LOS ANGELES, CA- There’s a certain mystique to carolesdaughter’s latest single, Virginia Slims—a sense of contradiction, of aesthetic and sonic subversion, that makes it more than just another entry in the alt-pop canon. The track, a velvety, jazz-tinged excursion into blue-eyed soul and R&B, is as unexpected as the artist herself: Thea Taylor, a heavily tattooed, brooding figure who, at first glance, seems more aligned with the Warped Tour scene than the throwback grooves she channels here. Yet it’s precisely this contrast that makes Virginia Slims so intoxicating.
From the jump, the track smolders with a quiet confidence. The production is lush but never overbearing—delicate guitar licks and vintage R&B textures lay the foundation for Taylor’s hushed, almost conspiratorial vocals. It’s a voice that feels like a whispered confession, drawing the listener in with an intimacy that’s impossible to ignore. There’s an undeniable Corinne Bailey Rae-like airiness to her delivery, a lightness that belies the darker themes at play. When she croons about coping mechanisms and self-destruction, it’s with a resigned elegance, not melodrama. She doesn’t beg for understanding—she simply states her truth and lets it linger in the air like the titular cigarette smoke.
The accompanying music video doubles down on the song’s aesthetic duality. Taylor struts through the streets of in retro silhouettes, a glamorous femme fatale draped in vintage cool, then transforms into a blondhaired vixen posing for a camera. The visuals are all effortless confidence, even as the lyrics hint at something more fragile beneath the surface. It’s a striking juxtaposition—this inked-up alt-pop enigma channeling the ghosts of Motown and blue-eyes soul’s golden era. The effect is hypnotic.
Diving deeper into carolesdaughter’s evolving sonic palette, Virginia Slims marks a slight departure from some of her glitchier, electronically tinged recent work. Tracks like I Love My Man toy with skittering, glitch-inflected bridges that resolve into acoustic softness, while beautiful girls leans more heavily on synthetic textures. But here, there’s a seamless blend of old-school and contemporary—a nod to Amy Winehouse, an artist Taylor openly cites as an influence, without ever feeling like an imitation.
Listening to her back catalog, it’s clear that Taylor’s artistry has sharpened with time. There’s a newfound depth in her delivery, a richer emotional resonance that suggests she’s not just finding her sound—she’s owning it. Whether this shift is the result of personal growth, a refined approach to recording, or simply the natural evolution of an artist unafraid to experiment, it makes for compelling listening.
With Virginia Slims, carolesdaughter offers a taste of what’s next in her sonic journey. It’s a song that feels both timeless and contemporary, a confident stride into uncharted territory. And if this is the direction she’s headed, it’s going to be one hell of a ride.
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