[9] In contrast to the heavier, 1970s-indebted Distance Inbetween, Move Through the Dawn sees the band explore 1980s Jeff Lynne-styled production, full of clipping drums, vocal harmonies and a Mellotron.

[11][12] The near-new wave "Reaching Out for a Friend" was seen by one critic as the "sonic cousin" of "Holy Mountain" (2017) by Noel Gallagher's High Flying Birds.

[17] "Outside My Window" and "Stormbreaker" evoke the heavier sound of Distance Inbetween; the former also recalls 1960s psychedelia, most notably early Pink Floyd, while the latter leans towards British Invasion acts.

[10] It evolved out of a rendition of Bert Jansch's version of "Blues Run the Game" (1965) by Jackson C. Frank; "After the Fair" dates back to the era of the band's sixth studio album Butterfly House (2010).

[22] On 28 June 2018, a music video was released for "Eyes Like Pearls"; it was directed by Neil Mclean, and described by the band as "like a cross between Button Moon and Short Circuit".

Skelly was inspired by The Poddington Peas, in an attempt to make something akin to the show "[but] on acid"; he drew 60 characters that were then animated by Foster.

[31] AllMusic reviewer Tim Sendra complimented the "carefully constructed" production, with James Skelly's voice "fit[ting] well in the updated surroundings; he delivers the songs here just as powerfully as he did" on the Coral's earlier releases.

"[10] DIY writer Dan Owens said that the band "may have been at this game for nigh-on two decades but there's scarcely a moment here that seems tired or phoned-in", proposing that they "added another fascinating work to their canon.

He said it "captures summer in a bottle and will help you handle autumn", declaring it the band's best effort since their fourth studio album Roots & Echoes (2007).

"[17] Louder Than War's Nathan Whittle said each track "stands out from the rest in its own way, marking its own territory, much in the same way as those on their debut", with the main difference being "the maturity in their songwriting [and] the lush arrangements".

[12] musicOMH writer Neil Dowden wrote that the album was "laden with sweet melodies", however, "the songs tend to be on the bland side so that you long for something to spice them up."

"[16] PopMatters reviewer Richard Driver wrote that the album featured "some compelling hooks, but ultimately feels like a forgettable sidestep away from its dynamic predecessor.

He complimented the "unshakeably direct guitar licks of old", and Skelly's voice staying as "warmly melodic as ever, but the elusive spark is largely absent.