Liam Benzvi

Photography by Drew Reynolds. Interview by Heather Hawke.

Last time we spoke to Liam Benzvi it was for our ninth issue back in August 2015 (pg. #76) about Strange Names’ album Use Your Time Wisely. Since then, he released his first solo EP (Amnesia, USA) in October 2019. Now, we catch up with him and dive into the creation / recording process behind his (newly released) debut solo album Acts of Service.

Written by the New York native over the last three years, Acts of Service began to take shape after meeting Joe Valle of the band Wet, who co-produced the album, after the two met at a residency in New England. The main theme on the album, desire, glistens brightly through the lush, sparkling indie pop. However, instead of taking a negative approach to desire (i.e. the frustrations of not getting what you want), Liam takes an optimistic look and wants to be a witness of the world passing through, seeing and feeling it all. “It’s about a shift of perspective and approach to writing where I’m reflecting on the world from a new place,” he says. “For so long, I was writing from the perspective of other people and how I imagined they were experiencing me and for this record I wanted to write through what I was feeling about the world and see what it looks like on the page.” That distinction lives prominently in the sound; the music isn’t something to necessarily hum idly in your bedroom, it’s more of a record that makes you want to get dressed and leave your house without knowing where you’re going, it’s a beat and rhythm to walk to as you move through the world, while reflecting on it in real-time, or especially something to listen to if you want to take the long way home after a night out.”

Liam Benzvi web/socials: Bandcamp – Soundcloud – Facebook – Instagram – Twitter

Hi! So, these past 24 months have been pretty intense due to various reasons including the pandemic… Before we began, how are you doing with everything? How has this last year been for you and how are you feeling? How have you been coping with everything? 

Anytime someone’s asked me this over the course of the last year I always just say “I’m comfortable, so I can’t complain” in a not-taking-my-comfort-for-granted kind of way. But it’s a genuine response. I feel fine. I’m lucky to have not been ill. My family is okay. I got a dog. I think I’ve been creative and generally resourceful.

I feel like the music industry has shifted even more so during the pandemic. How has it felt, to you, as an artist? Has it been freeing? Is it scary trying to question how to approach music making and then how to or if you want to creatively release it to the public?

I think the music industry has remained the same regardless of the pandemic. It has been and will continue to be dominated by a free consumption model from streaming services. It’s bleak. But making the actual music has been freeing and fruitful because I’ve spent a good deal of time alone with nothing to do but write. I’ve also been able to cultivate a really supportive network of collaborators over the last year that have really helped me mentally and emotionally envision what I want for this upcoming record.

Let’s talk about your upcoming LP, Acts of Service! What was your songwriting/creative process like for it? How long was the writing/recording process and was there an event or a specific timeframe where a large chunk of the lyricism came out?  

It took about 2 years to write overall. I started writing it around the summer of 2019 and continued on until I had to start mixing it around the beginning of this year. I recorded it in and around New York, working with my producing partner Joe Valle from the band Wet. He really built this with me from the ground up.

Did the writing process change since the last time you worked on music? Is that process something that’s shifted for you over time?

I made a point to get better at playing the guitar and the piano over the last year, so I did a lot of writing that started from these instruments, whereas before I’d have been typing out most of the midi notes on the computer and then getting other musicians to recreate my software compositions live. I still did some of that, but also played a lot of it myself which was really gratifying. 

Do you find it helpful to be intentional when it comes to writing the lyrics / music? Like “I’m going to sit down and work on a song.” Or is it more ephemeral, like you’ve been kicking something around in your head for days, weeks, months, and then suddenly it comes spilling out? Or is it a mixture of both?

Sometimes I sit down and commit to write, but often times I’m walking down the street and jot things down in my notes app or record voice memos—whether it be a melody or lyrics. My voice memos are chaotic.

What was your mindset like as you were going into the creating / recording process of Acts of Service? Where were you at physically, mentally when you wrote the lyrics/music for Acts of Service? Did you feel any sort of limitations when writing or recording it?

This record has been a long time coming—my first full length record released by myself—so its unique in that I don’t think I’ll ever make something like this again that’s so steeped in years of accumulated feelings both past and present.  Most of what I write is in the realm of fantasy realism, like I’m scoring a coming-of-age film. It’s personal but not testimonial. The title of the record/title track is the most personal aspect of the record since it’s my love language—acts of service. It’s what I do for others. I long to please.

Which songs on the album were the easiest / most difficult to create? What song(s) are you most proud of? Why?

I’m really proud of “Get Some” because of the song structure. It’s the first time I can recall allowing sonic space to exist unfilled—whether it be with lyrics or ad-libs in the middle of a verse or a chorus. Much of that song exists in quiet, subtle ambience, so that’s a challenge I think I did well with.

What was your favorite part about the Acts of Service writing / creation process? 

Working with Joe on the production was hugely rewarding. He’s so talented and remained so positive throughout. I also started working with my manager Rob, and he was/is a really encouraging force throughout the whole process. Building a strong sounding board for myself was an essential part of the success of this record. Playing a lot of the instruments myself was also really rewarding. Without sounding too self-congratulatory, it’s the first time I can listen to my work from start to finish without cringing. I’m really proud of it.

How hands on are you with the making of / direction of the visuals (music videos, press images, artwork) that accompanies the music? Do you feel like the art that accompanies one’s music is more / less important than it used to be? How do you feel like social media / the internet impacts the intention behind all of this?

I’m incredibly hands on when it comes to visuals and how I’m represented. I worked with some really talented artists for this release—most notably Luca Venter, who is my most trusted visual collaborator—for years now. We really click on ideas and make really special things together. I also worked with photographer Sam Clarke on some of the album images which came out so well. His technique is great. The synchronization of social media with single art is obviously of huge importance. I always laugh to myself when I see people post selfies on Instagram “for the sake of the algorithm” so they can boost views for whatever they’re selling or sharing, but it’s been a really interesting, insecure, but rewarding process in figuring out how to take photos of myself that aren’t just about the portrait but also somehow reflective of the work itself. It makes me sad how people spend tons of money on making content just to post it on socials and have people forget about it days later, so I just try and remind myself as often as possible that I’m doing this for myself first and foremost and for my own peace of mind. That makes me feel a lot better.