with so many different ideas that it sounds a little different every time you hear it." The album purports to be the soundtrack to an unfinished film titled Dusk at Cubist Castle. However, no such film ever existed. Paul Thompson of Pitchfork described the first half of the album to be the more immediate and easily accessible half, writing: "Dusk first half is certainly the most immediate stretch of songcraft OTC laid to tape, big, sinewy hooks brought to life in brilliant color ... Catchy as they are, these songs are riddled with potholes, with weird left turns, with hooks that seem to bubble out of nowhere before receding into themselves." Zachary Houle of PopMatters offers similar commentary, and noted how songs on the first half of the album were influenced by artists like Badfinger, David Bowie, The Byrds, and John Lennon. The second half of the album features more experimental songs, influenced by drone music and musique concrète. When asked about the inclusion these experimental songs, Fernandes said: "We wanted to change the way people listen to music ... Make people who love the Beatles also appreciate John Cage." Examples of this experimentation can be found in the suite of ten consecutive songs all titled "Green Typewriters". The eighth song in the suite is nearly ten minutes, and is a drone piece that features the sound of standing bells, typewriter keys, passing cars, and dripping water. The Olivia Tremor Control pokes fun at this with the following song, which opens with the lyric "how much longer can I wait?" The title track is a similar drone piece, and Zachary Houle of PopMatters negatively compared it to "the sort of thing you’d find in a bad Halloween haunted house." Houle does note that not every song on the second half of the album is as experimental, and highlights the final song "NYC-25" as a "jaunty country rock number that leaves an aftertaste of the Beatles yet again." Dusk at Cubist Caslte focuses on surrealist imagery, in particular dreams. Hart described the album as "dream music for your mind." Thompson identifies the opening song "The Opera House" as an example of lyrical surrealism, as it mentions going to the movie theater to simply watch the actors move their mouths. Other topics include defining a dream that features model headshots of Gertrude Stein and a cosmonaut who is too transfixed on the