Lynn Teeter Flower

内容紹介

This collection reveals a woman settling into her role as a solo artist, peeling back some of the layers of her last album to reveal a more organic sound. LYNN TEETER FLOWER mixes together soaring guitars, bubbly electronics, feathery farfisa organs and sugary layers of vocals into the sweetest confection of an album you'll hear all year. Taylor's voice is as smooth and sweet as honey, spinning marvelous, insightful tales of the world around US with much aplomb.

Product Description

The songs for Lynn Teeter Flower, an album named after a family friend in Maria's native Birmingham, Alabama, were written in between tours for 11:11. The collection reveals a woman settling very well into her role as a solo artist, peeling back some of the layers of the last album to reveal a more organic sound, one that resembled the hundreds of shows she had done all over the globe in support of 11:11over the course of the last year. She began her new recording sessions with Spoon's drummer Jim Eno in Austin, hopped over to Athens to record four more tracks with Now It's Overhead's Andy LeMaster (who worked on 11:11), and then ended up in Memphis to work with Doug Easley (Cat Power, Pavement). The record sees contributions from Maria's brother and sister - bassist Macey Taylor and keyboardist Kate Taylor, both of whom played in her live band, as well as Bright Eyes' Conor Oberst, who co-wrote and sings on "The Ballad of Sean Foley." With Lynn Teeter Flower, Maria Taylor is taking her songcraft to new heights, mixing together soaring guitars, bubbly electronics, feathery farfisa organs and sugary layers of vocals into the sweetest confection of an album you'll hear all year. Opener "A Good Start" is propelled by a vicious groove, setting the tone for an album more influenced by rhythm, very possibly the result of one of Maria's favorite hobbies: playing the drums. "Smile and Wave" weaves a bed of "Strawberry Fields"-esque mellotron with ribbons of Maria's rich voice, while "My Own Fault" strips everything down to a sparse drum machine, a dry electric guitar and a seasick organ mingling with Maria's lament. "Irish Goodbye" picks up where 11:11's "One for the Stockholder" left off, dancing in a place where acoustic guitars mix effortlessly with a crisp electronic beat, and "Lost Time," with its lone acoustic guitar, melancholy piano and plaintive vocal, reminds us of some of the moments that made us entranced by Maria Taylor in the first place: a voice as smooth and sweet as honey spinning marvelous, insightful tales of the world around us with much aplomb. As far as we're concerned, that's certainly something worth falling for.