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Lily Taylor / Press

“... "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.”

“Relativity new to Dallas, Lily Taylor and husband Sean Miller are already a veteran team in the music community. Miller creates and manually manipulates video that is projected over Taylor during performances, which are often full of visual noise and serene movements. Together they have performed throughout the city, including Central Trak and numerous shows booked by local culture magazine, THRWD. Taylor recently released her nine song debut album The Ride through local label Pour le Corps. The couple’s role within the community has broadened since transforming their loft into an art space called Midway Gallery. ...”

“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”

“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”

“[Her] approach makes the music itself all the more compelling, perfect for late nights, foggy afternoons, and generally getting lost in the images swirling about inside one’s head. Music as meditation, meditation as music, The Ride finds itself comfortably alternating between the two and proves highly rewarding for those willing to simply surrender and allow Taylor’s mellifluous voice to overwhelm them.”

““Across The Hills” gives listeners the opportunity to dream along with Lily Taylor as she also offers y’all to take the long-awaited Ride with her (via Pour le Corps), either in your living room on LP or in the [everywhere] on CS!”

“Soft, ambient pieces that melt into catchy, yet experimental pop songs throughout the nine-song album”

“Lily Taylor's THE RIDE- "An experimental journey that will put you into a well-deserved meditative state."”

“Nine tracks of austere beauty, limned with Taylor’s flexible, ethereal soprano — one of the most arresting local voices I’ve heard this year — and layers of sound draped like curtains hung just so, The Ride is an exquisite headphone record, a meticulous creation built to be consumed in a single sitting, with a powerful, almost narcotic effect.”

“Nominated for Best Female Vocalist in Dallas, TX 2014 for the Dallas Observer Music Awards.”

"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

"Angelic and visceral vocal-driven avant pop" -Katie Capri Impose Magazine Brooklyn, NY

“Local musician/performer/organizer Lily Taylor is giving Texas a pin on the global IHTF map by hosting this evening's Denton installation.”

“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.”