LOVER'S END

Since my discovery of Moon Safari's [Blomljud] back in late 2008, I have often meditated on how much the experience of listening to it shook me up. Not only was it the best prog. album of 2008 by far, but it was also one of the most beautiful and melodious progressive rock records that had the pleasure of passing through my speakers. It made the stuff I had previously thought was the highwater mark of modern prog., material (groups like Dream Theater, Spock's Beard and Transatlantic for example), ring terribly false in their aspirations. Compared to the sheer joy and honesty the boys of Moon Safari champion, how can a serious progressive rock fan consider the half-hearted pretensions of someone like Neal Morse with anything less than humor? I don't know either. Compared to these guys, the poor bastard couldn't sing his way out of a paper bag!

But enough of past accolades: with Lover's End, this bunch has yet again left me in awe at their talent and knack for melody, and even more importantly remind me why I got into the brighter side progressive rock (particularly Yes) as a younger man: letting one's voice rise into celestial harmony, backed by extended compositions full of furious, glorious playing, reaching highs that most pop music can only dream of in a trillion lifetimes. Music that makes me glad to have been born on this planet as a human being.

All eight songs here are quite something, from the glorious lovelorn nostalgia of 'Lover's End (Part. I).", tinkling with a heartled piano line before harmonica and the boys from Sweden let loose their voices, to the equally anthemic 'Crossed The Rubicon', which serves as the 9 minute final crunch before the epilogue 'Lover's End Part. II. Christ, I'm nearly crying here....

For the best that melodic, sunlit proggy. rock has to offer, Lover's End is a fitting crown for the winter season. It's also the best record to come out this year, startling and gorgeous beyond description.

Get your hands today on the best album of 2010. You'll thank me later.