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TAYLOR'S UNIVERSE

RIO/Avant-Prog • Denmark


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Taylor's Universe biography
TAYLOR'S UNIVERSE is a Danish based studio project formed by Jan Marsfeldt and proficent composer and multi-instrumentalist Robin Taylor in 1993. With the addition of drummer Mads Hansen the central core of this project were assembled, and in quick succession the albums Taylor's Universe and Pork saw the light of day, in 1994 and 1996 respectively.

Changes were afoot though. When involved in Hugh Steinmetz lead project Communio Musica in 1996, Taylor got in touch with saxophonist Karsten Vogel, best known for his tenures in Danish 70's fusion bands Secret Oyster and Burnin' Red Ivanhoe. While Taylor worked on his next Taylor's Universe production some time later, he decided to contact Vogel, asking for permission to use some Burnin Red Ivanhoe related material. Vogel more or less invited himself to participate in the recording of the album instead, resulting in the album Experimental Health issued in 1998.

Taylor's Universe was put on hold following this album, as Taylor concentrated his efforts on solo albums and other projects the next few years. In 2004 Taylor's Universe returned with the album Once Again though, followed by Oyster's Apprentice in 2005, Certain Undiscoveries in 2006 and Terra Nova in 2007. As was the case from the release of Experimental Health the core of this project now consisted primarily of Taylor and Vogel; but in 2008 one more major change came to be.

As a passionate music lover Taylor visits record shops on regular occasions, amongst them a second hand vinyl one run by a certain Michael Denner - best known as the guitarist of heavy metal bands Mercyful Fate and King Diamond back in the second half of the 1980's. At some point in time Denner mentioned that he'd like to record with Taylor, and he was invited to the recording of the album Soundwall, issued in 2008. While Denner was coming Vogel, at least for now, ended his collaboration with Taylor's Universe at this point in time; first and foremost due to the revival of his old band Secret Oyster.

Later in 2008 Taylor became involved with, and after some time took charge of, a side project called Art Cinema. Most of the musicians involved in this venture hooked up with Taylor and Denner to form a completely revamped version of Taylor's Universe, and in 2009 this new edition of Taylor's studio project was ready with the album Return to Whatever, issued early in the year by Russian label MALS Records.

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Marvel Of Beauty
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PorkPork
CD Baby 1996
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EvidenceEvidence
CD Baby 2013
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Experimental HealthExperimental Health
CD Baby 1998
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Taylor's UniverseTaylor's Universe
CD Baby 2002
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TAYLOR'S UNIVERSE discography


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

3.67 | 7 ratings
Taylor's Universe
1994
3.06 | 14 ratings
Pork
1996
3.59 | 18 ratings
Experimental Health (with Karsten Vogel)
1998
3.87 | 15 ratings
Once Again (with Karsten Vogel)
2004
3.96 | 5 ratings
Oyster's Apprentice (with Karsten Vogel)
2005
4.32 | 27 ratings
Certain Undiscoveries
2006
3.46 | 13 ratings
Terra Nova
2007
4.01 | 20 ratings
Soundwall
2008
4.04 | 22 ratings
Return to Whatever
2009
3.54 | 17 ratings
Artificial Joy
2009
3.98 | 56 ratings
Kind of Red
2012
3.98 | 39 ratings
Worn Out
2013
4.15 | 60 ratings
Evidence
2013
3.89 | 10 ratings
From Scratch
2015

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

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TAYLOR'S UNIVERSE Reviews


Showing last 10 reviews only
 From Scratch by TAYLOR'S UNIVERSE album cover Studio Album, 2015
3.89 | 10 ratings

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From Scratch
Taylor's Universe RIO/Avant-Prog

Review by Cesar Inca
Special Collaborator Honorary Collaborator

4 stars Making a new album that reflects new musical roads is starting from scratch, and to a degree, this is what the Taylor's Universe gang have done with their latest album 'From Scratch'. The ever-creative Robin C. Taylor rules the pathway for this band in a way that motivates freedom in an expansion of multiple musical possibilities, and now, bearing in mind that the sequence of the band's previous four releases laid the ground of a golden age for TU, we can notice that this new album's overall strategy is based on the drive to refresh things up. This is a renewed manifestation of a golden age that doesn't seem to know where to end. Good news, indeed! An interesting observation the album's logistics: Taylor decided to restrain his guitarist's role prominently in favor of Claus B'hling (mostly), while he focuses on most keyboards, bass guitar and percussion' also some guitar and guitar effects here and there, of course, it's a 'must' for him. Other stellar collaborators are sax/clarinet maestro Karsten Vogel, drummer Klaus Thrane, while Mr. Ulstrup brings some amazing, electrifying synthesizer solos in a few tracks. Paying close attention to the album's repertoire itself, we start by enjoying the lightful stamina of the opener 'Other Meetings', which bears a robust groove during the installment of its main motif, a robust quality that becomes a bit more constrained during the passages where the guitar and the synth alternate solo spots. 'Beta X' manages to perpetuate the refreshment ethos on the album by displaying a weird and effective mixture of psychedelic art-rock and krautrock: a rhythmic architecture that emulates the mechanized structure of our modern society, eerie sax lines, a special richness of sound for the more extroverted moments, all these elements are craftily combined to cause a pleasant and unexpected listening experience. After the distorted adornments of the ending section of 'Beta X' comes 'Balcony People', a track that may partially remind us of the sonic magic that was tremendously dominant in the previous release 'Evidence', but again the energy expressed in the alternating lead guitar and Mini-Moog solos remind us more closely of the opening track's main ambiance. The epilogue of 'Balcony People' takes us to a spacey marriage of e-bow guitar shades and synth cosmic effects, plus talking voices (through a telephone line, perhaps?...) With a 9 ' minute timespan, track no. 4 'Interrail' is the longest piece in the album. This is the only track where Taylor plays all guitars, and while he's at it, he also decided to play a second drum kit within the overall instrumentation. The recurring motif is candidly simplistic, easy-going in a way, but it also conveys a subtle air of dark tension that the ensemble manages to translate into something dreamy' Dreamy as if waiting for some indefinite nightmare to stir things up in the near future, but maybe it won't. While Vogle's amazing sax solos deserve a special mention, it is also notable how the choral efforts by Jytte Lindberg and Jan Fischer work as an essential element of the composition's nuclear theme. 'F'r Louise' is yet another demonstration of compositional genius, which relies importantly on the amazing syncopated groove created by the rhythm section. Finn Olafsson is the lead guitarists for this piece, while Jakob Mygind and Carsten Sindvald join Vogel in the sax section. Of course, that Mini-Moog solo near the end would have made Happy The Man's hero Kit Watkins immensely proud' but this is TU, ladies and gentlemen. Just like 'Other Meetings' and 'Balcony People', the main theme of 'F'r Louise' is addictive, so it is somewhat frustrating that the end feels too early. But the album must go on and so it does with the floating soundscapes of 'Autumn River' the album meets its definitive epilogue: this closure is an exciting sonic portrait of restless river streams clouded by a thin autumn fog. Conceived as something like Hillage-meets-Fripp & Eno, this track features B'hling's exultant lines with Taylor elaborating powerful synth layers and elegant guitar phrasings. This is how the whole experience of 'From Scratch' turns out to be, yet another gem in the flawless discography of Taylor's Universe, a band that keeps itself strong and healthy in the elite of contemporary Danish prog rock.

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 Pork by TAYLOR'S UNIVERSE album cover Studio Album, 1996
3.06 | 14 ratings

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Pork
Taylor's Universe RIO/Avant-Prog

Review by apps79
Special Collaborator Honorary Collaborator

2 stars The critical acclaim of Taylor's Universe's debut was a nice push for Robin Taylor to immediately starting working on a follow-up album.The standard trio of Taylor, Marsfeldt and Hansen was again helped by trumpetist Hugh Steinmetz and for the first time female singer Jytte Lindberg appears on a Taylor's Universe album.''Pork'' was recorded between 1994 and spring 1995, I guess Marvel of Beauty Records was not on full operation by the time, as the album was finally shelved for selling early in the next year.

The diverse and varied elements apparent on the band's debut are still the main forces on this album, but unfortunately ''Pork'' sounds a bit like a mess, the sound ends up to be more experimental than properly structured, now borrowing some elements from the laid-back stylings of PINK FLOYD, like the smooth guitar plays and the soft organs, and throwing them into an abstract and chaotic collage of Fusion, R.I.O. and Industrial palettes.The album still retains some very interesting, cool passages with lovely jazzy orientations, but all this unrelated stuff coming from acts like KING CRIMSON, RASCAL REPORTERS, PINK FLOYD and PASSPORT are far from tight and more on the loose side of music.Odd synth experiments, highly distorted wordless voices, proggy overtones, Latin-spiced echoes and EKSEPTION-like Horn Rock values are hard to be comnbined and the overall atttempt here is trully sincere, but fails to deliver.Too many stretched themes with dominant trumpets, nonsense vocal experiments and absence of melody make ''Pork'' a hard pill to disgest.Expecting some good material on the long ''Another rainy day'', but these extended opening bells, sound effects and minimalistic vibes lower its value, even if the following section with the beautiful FLOYD-iang uitar work and the atmospheric keys is definitely attractive.

Not an album I would easily recommend.It's too loose and obscure, lacking direction and strong structures, making it far from an easy task.Thus, this would be appreciated by fans of the more experimental and jazzy side of Prog Rock.

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 From Scratch by TAYLOR'S UNIVERSE album cover Studio Album, 2015
3.89 | 10 ratings

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From Scratch
Taylor's Universe RIO/Avant-Prog

Review by Ovidiu

4 stars FROM SCRATCH is the latest musical offering from the great Danish musician-Robin Taylor!It's a new album under many aspects and I must say,from the beginning,that I was really impressed by the freshness and new breeze of the musical message on this album!Starting with an uptempo song-OTHER MEETINGS,a quite unusual rhythmed composition for Mr Taylor ,the album continues in a very inspired note,with the wonderful track BETA X...and so on.Well,definitelly,there is a Robin Taylor trademark in music,and this album doesn't make any exception of the rule !The wonderful,crystallyne production is a major plus for an already very inspired musical material!I sincerelly adore the great work on sax provided by the faithful collaborator Karsten Vogel and the wonderful vocal interventions of some great female vocalists.The whole ensemble is a very solid one,the rich orchestration imagined by the musical genius of Robin Taylor is extremelly well organized and offer to the listeners great sonic landscapes...or audio landscapes!This mesmerising music is putting you in a very melancholic mood,it gives you a whole frame of free imagination,to travel with your mind wherever you dream to go!All compositions are quite long-only one is under he 3 minutes timing!Definitelly,FROM SCRATCH is another brilliant album made by a very inspired musician of our days,and shows at 100 % the fact that progressive music has endless ways of expression,and offers a huge,wide range of musical expressions to his fans !!The timing of the album is perfect too-almost 45 minutes of solid RIO/AVANT PROG music,music for open minded listeners ,good quality music!In the end the reward is more than marvelous-the feeling and satisfaction of the audition of a great album,rich in it's musical expressions and meanings!One more thing,the cover looks great,a post apocaliptic image of an abandoned factory structure at the end of civilization ,connected to the world by a railway.....and somehow it reminds me a little something related to the fall of the communism...an abandoned factory in a forgotten corner of the civilized world...but there is still a connection to the world,made by the railway.....The strange colour of the sun is great too....it's an undefined twillight.....!!!4.50 solid stars from me and a sincere BRAVO to the author!

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 Oyster's Apprentice (with Karsten Vogel) by TAYLOR'S UNIVERSE album cover Studio Album, 2005
3.96 | 5 ratings

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Oyster's Apprentice (with Karsten Vogel)
Taylor's Universe RIO/Avant-Prog

Review by Cesar Inca
Special Collaborator Honorary Collaborator

4 stars Taylor's Universe is such a special creature in the recent history of art-rock: this band led by Robin C. Taylor should be more acknowledged and appreciated by avant-rock and jazz-rock fans all over the world, but it remains only appreciated by a few despite the impressive quality of its discography. The item to be reviewed right now is "Oyster's Apprentice", an album that bears the peculiarity of comprising pieces that have been composed in various years: for instance, 'Lost Title' and 'Aiolos' are the older pieces, written in 1976, while 'Vue (Time Bolero)' is a bit younger since its inception dates back to 1979. The opener and the closer are the only tracks written in the new millennium. Well, this album is from 2005 and that's official, a historical fact. Taylor plays guitars, keyboards, percussion, even some recorder, but of course, he also benefits of the crucial presence of some guest musicians; the most featured one is sax/clarinet player Korsten Vogel, whose name is even highlighted on the cover. Let's check the repertoire itself now. The opener is entitled 'Ghost Reporters' and it flaunts a colorful mood filled with humorous nuances, which is largely due to the tropical feel toward the main motif is oriented; moderately complex moods, catchy horn arrangements and a great guitar solo somewhere along the road serve well as elements of sophistication. 'The Arrangement', in turn, closes down the album as an act of mischievous fun: it starts as a new version of 'Ghost Reporters' but soon turns into an exercise on spacey minimalistic avant-jazz a-la Tortoise, featuring harmonium and woodwind. What happens in the middle is a motivation for diverse pleasant experiences waiting to ornate the life of every potential listener. 'That Strange Plaza' states a sense of strangeness in its initial mysterious ambiences ? including the use of weird distorted sonic tricks ? but once the main body settles in, what we find and enjoy is a relaxed statement of nice, laid-back melodic developments where the synth layers and sax solos take center stage among the whole instrumental framework. 'Joe Hill's Recorder' and 'Lost Title' segue into each other, creating a fluid horizon of crafted melodic structures and refined arrangements. The main melodic focus has a graceful quality to it while it subtly alludes to grayish atmospheres and some sort of spiritual restlessness, but, all in all, it is the exquisite serenity of the interaction of drums and keyboards that prevails and, by doing so, the graceful quality happens to be inevitably dominant. Isn't that a strategy to enhance some sense of impending doom without letting the listener be totally aware of the doom's immensity? Perhaps, why not? 'Vue (Time Bolero)' is a track that certainly reveals a kind of scary atmosphere, almost like flirting with the dark musicality that makes up the standard of chamber-rock, but again, the mention of this particular standard is only a referential description. (Maybe the writer wasn't acquainted with Univers Zero when he composed this piece.) On the martial framework of the drum kit and the orchestral density created by the keyboard layers ? synth and harmonium ? lies the fog of limbo, filling the whole world; once the guitar furiously erupts into an intense, psychedelic solo, the wildness of something dangerous shows its face. It's a pity that this guitar solo should be so short, but it serves its purpose well, and shortly after, a magnificent alto sax solo (by Vogel, of course) states another classy moment of emotional tension (not unlike those solos provided by Mel Collins on KC's 'Starless'). 'Aiolos' is eerie and majestic, revolving around a simplistic motif and making it sophisticated in a most subtle way: it bears family resemblances with some compositions we find in other TU albums ("Return To Whatever", "Kind Of Red", "Worn Out"), and that's OK. The guitar solo played by guest Jon Hemmersam is not to be missed. 'Iron Wood' (a track written in 1989) starts softly, with the acoustic guitar assuming a protagonist role, but afterwards, once the ensemble settles the track's main body, the dynamics grows and the stage is set for a demonstration of the extroverted side of TU. Percussive ornaments and yet another great sax solo are noticeable factors for the groove's development. Well, at the end of the day, this is a great album, not as impressive as other albums that we know from the Taylor's Universe catalogue, but it has its own big merits.

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 Evidence by TAYLOR'S UNIVERSE album cover Studio Album, 2013
4.15 | 60 ratings

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Evidence
Taylor's Universe RIO/Avant-Prog

Review by Windhawk
Special Collaborator Honorary Collaborator

5 stars Danish band project TAYLOR'S UNIVERSE was formed back in 1993, launching their first album the following year and releasing two more prior to the end of the 1990's. From 2004 and onwards this band has been very active, issuing an album a year on average from that point in time and onwards. "Evidence" is the most recent production by Taylor's Universe, their thirteenth in total and the second of the two albums they released in 2013.

On the thirteenth album released under the Taylor's Universe moniker, we're treated to a veteran band that seeks to expand the scope of their chosen universe by way of increased focus on instrumental soloing in general and fairly intense, guitar soloing in particular. A rougher, untamed element unleashed in the otherwise elegant and carefully assembled symphonic progressive rock and jazz rock-tinged landscapes that have been this band's specialty, with compositions more vital in nature and expression as the result. An album that merits a firm recommendation to fans of high-quality instrumental progressive rock.

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 Evidence by TAYLOR'S UNIVERSE album cover Studio Album, 2013
4.15 | 60 ratings

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Evidence
Taylor's Universe RIO/Avant-Prog

Review by kev rowland
Special Collaborator Honorary Collaborator

5 stars So here we have the second album from 2013 for Robin (guitars, keyboards, bass, flute, percussion), and he has been joined again by Karsten Vogel (sax, clarinet), Klaus Thrane (drums) and Louise Nipper (gentle vocals on one number). But, he has also brought into the band for the first time both Claus B'hling (guitars) and 
Thomas Thor Vider' Ulstrup (synthesizer). I have long since learned that Robin has an immensely broad musical palette, and I should never really be surprised at what I hear, but yet again I find myself nodding sagely and wondering just how he does it. What we have here is an album that in many ways is more restrained and immediate that many of his works, just four songs giving us 44 minutes of music. The gentle keyboards provide the foundation for Claus and Karsten to let loose when they feel the need. Such is Claus's control and feel I did some searching on the web to discover a bit more about him, and was not surprised to find that he has been around for a large number of years, most notably in the power trio Hurdy Gurdy at the end of the Sixties (Donovan wrote the song 'Hurdy Gurdy Man' for them, but after a disagreement on how it should sound he release it himself). He is fluid and dynamic, with plenty of attack and pace while also knowing how to be restrained and emotional.

There is a lot of space within this album, and a feeling of a timelessness as the listener gets taken away to a different world where there is nothing but the music. The only thing wrong with the album is that it is too damn short! The more I have played it the more I have enjoyed it, and though there are some elements of Oldfield, the guitar especially takes it to a different level. 31 albums down, and Robin shows no sign at all of slowing, I just wonder what the next one will be like as this is one of his very best. www.progressor.net/robin-taylor/index.htm

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 Evidence by TAYLOR'S UNIVERSE album cover Studio Album, 2013
4.15 | 60 ratings

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Evidence
Taylor's Universe RIO/Avant-Prog

Review by Ovidiu

4 stars 2013 ends in big style for the prolific and inspired Danish musician Robin Taylor,which offer to his fans another ambitious and beautiful musical offering!Yes,EVIDENCE is the second album in 2013 for Mr Taylor,and shows once again that prog music register has limitless boundaries,providing again and again new and interesting soundscapes!After the very refresing and more accessible WORN OUT album,this brilliant new one-EVIDENCE-definitelly has some wonderful moments indeed! A little more than 40 minutes,divided into 4 long tracks,quite different one to the other in heir musical expression,having the unique sense of complexity and ,in the same time,accessibility,musical wizardry that only the musical genius of Mr Tylor is capable to do it in such a majestic way!Great quality of the sound,crystal clear production ,amazing percussion work and some wonderful guitar solos provided by Claus Bohling- a true guitar master in catching great tones on his instrument-sometimes reminding of Mike Oldfield!Each audition of this album is an invitation to a journey into a mysterious territory,where the imagination of the listeners is invited by Mr Taylor to fly without any restriction!Robin Taylor is a master of cleverly gadaduation of the intensity of each composition-starting with a calm and quiet atmosphere-and then the composition is developped in a unexpected and complex musical directions,where many instruments are making dense the message of the song !Overall,there is the wonderful masterful touch of the masterimind Robin Taylor,which is in charge and plays many instruments,giving the album his unique personality and identity!I can say that EVIDENCE is another quite accessible Robin Taylor album,but-definitelly-needs more auditions to be fully understood !That's the kind of intelligent music that you have to dig it deep into ,to 100 % catch it's message ,passion and intensity!Thank you ,Mr Taylor for your musical vision and wisdom,EVIDENCE is trully a brilliant album and it shines in it's musical integrity and message!4.5 strong stars for me,I simply adore it!

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 Worn Out by TAYLOR'S UNIVERSE album cover Studio Album, 2013
3.98 | 39 ratings

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Worn Out
Taylor's Universe RIO/Avant-Prog

Review by DrömmarenAdrian

4 stars Good evening folks, now you must introduce yourselves to the Danish group Taylor's Universe's music! It's a very interesting band, you can call them avant-prog but I think fusion would have been a good definition. They are from Denmark and has been making music since 1994 and "Worn out" seams to be their twelfth record. The cover picture of this record shows a pair of worn out shoes and I find it artistic.

I have already told you this should be something to explore. There is a lot to like in Taylor's universe. The group features Robin C Taylor (guitars, basses, keyboards, percussion), Jakob Mygind(saxophones), Karsten Vogel(saxophones), Hugh Steinmetz(trumpet & flugelhorn) and Klaus Thrane(drums). All these instruments give a glimpse of the world of this music. The music is instrumental and borderless. The record contains six tracks and here I'm going to say what I think about the tracks.

"Floating rats" is a perfect introder, which includes almost everything you need in music. I also think this sounds little like 70s sound and perhaps some Zappa(10/10). "Munich" is the longest track, partially very mighty and of course I love the saxes(8/10). "Imaginary church" proves it's unique music in this track with a fully nice sound, well it is ingratiating but still perfect(10/10). "Cruelty in words" is a little different, darker than the others(6/10) and "Jens in Afghanistan" has an intriguing intruduction which is very experimental(6/10). The last track "Sergeant Pepperoni" is a crazy and well-fitted end of the record(8/10).

I can't find anything boring or bad in the album "Worn out". Of course it could have been interesting with vocals but if you want to hear vocals you can try another band. Taylor's universe is an interesting Danish progressive band which newest record I recommend. Four even stars!

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 Kind of Red by TAYLOR'S UNIVERSE album cover Studio Album, 2012
3.98 | 56 ratings

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Kind of Red
Taylor's Universe RIO/Avant-Prog

Review by admireArt
Collaborator PSIKE Team

4 stars NOW!, this is a great RIO/AG album, daring, proposing, not trying to make any kind of statement, just impeccable, sensibly executed, original song-written music. More in the natural borderline of A.V. Jazz,, not merely because of the instruments, also composition-wise. Why it is not in the Prog-Jazz/Fusion section?, I suppose it has to do, with all the kind of stop-overs (Tangent-like) they cover, to their final route. RIO as such, it is not, understanding the need of tags, I will tag it, post-RIO/AG. The language is friendly, I suppose, considering their use of minor-chords, so close to the genre, but their conception is quiet a thrill. So, if you are looking for more RIO/AG- fireworks of " thumps and crashes and screams", there are some, but because music progression, not to impress or just for kicks, and not the whole of the album which is itself a relief. Also, no singing, that for me is a super-plus (no-preaching), just abstract voices flowing here and there, Sometimes you will be reminded of the Tull's early power -prog/ rock and just as a mere detail. I don't exactly remember the Tangent's tag, but "Kind of Red" sounds also, a bit like that, not musically, but in the multi-national approach . TAYLOR'S UNIVERSE - Kind of Red, has one of the most uncommon attributes one kind find, they are not scared to arrive to different musical-areas, that is why, I suppose, they are here in the quiet un-populated RIO/AG planet. Great songs which go different routes, without losing identity, and without fearing that sometimes, things may not turn strictly RIO or AG, but with that boldness that categorizes the RIO/AG crowd, they handle novelty but also beauty, if encountered, as they do with other musical fields. Thanks for this PA recommendation, my belief in the future of Rock in Opposition, has lightened up, again, for real. Therefore, if you like intelligent, not over the top musical structures, which sometimes are jazzy, others pure RIO, others AG, others pure prog-rock, without oversized pretentions, but talent alone, this is a very good project (as for it to be essential,.. Well, that is your pick!. For me, ****4 PA stars.

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 Worn Out by TAYLOR'S UNIVERSE album cover Studio Album, 2013
3.98 | 39 ratings

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Worn Out
Taylor's Universe RIO/Avant-Prog

Review by Ovidiu

4 stars 2013 brings a new album of one of the most original,prolific and creative musicians from Europe-the brilliant Dane-ROBIN TAYLOR and his musical project-TAYLOR'S UNIVERSE!First of all I want to say that this cover is absolutelly fantastic,one of the most bizarre,original and expressive album cover that I've ever seen!Musically speaking-WORN OUT could be considered like one of the most accessible and not dfifficult to listen Taylor's albums!The production is excellent-as usual-and the musical ideas exposed are sensational!Great percussion work ,great instrumental alchemy between all the instruments and one of the most rhythmic albums of Mr Taylor indeed!The sound of the alto sax is brilliant-Karsten Vogel is a trusty and faithful collaborator of Mr Taylor-and his serious and commited involvement in this album is obvious!The only "weird' track of the album can be considered JENS IN AFGHANISTSN-all the others are more song orientated and,definitelly-the song writting on this album is more present,precise and exposed here than on other previous releases of Mr Taylor!-way too adventurous and willing to explore new musical territories!As I ve said before- WORN OUT is a more accessible album under all aspects,with solid avant gardistic musical structures and wonderful soundscapes builded with an unique musical wisdom and solid componistic and musicianship skills by Robin Taylor-very inspired on this fresh and attractive album!In fact,there is a paradox-because the audition of this album is not at all an easy one- but ,in the same time-for those who know the previous releases of Mr Taylor-WORN OUT seems to be something a little different!There's still plenty of musical puzzles here and the combination of it gives something very attractive in the end!There's a little fusion vibe here- some RIO avant prog structures-pure jazz rock moments and maybee some world music too- a clever mix of many styles put together with maximum precission and intelligence by it's author!Definitelly an axcellent album,but I recommend many auditions to fully understand the message and essence of WORN OUT-another musical triumph for Robin Taylor-a sure value of the European innovative prog music!4.5 stars and all the respect in the world for one of the most fair and a example of musical integrity in today's music-Robin Taylor!

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