“Angelic and visceral vocal-driven avant pop” -Katie Capri Impose Magazine Brooklyn, NY
“Vintage effects, aural soundscapes, looped melodies, and a ravishing voice all contribute to Lily Taylor’s dynamic solo performances. Taylor’s uniquely structured songs play out with an arresting passion and a sublime spirit.” -CHARLIE SWANSON Noise Pop SF.
"Taylor's extremely diverse background informs her artistic voice without overtaking the singular vision explored on [her album] The Ride. She has studied contemporary, Western classical, jazz, funk, R&B, West African and Middle Eastern/Balkan music at College of Santa Fe in New Mexico. Over the last decade she has performed with experimental rock bands, Americana, Turkish and Classical ensembles, noise shows, indie-pop bands, jazz bands, DJs and hip hop crews. With such a diverse background, Taylor is capable of whatever she puts her mind to. That makes the striking originality of her album all the more special. The Ride is currently available in digital format, vinyl and cassette tape." -WANZ DOVER Dallas Observer
Taylor also locks harmony and tours nationally with San Francisco’s darling, Karina Denike and her band. She has collaborated with dancers, performance artists, musicians, poets, fashion designers, and artists around the Bay Area and the state of Texas- exploring the art of Drag, dive rock clubs, vintage jazz halls, SoMA theaters, parlors, galleries, and underground venues of San Francisco, Oakland, Los Angeles, CA; Denver, CO; Portland, OR; Providence, RI; Cambridge, MA; New York, NY; Denton, Fort Worth, Austin, Houston, and Dallas, TX. Other projects include: experimental/ noise acts: Ulnae, Locations, and XIOIX ; Hip Hop collaborations with Juicy The Emissary, Joey Mousepad; Jazz collaboration with Daniel Fabricant, The Cottontails with Karina Denike, Drizzoletto and Octomutt; dance and electronic music collaboration with Brian Mayhall. Taylor tours her solo material in California and the Southwest regularly, currently collaborating with husband and video artist, Sean Patrick Miller.
-“This lovely lady has a gorgeously haunting voice. A MUST SEE for all discerning music lovers”-Carletta Sue Kay, San Francisco, CA
- " The Ride, is [a] lush piece of artistic, synth-laced pop, ... created by Dallas-based singer and sound sculptor Lily Taylor. Nine tracks of austere beauty, limned with Taylor’s flexible, ethereal soprano — one of the most arresting local voices I’ve heard this year" -Preston Jones, Lone Star Sounds FtW
-"The avant-garde singer is an exceptionally intriguing artist. Solid and ethereal, her pure-crystal voice ambulates a pleasantly experimental melodic realm.
Along with compelling visuals created by her husband Sean Miller, Taylor's enchanting live act conjures a thousand moods at once." Eva RaggioDallas Observer Music Awards 2014
-"There’s the sort of music where the instrumentation alone makes the track. You’re playing air drums while driving in your car; the people next to you are pointing and laughing. Then there’s the type where you’re sucked in with the emotional draw of the vocals; this is where you find artist Lily Taylor. Her new song [Across the Hills] has barely any instrumentation aside from very light touches that allow space for her vocals to draw you in. Those pipes are seductive, sucking you in second by second. Her new record, The Ride, will be released by Pour Le Corps in September 2014." -Austin Town Hall Music Blog, Austin, TX
-"The Texan experimental pop chanteuse Lily Taylor crafts a supple, liminal album of abstract song matched with twinkingly electronics and rosy dronescaping. These songs are the candy colored variations on much of the narcotized lullabies that Liz Harris and Rachel Evans have been conjuring in recent years. Taylor keeps the wash and the slumbering blur, but arranges her songs with the soft electronic patter of twinkled, simple melodies that could easily be mistaken for something off of Aphex Twin's Selected Ambient Works Vol II. Her fullbodied voice extends well beyond this bed of electronics, getting looped, layered, and treated through various effects, often becoming a miasma of self-harmonizing repetitions and chorales, all lush and ethereal." -aQuarious recOrds San Francisco, CA
-"Lily Taylor [performs] beautiful, life-affirming melodies and lyrics that will make you understand how awesome music can be" -M Cody McPhail, Dallas, TX
-“Lily is truly a siren of classic mythology and quite possibly in future tales as well” -Red Cell, Santa Fe, NM
-"Highlights of the night for me were discovering Karina Denike & Lily Taylor...Karina Denike & Lily Taylor were as sultry as can be on their rendition of “Silver.” The recorded tracks are just as amazing." -Jamie Freedman SF Music Examiner- SF, CA full article
-"Damn! This lady can belt it..." -Alex De Vore, music writer for the Santa Fe Reporter, NM
-“As if Ms. Denike did not offer enough vocal magic, she duets on many of her songs with Lily Taylor, a show-stopping singer in her own right… ” -Todd Wanerman, thebaybridged.com San Francisco, CA
-"Her songs are like dreams. Like soft, yet insistent rituals. Like a form of voluntary hypnosis. Like Pop but without the sugar. Like Electronica played in an infinite canyon. Like Jazz, but from the perspective of a shaman. Sometimes, echoes of Trip Hop and Tom Waits resonate within the empty hallways of tracks like "Reap" or "Taste", which feel more like sonic landscapes than traditional songs. But these references remain vague and never cristalyse into clear-cut genre-affiliations. It should seem apt that Taylor at times sounds as though she were singing in her sleep." - Tobias Fischer, Tokafi.com 'your link to music scenes worldwide'
Lily Taylor nominated for Best Female Vocalist by Dallas Observer Music Awards 2015
Review of DAMN VII, Dallas Ambient Music Nights at Texas Theatre
The centerpiece of the evening, [Lily Taylor], took breaths away. Paired with visuals from her husband Sean Miller, and sporting a peacock headdress, her persona transcended the theatre she was in and transformed into the performance of a rite. Surreally slow geometric visualizations framed a voice and figure that haunted all. Taylor’s control and talented utilization of her voice as both an ethereal and haunting instrument spoke to the souls of all present. A wholly unique and infinitely deep cross between Juliana Barwick and Karin Dreijer Andersson, Taylor swept from soaring cries to abyssal loops seamlessly in her performance. The combination of her talent, visual presence, and dreamlike unity formed a celestial vision gracing the Texas Theatre. A cut gemstone among sediment. Review by Radio UTD
Conversations In The Void
CITV is an interview series by PARIAH which showcases artists living and working in Dallas, TX
Tiny Mix Tapes Premiere Lily Taylor's 'Taxi', video by Melissa Cha
Video director Melissa Cha always gets the mood perfect for the music she’s helping visualize, and it’s no different when it comes to Lily Taylor’s “Taxi.” With the same linger of light reflected off water, or swirling smoke before standing up, Lily Taylor gentle glides a lightly keyed melody as distant, encroaching drums begin to outline curves with shade, and then it all beings to blend when her vocals unveil The Ride in this “Taxi.” And as these vocals being to layer, the reflection of video does the same, juxtaposing your thoughts on hearing and seeing, but so subtly, that it’s more engrossing than it is ponderous. Thus is most of Lily Taylor’s newest album The Ride on Pour le Corps Records. It’s devastating in a beautiful whisk. Something about the softness played out in long forms as she does, but keeping it collected to merely a few minutes creates a very heavy focus on “Why? But, oo– that’s pretty.” -C Monster Tiny Mix Tapes March 26, 2015
Vice Palace Showcased the Best of Dallas' Experimental Side on Saturday
In keeping with the theme of the starkly contrasted lineup, THRWD's nominees, the ethereal avant-pop songstress Lily Taylor (with support from her video artist husband, Sean Miller) was up next. Taylor took to the stage with her signature, vintage-inspired fashion and visual effects, belting out haunting renditions of tracks from her critically acclaimed album, The Ride. The singer's visceral, harmony-laced rhythms are permeated with influences from shoegaze to hip-hop and demands to be felt by using every sensory ability available. - By Molly Mollotova Mon., Apr. 27 2015 Dallas Observer
"Avant chanteuse," Lily Taylor's vocals are ethereal and occasionally haunting. Her 2014 release The [Ride] demonstrates her progression as both a vocalist and artist, and is indicative of a very bright future for Lily Taylor. As a performer, Taylor's stage show blends art, music and performance in a way that is exciting and fresh. Pop music could use a serious influx of avant-garde talent, and Lily Taylor is just the type. - Amy McCarthy Feb 2, 2015 Dallas Observer
Central Track Dallas: The Top 100 Local Songs of 2014
19. Lily Taylor -- "Across the Hills"
Like an Italians Do It Better cut on valium, this is song that's in no rush to get anywhere quickly -- and thank goodness for that, as Taylor's voice meshes so gorgeously with the music here in this that you never want it to end. -- PF
Dallas Observer: The Best North Texas Songs of 2014
Lily Taylor -- "Across the Hills"
"Across the Hills" makes a graceful exploration of "themes of Diaspora, longing, reflection, and possibly regret"--in Taylor's own words. Her vocals, layered and aerial, have intense clarity, standing still against the soft dancing of the well-executed panoramic instrumentation. Drawing you in by the stirring grip of its vibraphone's continuance, Taylor has a voice that can't be ignored, unfolding like a simple poem of somber emotions. Eva Raggio
"This is not one of those easy to categorize albums. It's a work that well and truly exists on its own terms. Taylor manages to establish a distinct artistic voice that does not directly reference any particular music style, while also existing comfortably in a musical universe of Taylor's own making." -Wanz Dover Dallas Observer
The human voice is a most curious thing. It can inflict physical pain or fear. Seduce and haunt you. Go from a whisper to a holler within seconds. Sound perfectly self-assured only to crack and become impossible to control. Occasionally, it can even make you fall in love with a complete stranger. A stranger like Lily Taylor, for example. Her songs are like dreams. Like soft, yet insistent rituals. Like a form of voluntary hypnosis. Like Pop but without the sugar. Like Electronica played in an infinite canyon. Like Jazz, but from the perspective of a shaman. Sometimes, echoes of Trip Hop and Tom Waits resonate within the empty hallways of tracks like "Reap" or "Taste", which feel more like sonic landscapes than traditional songs. But these references remain vague and never cristalyse into clear-cut genre-affiliations. It should seem apt that Taylor at times sounds as though she were singing in her sleep. After all, her lyrics are foremost emotional reflections of unresolved psychological states - Freud would have loved her debut album "Overtones". And yet, Taylor's music is anything but eccentric, with plenty of harmonic hooks and melodic loops guiding her audience through a fascinating and beguiling terra incognita. Perhaps it was her decision to move to Santa Fe in 2000, "to learn from healers, scholars, and artists about the responsibility artists have to show alternate perspectives", that decisively shaped her unique approach. Perhaps, however, she simply followed her own voice - after all, as she puts it, controlling your voice can be part of an effort of controlling your entire body - and thus, consequently, one's life. When applied correctly, it can even make complete strangers feel like long-lost friends.
SF’s Chantueses Karina Denike and Lily Taylor play NYC July 2nd, 3rd, and 5th
Sought after Avant-Pop/ Indie Experimental chanteuses, Lily Taylor and Karina Denike, bring their varying styles of genre blending to NY the first week of July.
These ladies compose beautiful pieces, creating soundscapes and atmospheric pop over which their commanding and mellifluous voices are the muse and underlying instrument in creating their songs.
Their writing styles differ – Lily Taylor leaning more towards Laurie Anderson or Brian Eno, and Karina Denike leaning towards 1930’s torch songs, girl groups, or Morricone soundtracks. But their collaborative work and commonalities as individual band leaders focus on the way they use the voice itself as an infinite tool to mold, harmonize, and harness whether in layered loops, haunting high notes, low husky doo wop tones, or heart wrenching storytelling. And when they sing together they bring crowded rooms to a whisper within a few delicately placed notes.
Contact info: Lily Taylor / email@example.com
Last week, I was lucky enough to attend “Beyond the Veil” at CounterPULSE. The evening, a mix of music, performance and visuals was an experience I have been needing to have. Lily Taylor took the stage and presented the audience a rare opportunity to see a music artist pair her work with performance artists inspired by music. Seated at her keyboard by her drum and looping mechanisms, her sultry, atmospheric and fluid vocals interacted with a variety of impressive visual stimuli all curated by the artist herself. Abstract textured video projection and shadow work reacted to her vocals, choreographed floor and aerial work added a physical intensity to the experience and a culminating down-home apple pie drag performance with an inventive and somewhat circuslike creepitude and joyful video projection brought down the house. Thanks to all involved.
The End of Being
The San Francisco based chanteuse and TEOB contributor, Lily Taylor, has two new videos out filmed by the increasingly interesting Estacia Huddelston. The first, is a live film performance of one of Taylor’s signature pieces, Dead Elephants. The video shows a live, multi projection piece and comes across as voyeuristic and slightly unstable, which only heightens the sorrowful emoting of Taylor’s voice and lyrics. The second is an organic, psychedelic dance of form and color named Thread. This video is an ultrasound scan of warm, quiet video art perfection. It is an alien videoscape that human eyes cannot quiet see in it’s true form. Both videos showcase Lily’s and Estacia’s ever expanding stylistic approaches to their art and their mastery of all they attempt. As far as we are concerned here at TEOB, these are two artists to keep on your radar.