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Current concise reviews of the albums by adult alternative, contemporary, and crossover artists. Images of album artwork and links to both internet-based resources are always included. Click on the title to view the article.

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Elizabeth and The Catapult - The Other Side of Zero - CD Cover
image © Verve Music Group 2010

Elizabeth and The Catapult click on image to visit band's MySpace
image © Verve Music Group 2010


(20 November 2010) Elizabeth and The Catapult is a Brooklyn-based pop/rock trio consisting of musicians Elizabeth Ziman, Dan Molad, and Pete Lalish formed in 2004. The Other Side of Zero (Verve Music Group (USA), 2010) is the third album from Elizabeth Ziman, the singer/songwriter/keyboard player fronting the group and the the second album by the band. The singer's six track EP was released under her name and was titled the name of the band that emerged from the work. The singer has a tremendous voice. Hearfelt ballads and production of layered harmonies in denser tracks contribute to the new album's outstanding sound.

Says Elizabeth speaking about the last two releases, "I'd hope there's humor to both of our albums, but they're actually quite different from one another. She continues, "While Taller Children has the sarcastic lightness of a Woody Allen film, the new record's more in the vein of Kubrick or Lynch. It's a bit darker, a bit more tongue-in-cheek—another side to who we are."

The reason for this shift isn't as simple as a sudden breakup or breakdown. The dissonant strains are lurking between the lines, from the clanging chords and galloping groove of "The Horse and the Missing Cart" to the hopeful but bitter contrasts of "Thank You For Nothing," a heartbroken ballad that channels the Buddhist teachings of an old Leonard Cohen poem.

As it turns out, Elizabeth read Cohen's Book of Longing collection from cover to cover while working on the Lincoln Center song cycle—performed last spring for a commission from NPR's John Schaefer—that gave The Other Side of Zero its title and a handful of tracks. As the pages sunk in, one particular theme stood out: Cohen’s struggle to meet Buddhist goals in a monastery, which Elizabeth felt paralleled her own coming-of-age struggles while living and growing up in New York City.

"Once I finished the book," she says, "I realized that reaching this zen state wasn't a realistic goal. Not for Leonard, and certainly not for me. It’s more about the intent of letting go, and being able to laugh after you fall." Cohen's book also helped Elizabeth see parallels between the pain and growth in relationships and the gestures of balance in Buddhism. Songs about taming the extremes, finding similarities between opposites, and accepting the moment.

While "Thank You For Nothing" sounds pretty self-explanatory, it does more than pull the plug on a flatlining relationship. It exposes the blurry line between gratitude and ingratitude, and how they often feed off of each other. Meanwhile, "The Horse and the Missing Cart" is a cautionary tale about seizing the day; about actually doing things, rather than worrying about whether or not you should act.

Which brings us to why The Other Side of Zero is Elizabeth and The Catapult's rawest set of recordings yet. Unlike their thoroughly-demoed debut—an album that took two years to complete—the Zero sessions boiled down to a month of recording with producer Tony Berg (Peter Gabriel, Phantom Planet, Jesca Hoop) and such respected sidemen as guitarist Blake Mills and Tom Waits' longtime touring keyboardist, Patrick Warren.

The result was rough but refined, bruised but beautiful, as if Berg had placed a mic in a room and walked away, letting Elizabeth and drummer Danny Molad do their thing. Or as Elizabeth puts it, "This record's more abrasive, more blatantly honest—perhaps even rude at times. Maybe intentionally so." Rude isn’t the right word. More like scrappy and spontaneous, with Elizabeth’s film score skills—for a while there, she wanted to be a scene-stealing composer—coloring each song like a Technicolor movie print.

Take "Go Away My Lover," a dagger-drawing duet that brings a couple to its close alongside speaker-smacking drums, demented whistles, and a call-and-response chorus that races to put all of this—the memories, the longing, and ultimately, the regret—to rest. And then there’s the title track. Led by a lean, winding piano line, it builds to a spine-tingling crescendo alongside the honey-dipped harmonies of Gillian Welch and Dave Rawlings—a collaboration that was completely unplanned. Not that you'd notice, considering how seamless it sounds.

One thing Elizabeth made sure to write down months in advance were her lyrics, which often take months of intensive editing. And even then, it's hard to let them go without poring over every last word. Especially in this case—a highly personal examination of love and loss, and growing older."Even the happiest sounding pop songs on this record have a tinge of regret and darkness to them," explains Elizabeth. "And thank goodness for that. Ultimately that’s the only way I’d feel comfortable singing them. I’m drawn to the ambiguity like a menacing smile."

From the opening track "(Time) We All Fall Down" through the closing "Do Not Hang Your Head" we felt strong allusions the artist has to Jennifer Nobel of Grey Eye Glances, a band that has more or less disappeared from the scene after their 2002 studio album A Little Voodoo and 2003 Live album.Elizabeth and the Catapult's The Other Side of Zero is certain to appeal to a broad audience and is clearly the artist' most ambitious offering thusfar.

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