Time Out NY Feb 14, 2002
This Philly [sic] quartet imagines rock as chamber music, all sculpted and meticulous. What that means is that the guitars, keyboard and violin rip and run together, with help from a hip-shaking backbeat.
Village Voice Feb 19, 2002
Philly transplants to Brooklyn, just like certain Voice music editors, except these guys are way more, er, post-rock about it. Pretty noodly, but not unenergetic (nifty art-punk rant parts), and with minimalist minutes of beauty inspired by East European roller rinks.
WaterfrontWeek
Now, this is more like it: the local instrumental outfit Krakatoa deliver on the promise of their first album's progressive rock/post-rock blend. This band is madly eclectic, but it's to their credit they don't overtly call attention to it-- no gee-whiz-bang displays of technique, and subtlety and sly humor are prized over bombast. While never coming across as derivative, Krakatoa seems to be going for balance between pre-1974 King Crimson, Millions Now Living Will Never Die-era Tortoise and the crwzy-quilt jump-cutting of John Zorn's Naked City with touches of the instrumental Hot Rats/Waka Jawaka side of Frank Zappa. Driving, distorted electric guitar lines give way to mounrful violin passages, Fractured Fairy Tales daffiness segues into pensive watching-the-sunset yearning, Oliver Nelson and Elmer Bernstein TV/movie music evolves into surrealist tangos, Charles Ives rearranges the entire Booker T & the MG's canon-- all this and more goes on before your very ears and this crafty bunch make it all seem natural and affable. Good show!
It would be a major feat for Krakatoa to top their stunning debut. And they have gone and done it. A more developed and dynamic album, Togetherness incorporated an even larger array of styles and influences than the debut. The amps are all turned up here, with a decidedly more rock edge and blistering intensity in some places. the chamber elements are still in place, as well as a contemplative post-rock vibe, and even some whimsical vocals. The addition to the original quartet with violin, cello and horns brings additional tone color to great effect, with a warmer string sound and additional melody from the horns. The instrumental labyrinth of twists and turns is handled deftly, with precise intricacy and great emotion. Their meticulous arrangements who off their compositional strength. An incredible follow-up album which will surely rank among the best releases of the year --Mike Prete."
Fakejazz Review
Splendid E-Zine Review
Loop (Chile - In Spanish)
DURP (In German)
City Paper Prague Rock Diaries (oldie but goodie)
City Paper Plan Ahead Review