Iconic “post-rock” group Tortoise is set to release their first album in roughly five years this June. I hardly need to explain to our well versed readers the significance of this Chicago bred band that has become a household name in post-rock, experimental, electronic and even jazz circles. [Editor's Note: be sure to peep the sick videos from Tortoise's performance last summer at Louisville's Forecastle Festival here]
When I first read the press release for Beacons of Ancestorship, like many, I scrambled for a pen to mark up June 23rd on my calendar. Sure, press releases are used to create hype and tend to augment the weight of the record and artist, however, conceptually speaking the explanation sounded like Tortoise fans were going to be rewarded.
Like most records in the digital era, Beacons of Ancestorship leaked and the blog wars are well under way. Due to Tortoise’s lack of output and the recent commentary surrounding Beacons, fans and critics have been overwhelmed by the apparent conceptual mystique. Whether you’re a fan, critic or just a Tortoise passerby, Beacons of Ancestorship is likely to leave your brain pulsating to their infectious rhythmic creativity and compositional mastery.
It seems Tortoise tried their best to combine their more recent passion for electronics with the rhythmic variance and jazz influenced riffs most notable on Millions Now Living Will Never Die and TNT. But in case you are one of the few who are tired of the signature Tortoise sound, there is plenty of new imagination on the record: some of it genius, some of it contrived and boring.
Beacons incorporates a great deal of conceptual development; centered around their loosely jazz inspired riffs and backed by a keen rhythmic consciousness. Subtle world-inspired elements are heard throughout the record, reminding me a bit of Cul De Sac’s China Gate, which fused jazz, world music and prosthetic atonality. Beacons however, is much more approachable than China Gate and lacks the sophisticated manipulation of timbre that experimental groups like Cul De Sac were adept at.
Songs like “Gigantes” and “High Class Slim Came Floatin’ In” are lengthy masterpieces that serve as near perfect examples of Tortoise’s refined conceptual skill. The acute buildup of “Gigantes” layers a brilliantly catchy yet dissonant melody with a minimalist backdrop similar to that of Terry Riley or Steve Reich. The sonic peaks and valleys of “High Class Slim…” eventually mature into a dense, well oiled machine; sounding a lot like Michael Rother on human growth hormones.
After a few listens, reality sets in, and it’s apparent that several of Beacons‘ tracks fail to eclipse the aural magnitude and finesse of the aforementioned tracks. Songs like “Penumbra” and “Northern Something” sound like filler tracks; less layered, less developed and seemingly less thought out. Both of these happen to be short, simple synth led jams. It might just be a personal bias but I’ve always enjoyed Tortoise’s longer jams which have more time to evolve, rather than the shorter, less structurally diverse tunes.
“Yinxianghechengqi” is not only an intriguing name, but it’s also the most atypical (of Tortoise) track on the album. It’s almost like a synth-punk tune, full of Tortoise’s standard melodic mannerisms disguised by grimy synth effects. Towards the end, the edgy synths and rock ‘n roll drums abruptly meet their maker, resulting in an eerie deep space landscape that leads seamlessly into the contemplative “The Fall of Seven Diamonds Plus One.”
Beacons of Ancestorship should give every Tortoise fan a few bits and pieces of post-rocking pleasure, since the record successfully combines and elaborates on their entire discography, while still leaving room for five years of growth. A good deal of the electronic effects and synth samples prove to be a real letdown, however the essence of Tortoise is still present despite a mild surrender to popular novelty devices. Tortoise has accomplished their goals for the record; they created a multi-dimensional album full of both nostalgia and progression, while simultaneously delivering their concept in a distinct fashion. Rest assured, Beacons of Ancestorship manifests Tortoise’s vision and expertise as learned rhythmic and compositional giants.
Beacons of Ancestorship will be available June 23rd via Thrill Jockey and will be touring starting in late May at the following locations:
05.29.09 – Buffalo, NY – Tralf Music Hall
05.30.09 – Brooklyn, NY – The Bell House
05.31.09 – New York, NY – World Financial Center Winter
06.11.09 – Athens, Greece – Synch Festival
07.11.09 – Los Angeles, CA – Troubadour
07.13.09 – San Francisco, CA – Great American Music Hall
07.15.09 – Austin, TX – The Mohawk
07.17.09 – Chicago, IL – Pitchfork Music Festival w/ Jesus Lizard, Built To Spill, Yo La Tengo
07.19.09 – Washington, DC – Black Cat
07.20.09 – Philadelphia, PA – First Unitarian Church
07.24.09 – Tokyo, Japan – Fuji Rock Festival
08.14.09 – St. Malo, France – La Route Du Rock
08.22.09 – Hasselt, Belgium – Pukkelpop
MP3 :::
Tortoise – Gigantes
Tortoise – Yinxianghechengqi
Unlike Kozelek’s frequent use of “poetic license,” David Pajo’s relatively unknown, vinyl only release, Scream With Me, finds a tolerable balance between interpretation and reiteration. As you’ve probably guessed, the record takes a rather sobering look at a collection of songs from the original Kings of the Underworld, The Misfits.
