of songs up to this point. How did you decide which ones to record for this album?

EZ: We recorded a lot and and then usually went with the newest songs possible. As a writer you always believe your latest is your greatest, no matter what the case actually is. But we’re quite happy with the final contestants.

AM: How has your experience been so far, working with the Verve Forecast label?

EZ: It’s a big pond, but we’re grateful to still be swimming.

AM: You recorded the album with Mike Mogis in his Nebraska studio. How much of the album came out of your sessions there, and how much was ready to go before you hit the studio?

EZ: We thought lots were ready before we arrived, but in the end even the songs we thought we were going to keep exactly the same like “Momma’s Boy,” “Race You,” “Golden Ink,” “Rainiest Day of Summer”— we changed little bits of, or added strings to— on top of that we recorded a good eight or nine songs out there and then picked our faves out of the bunch.

AM: What was the vibe like recording in Nebraska, away from NYC?

EZ: Much more organic and peaceful than we’re used to. No car horns, no angry neighbors, no needless distractions. We felt so lucky the whole time we were there, couldn’t stop gawking and giggling at all the fancy gear!

AM: The title track has a sort of Greg Kurstin / Bird and the Bee feel to it. Were there any particular artists or genres that influenced you during this album’s recording?

EZ: We love the Bird and the Bee– but it wasn’t intentional. Although I take it as a super compliment! “Taller Children” was one of the first songs we jumped into in a real studio– and it kind of sounds that way. Jim Eno [of Spoon] set the stage for that one in his studio in Austin. It’s super clean, a little self conscious– and completely out there. I can only listen to that song while sitting in a really comfy couch. I like to imagine it’s like riding a very spiffy space ship.

AM: That’s a rather ace Leonard Cohen cover you’ve got on the record. How did you settle on that one, and do you have any other takes on other artists’ work hiding up your sleeve?

EZ: Thank you much. It’s such a weighty, powerful song that it’s hard to ignore it. It says so much, but musically there’s also so much space to explore. I heard all of the strings and the percussion almost immediately. Other songs I love singing are “This Will Be Our Year” by the Zombies– especially lately– “I Think It’s Gonna Rain Today” by Randy Newman, and Pete [Lalish, guitar] does a great cover of “I Don’t Wanna Grow Up” by Tom Waits.

AM: Out of the many people who will hear the new record, who do you want to hear it most?

EZ: [laughs] This is a funny question for me because you’re forcing me to totally nerd out. But out of all the living artists who could hear this, I’d be most grateful for David Byrne or Maya Angelou’s ears.

AM: Where do you find the inspiration for all these amazing compositions?

EZ: Mostly good films and books, but I’m also inspired if I have an especially random or out-of-the-ordinary experience. I also wrote about six songs after first discovering [celebrated American photographer] Diane Arbus. She’s a big inspiration for me.

AM: Is there a favorite moment for you on this record, and/or from its recording?

EZ: My favorite song and experience recording has always been “Golden Ink.” It was recorded the day I wrote it, so it feels the most fresh and honest and sacred to me.

AM: What do you hope to find in the coming days/months/year?

EZ: Like everyone else, I’m always looking for new ways to develop what I do, so of course I’d love to meet lots of new wonderful inspiring people on the road, but most importantly I want to learn how to cook good sushi. And host a mean sushi party.

AM: Sounds tasty– and fishy. If you could be a superhero what would your superhero name be and what would your special power be?

EZ: Faaa-reaky Fauna. I’d be able to turn into any animal I wanted to at the drop of a hat.

AM: What’s the best advice you’ve heard up to this point?

EZ: To never believe or discount anything you hear. To take everything with a grain of salt, and to eat lots of ben and jerry’s ice cream whenever possible.

AM: You step out your door and head down to the town square to confront an angry mob of people bent on sending you up the river. Who’s got your back?

EZ: OBAMA! I’m keeping the faith!

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Taller Children releases 6/9 on Verve Forecast, with the digital copy available at fine virtual retailers on 5/5.
Peep the songs on the Elizabeth and the Catapult MySpace page, and the band will be playing some east coast dates in early summer. Plus, if you’re in or around the Brooklyn area, you can catch them serving up a satisfying slice of their live show at Southpaw (125 5th Ave) on Wednesday, May 6th, at The Deli’s Best of NYC Festival (alongside the wonderful April Smith, among others).
Go see them, and buy the album, you’ll feel all warm and fuzzy inside.