It’s a tender, inviting, consoling, comforting record that you’ll play again and again (stoned or not). In short, Lost In The Dream is perfect in every way.
The more you spin it, the more you wear out that thin needle of your record player, you realize that Granduciel is discovering the problems of his life, not figuring them out or even reflecting on them. This all makes for an album that truly sounds like it’s coming to life.
The record coalesces elegantly nonetheless, forming a flawless, ethereal artistic statement by a band who has clearly refined and perfected their craft.
It’s no small feat to make rock music sound this fresh nowadays. Amid the hordes of bands pulling the same old tired moves, thank god for The War On Drugs.
Lost in the Dream is a sad record, but it’s also a hopeful one, enriched by the journey of its own heartbreak and the possibilities that remain.
On Lost In The Dream, The War On Drugs provides the darkness, and fans are just lucky enough to listen.
With their third album, the War on Drugs continue to recreate classic rock in their own image and in doing so they created a classic album of their own.
Simultaneously spare and just as fully fleshed out as it needs to be, Dream is a perfect distillation of Granduciel's wide-open claustrophobia. The sound is more expansive than ever, even as its maker's songs seem more personal and less universal.
2011’s ‘Slave Ambient’ may have been a cult success, but this follow-up is a fast-flowing gully to mainstream domination.
It's a near flawless collection of dreamy vibes, shifting moods, and movement, and stands easily as Granduciel's finest hour so far.
Like Slave Ambient, the indie-rockers’ third album repeatedly slips in and out of focus, while maintaining the yearning for forward momentum present in all of his work.
What at first seemed like a fairly straightforward, traditionalist roots-rock exercise has very gradually, very subtly blossomed into something wondrous and profound.
Though clearly there's a significant amount of work going into their music, it manages to sound effortless.
It’s nerves are uneasy, but Lost in the Dream stands as Granduciel’s most open-armed record yet, filled to the gills with selfdom and sprawling musicality.
The listener is constantly reminded that this is an expansive modern rock record, stuffed with big hooks and a crisp production
Lost In The Dream doubles down on its predecessor’s adventurous side, and it’s War On Drugs’ most engrossing album thus far.
Previous album 'Slave Ambient' seemed to push The War on Drugs on to a new level: 'Lost In A Dream' takes them even higher. From the misty cover to the dreamy rhythms and hazy melodies, it’s an album that lives up to its title.
Lost In The Dream is an instant salve to the shittiness of modern life, an album that would sound as though it could have been made anytime in the last five decades were it not so immaculately produced
They most certainly have created something special over the 15 months or so the album took to piece together.
Lost in the Dream pushes rock music forward—it isn’t the mirror of supposed better times that lesser bands make because they can’t or don’t want to locate their own voice.
Granduciel is clearly still drawn to his rock roots, but as the gap between him and those influences widens, it become suffused with anxiety and dread, the sort of existential ambivalence that Lost in the Dream masterfully conveys with its vast distorted spaces.
Richly melodic and possessing a classicist pop sensibility, this is rock music with soul.
‘Lost In The Dream’ embodies a big-hearted Americana, one that trades the knotted complexity of the quotidian for a wistful, widescreen beauty.
The decaying guitars and analogue synthesisers create a crepuscular melancholy. These are impassioned songs, but they steer clear of Bruce's bombast or lighters-aloft choruses.
Right to the final decayed note, Lost In The Dream is a triumph of emotive feel amid neurotic detail: immaculately conceived big music for little people.
The lyrics are buried and impressionistic, referencing disappearing, darkness and an inability to see. The album may have been borne in a fog, but the result finds Granduciel on the other side of the murk.
It retains their signature blend of folk-rock songcraft and miasmic guitar-drone textures, but in a more purposive manner.
By the end, Lost In The Dream is similarly as sprawling and textured as its predecessor, harnessing the affirming, heartfelt sentiments without becoming corny or meek (mostly).
Singer Adam Granduciel piles his blue collar mystic lyricism atop a rush of eddying rhythms and tones that feature Robbie Bennett's keyboards more prominently than ever.
|# 4 -||A.V. Club|
|# 1 -||Amazon|
|# 2 -||American Songwriter|
|# 1 -||BBC Radio 6 Music|
|# 9 -||Billboard|
|# 1 -||Consequence of Sound|
|# 66 -||Crack Magazine|
|# 4 -||Diffuser|
|# 9 -||Drowned in Sound|
|# 3 -||FasterLouder|
|# 3 -||Gigwise|
|# 30 -||Gorilla vs. Bear|
|# 1 -||Grantland (Steven Hyden)|
|# 4 -||MAGNET|
|# 2 -||MOJO|
|# 2 -||musicOMH|
|# 3 -||NME|
|# 5 -||No Ripcord|
|# 1 -||Paste|
|# 3 -||Pazz & Jop|
|# 3 -||Pitchfork|
|# 7 -||PopMatters|
|# 2 -||Pretty Much Amazing|
|# 1 -||Q Magazine|
|# 23 -||Rolling Stone|
|# 2 -||Rough Trade|
|# 4 -||Slant Magazine|
|# 1 -||SPIN|
|# 5 -||Sputnikmusic|
|# 2 -||Stereogum|
|# 2 -||The Guardian|
|# 1 -||The Line of Best Fit|
|# 3 -||The Skinny|
|# 9 -||The Telegraph|
|# 6 -||Time Out London|
|# 1 -||Uncut|
|# 1 -||Under the Radar|
|# 14 -||Wondering Sound|
|# 20 -||Exclaim (First Half)|
|# 8 -||Exclaim! (Pop & Rock)|
|# 16 -||NME (2010-2014)|
|# 1 -||Paste (First Half)|
|# 21 -||Pitchfork (2010-2014)|
|# 4 -||Pretty Much Amazing (First Half)|
|# 232 -||SPIN (1985-2014)|
|# 2 -||Stereogum (First Half)|
|# 1 -||The Guardian (First Half)|