Black Foliage: Animation Music By The Olivia Tremor Control

Olivia Tremor Control

Product Details

• Audio CD (March 23, 1999)
• Original Release Date: March 23, 1999
• Number of Discs: 1
• Label: Flydaddy Records
• ASIN: B00000I90W
• Also Available in: Vinyl
• Average Customer Review: 4.3 out of 5 stars See all reviews (49 customer reviews)
• Amazon.com Sales Rank: #162,836 in Music (See Bestsellers in Music)

Editorial Reviews

Amazon.com's Best of 1999
Olivia Tremor Control can't decide whether they want to be experimental-noise progenitors or avant-garde psychedelic pop stars. That schism makes Black Foliage alternately wondrous, challenging, and frustrating, with moments of pure brilliance patched together with overworked, overedited passages of indulgence. But frustrating doesn't mean bad. It's just not easy listening, and OTC like it that way. --Tod Nelson

Amazon.com
Black Foliage: Animation Music by the Olivia Tremor Control is a triumph of an everything-but-the-kitchen-sink production, and by track 14 even the sink is fair game. Like 1996's Dusk at Cubist Castle: Music from the Unrealized Film, Black Foliage merges Beatles-esque melodies, lyrics, and quirky instrumentation, such as odd bleats of trumpet, crazy xylophone tinkling, toy pianos, and anything else within arm's reach. Stretching this sort of trip-out to more than an hour is a bit much--hell, even the Beatles only tried to do that once--but if broken up into smaller bites, Black Foliage has its rewards. On the ether-dizzy "Paranormal Echoes" OTC manages to play with all of their toys at once and yet keep them in line to produce a mind-numbingly beautiful and strange composition. The whole shebang is tied together with aurally disorienting interludes, occasionally disrupting the flow but never for long. In other words: happy songs, crazy arrangements, terrific fun. --Jason Josephes

Customer Reviews

Most Helpful Customer Reviews

9 of 9 people found the following review helpful:

5.0 out of 5 stars Modern psychedelic masterpiece, November 16, 2000

By A Customer

Pardon me for gushing, but I just think this album is the best thing I have bought in a long, long time.

First and foremost, this groups makes *albums*, not just a pile of songs slapped on a CD. No, Black Foliage has a definite concept to it, albeit a very obtuse, complex one. But that fact just makes it all the more intriguing.

The concept is explained in the liner notes. There are descriptions of techniques for each track. I found the descriptions alternately informative and a bit self-serving, especially on the overlong description of "The Bark and Below It." (Hey guys, you don't really have to explain every instrumental technique and tape loop. Just...let it happen. It was a long time before I knew exactly what that weird quavering sound in "Good Vibrations" was (a Theremin), but the mystery of it made it better. I sort of LIKED wondering how the heck they got that sound :)

Black Foliage has some of the most spine-tinglingly good '60s-influenced songs I have heard in a long time (aside from their previous album, Dusk at Cubist Castle), with strong melodies, layered harmonies and always offbeat arrangements and instrumentation. The variety of sounds on this album is astonishing. There are so many layers to each song that I find it endlessly fascinating, and I've listened to this album a lot.

Black Foliage immerses the listener in a surreal dream world, with ideas and images that move as fast and as abruptly as they do in dreams. The album has some main themes running through its entirety. The first is a series of "animations" of the Black Foliage song, in which the bass line from that song is twisted and mutated into some surprising variations. Then there are the Combinations, which are pieces taken from ALL of the various songs on the album, filtered through various dream descriptions that people sent in on cassette tapes, along with other sundry sounds.

The proper songs themselves emerge, like dreams taking focus, from a stew of these combinations and other aural experimentations. There is hardly ever a completely silent moment on the album. Some people think the combinations and such are just a lot of mindless noise to wander through to get to the "good stuff," but they are not listening hard enough. There is a LOT going on in these things. Besides, the combinations usually only last a few seconds anyway.

So, there are not 27 "songs" on this album. There are "only" about 15 or 16 (which is still a lot for a typical album). The entire album last for about 70 minutes. Some of the tracks, such as "The Sky Is A Harpsichord Canvas," amount to a few seconds of noises and sound experiments.

One caveat: With both of OTC's studio albums -- beware of track 19 :-) On "Dusk," it was about 10 minutes of dripping faucets, traffic sounds and droning machine sounds in the middle of the "Green Typewriters" suite. On "Foliage," it is "The Bark and Below It," an 11-minute experiment in found sounds and all kinds of other weirdness. To me, it interrupts and slows down the intensity and focus of the previous part of the album, which had GREAT songs interspersed with only momentary, interesting noise. But here we have to wade through 11 whole minutes of it. Taken for what it is, though, it is really quite interesting, especially in headphones. And it is definitely dreamlike in its scattered aural images.

In short: If you want to buy an album by guys that (a) uphold the high artistic and aesthetic values of their '60s predecessors like the Beatles, (b) love to experiment like crazy with sound, instead of just banging out a bland "hit", (c) take their time and create albums that are cohesive in concept rather than just a bunch of tracks on a CD, and (d) know what harmony is all about...then BUY THIS. You will definitely get your money's worth, with an endlessly interesting and rewarding album.

7 of 7 people found the following review helpful:

5.0 out of 5 stars A musical statement defying all attempts at definition, August 16, 2001

By A Customer

The Olivia Tremor Control are doomed to be forever misunderstood. Reviewers making some attempt to find an obvious influence grab onto the first reference they can think of--so now the band will forever be considered some cheap knock-off of The Beatles with just enough Syd Barrett thrown in to make it cryptically interesting and enough Brian Wilson to invite the casual listener to bemoan what they could have become if they had kept on the beaten path. They deserve much, much better.

Saying the OTC (the Olivias) strive to be The Beatles is something like claiming a politician is just trying to sound like Abe Lincoln. You learn from the best and incorporate the less obvious lessons into your own concepts. ("Less obvious" means that the Olivias' melodies sound like they COULD be Beatles songs, but damned if you can figure out which one. They haven't stolen from the master songwriters, they have discovered their secrets.) But more importantly, anybody who tells you the Olivias are nothing more than a Beatles knockoff is just grasping at straws. The Beatles at their most inventive would never have dared to ward off the less serious music listeners by inserting an eleven-minute track of ambient noises ("The Bark And Below It"). But were they just trying to weird us out, or perhaps describe their trips to an indifferent audience? To believe that is to miss the point completely.

Black Foliage should be experienced with a pair of headphones, eyes shut and mind open. Most importantly, don't skip the "animation" tracks, the sequences of floating sound, sometimes only a few seconds long and sometimes over a minute. The incredible beauty of this album is that it almost seems that the band members are caught in the middle of a symphonic cacophony and construct their songs by grabbing at whatever interesting sounds float their way. Uncovering the gorgeous songs becomes all the more interesting when they simply appear to rise from the primordial ooze that has seeped its way into the album.

But that's not to say that you can't listen to it repeatedly; on the contrary, the album becomes more symphonic and epic when you stop worrying about the strange concept and allow yourself to become absorbed in the world the Olivias have created. It is then that you can lose your breath upon hearing the surprising, final strains of "Hilltop Procession" floating away after grinding to a halt and resolving itself. You won't find anything on this album as catchy as "Getting Better" or as flat-out trippy as a Floyd song like "Astronomy Domine" (although, after repeated listens, you may find yourself unable to shake such moments as Jeff Mangum's chorus in "I Have Been Floated"). What you will find defies verbal interpretation and challenges you to look at music as something more than a chorus you can hum along to. The Olivia Tremor Control haven't stolen anything; instead, they have acknowledged their influences and kindly parted ways with them as they have embarked on a project more transcending.

7 of 7 people found the following review helpful:

5.0 out of 5 stars Culmination of Elephant 6 ideals, October 4, 1999

By	M. E Mattson (Uva Ursi) - See all my reviews (REAL NAME)

This album surpasses the excellent "Dusk at Cubist Castle" because it radiates a full-fledged psychedelic confidence hinted at on their poppier previous album. No, the kitchen sink approach and disjointed soundscapes do not take away from this album, they are beautifully done. In fact this record represents a sort of culmination of the Elephant 6 collective; the 60s-esque songcraft, adventurous orchestration, the joyful abandon of performance, and the ingenuousness (and ingeniousness) of it all are on ample display here. The songs proper are fewer and farther between (it seems) but when they come they won't leave you. "Grass Canons," "I Have Been Floated," "A Sleepy Company," are alone worth it. Plus, OTC has such a grip on 60s psychedelic songcraft that you won't mind if this beat is stolen from "I'm Only Sleeping" or that guitar riff is straight off of "Revolver." You'll see them as the homages they are; or better yet, continuations and expansions upon--rather than copies of--a certain strain of music that still sounds cool today. They capture with childlike wonder that strange nostalgia those of us who weren't born yet feel for the psychedelic period. In a sense, they do "psychedelic" better than anyone; only the XTC offshoot Dukes of Stratosphear comes close in terms of thoughtfulness of songcraft. But despite these comments this is not a "period" piece (though they are obviously recording with old 4 track and 8 track technology!) There's a reason they're making music like this: because our times call for it. A really great experience.