Double albums are hard to do. Usually, there’s enough first-rate music for a little more than one disc, and most listeners would much prefer that the artist had exercised a little self-censorship. Sometimes, however, a musician or band has so many great ideas that they can bring it off. Such is the case with Blomjud, by the Swedish progressive rock outfit Moon Safari. With the release of their latest album, Lover’s End (reviewed here), here’s my track-by-track review of Blomjud for those interested in the group’s previous work.

Disc 1 is superb, on the same level as the band’s debut album, Doorway to Summer. “Constant Bloom” begins Blomjud with a minute and a half of the group’s trademark complex harmony vocals, done a capella. It’s very pretty. “Methusalah’s Children” begins quietly, with acoustic piano and acoustic guitar, and then other instruments join in, including a theremin-like synthesizer. The song then bursts forth into full rock mode but in an unusual time signature which moves along briskly and with a distinct bounciness. The vocal melodies are cheery and catchy, including more of the band’s engaging harmony vocals, and the music throughout the song reflects the group’s characteristic sunniness.

“In the Countryside” is as pastoral as the song’s title suggest, opening with acoustic guitars, peppy vocals, and mellotron flute. The introduction of synthesizers halfway through the song adds a nice touch, as does the use of steel guitar in the coda. Overall, the song is both immensely pleasant and musically sophisticated. The instrumental “Moonwalk” opens with a 100-second crescendo, which transitions into a series of solos on various keyboards and incorporating a like number of tempo changes. Acoustic guitars then come to the fore, picking up a central musical theme that drives the song. The second half of the song is driven by electric instruments, including a couple of impressive blues-influenced guitar solos.

“Bluebells” begins with folksy guitar strumming and some very appealing late-1960s-style folksy vocals, including more of the band’s strong harmonies. The full band joins in soon, with electric instruments in addition to the acoustic ones, but the entire song successfully retains a pastoral feel. A highlight is the forty-second a capella vocal passage beginning near the 6:20 mark. That’s followed by another nice section highlighted by lead vocals traded among the band members, with a subtly syncopated instrumental background featuring acoustic guitars, piano, trap drums, and bongos.

Disc 1 concludes with “The Ghost of Flowers Past,” a mid-tempo number driven by electric guitars and synthesizer and a rather fuller instrumental sound and powerful vocals. closing out the disc with an appropriate amount of grandeur.

Opening disc 2, “Yasgur’s Farm” has several touches of 1960s psychedelia, including an engaging blues-influenced guitar solo. The band’s excellent vocals dominate “Lady of the Woodlands,” which is also driven by acoustic piano and synthesizer. The melodies in the song are good, but not as strong as on the other compositions on the disc, and the vocal bridge is less inspired, but it’s a good song overall.

“A Tale of Three and Tree,” a slower, pastoral song, features a solo voice, acoustic guitar and piano, and mellotron flute. The band’s trademark harmony vocals–reminiscent of the Beach Boys in a progressive rock context–come in for the second half of the song, and it all moves along to a very pleasing conclusion.

The nearly 32-minute “Other Half of the Sky” follows, opening with a pastoral sound that makes for a nice transition from the previous song. An extensive song suite, “Other Half of the Sky” goes through numerous musical changes during its half-hour course, showcasing the band’s strong vocals, instrumental prowess, good taste, and skill at composing appealing melodies. The vocal line of the section beginning around the ten-minute mark is particularly impressive; as the lyrics explore the meaning of success, the vocals express longing, wonder, regret, and hope.

The album closes with the attractive, pastoral “To Sail Beyond the Sunset,” which is driven by acoustic piano arpeggios and more of the band’s appealing vocals.

Blumljud is an impressive follow-up to Moon Safari’s brilliant debut album. This is one of my favorite bands, and I recommend both of their albums wholeheartedly.