ACROSS THE UNIVERSE

Here is the Danish ensemble TAYLOR'S UNIVERSE, saying goodbye to the year 2015 with a retrospective release 'Across The Universe - An Introduction To Taylor's Universe', which comprises new versions of pieces originally included in some previous albums. Actually, this album is much more than a simple introduction to part of the band's back catalogue: it is a powerful, interesting statement of the ensemble's current vitality, so the refurbished pieces happen to acquire a new, enhanced life, a renewing warmth, to be more accurate. The line-up for this album consists of Robin C. Taylor [guitar, keyboards, basses and percussion], Jakob Mygind [saxes], John Sund [guitar], Thomas Thor Videro Ulstrup [keyboards], Frank Carvalho [guitar and additional keyboards] and Klaus Thrane [drums]. We can also hear the interventions of vocalists Lousie Nipper and Jan Fischer i na couple of pieces. The albums that have been partially revised on this particular occasion are 'Kind Of Red', 'Artificial Joy' and 'Return To Whatever'' with amazing results, indeed!

Frontally gleeful and imposingly vibrant, the opener 'Salon Bleu' flaunts its Latin-based grooves which properly capitalize the extroverted spirit of the main motif. The follower 'Firestone' is designed within an eclectic, sophisticated musical architecture that enables the various moods to intertwine with clean, compact fluidity. The electrifying solos provided by the synth and the soprano sax add an air of enormous expressionism to the thematic development, while the stylish licks of the lead guitar add a counterpoint of serene sobriety. Given this individual zenith of the album, there is another one with the beautiful track 'Days Run Like Horses', whose greyish moods are nurtured by a lovely inspiration based on contemplative moods. Very much obedient of the paradigms of GILGAMESH and NATIONAL HEALTH while retaining some heritage from the old school of R.I.O. at the same time, this piece happens to be an amazing exercise on melodic Canterbury-based jazz-prog. You can also notice some Crimsonian flairs in the lead guitar's input. In 'Days Run Like Horses', the essential strength of character of TAYLOR'S UNIVERSE is exposed in the wide open. 'Fame' somewhat follows in the same thread as the previous track, but bearing a more solemn vibe in the basic structure of the instrument's interactions. The heavy undertones of some guitar riffs and the languid groove provided by the rhythm duo state a very rich framework for the overall instrumentation. Once again, a superb sax solo appears somewhere along the way and shakes things up with inventive gusto; there is also a magnificent guitar solo in this piece, arguably the best one in the whole album. The dissonant closing section wraps thins up with a sense of magnificent tension. We can tell that this trilogy of 'Firestone'-'Days Run Like Horses'-'Fame' we listeners are enjoying an integral climax of the album itself.

'Tortugas' and 'Haunted Yellow House' - both being a little longer tan 7 ' minutes - display a majestic progressive engineering that shows how well can this band handle diversity inside its unitary mission. The former piece mostly focuses on the obscurantist intensity of the PRESENT tradition and the KING CRIMSON legacy; the latter one states an aristocratic serenity very much a-la HAPPY THE MAN, which naturally lead to the guys of TAYLOR'S UNIVERSE exploring their lyrical side with elegant enthusiasm. The closing track, 'Mooncake', finds this brilliant musical militia working on the melodic side of progressive rock with their own particular take on the legacies of CAMEL, FOCUS and HAPPY THE MAN. This revelation of their 'purest' melodic side is simply amazing. Those Baroque-like organ layers and those agile inputs provided by the guitar and the synthesizer make the whole global feel sound like a little orchestra, neatly sustained by the rhythm duo's genius work. All this is what 'Across The Universe - An Introduction To Taylor's Universe' gives to us and we feel privileged for the chance to enjoy this great retrospective: TAYLOR'S UNIVERSE confirms itself as a perpetually big reference of contemporary prog rock.

Danish project TAYLOR'S UNIVERSE has been an ongoing feature for more than 20 years in various guises, and more than a dozen studio albusm have seen the light of day over the years. "Across the Universe" is the most recent outing by the band, released through Robin Taylor's own label Marvel of Beauty Records towards the tail end of 2015.

Taylor's Universe has been a quality provider of compelling but challenging instrumental progressive rock for more than two decades, and this collection of altered versions pulled from the more recent history of the project comes across as an appealing production on all levels, and arguably the album released by the project that will have the broadest general appeal at this point. It is subtitled "An Introduction to Taylor's Universe", a functional description that comes across as apt on all levels, but it is also an album well worth checking out by those that have already warmed to the charms of this fine Dane and his revolving sets of contributing musicians.

Robin is one of the most prolific artists I have come across, normally working under one of three different guises, and for this release he has put together a special line-up of the band. The album itself contains a selection of highlights from the later repertoire of Taylor's Universe ? here in altered 2015 versions: rearranged, partly re-recorded, remixed and remastered. No room for Karsten Vogel or Carsten Sindvald, both of whom have been important members in the past, but he has instead again relied on Jakob Mygrind to provide dynamic saxophone and has brought in two more guitarists to add weight to the sound, in the form of famed Danish musician John Sund and Frank Carvalho (from Etcetera), neither of whom have recorded with him in the past. Thomas Thor Viderø Ulstrup is again providing synths, while Klaus Thrane is still here on drums, and Louise Nipper and Jan Fischer provide some wordless vocals.

Robin, as always, is at the very centre, providing whatever musical textures and nuances that are required, working as the conductor and organiser to ensure that everything is focussed and finessed to perfection. With as much in common with jazz thinking as it does with progressive rock, Robin continues to operate at a very high level indeed, creating music that is thought provoking and intense while staying accessible and dynamic. As with all his releases, this won't be for everyone, but those who appreciate this type of music will find a great deal here to enjoy.