“In regard to the music video and track, ‘J&Js’, “Lily Taylor and Sean Miller have done something exquisite here: Time and memory reverse in a musical and visual production ethos, evocative of a classic 4AD style. Both flowery and glassy in consonance, hallucinogenic and unknown in dissonance. One processed voice, and an intimate video portrayal compels the subject into realms of emerald and dusk: black velvet and abstract beauty mingles with the grotesque, in a sublimely layered textural pastiche. This is not pop music.”
In regard to the music video and track, ‘J&Js’, “Lily Taylor and Sean Miller have done something exquisite here: Time and memory reverse in a musical and visual production ethos, evocative of a classic 4AD style. Both flowery and glassy in consonance, hallucinogenic and unknown in dissonance.
One processed voice, and an intimate video portrayal compels the subject into realms of emerald and dusk: black velvet and abstract beauty mingles with the grotesque, in a sublimely layered textural pastiche. This is not pop music.”
- DESMOND SHEA, San Francisco, CA
“This lovely lady has a gorgeously haunting voice. A MUST SEE for all discerning music lovers.”
“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 full-bodied 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.”
“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.”
“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.”
“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.”
“Lily Taylor [performs] beautiful, life-affirming melodies and lyrics that will make you understand how awesome music can be.”
“Lily is truly a siren of classic mythology and quite possibly in future tales as well.”
“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.”
“Damn! This lady can belt it…”
“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…”
“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 crystallize into clear-cut genre-affiliations. It should seem apt that Taylor at times sounds as though she were singing in her sleep.”