Reviews of ‘Colors In Stereo’


“I’m no fan-girl when it comes for Moonlit Sailor (yes I am), but I instantly goshed and O-M-G’d all over the shop. While we do have the more veteran post-rockers putting out newish material for us to turn to, it doesn’t sound quite as refined, epic and passionate as Moonlit Sailor’s newest release, We Come From Exploding Stars. Moonlit Sailor have almost always opted for a positive tone to their songs, which is a welcome change from a lot of moody post-rockers, and it’s nice to see that they’ve stuck with this formula. However, it’s even nicer to see that the band have grown and composed some genuinely striking moments of emotion. A combination of major key compositions with optimistic song-writing make for one grand album, which is exactly what you get with this new Moonlit Sailor effort. Moments where the instruments spark around the studio seemingly randomly and uneventfully always turn into this satisfying clash of music. For example, when a guitar plays a lonely little riff, to suddenly be accompanied by the bass, drums and another instrument, it all clicks and works so seamlessly. The first track on the album, Minutes From Somewhere Else, sticks out beautifully in it’s gorgeous sounds, it’s uplifting build-up and ultimately emotive climax that lets you know, you are listening to ‘hope’ being turned into a musical format by four Swedish gents. There are plenty of moments on here that are interesting and showcase, not a new direction, but how Moonlit Sailor is expanding and becoming a major contender to post-rock veterans like Explosions In The Sky. The song, Dollar Underwater is a magical experience of a song that really shows off how well Moonlit Sailor gels as a band. The drums are prominent, the bass is naughty and the guitars shine bright like a diamond. Also intro after the drum sequence at the start sounds inhuman in the best possible way; was it a wizard? The breakdown near the end is also extremely neat. Before that, we have a short number, Into The Fray, that’s led by a synth and twinkly wee piano; give it a few seconds and the quiet, rest of a moment is taken over by a kaleidoscope of sound that is over before you can say, delay. With Moonlit Sailor you get something else. A very different type of post-rock that uplifts and soundtracks the more hopeful and graceful periods of everyday life. There are many moments in this album that I haven’t mentioned, in fact, I don’t think I’ve done the album much justice at all, but that’s because, like a lot of music, this is something that you should experience first ear. Welcome to the soundtrack of all those moments in Spring and Summer that you wish you could remember forever…” – Music Gleaner

“Deep Elm’s recent name your own price bonanza has provided a welcome nudge to delve into the plethora of undiscovered but deserving acts that populate their dense catalogue. Looking beyond already venerated acts like The Appleseed Cast and Lights & Motion, the temptation to devour the discographies of alternative and post-rock unknowns at little cost is simply too great an opportunity to ignore. Burrowing no deeper than the front page however, instant gratification can be found in the form of Deep Elm’s most recent release – We Come From Exploding Stars by Swedish four piece Moonlit Sailor. Now four albums into their career and having long since dropped the pretense of being an indie band, they’ve released their most consistently uplifting and satisfying album to date. Evidently feeling more comfortable than ever in their purely post-rock skin, We Come From Exploding Stars sees Moonlit Sailor confidently deliver a thick slab of twinkling build ups and lush climaxes, with particular emphasis on striking a delicate balance between the two. The climaxes on offer never outstay their welcome, nor do they take too long to arrive, and once they have enjoyed their stay they softly and seamlessly recede to rejoin the gorgeous equilibrium which is struck throughout, highlighting many brilliant and accessible choruses along the way. The pensive, graceful build up on opener Minutes From Somewhere Else gives way to rapid, intricate arpeggios and hi hat work, before eventually allowing the warm guitars to explode and take centre stage. This formula is repeated twice throughout the song; and the strong, recognizable chorus instantly forges familiarity with the listener, hinting that rather than deserting their indie sensibilities entirely, they’ve instead channelled them within a purely instrumental setting. Elsewhere, the buoyant reverb which dominates on Skydiver typifies Moonlit Sailor’s ability to build the convivial atmospheres which made their early work such a joy – and it’s a soundscape which reigns throughout. This joviality is evident in the bassline on Paris; which grabs onto the coattails of the lead guitar as it reaches for the sky, and in the playful, bright guitar work on both From Gemini To Lynx and Sworn To Secrecy. Most notably of all this beauty is evident on highlight Dollar Underwater. It builds rapidly with a surprising sense of urgency, plateauing and retreating only when the soaring lead guitar has taken the foreground and extended its reach as far as it can go. Moonlit Sailor focus their sound more on the gorgeous and the lush than the powerful or stirring, and they achieve it through warm reverberation, their tendency to toy with major arpeggios, and their ability to plant huge choruses in amongst the swirling positivity. So dive right in to what Deep Elm has to offer – merely scratching the surface has never been more rewarding.” – Sputnik Music

“If you were to imagine that Explosions in the Sky were to make a record heavily influenced by and the emo and indie pop scenes, We Come From Exploding Stars from Swedish post-rock band Moonlit Sailor would probably be that album. The best way to describe the quartet’s fourth album, released through indie label Deep Elm, is ‘post-rock with pop sensibilities and hooks.’ Heavily syncopated, unique guitar melodies separate We Come From Exploding Stars from the vast majority of it’s contemporaries. The melodies have a vocal quality that almost seem to have you making up your own words to go along with them. While it would be a stretch to call any of the songs ‘danceable,’ don’t be surprised to find yourself being easily moved along and enjoying the rhythmic landscape that comes with and compliments the emo and pop influenced melodic elements on the album. A great example of this can be found the track From Gemini to Lynx. The palm muted guitar intro, utilizing plenty of syncopated delay, sounds like something The Edge could have written, before it opens up and the drums come in to really make you bob your head. Another example is Dollar Underwater, which starts off with a solo drum intro that can best be described as bouncy. Compared to their previous albums, Moonlit Sailor have come a long way. Whereas the group’s first full length, A Footprint of Feelings, consisted of several songs that felt like statements half made and abruptly cut short, there is a definite conclusion to each song on the band’s newest effort. The only possible exception is the album’s closing track, A Century Under the Influence, which introduces new melodic material shortly before the end of the track, then seems to abruptly end on it. This feeling of inconclusiveness could be simply because if there is one thing Moonlit Sailor has become exceedingly proficient at, it is avoiding typical crescendo-core traps and cliches by writing both songs and albums with a gracious ebb and flow to them. So it’s possible that I was just expecting one final triumphant passage before the album came to a close. Or perhaps I just didn’t want the album to end. The one thing you will come away with from We Come From Exploding Stars is melody. Throughout their four full lengths the band have gained a well trained ear for writing hooks without the need for vocals. The progression, even noticeable from 2011’s excellent Colors in Stereo, is something I hope to hear more of in the future from Moonlit Sailor. Because honestly, it’s working for them, and it’s working for me.” – Post In The Name

“Music is often the product of the environment it is bred in. Instrumental post-rock band Moonlit Sailor resides in Boras, Sweden where they often experience weeks without sunlight; Sweden is also known for stunning vistas and full seasons. This connection to nature and beauty has always been apparent in their past albums, as well as their side project U137. We Come From Exploding Stars is an emotionally overwhelming experience. The beauty, steadiness and craft put into each song makes this a landmark release for year, and will be a tough one to beat. With all the talent behind every aspect of the album, it’s no surprise it sounds incredible. The dreamy guitars, thick yet clean bass and intricate percussion are clear and layered marvelously. With these types of albums, it is impossible to list any songs individually. My first listen to Moonlit Sailor’s album was alone, eyes closed, on my couch with the stereo blaring. Emptying my mind of all the day’s thoughts and stress, I let the music envelope me. It’s amazing the visuals you can imagine when listening to music like this. We Came From Exploding Stars is a rich story of creation, beauty, love and death without one word muttered or sung. It is an astonishing accomplishment. Moonlit Sailor has given us another incredible sound-scape to digest. Highly Recommended. [5 / 5]” – PopSyndicate

“I am a big fan of what Moonlit Sailor had created before, especially the brilliant album Colors In Stereo. Now they return with We Come From Exploding Stars. This is one of the better albums of the year so far, the best one in this genre. If you listen to it in one sitting, you are treated to a nice journey through some very exciting soundscapes. There are tempo variations and small style changes among the song but you never lose the feeling that you listen to a record by Moonlit Sailor. If 2013 belonged to Lights and Motion, then 2014 might very well be the year of Moonlit Sailor. It may have taken a little bit too long for them to return, but it was very worth it. This is one of the better albums of the year so far, the best one in this genre. I wonder what the likes of Last Lungs and Lights & Motion have up their sleeves to counter this. It will have to be something special to top this album. Highly recommended!” – Melodic

“In our third round table review this year we’ve chosen Moonlit Sailor’s ‘We Come From Exploding Stars’, released February 25th via Deep Elm Records as our featured album. This is the Swedish band’s fourth release and first since 2011’s ‘Colors in Stereo’. It is also available on a ‘Name Your Price’ basis as Deep Elm has once again became trendsetters in the music world by being one of, if not the first, major label to offer their entire discography at this pricing point, a decision we all here at Postrockstar applaud. Moonlit Sailor have consistently been one of my go to bands when introducing new listeners to the world of Post-rock. They make the genre very accessible with their upbeat songs that aren’t too drawn out nor are they too virtuoso or pretentious. With all due credit to the Swedish 4-piece, the majority of their catalog is incredibly easy to digest, fun to nod your head along with and occasionally pack that extra little bit of charm that can only be created by musicians who truly connect to and through their music. ‘We Come From Exploding Stars’ is yet another feather in the cap for the band and is an all around solid release from front to back. This is a Deep Elm release after all, so there isn’t any filler to be expected on this album, just ten equally quality tracks that create an album that flows wonderfully and create a really fun, relaxed atmosphere. From Gemini to Lynxand Dollar Underwaterboth stand out as my favorite songs on the album and are both gleeful romps through familiar territory. I’ll gladly look to their instrumental choruses as goldmines for satiating melodies. This is perfect as a next step past the gateway bands like Explosions In The Sky and early This Will Destroy You material. Moonlit Sailor seems to be more upbeat then the typical third wave crescendo-core of their peers. Peers that are the big names in third wave, which is exactly what Moonlit Sailor should be. Melodies are a tad more mysterious. Guitars don’t quite attack so much as chime, chant, and sing. In fact, this is an excellent album for anyone into guitar. Tones are spot on. The lines are deceptively simplistic. I mean, hell, they even used the E-bow well. This collection of songs is just exceptionally well done. They are emotive but not overwrought. Narrative enough to build mountains of stories in ones mind. Albums this solid and effortless sounding don’t just happen everyday. We’re all the better for enjoying We Come From Exploding Stars. Make no mistake, this is a very good post-rock album from a talented band backed by the best label in the world. Sail on.” – Postrockstar

“On their stunning fourth album, the Swedish post-rock quartet combine Modest Mouse-like indie rock and the cinematic grandeur of Sigur Ros’ brand of post-rock with soaring pop-leaning melodies for their most imaginative and evocative album yet. The dynamic standout track, ‘Skydiver’ teeters between a propulsive marching band rhythm with sliding guitar melodies and broad-stroking chords that give the feeling of free-falling and support the song’s title. Another standout track ‘Dollar Underwater’ is highlighted by a cyclical, rumbling drum pattern and lush layers of shimmering guitars that recall former label mates, The Appleseed Cast.” – Atlas And The Anchor

“On their fourth release, Moonlit Sailor have delivered an epic and brilliant album. A hodgepodge of arpeggios, shifting drum beats and pleasing melodies, We Come From Exploding Stars is like hearing someone speak a language you’ve never learned, but in some subconscious way you understand the essence of what it is they are trying to tell you. In this way, post-rock is the universal language of music. The band has written these songs in a way that inspires you to venture off, explore new grounds and push your limits, both literally and metaphysically…just like the sailor on the album cover. Moonlit Sailor shows that the post-rock genre is still very much alive and well.” – Gaffa

“Moonlit Sailor, who hail from the same part northern Europe as does the fabulous Lights & Motion, embrace dazzling visions of instrumental post-rock and pop-rock on their fourth release We Come From Exploding Stars. Rich in melody, open spaces and big climaxes, the new album is intense, boundless and exciting. It really wouldn’t be fair to mention just one song as albums such as this should be experienced in their entirety. Each song is akin to a step along the same path. However, From Gemini to Lynx is such a beautiful song that provides me warmth and gives me hope. The guitars arise like rays of the sun at then expand and encompass. It’s simply enchanting. Another perfect album from Deep Elm.” – Troublezine

“Atmospheric and driving post-rock that is dramatic at times, but the definition of their work really comes in the ability to take a song from one movement to another in a coherent storyline devoid of lyrical accompaniment. As a whole We Come From Exploding Stars is a sea change. It’s about, to grab it straight from the band, exploring new waters, meeting and administering new challenges. It’s a process more driven by emotion than formula. On the record they explore all of these themes in a sweeping, crashing, comforting, and surprisingly energetic journey. Exploding Stars starts big, hitting on epic moments only 3 minutes into the record in the track ‘Minutes from Somewhere Else,’ but they aren’t Explosions in the Sky-styled heavy drama. Instead they use that peak to stir up energy, transitioning into their watery journey that surfs up and down, returning to those early epic themes established in the first act. The record returns to similar ideas throughout. Though the tracks could also standalone nicely, the dramatic elements come through a careful exploration that returns and re-examines ideas rather than going in 10 different directions. As the record explores new domains, there are some shades of ’80s synth-pop captured in ‘From Gemini to Lynx’ and later, in ‘Dollar Underwater,’ there is a strong underwater atmospheric presence. It’s subdued and smothered, pulling its way upward from the struggle. The journey explores a lot of territory, ending with a louder and more driving rock pulling its way out of the exploratory structures. ‘4.15 AM’ has hints of metallic guitars and big, loud moments, but it’s no chugging chord or rollicking solo; it effectively crescendos while playing in familiar keys. It doesn’t aim for the epileptic dramatic finish that certain post-rockers do, rather it ties the story together, climaxes, and wraps the story in a nice little epilogue. It’s complete but not overstated, wandering yet concise.” – Scene Point Blank

“Post-rock does not have to be sad. With every release Moonlit Sailor clarifies their unique sound. On this fourth album, they transcend borders. With beautifully sketched melodies, expansive post-rock landscapes, varied elements of space-rock and even segments of math-rock, We Come From Exploding Stars is a dynamic, intense album steeped in emotion. Full of light and joy, the positive tone of the album sets it apart. The album invites us into a world full of dreams…where delicacy turns into a dynamism and energy meets indifference. Skydiver hovers so high that we see only clouds. Just let go of your imagination, fancy a look at the sky with the music of Moonlit Sailor in your ears and romanticize.” – Uwolnij Muzyke (Poland)

“Moonlit Sailor have been around the post-rock world for some time now and have actually created a nice little niche for themselves, but if you’re asking me (and why wouldn’t you?), they still aren’t appreciated enough. There’s obviously going to be comparisons to Explosions in the Sky, but Moonlit Sailor don’t hit the huge crescendos quite as hard as EITS. Instead, their breed of post-rock is much more upbeat and positive; every song has an uplifting undercurrent to it. If your day is as dreary and rainy as it is here in Minnesota, there is no better album than this one to pull you out of the grayness of the day.” – Decoy

“The young Swedish quartet Moonlit Sailor has become one of the most interesting bands of today’s post-rock scene. On their fourth album, We Come From Exploding Stars, they haven’t abandoned the elegance that characterizes their previous recordings (on such tracks as ‘Skydiver’ and ‘From Gemini to Lynx’), but this time they’ve also branched out with more turbulent parts and complex structures where drums and synths take center stage (on such tracks as ‘Dollar Underwater’ and ‘The Golden Years’). Unpretentious and exquisite, catchy melodies, a level of freshness and controlled experimentation make Moonlit Sailor stand out from the pack.” – Shook Down (Spain)

“A reflective, hopeful dream of light…a reach from despair for the young and the restless. The Sailors do epic, instrumental, ambient, triumphant post-rock…a tight band that does what they do very well: putting space between swells and sinking boats.” – Indepedent Clauses

Reviews of ‘Colors In Stereo’

531 94%

“While it’s no challenge to find post-rock, finding some that truly sticks out can be a bit more daunting. Enter Boras, Sweden’s Moonlit Sailor. Their sound can easily be characterized as cinematic, shifting effortlessly from subdued, twinkling guitar lines to grandiose waves of distortion, driven home by the band’s expertly interwoven drum and bass backbone. And while these traits are by no means exclusive to the band, they implement them in such a way that leaves many of their instrumental contemporaries paling in comparison. The album opens with Kodac Moment, a song that encapsulates everything that makes Moonlit Sailor great in a single three-minute, thirty-four-second track. Beginning on a relaxing, almost hypnotic note, the song gradually builds until exploding into a fist-pumping rush of excitement. The band fires on all four cylinders, their musical prowess on full display. The following tracks run the emotional gamut, leaving the listener feeling relaxed, excited, sad, happy, contemplative – the whole nine yards. Their music is a prime example of just how effective instrumental music can be; devoid of all vocal and lyrical interruption, the music alone speaks for itself, and it speaks volumes. It’s abundantly clear that the band pours every ounce of themselves into what they do, channeling every facet of human existence into their art. It’s not uncommon for someone to find themselves feeling rather introspective while listening to their music. Indeed, it’s the kind made for cool nights sitting on the porch, gazing thoughtfully into the stars. It’s exactly what these songs sound like: a moment of personal clarity occupied by no one but yourself and the music, and the dawning realization that for all the ups and downs, life is pretty great. The album is another welcome addition to Moonlit Sailor’s young, but captivating, catalog of post-rock bliss. Here’s hoping that Colors in Stereo helps this band attain the kind of recognition they’ve deserved since they released their debut EP, A Footprint of Feeling, in 2007. If anything can propel them to post-rock stardom, it’s Colors in Stereo.” 4/5

“The Swedish foursome Moonlit Sailor offers ten otherworldly post-rock epics on Colors In Stereo, an album that convincingly shows that instrumental music can be every bit as engaging, if not more so, than traditional rock. For those unfamiliar with Moonlit Sailor and post-rock in general, the genre is one that encompasses a wide range of sounds, but can be likened to an instrumental soundtrack to your life, because the skillful craftsmanship and technical songwriting — no predictable song structures here — elicits a range of emotions as diverse and colorful as a sunset coinciding with aurora borealis. Colors In Stereo begins unassumingly enough, with the restrained acoustic guitar picking of Kodac Moment, which offers a rustic, minimalist feel that makes the latter half of the track — a soaring, joyous affair complete with piano, melodic riffing and heavy acoustic strums — all the more surprising and rewarding. The second track, Colors In Stereo’, begins to show its teeth a bit earlier and explodes into a glorious rock journey before the one-minute mark hits. Bassist Mark Rundolf said of the title, ‘It reminds us of the futureÉvery positive and joyful.’ Those sentiments are relayed perfectly here, as the song picks up momentum and rocks the entire way, with plenty of musical power to take you up and beyond your cubicle and into a brighter, happier future. The following song, May Day, is the longest on Colors In Stereo and is perhaps the finest; it unfolds like a true narrative, moving from emotion to emotion as the electric and acoustic guitars weave in and out of one another, propelled forward by tight snare drumming. The track drops into a brief, somber interlude before moving into an edgier, distortion-driven section that brings May Day to its epic end. To accurately describe Colors In Stereo would be impossible, as this is the kind of music — the pinnacle of post-rock — that elicits different emotions from every listener. Moonlit Sailor seems to journey into your memories, translating a sensory playground into sounds that make you wonder where this band has been your entire life. The answer: Sweden. Each of the songs on Colors In Stereo has a different feel but the same undeniable quality; Summer Solstice offers lilting melodies for the majority of the track until the distortion drops in to alter the mood and change the direction of the song, while Freeze Frame Vision at first offers a jangly, Being There-era Wilco riff before cascading waves of melody and harder strumming enter. Colors In Stereo may seem to be an odd name, but itÕs the perfect moniker for an album that seems to do the impossible — putting everything that is vivid, mysterious and glorious about the world around you into sonic form. Your ears have never been treated this well, and each end-to-end listen (because once you hit play, itÕs impossible to hit stop) will elicit a broad range of memories and emotions.”

“It’s really hard not to find something to love on any Moonlit Sailor album, whether you be an indie snob, a post-rock junkie, or just plain appreciative of oratory arts. The new record, Colors In Stereo, is hardly different. The sound the band creates on this album is very much a hearkening back to their indie rock roots, even more so than on So Close To Life; though, at the same time, the band strengthens the post-rock side of their sound with a powerfully-renewed vitality, with more energy and emotion poured into each song, resulting in something remarkable. The opening tune on the record, ‘Kodac Moment’, begins reminiscent of The Album Leaf’s record In A Safe Place, with clean, reminiscing electric guitar over an acoustic, reverberating away, gently. Further on in, the acoustic begins to pick up, and as Adam Tornblad begins to beat on his cymbals with a positive spirit in the buildup. The band then lapses into some Explosions in the Sky riffing, with the energy level in the moment just soaring in the stratosphere, creating a wondrous moment that hung in the air minutes after it faded. Absolutely stunning. The eighth song, ‘Weekday Escape’, begins with a lone, yearning electric guitar, playing some plaintive chords, almost longing for something more. Thirty seconds in, the bass drum pounds away, a heavier electric starts jamming, and the tempo picks up, creating a sheer force behind that’s almost intoxicating with power, sweeping the listener away. As the song tones down, a more ruminative bridge picks up, as the beginning electric gently weeps sorrowful melodies with all the reverb anyone could ever want. In ascension to the last hoorah of the song, Tornblad begins to slam away at that poor, abused snare drum as Oscar Gullbrandsen and Joakim Wiik sing soulful harmonies to each other on their guitars. Finally, the powerful lick repeats for the last time, and it fades away on a sweetly bitter minor chord. This is a truly fantastic album. From start to finish, it leaked auditory aesthetics in the same fashion as any solid Sigur Ros or Mogwai album, easily. However, it also contained the energy comparable to a Broken Social Scene or Explosions in the Sky album, which makes a listen that much more amazing. Despite being a fairly-new band in post-rock, Moonlit Sailor has a very clear idea of the message they want to send, and accomplish something beautiful with unerring skill.”

“Swedish post-rockers Moonlit Sailor’s last album So Close to Life was genius. I love the black touch with all my heart and must have listened through it probably 500 times. My personal music whistleblower emailed me earlier today to let me know that Moonlit Sailor has released a new album. After listening to the title track in about 12 seconds, I clicked on Buy. Colors in Stereo sounds great. I’ve only just through it once. But gillar’t. Sharp. Together with the British band Last Lungs (also on Deep Elm), these Swedes are my post-rock favorites. Do what I did…buy their new album via iTunes. Real (proper) Swedish music is becoming a scarce commodity. Moonlit Sailor is something to be proud of.”

Reviews of ‘So Close To Life’

488 (9/10)

“Everything about MOONLIT SAILOR’s “So Close To Life” is beauty; the album artwork seems to have been painted by the music itself as it’s the perfect backdrop for songs like “Hope” and “Sunbeams”, which have a natural elegance and picturesqueness to them. Maybe mother nature actually gave birth to “Fresh Snow”, and Adam, Markus, Oscar and Joakim found it, deciding to pass it off as their own art? They call Boras, Sweden home, where “they often experience weeks without sunlight”. Which begs the question: how on earth have they created an album so beautiful, and so pure that it sounds like sunlight in such an environment? They are very guitar-driven with he rest of the instruments providing solid support to allow the guitars to roam free, crafting intricate soundscapes that can grow and culminate before seamlessly drifting to a soft, ethereal lull. Perhaps the finest example of this is the pertinently named “A Week Without Sunlight”, which features not only fine soaring guitar-work, but an acoustic bridge before rising to that sweeping crescendo. “So Close To Life” is undeniably assured for a debut, and utterly breathtaking. They are on a mission to perfect post-rock, and they have the potential to do just that. They combine the euphoric feeling Sigur Ros induce with all the dynamical awe of This Will Destroy You. “So Close To Life” enkindles a sort of excitement that will render you absolutely numb.”

“Moonlit Sailor is one of my favourite scando-post rock bands since Jeniferever first arrived. There’s something soothingly familiar about the new album from the Swedish boys (out on Deep Elm, a sure sign of quality) as the cyclical waves of chiming guitars and glocks act as a trademark across the album, the subtle variations and reprises throughout come off like a well planned orchestral maneuvere…lulling and roaring in equal measure and impacting the sheer emotional weight of the music over and over again. Instrumental rock is not particularly easy to pull off, but these nine tracks of sheer, lump in your throat, devastating beauty are more than enough to pull you in and cast you asunder over the waves of delayed guitars and booming reverb. Beautiful.”

“This album is an absolute must for all lovers of post-rock, especially those who like crescendos, tension and epic moments. Moonlit Sailor loves that stuff, and they give it to their listeners in spades. “Hope,” “1994″ and “Landvetter” are simply some of the best tunes I’ve ever heard in the genre. Highly recommended.” (10/10)

“I am so impressed by the stunning beauty of each individual composition (not going to call them songs here) that trying to differentiate between a crescendo and decrescendo within the framework of a given piece is a task more akin to a poet or wordsmith. Suffice it to say, Moonlit Sailor has taken post-rock to a captivating, beautiful level. Do yourself a big favor and get your hands on this.”

Reviews of ‘A Footprint Of Feelings’

489 (7.5/10)

“Instead of cheap tricks, they’ve simply utilized bombastic drumwork and the prettiest guitars to craft one of 2008’s most captivating, engaging releases. As an LP, it is on the short side at 27 minutes But if at the end of the disc I’m left wanting more, then how can I characterize this album as anything but a success? I don’t think I can A Footprint Of Feelings is a success. This is music that makes me feel. And for me, that’s plenty.” (4/5)

“When you are listening to similar instrumental bands you are often waiting for the vocals to fade in, you don’t with Moonlit Sailor. This is because the guitar parts are weaving the songs together with a tremendous clear and shimering sound that is very interesting to listening to.”

“Non-assuming in nature, there are patterns of swelling and subsiding, like an ocean wave are pounded out in this modern rock masterpiece.
This may sound to my wife as constant noise going nowhere, but I personally get it. With songs like the title, “Night Stroll” and “Waterfall”, it compares easily to the crescendo and decrescendo of a classical orchestral suite. The rising and falling is what can easily draw the listener in, Regrettably, much of the post-rock genre will not catch on in any vein of the mainstream or the “alternative rock” mainstream. .. This is a good thing for those fans that want to keep this stuff to themselves, but a larger audience is missing out on something beautiful in this music without words. I just wish this were longer “