The words "Lynn Teeter Flower" won't mean much to anyone who wasn't a part of Maria Taylor's formative years in Birmingham, AL, but they have a way of imparting a sense of what the artist's sophomore disc sounds like -- pretty, charmingly off-kilter, this side of eccentric. Unlike 11:11, Taylor's great debut disc, Lynn Teeter Flower, named for a onetime family friend, follows its own carefully considered path. Where the first album leaned hard on the jittery Bright Eyes sound, the second charts a course through sparer but still pillowy sounding territory. In ten songs (the eleventh is more a late-coming interlude than a song -- it unspools a child's sing-songy tribute to "Lynn Flower"), Taylor lays out tales of sadness, self-doubt and elusive love that seem hand-dunked in humanity -- see "My Own Fault" and "Smile and Wave" for the best examples. Throughout, a cutback on shimmery electronic effects results in a lived-in sound; there's a shabby chic-ness to these songs, and also a believability. Taylor's voice is part Elizabeth Mitchell and part Sarah McLachlan, minus the syrup. Like the name "Lynn Teeter Flower," it issues from somewhere plain and true and captivates fully.
AllMusic Review by Tammy La Gorce