RETURN TO WHATEVER

Another year, another album by Taylor's Universe, and yet another really, really strong production.

This time around Taylor has rejuvenated his band, taking with him many of the musicians involved in the Art Cinema project. And at least for this production, long time collaborator Karsten Vogel isn't partaking.

What we get are compositions with Taylor's trademark warm keys in various guises dominating as ususal, some stellar guitarwork by Taylor as well as Michael Denner; with soloing from violin player Tassone and sax player Sindvald adding additional moods and textures.

The compositions are repetetive and hypnotic in their basic foundations, one or more themes repeated with keys, guitars, sax and violin having a field day in fleshing out moods, creating additional sound layers and subsequent compelling themes and variations of the melodic foundation/s. Hard to place in style as usual, but I think it's safe to say that fans of art rock and symphonic prog camn be considered a target audience.

Pretty close to perfection yet again from this band, and highly recommended.

Taylor's Universe is a name that almost always get past for other well known bands. I'm not pretty sure about all their catalogue, but Return To Whatever (2009) released by the rusian label MALS is a great album.

Saxophones, a bit of Emerson, Lake & Palmer (in the track 'July 6th') and great keyboards are waiting for you in this album.

Also, 'The Atlas Clock' reminded me a bit of Dave Matthews Band, bit Jazzy and with country violins. 'Earth' is a bit renaissance and then a bit Jethro Tull. And while 'Pink Island' is a bit Krautrock the last track 'Mooncake ? Reprise' is a great way of finishing the album.

Return To Whatever (2009) was a great surprise and one of the nicest 2009 albums I've heard. Kudos to Taylor's Universe for that.

Robin Taylor is one talented musician and despite the fact he's put out a lot of albums over the years he manages to give each one it's own personality. This particular release is one of his more accessible and melodic recordings.

"Mooncake" has these heavy drums with synths and more. Pulsating keyboards take over before a minute then the guitar joins in lighting things up. Sax follows and more guitar 2 1/2 minutes in. Again the sax follows in this symphonic styled song. A top three for me. Great track ! "July 6th" has a cool rhythm that sort of sways back and forth as the piano and drums standout. Distorted guitar around 3 minutes as sounds come and go while that rhythm continues. The organ is helping out too. A top three. "Haunted Yellow House" has these heavy drums and sound as the sax solos over top. It settles with piano,bass and drums then the sax and organ join in. It suddenly turns dark and haunting 2 minutes in then kicks back in around 3 1/2 minutes. We get some laid back sax before 5 1/2 minutes.

"The Atlas Clock" has a beat and more as the sax comes and goes. Organ 1 1/2 minutes in then violin. It's heavier a minute later for about a minute. The violin is back 4 1/2 minutes in. "Earth" is led by piano, violin and flute early on. It changes and turns fuller after 2 minutes. Great sound here. Some crazy sax before 4 minutes then it turns mellow before kicking back in. "Pink Island" has some really good guitar leads in it. This is mid-paced and we get sax later on before the guitar returns to end it. "Mooncake-Reprise" is simply that and it's an excellent way to end this album.

A solid 4 stars for this really enjoyable album.

Robin's first release of 2009 saw a new version of Taylor's Universe, with no sign of Karsten Vogel and the use of many of the participants of his Art Cinema project including the return of Michael Denner (King Diamond/ Mercyful Fate). The other musicians on this project are Flemming Muus Tranberg (basses), Carsten Sindvald (saxophones), Klaus Thrane (drums), Louise Nipper (voice), Pierre Tassone (violin) and Tine Lilholt (flute, harp) Also, this CD has been released on the Russian Mals label instead of Robin's own, and is a superb digipak. But what of the music? This is easily one of Robin's finest moments, directing the musicians around him to bring together controlled chaos, melody and dischord, note density and space ? often in the same few bars of a song.

This is music for the music lover, whether it be jazz or progressive, with elements of Metal and avante-garde so that the whole is a discovery, a journey if you will. There are times when the brass just soars, at others it is more restrained, while at the heart of it all Robin provides simple yet poignant keyboards. Essential.