This raw emotion is especially apparent on Hiss Golden Messenger’s new album, Terms of Surrender. The critical acclaim and attention for Hiss Golden Messenger-including features in The Atlantic and The New Yorker, glowing album and live reviews in Pitchfork, Rolling Stone, and Consequence of Sound, and barn-burning performances on Late Show with David Letterman and Late Night with Seth Meyers- affirm the emotional power of Taylor’s work. This vulnerability is also central to Taylor’s steadily growing fanbase, which continues to discover universal themes in his deeply personal work. “My music depends first and foremost on being in a heightened emotional state and putting my vulnerability on display.” “The work that I do requires me to be in a certain emotional place,” says Taylor.
He’s toured and recorded relentlessly, earning devotees along the roads, deep in festival pits, and across the seas, delivering earnest performances that morph from jammy freakout to private prayer in a matter of measures. There’s nothing else quite like it.įor over ten years, Taylor has spearheaded this prolific, perpetually evolving group. And then there’s an indescribable spirit and movement: Hiss Golden Messenger’s music grooves. Taylor’s music is at once familiar, yet impossible to categorize: Elements from the American songbook-the steady, churning acoustic guitar and mandolin, the gospel emotion, the eerie steel guitar tracings, the bobbing and weaving organ and electric piano-provide the bedrock for Taylor’s existential ruminations about parenthood, joy, hope, and loneliness-our delicate, tightrope balance of dark and light-that offer fully engaged contemporary commentary on the present. Describing the Durham-based Hiss Golden Messenger is like trying to grasp a forgotten word: It’s always on the tip of your tongue, but hard to speak.
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