Maria Taylor
LadyLuck
Nettwerk
By Alexandra Edwards
There's something about LadyLuck, Maria Taylor's third solo album, that makes you think she's trying to go more mainstream. Maybe it's the cover art: scrubbed up and featuring a close shot of Taylor's face, the title written in a girly cursive and adorned with flowers. It looks like it'd be right at home on the rack at Starbucks. Compared to Taylor as beautiful hippie recording artist on the cover of Lynn Teeter Flower, or 11:11's cover, which didn't even feature her likeness, the difference is noticeable. Ten years ago, this could have been Jewel's new album cover.
On first listen, the songs don't seem to have changed any, so maybe we should just blame the art director.
LadyLuck is a strong album built on the beauty and grace of Maria Taylor's voice, just like her previous efforts. But it's missing something. Taylor's strongest songs have always her been her most danceable: "New Resolution" (as one half of Azure Ray), 11:11's "One for the Shareholders," and Lynn Teeter Flower's "Irish Goodbye" all combine Taylor's beautifully breathy voice with quick-tempo programmed beats to produce indie club-ready tracks. These breaks in the soft monotony of her albums serve as the perfect pick-me-up — on her previous solo albums, these songs come just after the halfway mark — a little jolt of energy before we mellow out once again.
Unfortunately, LadyLuck is absent any such high-gear songs, and it really does sap the interest from the listening experience, especially towards the end. The title track starts the album out with an upbeat tone. Strings and woodwind flourishes accent Taylor's unique vocal style — as usual, she is precise on her consonants and draws out her vowels in a manner that makes every line resonate in a strange yet perfect way. "Time Lapse Lifeline" adds a desperate breathiness to the mix; it would be incredible if not for the unimaginative chorus, repeating the least interesting line of the song ad nauseum.
Indeed, the first six songs successfully combine the best of Taylor's style. There aren't any barnburners, but they're still compelling. But by track seven, the songs fade into slow-tempo contemplative boringness. So little happens during "Broad Daylight" that it's almost impossible to pay attention. A dynamic shift from soft to loud and back again during "Orchids" and the maracas on "Cartoons and Forever Plans" work hard to being it back up right at the end, but never quite regain the listener's interest. This weak finish can't help but disappoint after such a good start.
LadyLuck certainly has its strengths, and fans of Taylor's previous efforts will find much to enjoy here. But if you were looking for her to take the next stylistic step with this record, you'll have to keep waiting.
Maria Taylor plays The EARL April 8 with The Whispertown 2000. Get your tickets here.
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