Music Review: Said Sara; solo acoustic project from David Benson
In the realm of musical versatility, artist David Benson straddles genres as diverse as folk rock and death metal with ease. The multifaceted artist’s latest single, “Then There You Are,” showcases his softer side under the moniker “Said Sara.” This release marks a significant milestone for Benson, offering listeners a glimpse into the acoustic sensibilities of an artist more commonly associated with thunderous aggression as the drummer in death metal group Acephalix since 2008.
Benson’s journey through the musical landscape is as varied as it is intriguing. By day, he shapes young minds as a public high school teacher, but as the sun sets, he transforms into a chameleon of sound. His roots in the 1970s folk scene, nurtured by the likes of Cat Stevens and Jim Croce, shine through in his “Said Sara” project. Benson’s acoustic endeavors are far from mere nostalgia, however. The new single carries whispers of his classic influences while weaving in darker threads reminiscent of Neil Young and Nick Cave, creating a tapestry that is both familiar and refreshingly modern. This juxtaposition of light and shadow in his music mirrors Benson’s own duality as an artist, effortlessly switching between the introspective troubadour of “Said Sara” and the rhythmic powerhouse behind the kit for death metal outfit Acephalix.
Elevar Magazine took a particular interest in Benson’s new music project, as we sport a built-in fan base of dark folk and nostalgic 70s punk lovers in our virtual staff room.
How did you decide to go from being the drummer of a death metal band to a singer/songwriter acoustic style music project?
In terms of being a gigging/”professional” musician, I was actually a singer/songwriter first. I’d played a solo/acoustic show way back in 1994 (I know I’m aging myself), at the time that I was singing for a band called Transition. The legendary (infamous?) label SST Records (Soundgarden, Bad Brains, Sonic Youth, etc) owned by Greg Ginn of Black Flag released our 1994 album. I began drumming in the late 80s (there’s me revealing my Gen X status again), so I’d always expressed myself using multiple outlets – singing, playing guitar, playing drums, theater, film and other forms of visual art, etc.
Acephalix was such an interesting turn of the tarot card. I was coming out of a dark period in my life, in which I was missing out on musical opportunities and basically distancing myself from music. My self-esteem was shot, and I honestly didn’t think I could do it any more. My best friend had joined the fairly new Acephalix on guitar – this is early 2008 – and basically came to me to say that he “thought that I could pull this off” and that it could potentially bring me back from this dank stagnation that I was living in. I realized very quickly that the chops were coming back, and that I could absolutely handle – and even thrive behind – the kit, in what was at that time a crust punk band. Members have come and gone and Acephalix’s musical style has morphed, but it remains such a huge part of my life not just because I’ve been with them for 16 years, but because it represents such a massive upward turn for me in areas of my life far beyond music.
There’s a harmonic darkness to the song “Then There You Are”. Can you talk about your headspace at the time of writing; where your emotion was?
Thank you. It’s what I’m drawn to and what comes out very naturally – at least lyrically. Every single Said Sara song has a darkness to it. It’s what’s comfortable for me and what brings me hope and joy. ‘Always the Ones You Glorify’ is about deep, dark, hurt. ‘Bleedways’, ‘Sea,’ and ‘For Anyone’ are about ongoing suffering. My latest two, ‘Same’ and ‘Then There You Are’ actually have brighter moments (lyrically and musically) than my previous compositions, though they too have a sharp spine. I guess the harmonic darkness (as opposed to the lyrical) that you mention is simply what fits the theme. Whether someone’s life has been hard or not is entirely relative. I recognize my privilege. I work every day with inner-city youth who’ve endured great trauma in their young lives, so the “ease” of my existence – in terms of race, gender, class, etc – is never lost on me. Mine is more of an attraction to than a recollection of pain and darkness, and the fact that I was obsessed with Venom, Slayer, Mercyful Fate, DRI, and Septic Death as a middle-schooler certainly helps.
I’m assuming you’re playing your sets live; how are you balancing being in two totally different music projects (Acephalix and Said Sara) and holding down a professional teaching job?
It ain’t easy, though Acephalix is not gigging right now and hasn’t since last 2022. The current members of Acephalix live in 4 different states! Because Said Sara requires no coordination with other folks, and because I’m entirely in control, it’s far less work to rehearse and play live. I have gigs in San Francisco and San Jose in August. All of that said, it’s summer vacation right now! My job is extremely taxing – in terms of time and emotionally – so when it’s back on, I’ll be somewhat limited in what I can do musically. I’ll be trying to do well at both, regardless.
I can hear a hint of Croce and Neil Young’s “essence” in your music.. what do you think about that old 70s style folk/rock?
Thank you! Once again I’m revealing my age: I was born in 1971, so I grew up with Croce, Young, Cat Stevens, Simon & Garfunkel, Dan Fogelberg, and many others. It’s inevitable that their spirit would work its way through Said Sara’s music. And, if you think about it, all of these iconic, groundbreaking artists knew exactly how to bring the darkness.
