Olivia tremor control dusk at cubist castle zip

At an expansive 27 tracks long, running a total of roughly 74 minutes in length, the double album was the result of about three years spent in the recording studio, committing songs and ideas to four-track. It featured not only psychedelic and power pop gems, but tape loops culled from some unreleased songs. Concept or no, the album is certainly ambitious and something of a challenge to listen to in one whole sitting. At first, Dusk at Cubist Castle is a sterling example of the neo-psychedelic form, with the first 11 songs being utterly indispensible for the true collector of both indie rock and druggy, trippy music.

And it only gets better from there. If Dusk at Cubist Castle was issued with just these first 11 songs, it would be all killer and no filler. It goes on forever. That all said, if you can overlook the overly sonic adventurousness of this section of the record, there are still some good songs to be had.

All in all, the band probably had three out of four sides of really astounding material on Dusk at Cubist Castle , and it remains an excellent distillation of power pop with psychedelica if you can overlook some of its more overt flirtations with the extreme.

Dusk at Cubist Castle was initially released with a bonus disk of material called Explanation II: Instrumental Themes and Dream Sequences which was briefly released as its own album on the Flydaddy label in either or — sources on the Web disagree to the actual year , which is included here on the download card and is said should be played in synch with its parent album to create a quadraphonic sonic effect.

However, Explanation II runs about five minutes shorter than Dusk at Cubist Castle , which throws a bit of cold water on that notion. As a whole, it is very Brian Eno-like in ambient atmospheric effect with its alternately icy and inviting keyboards, forlorn fiddles and background sounds of dogs barking, crickets chirping and a thunderstorm rolling in from the distance.

The rest of the stuff in the bonus material is largely in the same vein: instrumental twaddle that never really goes anywhere, and strains all credibility on the part of the listener. That said, there are some great songs that attempt to rise above the murk and the silliness of the overlaid special effects. However, the album has the same overarching weakness of Dusk in sonic ambitiousness and inconsistency, this time only magnified to the nth extreme.

If the intended effect was to create the soundtrack to a demented, way out there Warner Bros. However, just as in the case of Dusk at Cubist Castle , the band could have benefited from an editor to parse the good stuff from the outright horrible — and perhaps even more so here as the sounds just build up and build up, and the Olivia Tremor Control lose, at least partially, their grip on utter songcraft.

There is less bonus material to be had here than on Dusk at Cubist Castle , and it generally ranges from, again, the outright uncomfortable and hard to take to variations on songs that appeared both on Dusk and Black Foliage. Again, this is a little discomforting for the listener, but it does show the band willing to transmute its own material. Secondly, the six-and-a-half minute version of the song recorded for NPR is rough and utterly rocking with its fuzzy guitars, breathing new life and vitality into the piece.

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