Pedro The Lion
Jan 18, 2019

  • Buy
    180-Gram Maroon
    • Polyvinyl Exclusive.
    • Etched D-Side.
    • Deluxe Gatefold Jacket.
  • Buy
    180-Gram Seafoam
    • Etched D-Side.
    • Deluxe Gatefold Jacket.
  • Buy
    180-Gram Black
    • Etched D-Side.
    • Deluxe Gatefold Jacket.
  • Buy
    • Includes 12-Page Booklet.
  • Buy
    Blue-Gray Tint
  • Buy
Show Bundles

All formats include instant MP3 and WAV download.


  • NPR (15 Best Rock Albums of 2019)
  • #21 The Alternative (Top 75 Records of 2019)

Pedro the Lion has always been David Bazan, but it took a long time to get back there.

In August 2016, during what he now recognizes as his lowest point, Bazan was touring the country alone in an aging minivan and found himself in his hometown of Phoenix, AZ. In need of a break from the road, he spent a night off at his grandparents’ house instead of driving on to San Diego. Before leaving town the next morning, after realizing that even the most familiar places can become unrecognizable, Bazan gave himself the gift of a quick detour past the house he grew up in, and on the way, experienced a breakthrough - one that would lead him both forward and back to another home he had built many years before.

From the beginning, Pedro the Lion didn’t work like the bands Bazan had played drums in, where each player came up with their own parts. Instead, like scripting scenes of dialogue for actors to play with, Bazan recorded and arranged all of the skeletal accompaniments for his obsessively introspective lyrics and spare melodies. Each player would then learn their parts and, together as a band, they brought the skeleton to life. While bandmates played on a few recordings, Bazan often played all or most of the instruments himself.

“I found so much joy working this way,” Bazan remembers. “It came naturally and yielded a feeling and a sound that couldn’t have existed by any other process. At the same time, I was also aware that not everyone wanted to play in a band where the singer wrote all the parts and might perform them on the record. Someone even suggested it might not be a valid approach to having a band in the first place. Being insecure and wanting to find camaraderie, I became conflicted about my natural process.”

By 2002, after recording Control, the high rate of turnover in the band finally caused Bazan to ditch his “natural process” in favor of a collaborative writing process. When, after a couple more years, this move did nothing to stabilize turnover, Bazan was perplexed. In November 2005, Bazan decided to stop doing Pedro the Lion altogether.

Ironically, Bazan didn’t see “going solo” as a chance to revert back to his original process of writing and playing all the parts. For the next decade Pedro the Lion felt off limits, even forgotten, like a childhood home Bazan had moved out of. He pushed forward with releasing solo albums & relentless touring in living rooms and clubs, through every part of the US and beyond, sometimes with a band, but mostly on his own. It took a toll on his family and more acutely on himself. By the summer of 2016, he still hadn’t found the personal clarity or the steady collaboration he’d been seeking and was at the end of his rope.

“I had abandoned my natural way of working in the hopes of creating space for a consistent band to write with...and it hadn’t worked. So I got a rehearsal space, mic’d up drums, bass, and guitar, and really leaned into my original process again. It immediately felt like like home. Before long I realized it also felt like Pedro the Lion.”

In June 2018, with Bazan on bass, vocals, and arrangement writing, Erik Walters on guitar and backing vocals, and Sean Lane on drums, Pedro the Lion went into Studio X and Hall of Justice with producer Andy Park to create Phoenix, the first new Pedro album in 15 years.

The songs themselves are the result of mining your past for who you are now. On opening track “Yellow Bike,” Bazan encapsulates a core ache he’s been exploring since 1998’s It’s Hard to Find a Friend with the line:

My kingdom

For someone to ride with

Phoenix also deals with having to be better to yourself in order to be better to others on “Quietest Friend,” and harkens back to Control’s “Priests and Paramedics” with a story about EMTs facing a gruesome scene, and storytelling as coping mechanism, on “Black Canyon.” It bears witness to both what was around and what was inside, with the signature kindness and forgiveness that lightens Pedro the Lion’s darkest notes.

The result is a twisting, darkly hopeful introspection into home and what it means to go back, if you ever can. It is rock and roll wrapped in tissue paper, its hard edges made barely soft. Every melody is careful, a delicate upswing buoyed by guitar lines that hold each tender feeling together like string before ripping them apart to see what’s inside. It is an ode to the place he still loves despite how alien it can appear to him now. It is the story of a life from the beginning, but not a linear one. This life is a circle, and Phoenix goes back to that first point, to show that when we are looking for home we’ll eventually run into it again, whether it’s in the desert, in a rehearsal space, or on a stage.


  • 1
    Sunrise (1:01)
  • 2
    Yellow Bike (3:54)
  • 3
    Clean Up (2:49)
  • 4
    Powerful Taboo (3:25)
  • 5
    Model Homes (3:21)
  • 6
    Piano Bench (1:39)
  • 7
    Circle K (3:34)
  • 8
    Quietest Friend (4:23)
  • 9
    Tracing The Grid (3:15)
  • 10
    Black Canyon (5:24)
  • 11
    My Phoenix (3:24)
  • 12
    All Seeing Eye (2:43)
  • 13
    Leaving The Valley (6:09)


"Vivid details of childhood bicycles sit next to decades' worth of self-flagellation and regret, in songs bound together by some of the year's hookiest, stormiest, most satisfying riffs. It's a feat to reignite an old flame after 15 years; it's another thing altogether to make it burn brighter than ever."


"Phoenix is a prescient title. It’s both a return home and a rise from ashes."


"Phoenix is Bazan’s best work in years and a worthy successor to a back catalog beloved by indie rock and emo fans for over 20 years."


"Phoenix is wondrous. Pedro the Lion is alive. And it is emotional. Like it always was at its best.”

Under the Radar

"Phoenix, his first album as Pedro the Lion in 15 years, is an interrogation of faith and memory, and it moves with a rare grace and lucidity, even by Bazan's high standards, and little moments burrow in as a result.”


"Bazan's voice is more full and powerful than ever, and the return to familiar writing processes pays off. Every note from every instrument expertly weaves together with pristine, yet organic movement, as if Bazan was a Baroque composer for string quartet."


Phoenix is as much about an inner place as it is about a location on the map. It’s an examination of how our surroundings shape and reflect us.”

Aquarium Drunkard​

"Bazan sings better than he ever has on Phoenix, his voice round and worn with intricacy from years of use, like a hiking stick toted in the same hand for a thousand miles."


"No one tells a story quite like David Bazan. ‘Phoenix’ – his first under the Pedro The Lion moniker in nearly 15 years– is a powerful return, filled with sketches of still life frozen in time and conjured from deep inside the soul."


"Given the title, it's tempting to call Phoenix a rebirth. But more accurately, it's a return, both in name and in form. Reflective and revealing, it's a remarkable opening to a new chapter in Bazan's musical history."


“On Phoenix Bazan revisits his childhood home in a love letter -- albeit one fraught with tension -- to the city, the people he grew up with, and the wounded child he never quite came to terms with."


"Fans will be pleased to find that these 13 new songs have all of the same emotion-tinged rock spirit as before, and the years since their last release have only served to revitalize the band.”


"It’s a crafty sonic execution of the strange disconnect your feel revisiting your hometown after many years: a vague residue of home that fades amidst constant the rebuilding and mutating."

Drowned in Sound

"And Phoenix really does tap into that old Pedro sound, giving a tangled-but-comforting backdrop for Bazan’s lyrical lacerations."


"The whole thing clashes and clamors, but a sentimental tug remains, even as that sense of connection and belonging diminishes over time."


“Through an 11 year hiatus, David Bazan has managed to make the best Pedro the Lion record to date. With Phoenix, Pedro the Lion is reborn even more powerful than before.”

New Noise Magazine

“This is no desperate grab at nostalgia, then, rather a chronicle of important personal moments reexamined through the lens of time.”


“David Bazan seems to have uncovered the key to successfully reviving a bygone musical project: incorporating the most rewarding elements of a rich back catalog into heartfelt new material.”


“The thirteen-track album continues the band’s penchant for inward-looking, heart-on-your-sleeves rock music to shout from the rooftops and let settle deep in your chest.”


"Bazan’s songs always ache. On “Yellow Bike,” he mines his past, going back to the first time he rode a bicycle and felt its freedom. But there’s tension in the freedom as the lyrics twist with the loneliness of searching for someone to ride with. He never does, so the track hangs with desire."


“Pedro the Lion is back, but “Yellow Bike” is a testament to how David Bazan never went away.”

Aquarium Drunkard

"Pedro the Lion explores “a desert Christmas morning” in “Yellow Bike”, using rich, scenic nostalgia as an avenue into a bright, complex, and promising future.”

Consequence of Sound

"Against the snaking sound of gleaming, melancholy guitars, it’s the sound of wide-eyed wonder tempered by anxiety and nostalgic distance."


"Ultimately, what Phoenix offers is a moment of healing."


“Bazan lays bare his past, present and future selves in this…”

Load More


  • Yellow Bike (4:01)
    Jason Lester
  • Quietest Friend (4:29)
    Jason Lester

Related Artists