Roger Taylor – Violence Insane in a Beautiful World Album Review

Roger Taylor’s seventh solo album: tenth, if you count his years fronting The Cross: finds him in a reflective yet adventurous mood. “Violence Insane in a Beautiful World” is a record that balances warmth with unease, intimacy with theatricality, and familiar rock textures with unexpected stylistic turns. It’s the work of an artist who remains restless, curious, and determined to push his own boundaries.



The album opens with ‘Beautiful World’, a gentle, almost meditative piece built on a military‑style drum pattern, understated guitars, and a soft wash of keys. Taylor delivers a stream‑of‑consciousness list of the things that make the world worth cherishing, gradually stacking harmonies and instrumentation until the song swells into a gospel‑tinged climax. It’s both hopeful and cautionary, bookended by his blunt reminder not to “f’’k it up,” a line that lands with more weight than shock.

The title track, ‘Violence Insane’, flips the mood entirely. A spoken introduction and throbbing rhythm create an ominous undercurrent, soon joined by piano and Taylor’s electronically altered vocals. The tension builds steadily until guitars crash in at full force, ending the track with a jolt. It’s unsettling, theatrical, and unmistakably Taylor: a reminder of his knack for blending drama with melody.

‘What Really Matters’ shifts into lighter territory with a synth‑piano introduction and a rhythm that hints at reggae without fully committing to the genre. Drums and bass give the track a relaxed sway, while Taylor’s vocal sits comfortably above the groove. It’s one of the album’s more easy-going moments, offering a breather after the intensity of the title track.

That calm doesn’t last long. ‘Don’t Photograph Food’ is a playful, tempo‑lifting rocker that celebrates clouds, cars, and the simple pleasures of life. With more prominent guitar work and a buoyant feel, it’s the first track on the album that fully leans into Taylor’s rock instincts. Its humour and looseness make it an immediate highlight.

‘I See You Now’ slows the pace again, built on piano, synths, and a steady drum pulse. It’s introspective and atmospheric, offering a moment of stillness before the album pivots back to sharper commentary.

That pivot arrives with ‘Chump’, a song aimed squarely at a self‑absorbed figure who cares for little beyond his own interests. Synths and piano form the backbone of the arrangement, while Taylor layers multi‑tracked vocals to add bite and texture. It’s concise, pointed, and quietly cutting.

‘Spit In His Eye’ picks up the tempo with jangling acoustic guitars, electric flourishes, and steady drums. It’s a mid‑paced rocker with a classic feel: confident, melodic, and driven by a strong sense of rhythm. Taylor’s vocal delivery is relaxed but purposeful, giving the track a sense of forward motion without rushing it.

Taylor approaches the album’s only cover, ‘Jealous Guy’, with care and restraint. His version leans on piano, gentle drum rumbles, and a string section that takes a brief solo in the middle. It’s tender without being sentimental, and while Roxy Music’s famous rendition inevitably casts a long shadow, Taylor’s interpretation stands on its own as a thoughtful tribute.

Then comes one of the album’s most surprising moments: ‘Come On Summer (It’s Party Time)’. Opening with choral vocals, the track quickly shifts into a dance‑driven groove built on synths, bass, and flashes of electric guitar. It’s a celebration of sunshine and warmth, but what truly sets it apart is the contribution from the Ndlovu Youth Choir. Their Zulu‑language vocals introduce elements of isicathamiya and kwassa kwassa, giving the song a vibrant, cross‑cultural energy that lifts it far beyond a typical summer anthem.

Revisiting the opening track through a different lens, the closing track, ‘A Great Big Beautiful World’, offers a new take. The Ndlovu Youth Choir returns to deliver a choral Zulu version of ‘Beautiful World’, while Taylor adds his familiar “don’t f’’k it up” refrain. The song builds to a powerful crescendo, this time driven by African vocals and hand‑claps, creating a finale that feels both global and deeply personal. It’s a bold, uplifting end to an album that constantly shifts shape.

Taylor plays almost all the instruments across the record, with co‑producer Joshua J. Macrae contributing keyboards and additional parts, and Neil Fairclough providing bass. The production is clean and spacious, giving each instrument room to breathe. There’s a clarity to the mix that allows the album’s varied textures: from delicate piano lines to dense vocal stacks: to shine without ever feeling cluttered.

What stands out most is how assured the album feels. Taylor isn’t chasing trends or revisiting past glories; instead, he’s crafting modern rock with a thoughtful edge, blending familiar elements with fresh ideas. The result is a record that feels contemporary yet unmistakably rooted in his musical identity.

“Violence Insane in a Beautiful World” is a confident, imaginative addition to Taylor’s solo catalogue. Fans of Queen will find plenty to enjoy, but the album also sits comfortably alongside the work of bands like Cats in Space, The Night Flight Orchestra, and Styx: artists who understand how to balance melody, drama, and craftsmanship. Taylor continues to make well‑considered, emotionally resonant rock music, and this album is another potent reminder of why his solo work deserves attention in its own right.