Taylor Pritzl is a classic piano rocker. That’s evident to me from the opening ten seconds of Capsules. The album introduces us to this talented musician with “Memoir of the Fool.” I’m immediately aware of Pritzl’s talent as a songwriter. The catchiness of the chord progression and vocal melody instantly hooks me. The booming beat gives this tune a real groove, too. Then, I find myself impressed by the creativity of Pritzl’s lyrics. “As you’re watching all your time run away like you upset it” is a line that truly made me smile. A very relatable sentiment.
One track down, and I’m already excited for what’s to come. “Good Woman” showcases Pritzl’s vocal range, as he casually and effortlessly reaches for ever-higher notes. I find myself realizing something that was already starting to become evident to me on the first track: Pritzl could write a fantastic musical. Something about the composition of his work gives me the same sense of grandeur and upbeat catchiness as many musical works. This is certainly a man with the talent to produce something like that. He can compose a melody, and he can perform the heck out of it. “So Long” opens with a sublime vocal passage. Pritzl offers only one instrument: his voice. He confidently shows us what he can do, even without a piano and a drumbeat to support him. When the instruments do eventually emerge, a wonderful female singer is harmonizing with Taylor. Not only does this add a lovely element of tonal variation to the track, but it furthers my belief that Pritzl has essentially composed a musical soundtrack here. I could almost see him (and this mystery vocalist) singing and dancing together on stage. Then, the emotional ballad comes along, and I’m all ears. I’d been loving the piano rock, but I was eager to hear what Pritzl could do with a big, belting, heart-wrenching melody. I wasn’t disappointed. On “Didn’t Want to Fall,” he belts out stunning vocal passages over a captivating piano chord progression. This is such a gorgeous song. I’m trying not to repeat myself, but c’mon, Pritzl. It’s time to write a musical. I can see the lead character performing this to a silent room, tears streaming down their face. “Never-To-Dos” was a song that I never saw coming. Suddenly, Pritzl’s piano has seemingly being replaced with an organ (a digital organ, perhaps; it’s hard to tell). I welcomed the switch-up. This cheery tune doesn’t feel out-of-place. The upbeat chord progression and punchy beat are both still there, as are Pritzl’s excellent lyric-writing and his wonderful singing. “(Who Says) It Has to End” is another lovely little stripped-back ballad. But, again, there’s more to Pritzl’s production than just a piano recording and a vocal performance. I thoroughly enjoyed the inclusion of ethereal synth notes, and I liked the sudden explosion of drumming towards the end of the song. The fast-paced piano rock returns on “Better to be Alone.” One would’ve expected another slow, melancholic track. And though the beat is catchy, as is the very happy melody, the lyrics definitely tell a sad story (“Sometimes it’s just better to be alone” and “It’s easy to say that you missed me / When you never showed up at my door”). “You Already Know” adopts a lounge bar aesthetic, mixed with delicate synths that sound like something from an ‘80s pop ballad. It has a nostalgic and tender feel, yet it feels hopeful. There’s always an element of joy and hope in Pritzl’s music, even when he tackles saddening topics. “Lost My Mind” is filled with delightful piano arpeggios, endlessly ascending then descending. “I think I’ve lost my mind / But I don’t mind” is a line sung with such an upbeat vibe that, much like other tracks on the album, whether the song should be interpreted joyously or sadly is up to the listener. “Here to Stay” is a heartfelt and short love ballad which leads into “Life”. This closing track perfectly sums up “Capsules” as a whole. It’s an upbeat, rock-infused, sentimental ode to a fantastic album.
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