Taylor's music bounces around quite a bit, stylistically, throughout "Artificial Joy." The CD's opener, 'Work' is typical - a dark, foreboding chord progression is maintained by Taylor's various keyboards as the tune twists and turns through several rhythmic and textural variations. The title track is a bouncy anthem with massive rocking slabs of Finn Olafsson's lead guitar and Taylor's surging Hammond organ alternating with slightly mellower, almost-funky sections featuring Mygind's burry, Brecker-ish tenor sax. Even though it starts off with over a minute of doom-laden electronics and backwards-masked effects, 'Days Run Like Horses' is the most fusion-y thing Taylor's recorded with this band in years, and features an uncharacteristically long, electronically-enhanced tenor sax solo. The lovely, ballad-like beginning to 'Laughter' gives absolutely no clue to the content of the rest of the tune - a macabre, open-ended spoken word piece that is the aural equivalent of a classic Hitchcock movie. Taylor's trademark tuneful, hooky prog-rock dominates on 'Atmosfear' and 'Telephone,' while 'Fame' has a pervasively dark, almost Gothic, feel to it. The latter tune also features some particularly outstanding guitar work by Mercyful Fate axe-man Michael Denner. All in all, "Artificial Joy" is yet another strong and stimulating recording from Taylor's Universe.