CLOZE TEST TERROR

"Cloze Test Terror" the 2nd full-length studio album by Danish artist and producer Robin Taylor. The album was released through Kling Klang Records in 1992. It´s the successor to "Essay" from 1991. Born in 1956 Robin Taylor made his album solo debut rather late in his life but his output since 1991 has been extensive with an (at this moment) output of more than twenty albums (with various acts). He is not new to composing and playing music though as he has been playing music with several bands throughout the seventies and eighties in addition to producing and making sound experiements.

The music on "Cloze Test Terror" is a bit hard to pin down as there are influences from many genres on the album. There´s a slight jazz influence even though it´s not obvious on all tracks on the album. Avant garde rock elements and experimental sounds are also a part of the sound. This is not really avant garde though. The album is quite accessible. Ambient soundscapes are also a big part of the sound. Robin Taylor´s guitar style is the highlight here for me. He is a great guitarist which is fully showcased on his solo on "Day In Some Kind of Life: e) Final Part 5". There´s not enough of his playing on the album IMO though and the atmospheric ambient soundscapes (even though they are nicely dark in mood) do drag on a bit too long at times. The drums on the album are manipulated percussion (some electronic drums too if I´m not mistaken) for the most part and a real drummer would have made the songs a bit more dynamic if you ask me.

The musicianship is excellent. Robin Taylor´s skills are considerable and his compositional ideas are intriguing. Guest appearances by Jakob Mygind on sax (only on "Postman's Nightmare & The Fast Ride") and Anders Schumann on drums (only on "Day In Some Kind of Life: e) Final Part 5") add some good variation to the album.

The sound production is a bit lo-fi but still enjoyable and upon conclusion "Cloze Test Terror" is a good quality album by Robin Taylor. It´s a bit hard to see who the target group is though and that´s where I think this album will fail in many people´s eyes. Personally I find the album enjoyable and an overall solid release. A 3 star (60%) rating is warranted.

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.

'Cloze Test Terror' was Robin's second album and was originally released in 1992. He provided guitars, keys, bass, percussion etc and was joined by Jan Marsfeldt (keys), Jakob Mygind (saxophone), Jacob Christensen (bass) and Anders Schumann on drums. Only Jan remained from the musicians who had contributed to Robin's debut album the year before, as I haven't heard that release I can't comment on what musical changes may have taken place. I do know that I find it hard to believe that this album is now some eighteen years old. The production is spot on and again there is the use of space that I have found in so many of Robin's releases. This is an extremely melodic album, mixing jazz almost with loungecore before also treading into areas more usually associated with RIO.

The drums aren't as impressive as they could have been, and in fact if a musician hadn't been listed I would have assumed they were programmed, but that is only a minor niggle as Robin puts together a tapestry of music that is always enjoyable and thoughtful. This is music to drift into and to allow it to wrap you in layers of complexity and warmth. Jakob may not always be allowed to vent forth but the times that he does it is in perfect harmony with what is happening around him. Interesting to hear music from so early in Robin's journey which already shows the trademark sounds of what I expect today.