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ROBIN TAYLOR

RIO/Avant-Prog • Denmark


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Robin Taylor biography
Robin Taylor - composer, multi-instrumentalist, sound manipulator, arranger, producer and record label owner, born 1956 in Copenhagen, Denmark. Self-taught.

Started playing guitar at 12. In the 1970s he mainly played bass in several local rock groups. During the decade he also explored the possibilities in sound recording and made experiments with tape recorders.
Radio debut in 1978.

Met keyboard player Jan Marsfeldt in 1988 and released his first record in 1991. Formed studio workshop group Taylor's Universe in 1993, together with Marsfeldt and Mads Hansen (dr) and various guests such as Hugh Steinmetz (tp), Jakob Mygind (s) a.o. Film music (93) and three releases by TU (1994-98) - the latter with a new line-up including Karsten Vogel (s) and Rasmus Grosell (dr). TU revived in 2004 and continue releasing records. Member of Communio Musica - led by Hugh Steinmetz - 1996-97.

Has continued making solo records with the participation of Vogel, Steinmetz, Hansen, Grosell amongst others.

Formed Taylor's Free Universe in 2000. The core of the group is Karsten Vogel: saxes, Pierre Tassone: violin & electronics - together with Taylor on guitar, keyboards & electronics. The rhythm section has varied a lot through time. TFU have appeared at various venues - e.g. Copenhagen Jazz Festival 2003 and Aarhus International Jazz Festival 2004.




Biography taken with kind permission from Robin Taylor, from his website: http://www.progressor.net/robin-taylor/

Thanks to Eugene with the help on this addition.




Why this artist must be listed in www.progarchives.com :
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Discography:
Robin Taylor: Essay (1991) PINGOLP 003
Robin Taylor: Cloze Test Terror (1992) KKRCD 1003
Taylor`s Universe: Taylor`s Universe (1994) RIGHTCD 018
Taylor`s Universe: Pork (1996) MOBCD 001
Taylor`s Universe with Karsten Vogel: Experimental Health (1998) MOBCD 002
Robin Taylor: Heart Disc (1999) MOBCD 003
Robin Taylor: The Båndbix Tapes (1985/2000) MOBCD 004x
Robin Taylor: Edge of Darkness (2000) MOBCD 005
Communio Musica: Special Alloy (2000) DOCD 5441
Robin Taylor: Samplicity (2001) MOBCD 006
Taylor`s Free Universe: File Under Extreme (2002) MOBCD 007
Peter Friis Nielsen/Taylor`s Free Universe: On-Plugged in Elsinore (2003) MOBCD 008
Robin Taylor: November (2003) MOBCD 009
Taylor's Free Universe: 9 Eleven (2004) MOBCD 010
Taylor's Universe with Karsten Vogel:...
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Robin Taylor official website

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ROBIN TAYLOR discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

ROBIN TAYLOR top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.00 | 4 ratings
Cloze Test Terror
1992
0.00 | 0 ratings
Heart Disc
1999
3.05 | 2 ratings
Edge of Darkness
2000
4.00 | 1 ratings
Samplicity
2001
3.66 | 4 ratings
November
2003
0.00 | 0 ratings
X Position Vol.1
2004
0.00 | 0 ratings
X Position Vol.2
2005
3.50 | 2 ratings
Deutsche Schule!
2006
3.90 | 3 ratings
Isle of Black
2008

ROBIN TAYLOR Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

ROBIN TAYLOR Videos (DVD, Blu-ray, VHS etc)

ROBIN TAYLOR Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.00 | 1 ratings
The Bandbix Tapes
2000

ROBIN TAYLOR Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

4.15 | 4 ratings
Two-Pack
2010

ROBIN TAYLOR Reviews


Showing last 10 reviews only
 Samplicity by TAYLOR, ROBIN album cover Studio Album, 2001
4.00 | 1 ratings

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Samplicity
Robin Taylor RIO/Avant-Prog

Review by Windhawk
Special Collaborator Honorary Collaborator

— First review of this album —
4 stars Danish composer and multi-instrumentalist Robin TAYLOR have been a productive musical persona in the Danish music scene from the early 1990's and onwards, contributing to 30 or so productions by the time of writing (April 2012). "Samplicity" is the fifth CD to be issued under his own name, and was released on Robin's own Marvel of Beauty imprint in 2001.

And as the name implies, samples is indeed an element that is utilized quite a lot on this disc, although I guess that people without a special interest by and large will miss most of them. Some instances are fairly obvious however, and are easily spotted. But when that is said, this isn't a production based around samples as such, at least not as I experience it. Rather I'd say that they have been used and utilized as a musical effect more than anything else, with only a few occasions that see them placed in more of a cinematic context.

The somewhat overly long opener Black Country is perhaps the least intriguing of Taylor's creations on this production. An elegant construction as such, based on a circulating lighter toned motif later replaced by a dampened, dark and brooding guitar motif, backed by steady drums and inventive percussion details and with some nifty organ soloing on top. Rather adventurous too I might add. But also slightly too repetitive to my tastes, which makes me regard this excursion as one that in sum is more of an ordinary on experience wise.

But that is just a bout the only negative remark I can make about this disc, as the remaining sonic journeys keeps me interested and intrigued throughout. Lavender Mist kicks off on the dying echoes of the opening tune, adding a sax solo on top and gradually developing into a refined, dampened, richly textured construction with subdued guitar riffs and textured guitar effects blending in quite nicely, prior to ebbing out again with an end sequence of swirling electronics. A good set up for the following BTI, more of a purebred ambient construction sporting a brooding, slightly unsettling undercurrent that transports this piece of music firmly away from any new age territories one might initially reference mentally when reading the word ambient. Fractalism utilize droning vocal effects as an ever-present feature in a construction that opens as a light-toned excursion with a steady backbeat and circulating simplistic instrument motif on top, with a shift into Frippian territories by way of distorted yet melodic guitar solo textures and rhythm surges, evolving into a multitextured, detailed and interwoven arrangement that I think deserves the description Tayloresque.

February Pain returns to ambient territories of a kind, but again a few lightyears and a couple of universes removed from anything new age related, Burnt Forest Island continues with a different take on this approach with it's slow, drawn out light toned keyboard effects, slowly growing richer by way of instrument and sound additions and then broken up by the chaotic visit of Mr. Gillon as referenced in the complete song title. With an end sequence that takes a brief detour to symphonic art rock territories prior to returning to the opening motif. And concluding the disc we find Ambient Isles. An aptly named construction that. despite some occasional Taylor features of the darker tinged undercurrent kind. might actually find favour among fans of artists like Vangelis and Jarre.

All in all "Samplicity" comes across as a good quality production, as I tend to expect to experience by Robin at this point. And while not an electronic production per se, I do think that a key audience for this particular disc might actually be those who have a deep fascination for adventurous electronic music. In particular those fond of artists utilizing dampened effects and subtle developments rather than dramatic shifts and sounds.

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 Deutsche Schule! by TAYLOR, ROBIN album cover Studio Album, 2006
3.50 | 2 ratings

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Deutsche Schule!
Robin Taylor RIO/Avant-Prog

Review by Mellotron Storm
Prog Reviewer

3 stars Of all the Robin Taylor albums I bought this was the one I was most looking forward to. I had purchased quite a few through Wayside Music because they had all of them on for 8 dollars each but this one was out of stock, so I ended up finding it somewhere else. This is the album where he plays tribute to Krautrock. Apparently Robin was influenced by KRAFTWERK, CLUSTER, NEU ! and more, so here he wears his influences on his sleeves you could say. In the liner notes it says he uses cheap toy keyboards and i'm not sure if that's a joke but I do not like how they sound.

"Misch Musch" has this rhythm and it gets fuller after a minute with those keyboard sounds. Sax after 2 1/2 minutes. It settles 4 minutes in with the drums standing out then it kicks back in. Not a fan of this one. "Eisenbahn Mit Sauerkraut" again has this rhythm but female vocal melodies join in this time. This is very light-weight. It's better when it turns darker but then it turns light again late. "Karl Splelt Klavier" is a top three for me as we get this melancholic vibe with female vocal expressions that come in before 2 minutes. Male processed vocals follow.

"Noch Ein Zahnartzt" has those cheap sounding keyboard sounds again that pulsate as it builds. Spoken words 2 1/2 minutes in.They stop and the sax comes in. "Neue Stimmen" is a top three. Organ and spacey winds as a beat builds. Those spacey winds remind me of early CLUSTER. This is great.Sax before 3 minutes. "Gesang Der Truben" has keys and a beat then female vocal melodies join in.Sax later. "Das Experiment" is my favourite. We get samples and atmosphere to start. It's building after 2 minutes then it kicks in with sax around 3 minutes. So good. Some insanity here then it settles some before kicking back in at 5 1/2 minutes. A calm with atmosphere 7 minutes in.

This really gets off on the wrong foot for me with those first two tracks but then there are a couple of more that i'm not fond of either. So three very good songs but not enough to offer up 4 stars in my world.

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 November by TAYLOR, ROBIN album cover Studio Album, 2003
3.66 | 4 ratings

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November
Robin Taylor RIO/Avant-Prog

Review by Mellotron Storm
Prog Reviewer

4 stars I figured this was the perfect month to review this album so...by the way I used to hate November. Not so much anymore as I prefer it to the weather of December through February up here in Canada but still it's the month where the reality of the end of warm weather is made with an exclamation point. The skies are unsettled and the winds get stronger and summer seems like a million years away. Robin has this caption in the liner notes : "Inspired by another year with five Novembers...". Of Robin's solo stuff this is the best that i've heard so far, and he does it all here. As per usual he notes that there are no synthesizers or drum machines. He does play "wrecked" piano, Crumar Stringman, electric & acoustic guitars, bass guitar, percussions, drum samples, processions & treatments.

"High NRG" sounds amazing with the chunky bass and prominant drums as the guitar comes and goes. Piano helps out as well.Killer tune ! "Lowest" sounds like someone playing ping pong (haha).The weakest link here. "Waiting For Something To Happen" features atmosphere as piano, drums and guitar come and go. I like it ! "A Big Sleep" also opens with atmosphere as sparse sounds come and go. A beat after 2 1/2 minutes. Nice. Other sounds join in too. This is great !

"XR-Cism" has atmosphere as piano joins in and comes and goes. Cool sound here as the atmosphere gets louder. "Rotten PNO / Procession NRG" opens with piano only then drums and more join in at 1 1/2 minutes. Nice. I like when the guitar joins in. "The Dark Side Of Life" is the almost 22 minute epic. Piano to start then a beat and more joins in. A loud atmospheric section takes over then the piano returns before 3 minutes. Such a cool repetitive soundscape here. It starts to wind down 15 1/2 minutes in but then it starts to build late. "Relief" is a short closing avant piece with piano.

A very solid 4 stars for "November".

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 Cloze Test Terror by TAYLOR, ROBIN album cover Studio Album, 1992
3.00 | 4 ratings

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Cloze Test Terror
Robin Taylor RIO/Avant-Prog

Review by Mellotron Storm
Prog Reviewer

3 stars This was Robin Taylor's second overall album recorded mostly at his place on an 8-track with help from Jan Marsfeldt who also played keyboards. There are three guests helping out, each on one track with sax (3), bass (9) and drums (9).

"My Fake Persian Carpet" opens with samples then the music kicks in as we get a beat with other intricate sounds. "Hestekolen" opens with birds chirping then eventually the music takes over before turning experimental to end it. "Postman's Nightmare / The Last Ride" has this beat as dogs bark in the background. Samples 3 minutes in followed by sax to the end. "Mermaid Theater" opens with what sounds like a band on a radio for about 30 seconds then we get the music.

"A Day In Some Kind Of Life" is a suite consisting of five tracks. First is "Opening Part" where the guitar comes in quickly. "Part 2" sounds like electronics of some sort but they stop before 1 1/2 minutes as drums and other sounds make noise. Electronics are back later to end it. "Part 3" builds with sound then settles to an experimental mode around 3 minutes. Samples before 4 1/2 minutes and an alarm goes off to end it. "Part 4" turns haunting before a minute. "Final Part" opens with guitar followed by samples before 2 1/2 minutes.

I like this better than "Edge Of Darkness" but not enough to offer up that fourth star.

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 Edge of Darkness by TAYLOR, ROBIN album cover Studio Album, 2000
3.05 | 2 ratings

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Edge of Darkness
Robin Taylor RIO/Avant-Prog

Review by Mellotron Storm
Prog Reviewer

3 stars I'll let Robin tell you how this album came about. "In the early 1980's I was very much into tape manipulations and did a lot of experiments. A couple of long lost tapes from that period suddenly reappeared in the spring 2000, and I was immediately convinced, that they should form the basis of a new record project, which was competed during the Summer.To me these "ghost tapes" represent something "sacred" and i'm very pleased, I got hold of them at the last minute, before they seriously began to disintegrate. Glimpses of darkness...an edge."

We get farfisa organ, harmonica, percussion, horns, piano, hammond organ, electronics, processed guitar, bass and more. Robin also says "No synthesizers !" in the liner notes. The music is dark and minimalistic and I must admit it agitates me for some reason. I thought maybe listening to it with headphones on and giving the music my undivided attention would help, but no, I get annoyed a lot (haha). Not a fan of the cover art either. I really don't like winter. I'm not going to go track by track because I would be repeating myself a lot. At 65 minutes it's a little long for this style but I imagine there are those who would feel it's too short. Different strokes right ? So a good album but one that fails to capture my imagination. Maybe one day.

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 November by TAYLOR, ROBIN album cover Studio Album, 2003
3.66 | 4 ratings

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November
Robin Taylor RIO/Avant-Prog

Review by kev rowland
Special Collaborator Crossover Team

4 stars Robin's 13th album is very much a solo effort, where he provides all of the instrumentation (piano & Crumar Stringman, electric, acoustic, & bass guitars, percussion, drum samples, processing, etc). Apparently he was inspired by the November of his native Denmark, and the result is something that at times is eerie and certainly very dark. This is an album that has its' roots in the avant-garde, and then moves to polar opposites so that while there is some that could be described as prog with strong guitars there are others that are RIO to the extreme, music that is pure experimentation that Eno would be proud of.

Yes there are elements almost of ambient, short pieces combined with longer more atmospheric, resulting in an album that is challenging yet consoling, jagged yet comforting, antagonistic yet welcoming. Confused? You should be. Listening to "Waiting For Something To Happen" it is hard to believe that this drone and gentle piano/acoustic intro is from the same hands that crafted the song before, "Lowest". But it's okay, before Robin gets too far down the Mike Oldfield track (and he is damn close, take it from me) he throws in enough piano dischord to shake the boat about.

Having now listened to virtually all of Robin's albums I find it hard to understand how he managed to keep the quality so very high ? it won't be to everyone's musical tastes but if you enjoy music outside the norm then you need this.

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 Isle of Black by TAYLOR, ROBIN album cover Studio Album, 2008
3.90 | 3 ratings

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Isle of Black
Robin Taylor RIO/Avant-Prog

Review by kev rowland
Special Collaborator Crossover Team

4 stars This was Robin's 26th album, following on from the Art Cinema project and the Taylor's Universe release "Soundwall". In fact this has the same musicians as that, apart from Michael Denner who wasn't involved with this one. It never ceases to amaze me that it is possible to play Taylor album and find it so very different to any of his other releases. One would imagine that when an artist is extremely prolific that there would be a tendency to go back over the same old ground, but just like Jeremy Morris (who has released well in excess of 50 albums now) it is more a case of just having so much music inside his head he just has to get it out. The album starts with electronically treated vocals and fairly simplistic chords that immediately makes one feel that this is going to have far more in common with classic Tangerine Dream than with the jazz that Robin is normally known for, but soon the vocals and chords have a small amount of dissonance that gives it a more threatening and frightening edge. There is a depth here that is way more than the simple chords and vocals imply.

One of my favourites on the album is the third track "Swinger" which after a quirky introduction melds into a sax and piano led jazz number that belongs in a small smoky jazz club. That these guys have played together for a while is more than evident, with a feel that they are playing off each other and having fun ? no mean feat given that this is not a truly live affair as Robin is playing various instruments on this track. It moves away into chaos and freeform before coming back to the previous melody which now feels warm and even more welcoming than before due to the short diversion it took earlier. This is a song that is only four minutes long, but one that I feel I could put on repeat all day.

This isn't the longest album in the world, even with the 11 minutes bonus of "Izmit" it is only just over 40 minutes long, but yet again it is sheer class. Definitely worth investigating

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 The Bandbix Tapes by TAYLOR, ROBIN album cover Boxset/Compilation, 2000
4.00 | 1 ratings

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The Bandbix Tapes
Robin Taylor RIO/Avant-Prog

Review by kev rowland
Special Collaborator Crossover Team

— First review of this album —
4 stars This was Robin's seventh actual CD release, but is a collection of music that he recorded between 1980 and 1985. The opening song "En Nat Pa Vaerket" is the oldest as well as the longest, and is more a collection of pieces that one pure long song with small breaks. It is only as the piece progresses that the dissonance and conflict that I expect from Robin starts to come through. This is very much an album where Robin is starting to stretch his musical ideas, which means that there is quite a lot more melody and proggy feel to the jazz ? certainly quite different in many ways to what he started producing regularly in the Nineties and up to the present day. There is a larger concentration on keyboards within this number, but that isn't the case throughout the album with some songs having no rhythm section at all and plenty of guitars, with a Gong/Hillage glissando style present at times.

Exciting and innovating, this album shows no sign at all of aging and even more than 30 years after the first song was recorded this is still invigorating and exciting and definitely a major part of Taylor's canon and well worth investigating.

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 Two-Pack by TAYLOR, ROBIN album cover Singles/EPs/Fan Club/Promo, 2010
4.15 | 4 ratings

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Two-Pack
Robin Taylor RIO/Avant-Prog

Review by Ovidiu

4 stars We have here a little more than 22 minutes of great music,an unusual and exciting release of Robin Taylor-a mini cd with 3 songs with one of the most adventureous and guitar orientated releases of the Danish master-ROBIN TAYLOR!On this mini cd,Taylor is expressing himself in a very modern and attractive way,having this time the wish to discover the jazz rock fusion territories!Great and intense guitar work and a great atmosphere on this fine release!The production is absolute remarcable and all the 3 songs are different ,but very,very well composed and performed!Both sax players are efficient and spectacular and the whole musical ensemble is perfect!A true surprise,the modern guitar register of Mr Taylor ,inspired compositions, some high good quality jazz fusion music that will plenty satisfie all Robin Taylor fans everywhwere-a mini album with 3 superbe songs with an prog RIO avantgarde touch!4.5 STARS-excellent !

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 November by TAYLOR, ROBIN album cover Studio Album, 2003
3.66 | 4 ratings

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November
Robin Taylor RIO/Avant-Prog

Review by Windhawk
Special Collaborator Honorary Collaborator

3 stars November is the seventh solo album by Danish composer and multi-instrumentalist Robin Taylor, and if anyone want to know why he's regarded as experimental and even avant-garde they should get a fair few clues on this production.

The massive 20+ minutes long "The Dark Side of Life" iss the dominating feature in terms of length, a neat wandering melody quickly changing into a multilayered droning experience building up a richly textured wall of sound, and then after 5 minutes or so it slowly dissolves as layers are removed one by one while som dominating droning patterns replace others along the way, ending up with a sparse fragmented affair gradually building up towards a wall of sound again in the last few minutes.

The total opposite is found on "Lowest", an extremely minimalistic arhythmic exploration with fragmented piano and guitar sounds occasionally enriching the offbeat, slow percussion at hand here.

Thge high point of this production, at least for me, are the tracks "Wating For Something To Happen" and the following excursion "The Big Sleep" - the former containing a broken off piano-dominated theme repeated over and over again over a backdrop of a single droning keyboard-layer featuring a 2 minute pause with fragmented piano noises over the drone; while the latter opens with fragmented noises evolving into a droning venture gradually evolving into a richly textured fluctuating melodic landscape with - you guessed it - droning qualities.

All in all I find this album to be a mixed affair; and although many of the tracks are compelling and intriguing others just tends to get too offbeat for my personal tastes. It's also a pretty bleak effort, inspired by the month of November apparently, which in Taylor's Denmark as well as my own native Norway is a gray and bleak time of the year.

This is also a pretty taxing affair to get familiar with; it does take some experience listening to advanced musical explorations to decode what's going on here - unless you have an inborn talent for enjoying such creation in the first place of course.

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Thanks to Eugene for the artist addition. and to avestin for the last updates

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