The second album from American indie-alt-pop songwriter Benjamin Lazar Davis (Okkervill River, Cuddle Magic, Joan As Police Woman) featuring his forthcoming singles Remember (released October 13) and ‘Snow Angels (out November 3rd) is released November 19th, 2021.
‘Benjamin Lazar Davis’ was recorded with a host a fabulous musicians and guests including Joan Wasser (Joan As Police Woman), Thomas Bartlett (Doveman, The Gloaming), Bridget Kearney (Lake Street Dive), Ian Chang (Son Lux) and Lars Horntveth (Jaga Jazzist). Benjamin will join Joan As Police Woman for dates with her band through Feb – June 2022 including UK, Ireland, Europe and Asia.
A full list of the shows is here
About the new single ‘Remember’ Benjamin says…
‘Remember is an old song written in London after a failed attempt to connect with a crush that had always had a boyfriend but had become single, with lyrical tweaks by Sarah K. Pedinotti (Lip Talk). The song foreshadowed my life on both coasts of the USA. It was recorded in my parents’ house with Lars Horntveth on the minimalist reeds and Luke Moellman on their old Steinway upright piano. Joan As Police Woman sings some crazy effected vocals in the last verse! The video was the first video I directed/edited and features Sarah and her cousin representing the past and present and their similarities and differences.’
Listening to New York indie pop artist Benjamin Lazar Davis is like experiencing the world through technicolor sunglasses, especially on his new self-titled album. Packed with orchestral woodwinds, organic electronics, and endlessly creative hooks, his sophomore full-length sounds like the overlap of Sufjan Stevens’ Age of Adz with The Flaming Lips’ At War with the Mystics. While the creation of these songs came naturally to him—Davis studied music at a conservatory growing up and spends his career playing in bands like Okkervil River and Cuddle Magic—it was the hat trick of getting everything else to fall into place that required a surprising mix of prepwork and wishful thinking.
“In order to write, I have to trust the process, in part because the process is always all over the place,” explains Davis. “It’s like those plastic marble tube mazes you made as a kid. You get everything set up, you know which instruments are in the studio, you know who’s there to help, and all those restrictions. Then you drop the marble in. You don’t know which route it’ll take, but you know that it’ll be cool when you see it on the other side.”