Arriving four years after his full-length debut, Caravan Château delves deeper into the trippy, intimate chamber pop that singer/songwriter Alex Izenberg established on Harlequin. Recorded at various locations over a span of three years, its off-mike collaborators include indie artists like Grizzly Bear's Chris Taylor, Foxygen's Jonathan Rado, and Midnight Sister's Ari Balouzian. The album hits like the work of a solitary creator, however, its suffocating songs often warped by trippy arrangements, unpredictable turns, and out-of-tune components (including persistent double-tracking) all sound like the product of a singular, eccentric perspective. The piano-based songs also have a vintage '70s feel helped along by lyrics like "I realized I love you, Baby Blue" and "I ch-ch-changed " (both from "Anne in Strange Furs") that seem to reference the rock pantheon without directly quoting it. This happens musically, too, adding to a sense that the album is reaching deep into the subconscious but, like a dream, jumbling things up. The track list opens with the relatively sparse "Requiem," whose arrangement relies on piano, hand drums, and occasional guitar. Things get denser from there on songs like the jammy "Lady" and grooving "Disraeli Woman," which adds drum kit, active bass, strings, and horns. Elsewhere, the piano waltz "Dancing Through the Turquoise" is surprisingly trippy, due largely to Izenberg's wispy performance and meandering melody, though ghostly backing vocals, manipulated playback, and blurting saxophone help to complete the effect. A more straightforward entry is "December 30," a song that, along with "Sister Jade," could have fit into '70s AM radio rather than merely evoking it. The flute-accented piano track "Caravan Château" closes the album on a poignant, mesmerizing note that emphasizes its claustrophobic, immersive qualities.