Prior to their upcoming live show at Rhode Island’s iconic Conserfest, June 22nd, we dive into some classic single releases, from San Francisco rock and roll trio Taylor and the Pretty Noises.
As an immense introduction, the band’s live version of Forgot How to Cry, recorded at Hotel Utah, provides a sublime and mighty testament to the natural talent, passion, and unity of the band.
From slick riffs and confident adlibs, to engaging grooves and soulful, softly striking vocals, we meander through a Southern Rock soundscape of perfect contrast. Delicacy and the distortion fall like waves over the soundscape, and meanwhile the band excel in this space – capturing both the essence of the song itself, the emotions and storyline, whilst showcasing a live-jam ability that’s naturally intoxicating to let play.
From the rest of their extensive repertoire, and no doubt likely to make an appearance at the upcoming show, Black Lavender is an atmospheric alternative rock track, with a colourful bassline and mellow, paired vocals that poetically reflect. The mood is engaging, gentle for the most part, before exploding into a fully hazy fog of distorted passion and power during the latter half.
Once again, there’s an artistic core to the writing, but it’s the band’s skill and adoration for the groove and process of making music that lets these tracks connect so intensely – and that’s precisely the quality you can likely anticipate from the upcoming festival set.
The self-titled Taylor and the Pretty Noises album notes a plethora of massive tracks from the band. The Chillis-esque riff and personally revealing story of a sensational Surf Hotel marks a fan-favourite and a distinct earworm of a highlight. Then there’s the similarly engaging riff-work of Shine, securing the sheer ability and soulful conviction of the band, whilst offering a divine level of escapism that naturally urges you to listen at volume; perhaps during the fast commute, or at the end of a heavy day.
On the storytelling front, The Legend of Mickey Dodge captures attention in seconds, and stylistically welcomes a more rhythmic indie-rock set-up and riff – an unmistakable gem from the catalogue, largely instrumental but just lyrical enough to inject that Americana character and purpose required to get the crowd aptly involved.
Finally, but far from covering the extent of what is genuinely a consistently enjoyable, impressive and thoughtful collection of original tracks, Chicago is stunning. Something of a timeless alternative song, with long-form verses that lyrically enthral, a simple riff, and a mighty sense of pace and softness intertwined, Chicago is an intelligent original track. The song is unexpectedly contemplative and musically faultless, and modestly draws focus to the imagery and prowess, the reflective writing, and the born-to-perform musicianship and vocals of Taylor and the Pretty Noises, in a way that lingers rather timelessly in the mind.
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Can’t wait to hear them live! Very attentive and thoughtful review 👍