Like It Never Happened is the product of Elizabeth & The Catapult’s namesake Elizabeth Ziman’s creative labors over the past year and a half. After touring and releasing two full length albums on Verve Records, Ziman took to busking in the subways of her beloved New York to teach herself to play guitar. Long a piano-centric performer and songwriter, the guitar revitalized Ziman and led to an outpouring of new songs. Ziman originally intended to record the new material with musical idol Richard Swift, but her focus shifted as former bandmate Dan Molad (Lucius, Here We Go Magic) stepped in. Like It Never Happened was co-produced by Molad and Peter Lalish (Lucius).
As Elizabeth & The Catapult, Ziman has released two full-length albums and a self-produced, recorded and released EP. 2009’s Taller Children was produced by Mike Mogis (Bright Eyes) and featured collaborations with Tilly and the Wall. The band’s second full-length was The Other Side of Zero, produced by Tony Berg (Aimee Mann) and featuring Gillian Welch and Dave Rawlings. The Other Side of Zero, which drew interest from Anne Hathaway who used the album’s track “Thank You For Nothing” as inspiration for her hair cutting scene in Les Miserables. Hathaway later cast Elizabeth as a street musician in a film about New York musicians, Song One (January 2015).
Since The Other Side of Zero, Elizabeth & The Catapult has reformed as Ziman’s singular endeavor while working with a band for performances. The last few years have found her touring with Sara Bareilles, Greg Laswell, Lenka and Kishi Bashi as well as singing backgrounds for The Shins and The Waterboys, playing drums in Kishi Bashi’s band, and writing with Ben Folds. Elizabeth is currently writing and recording for her new album.
"The singer/songwriter pushes the boundaries of her genre, bringing graceful jazz, oblique chord changes, pensive lyrics and even string backing to a table that manages to seem both familiar and complex." - American Songwriter
"Ms. Ziman's voice is full and flexible enough to sound casual and talky in one song, near-operatic in another," raves The New York Times. "Her piano playing, reflecting classical studies, can be virtuosicat her best, Ms. Ziman brings her own core of craft and insight to the mainstream. She tucks musicianly treats into her songs: meter shifts, unexpected chord progressions and structures that break free of verse-chorus-bridge, all crisply executed by her band.” - Jon Pareles NYTIMES
"The new record builds catchy alt pop tracks from personal lyrics and complex, quirky arrangement." NPR