Marvel Of Beauty Records [Release date 17.11.17]

If it’s hard to retain a serious notion of progressive rock in a genre that arguably ran its short lived course in the early 70’s, then Robin C. Taylor takes the instrumental jazz-rock option to tap into the vibrant North European niche dating way back to the early 70’s.

His 25 year old band and prodigious 30 plus album career continues to vibrantly explore a durable strand of contemporary music with an excellent album that cuts a swathe through musical labels.

Perhaps the name of his band Taylor’s Universe is an oblique nod to some exploratory music of the highest order, routed in broad conceptual landscapes with barely a wasted note.

The free-flowing arrangements encourage some breathtaking interplay and subtle dynamics. The deep solos lie at the core of a number of expansive ambient soundscapes which are a musician’s equivalent of a painter’s canvas.

Taylor Universe is a creative and evolving force which strikes a perfect balance between the band’s inherent musical ability and their leader’s overall vision.

Perhaps it’s the stop-start nature of his career – including a mid-80’s diversion into visual arts – that has enabled him to retain a freshness of purpose.

The Anglo/Danish composer is a self styled multi-instrumentalist, sound manipulator, arranger, producer and record label owner who has long dabbled in the early notions of multi-tracking. No surprise then to discover that his music is full of layered melodies and little tension building pulses that are exquisitely resolved by expansive solos leading to deep grooves.

‘Almost Perfected’ is an aptly titled album that makes light of Robert Fripp’s claim of music recycling itself. Sure there are broad familiar threads and embellishments, but there’s a refreshing approach born of a conceptual continuity that enables Taylor to fuse prog rock, psychedelia, ambient music and yes damn it, jazz.

It’s old school music unashamedly built on European jazz rock antecedents, with nods to Neil Ardley, Burnin’ Red Ivanhoe, Gong (both Moerlen and Hillage led combos) and even Pink Floyd.

The album opens with the ambivalently titled ‘Mean Attack’, which moves from a meditative opening to sudden kaleidoscopic bursts, before settling into eastern sounding groove as the piece moves into fusion mode to evoke Pierre Moerlen’s Gong. There’s also a Tull meets Gentle Giant stop-start staccato break, leading into a feather light sax note fade.

The 2-part ‘Definitely Greek (She said)’ is outstanding, as it restlessly shifts its gaze from jazz-rock to gently voiced chords and some grainy toned sax and Thomas TV Ulstrupand’s moog stabs. A pregnant pause ushers in some exhilarating moog and acoustic guitar interplay over gently nuanced bv’s.

The pristine sonic quality, careful note choice and sudden explosive quiet-to-loud finish makes the outro sound almost impatient.

There’s also a nod to the mid-70 on the synth intro of ‘Remembering Johannesburg’, before a clever organ and vocal collage with guitar noodles.

A significant pause leads to a more laid back feel with gently applied soprano, on a great example of Taylor’s layered textural approach that helps shape an extended piece that goes on a shade too long.

And so to the closing album highlight ‘Dark Side of Alec’. It’s a beautifully woven piece with a thunderous King Crimson style intro and some portentous organ and delicate cymbal work, punctuated by muscular drum parts on an otherwise deftly layered piece of early 70’s Floydian psychedelia.

This is the most complete piece music on the album, as the band soars eloquently with a melange of John Sund’s guitar, Jakob Mygind on sax and Robin on keyboards over a powerful rhythm section.

The joyous collision of psychedelic and jazz-rock eventually heads to a windswept landscape fade that ensures the music lingers on in the mind long after the last note.

Creatively layered, inspirationally played, beautifully crafted and with focussed solos framed by mellifluous band interplay, this is a superb album that all self respecting rock into fusion fans should seek out and buy. *****

Review by Pete Feenstra

Pete Feenstra presents his Rock & Blues Show on Get Ready to ROCK! Radio every Tuesday at 19:00 GMT, and “The Pete Feenstra Feature” on Sundays at 20:00

Featured Artist: JOSH TAERK

Since early 2020 Josh has been entertaining us with exclusive monthly live sessions, streamed via Facebook.

Next session: Sunday 19 January

Check out videos here: https://www.facebook.com/getreadytorockradio

David Randall presents a weekly show on Get Ready to ROCK! Radio, Sundays at 22:00 GMT, repeated on Mondays and Fridays), when he invites listeners to ‘Assume The Position’. The show signposts forthcoming gigs and tours and latest additions at getreadytorock.com. First broadcast on 24 November 2024.

UK Blues Broadcaster of the Year (2020 and 2021 Finalist) Pete Feenstra presents his weekly Rock & Blues Show on Tuesday at 19:00 GMT as part of a five hour blues rock marathon “Tuesday is Bluesday at GRTR!”. The show is repeated on Wednesdays at 22:00, Fridays at 20:00). This show was first broadcast 26 November 2024.

How to Listen Live?

Click the programming image at the top of the page (top right of page if using desktop)

Listen via Windows Media Player. Click or tap here and “open file”
Listen via other media player (eg. VLC) Click or tap here and “open file”

Get Ready to ROCK! Radio is also in iTunes under Internet Radio/Classic Rock
Listen in via the Tunein app and search for “Get Ready to ROCK!” and save as favourite.

More information and links at our radio website where you can listen again to shows via the presenter pages: getreadytorockradio.com

Power Plays w/c 9 December 2024

In this sequence we play ‘The Best of 2024′ GRTR! reviewer selections

Featured Albums w/c 9 December 2024

09:00-12:00 The Best of 2024 (Melodic Rock)
12:00-13:00 The Best of 2003-2024 (Melodic Hard Rock)
14:00-16:00 The Best of 2024 (Singer Songwriter)