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TORTOISE

Post Rock/Math rock • United States


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Tortoise biography
Chicago-based Tortoise have been around since the early 90s. The nucleus of the band is John Herndon, John McEntire, Dan Bitney and Doug McCombs, essentially a double rhythm section although all four are accomplished multi instrumentalists. The band play intricate, highly structured instrumental music that is based around mallet percussion, basses, drums, guitar and keyboards, with extensive use of synthesisers and studio effects.

Their recording career took off in 1994 with the release of their debut album, which was recorded as a 5 piece with Bundy K Brown. The album was well received, but shortly afterwards founder member Brown left and was replaced by former Slint musician Dave Pajo. This line up made the excellent Millions Now Living Will Never Die, the first half of which is a remarkable 21 minute piece called Djed. The band expanded to a 6 piece with guitarist Jeff Parker for their next album, TNT. This third album was recorded over 10 months in a computer equipped studio, and is a dazzling 65 minute collection that is full of hidden nuances and subtlelties. Following this album Pajo left to work on his solo career, and the remaining 5 piece has since made 2 albums, Standards and It's All Around You. All the musicians are also involved in other projects, notably Isotope 217, The Sea and Cake, Chicago Underground and Brokeback. John McEntire has acted as the band's in-house producer, and has also produced acts as diverse as Stereolab (whose Dots and Loops album was partly a collaborative effort with Tortoise) and Wilco, among many others.

Although generally classified as post rock, the music of Tortoise is hard to pin down. They don't play the kind of lengthy drones with enormous crescendoes favoured by bands like Godspeed You! Black Emperor and Explosions In The Sky, but generally favour shorter, rhythmically complex pieces. Some critics have detected a jazz influence, perhaps because of their extensive use of vibes, but there is little room for improvisation in their music and their painstaking studio work is at odds with normal jazz practice. There is a strong influence of minimalist composers like Steve Reich, Philip Glass and Terry Riley discernible throughout their work, and it is this coupled with the core member's background in the hardcore/alternative scene which probably comes closest to summing their music up.

- Chris Gleeson (Syzygy)

Tortoise official website

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  • TNT TNT, 1998

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Buy TORTOISE Music


TortoiseTortoise
Thrill Jockey Records/Redeye 1995
Audio CD$8.13
$4.95 (used)
Millions Now Living Will Never DieMillions Now Living Will Never Die
Thrill Jockey 2012
Vinyl$16.69
Brave & The BoldBrave & The Bold
Overcoat Recordings 2006
Audio CD$22.34
$1.99 (used)
TNTTNT
Thrill Jockey 1998
Audio CD$9.91
$9.00 (used)
StandardsStandards
Thrill Jockey 2012
Vinyl$19.99
Beacons Of AncestorshipBeacons Of Ancestorship
Thrill Jockey 2009
Audio CD$8.90
$5.32 (used)
StandardsStandards
Thrill Jockey 2001
Audio CD$9.91
$2.36 (used)
A Lazarus Taxon [3-CDs + 1 DVD]A Lazarus Taxon [3-CDs + 1 DVD]
Box set
Thrill Jockey 2006
Audio CD$48.88
$29.98 (used)
Millions Now Living Will Never DieMillions Now Living Will Never Die
Import
Crown Japan 2002
Audio CD$207.67
$16.00 (used)
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TORTOISE shows & tickets


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TORTOISE discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

TORTOISE top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.37 | 29 ratings
Tortoise
1994
3.71 | 66 ratings
Millions Now Living Will Never Die
1996
3.66 | 67 ratings
TNT
1998
3.42 | 40 ratings
Standards
2001
3.24 | 28 ratings
It's All Around You
2004
2.61 | 10 ratings
Tortoise & Bonnie "Prince" Billy: The Bold And The Brave
2006
3.34 | 24 ratings
Beacons Of Ancestorship
2009

TORTOISE Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

TORTOISE Videos (DVD, Blu-ray, VHS etc)

TORTOISE Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.00 | 1 ratings
A Digest Compendium Of The Tortoise's World
1996
0.00 | 0 ratings
Remixed
1996
3.32 | 6 ratings
A Lazarus Taxon
2006

TORTOISE Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

0.00 | 0 ratings
Lonesome Sound
1993
0.00 | 0 ratings
Mosquito
1993
0.00 | 0 ratings
Gamera / Cliff Dweller Society
1995
0.00 | 0 ratings
Why We Fight
1995
3.00 | 1 ratings
Rhythms, Resolutions & Clusters
1995
0.00 | 0 ratings
Music For Workgroups
1996
0.00 | 0 ratings
Rivers
1996
0.00 | 0 ratings
Djed / Tjed
1996
0.00 | 0 ratings
The Taut And The Tame / Find The One
1996
0.00 | 0 ratings
Yaus / Speedy Car
1996
0.00 | 0 ratings
Derrick Carter Vs. Tortoise
1998
0.00 | 0 ratings
Tour 1998
1998
0.00 | 0 ratings
Adverse Camber / To Day Retreival
1998
2.00 | 1 ratings
In The Fishtank
1999
3.00 | 1 ratings
Gently Cupping The Chin Of The Ape
2001
0.00 | 0 ratings
Why Waste Time?
2010

TORTOISE Reviews


Showing last 10 reviews only
 TNT by TORTOISE album cover Studio Album, 1998
3.66 | 67 ratings

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TNT
Tortoise Post Rock/Math rock

Review by siLLy puPPy

4 stars TORTOISE continues their unique experimental brand of post-rock on their 3rd album TNT which finds a huge grab bag of ideas heaped onto their already eclectic palette. In fact, if someone were to slap on a various artists cover of some sort you might be hard pressed to believe that the 12 compositions on this album are by the same artist. The leading track begins with one of the most "normal" tracks which sounds like a nice airy brand of jazz-fusion. It is a pleasant but unalarming little piece that belies the strangeness that kicks off on the second track "Swing From The Gutters" which introduces an ambient intro followed by an electronic dance groove mixed with some jazz guitar. The third track takes you somewhere else entirely by creating a hypnotic xylophone-like sound that works in a progressive electronic sound.

The entire album is diverse and quite exciting. It is reasonably accessible from the getgo but adds unorthodox elements that make it sound extremely fresh and constantly delivers surprises when you least expect them without being as over-the-top as say the Mr Bungles out there. The track titled "Jetty" is unique as it is the TORTOISE version of a song that was recorded and put onto the album "The Unstable Molecule" by their more jazz-fusion oriented sister band Isotope 217. On that album though is is listed under the French title "La Jetée" which is the name of an experimental film. This is a really cool album that incorporates a plethora of moods. I might have to up my rating in the future as I seem to like this more every time I listen to it but for right now it is a solid 4 star album.

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 Millions Now Living Will Never Die by TORTOISE album cover Studio Album, 1996
3.71 | 66 ratings

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Millions Now Living Will Never Die
Tortoise Post Rock/Math rock

Review by siLLy puPPy

4 stars Defying classification and making me wonder if these guys are truly post-rock or just eclectic, MILLIONS NOW LIVING WILL NEVER DIE is indeed a magnificent piece of work which catapulted TORTOISE into the consciousness of post-rock lovers and the music world in general. They are truly unique and this 2nd album will leave you wondering what you just heard leaving trails of post-rock, krautrock, electronica, minalmist or jazz. The truth is that they are all of the above only strewn together in a way that is simultaneously pleasant and unexpected.

This album has a heavy bass which is most commonly heard in hip hop but in this context it adds a nice sub-sound that makes your speakers resonate in a most pleasant way. Basically all I can say about this album is that it delivers in a most satisfying way. It takes you somewhere completely unexpected and makes you wonder what you just listened to. Repeated listenings only add a sense of appreciation as they make you admire the mixings of styles that made this particular album come into fruition. I can totally understand why this album is considered one of the cornerstones of post-rock following the footsteps of Talk Talk. Although it seems like it's in a category of its own, it really does progress the post-rock sound by adding a myriad of influences. Highly recommended.

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 Standards by TORTOISE album cover Studio Album, 2001
3.42 | 40 ratings

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Standards
Tortoise Post Rock/Math rock

Review by LinusW
Special Collaborator Italian Prog Specialist

2 stars What starts as a monumental processed drum barrage with twangy, ringing notes on a majestic guitar soon settles down into a more album-typical groove on Standards.

Deftly interlocking rhythmic structures come together in an electronica-infused instrumental clockwork, where buzzy or electronically clean trip-hop-ish percussion snap and pop beneath this well-defined algorithm of simple but countless little melody lines and effects. It's punchy, clinical and occasionally busy or mechanical, but given a certain level of fluidity by removing and adding new parameters in a model only known to the band members themselves.

I would hardly call it properly atmospheric, since all the sounds are so very clearly delineated. There is room for a certain warm and suave lounge ambience to seep into the arrangements, especially during the jazzier bits that represent the other side of the album, but it's more of a slick, cerebral nature than something that touches me emotionally. At time it's a bit more ambiguous and coldly space-like in what it radiates, but still safely kept away from any kind of excess. Disciplined and moderate.

Regardless of all the little chimes, buzzes, twirls and prattle and an objectively rather rich instrumentation, the majority of the compositions feel a bit vacuous, a bit too deflated and sparse, to really live up to the potential. It's the feeling of a vast and pure white canvas with just enough paint to cover it in dots here and there. Decently colourful patterns occasionally emerge, but most of them struggle to convey a proper image. And just as things actually do come together and send some experimental sparks flying, away we glide on a nondescript and airy slippery slope into anonymous jazzy smoothness. But perhaps that slight minimalistic streak, the abstract lightness and fleeting nature of it all is what so speaks to people. To me it's only the busiest arrangements that really work, and they are occasionally a joy to listen to.

Clever, professional, but ultimately disappointing.

2 stars.

//LinusW

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 Beacons Of Ancestorship by TORTOISE album cover Studio Album, 2009
3.34 | 24 ratings

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Beacons Of Ancestorship
Tortoise Post Rock/Math rock

Review by Neu!mann
Prog Reviewer

3 stars After a pair of albums laminated in glossy digital polish the Post Rockers of Tortoise returned to grittier territory in 2009, back-dating their sound with dirty analog synthesizers and unprocessed acoustic drums. The melodic lines are sometimes harsh, and the instrumental textures often abrasive; even the occasional electronic percussion (in "Penumbra", and elsewhere) has an appealing retro New Wave feel, recalling Daniel Miller in his "Warm Leatherette" days.

And yet this is still a highly refined act, whether flirting with groovy industrial techno (in "Monument Six One Thousand") or performing with Punk-like intensity (and here I'll simply direct your attention to track six, instead of trying to type out the full unpronounceable title). As you might have noticed, the band's affection for descriptive non-sequiturs remains intact, but with no lyrics or other context clues it's hard to imagine what sort of cognitive mambo led them to identify the album's opening electro-grunge stomp as "High Class Slim Came Floatin' In".

The music itself is typically oblique, and no easier to describe on the band's sixth album than on their previous five. Just about everyone in the quintet plays bass guitar or percussion (or both), making it one of the more purely rhythmic groups ever assembled, and playful too. Note the guitar throughout the album closer "Charteroak Foundation", played in 3/4 time over drumming in 4/4. None of the music is really developed: the end of any selection is never too far removed from its start, in total resembling a collection of energetic doodles.

Tortoise doesn't really fit inside the Post Rock pigeonhole, sharing none of that movement's usual stylistic conventions: long, loud epiphanies, jangling twin guitars, and so forth. Most of the album's eleven tracks time out at a modest three- to five-minutes, and a few of those ("Northern Something"; "Gigantes") are cut even closer to the bone. Maybe the label stuck because of their obstinate pursuit of an uncommon muse, with no concessions to popular taste or passing trends. The band continues to exist within its own self-contained exoskeletal shell, reason enough to celebrate their return after five years away from the recording studio.

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 Beacons Of Ancestorship by TORTOISE album cover Studio Album, 2009
3.34 | 24 ratings

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Beacons Of Ancestorship
Tortoise Post Rock/Math rock

Review by Zargasheth

4 stars

I haven't heard much by Tortoise at this point in time, but what I have heard has really impressed me. Beacons of Ancestorship, their most recent album, is a highly diverse and interesting album that creates many textured atmospheres. coexisting with harsh guitars and synthesizers in a surprisingly pleasant mixture.

The first track, the 8-minute "High-Class Slim Came Floating In", is actually one of my least favorite tracks. It begins with a sort of irritating high-pitched drone, with the lead being played by a sort of choppy synthesizer part. The drumming on the track, however, is very effective. After a while it suddenly transitions into a heavy repeated pattern that almost sounds like a broken record. This gets monotonous very quickly, and finally a synth ostinato rises out of the repetition...veeeeery slowly. The whole thing feels kind of stretched and hardly develops, making the song a bit boring by the end, when the ostinato just jumbles into oblivion. The whole thing feels unfinished.

After that is "Prepare Your Coffin", which has some more frantic and excellent drumming--occasionally missing and then rescuing crucial beats, to give the whole thing an interesting off-kilter feel-- underneath layered ascending guitar and synth patterns. Yet another layer of complex chords underneath help fill out the sound. The guitar also gets an energetic but brief solo midway through.

After this, the short interlude, "Northern Something", starts out with a light variety of percussion, and then a wobbly synth theme enters, followed by heavier drumming. There isn't much to this track, but it's not very long, either, so that isn't a problem. It is effective as an interlude.

"Gigantes" has a similar layered, complex percussion part, but tops instead with some fascinatingly mathy, interweaving string instruments (which are difficult to identify) and a rather spare theme. But in the middle, this is suddenly replaced by a wailing electric guitar, and then a nice sequence of chord changes on bass and synth. Finally, the lead is replaced by mysterious breathy sounds and ringing synthesizers, playing a mysterious and beautifully atmospheric tune.

Another interlude follows, this one a weird piece of electronica called "Penumbra", containing a simple melody played on sampled-sounding synths with a shifting background. This one is very fun to listen to.

The next piece is a bit of a shocker--the harsh, noisy "Yinxianghechengqi", with a muddy, grumbling bass and synthesizer in the lead and furious drumming. Some times the whole thing is lost in a grinding storm, but one never competely loses track of the exciting melody (what there is of one).

The record calms down a bit after this with the sedate "The Fall of Seven Diamonds Plus One", with a slow, twangy guitar playing a minimal theme alongside similarly minimal percussion, including something sounding like a rattling chain. Again, the themes are very effective, and even though this piece is very slow, it still keeps up enough momentum to avoid collapsing.

"Minors" continues with sounds similar to "High-Class Slim", but playing a more cohesive and connected theme (one of the best on the disc), with interesting rhythmic shenanigans that the punchy drums effortlessly keep pace with. The synthesizers in this song also present more variety than the opener, producing a fuller background.

"Monument Six One Thousand" starts off with a bizarre, experimentally electronic beat pounding underneath meandering guitar, later accompanied by dissonant, repetitive chords.This is significantly weirder than anything else occurring on the album, but it still has a certain charm to it--the beat is interesting, and the guitar melodies are still pleasant in parts, even though they are also more dissonant.

The final "interlude" piece, "De Chelly", starts with a cool chord progression on a synthesizer and a brief melody on top of it. The entire thing is extremely spare, but that progression is amazing--it would be nice to see the band do more with it.

The album is lucky enough to close with its main highlight, "Charteroak Foundation"--the entire piece driven by another strange (but remarkably catchy) chord progression, this time arpeggiated on guitar, forming a 3/4 polyrhythm with the 4/4 drums (whose entrance is startling and impressive.) The piece starts out quiet with a simple theme and builds up to a sweeping set of variations on the undergirding arpeggios, becoming more angular until it suddenly drops back to the synthesizer that started the theme. It's a beautiful piece, and serves as a fitting capstone to the rest of the disc.

Tortoise's main success, well exemplified on this album, is combining bizarrely experimental studio trickery, electronica, and harmonic and rhythmic complexity with genuinely good melodies and nice atmosphere. Highlights include "Gigantes", "Yinxianghechengqi", "Minors", and definitely "Charteroak Foundation".

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 Standards by TORTOISE album cover Studio Album, 2001
3.42 | 40 ratings

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Standards
Tortoise Post Rock/Math rock

Review by Warthur
Prog Reviewer

4 stars A heady mix of electronic noise, post-rock textures, and free jazz and fusion outbreaks, Standards finds Tortoise in a somewhat more abrasive mood than on TNT or Millions Now Living Will Never Die. I'm inclined to agree with zravkapt's assessment that there's something about the sound of Standards which might put listeners in mind of RIO material - not that it sounds anything particularly close to the sound of Henry Cow, Samla Mammas Manna, Univers Zero or other RIO founders, but there's the same inspiration that Henry Cow sometimes showed to take a leaf out of the free jazz playbook and see just how far rock music can be exploded.

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 TNT by TORTOISE album cover Studio Album, 1998
3.66 | 67 ratings

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TNT
Tortoise Post Rock/Math rock

Review by Warthur
Prog Reviewer

4 stars On TNT, Tortoise take the jazzy post-rock sound of Millions Now Living Will Never Die and diversify it to create a sonic kaleidoscope of an album. Some sections lay a heavy emphasis on their jazz and fusion influences, whilst other parts are reminiscent of modern electronic dance music, or classic ambient pieces by the likes of Brian Eno. Still more sections mash these influences together into a strange mixture. It took a long while for this album to grow on me, but grow on me it has - like the best post-rock albums, it presents its own sonic world for the listener to inhabit and explore, or which can sit in the background of your life as you see fit, as with Brian Eno's own conception of ambient music.

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 Millions Now Living Will Never Die by TORTOISE album cover Studio Album, 1996
3.71 | 66 ratings

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Millions Now Living Will Never Die
Tortoise Post Rock/Math rock

Review by Warthur
Prog Reviewer

4 stars Tortoise's Millions Now Living Will Never Die presents a bass-heavy, tranquil and intriguing post-rock sound which would come to have a profound influence on the nascent sub-genre, radically expanding the territory of post-rock from that staked out by Talk Talk in years past. The opening epic Djed combines jazz, dance music, krautrock and electronic influences into an intriguing mixture which forms the bedrock of a fascinating 21 minute epic which proved that post-rock could achieve great things in such a format, whilst the following material provides a similar musical trip in more bite-sized chunks. Produced and mixed impeccably, with some inspired choices in the mix in particular (such as bring the bass sound to the fore), based on the other Tortoise albums I've heard I'd say they've never bested it.

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 Beacons Of Ancestorship by TORTOISE album cover Studio Album, 2009
3.34 | 24 ratings

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Beacons Of Ancestorship
Tortoise Post Rock/Math rock

Review by zravkapt
Special Collaborator Post/Math Rock Team

4 stars This is the follow up to The Brave And The Bold, a 2006 covers album with Will Oldham on vocals. I don't consider that album a 'Tortoise' album as much as it is an album featuring the members of Tortoise, if that makes any sense. So when I compare this release with the previous two, I'm talking about Standards(2001) and It's All Around You(2004). To some extent every every album has been a progression from the last. But here they seem to not be doing anything very new, instead trying to focus on the strengths of the previous two albums. The line-up hasn't changed which might have something to do with it.

One thing that has changed is the instrumentation. The trademark vibes are almost nowhere to be found. Rarely is there more than one bass playing at a time, while the guitar seems more important than before. Here most of the songs are drums / bass / guitar / keyboards, while on earlier albums your average song was more bass / drums / bass / vibraphone / keyboards / xylophone. As usual the sound and production is top notch and the playing great. Some of the songs here are a little too short and almost come off as filler.

"High Class Slim Came Floatin' In" opens the album with a cool synth riff. Then it goes into symphonic electronic dub territory. Some ambient funk for awhile. Before 5 minutes gets fuzzy and distorted while the tempo increases slightly. Some hypnotic sequencers to end it. "Prepare Your Coffin" is more rockin' with steady drumming. Nice electric harpsichord. Good mix of synths and guitar. Cool but short guitar solo later on. Some synthetic handclaps. "Northern Something" has an awesome synth riff. This is techno you want to headbang to. Such a great sound but the song is way, way too short.

"Gigantes" has compressed drums going back and forth with some exotic string instruments. Sounds like some Spanish style guitar playing here as well. In the middle is a synth-sounding guitar solo with a cool vibrato effect and great percussion. Synth bass comes in and the song gets more melodic with other synths joining. Some more synthetic handclap sounds here. Some kind of imitated bird sounds at the end.

"Yinxianghechengqi" is the most talked about song on the album. Sort of like grunge meets industrial. A very hard-edged and rockin' song. I don't think it's as shocking as some think; they have lots of harder rocking moments on some of their songs, but this is the first time they concentrated it all into one song. Nonetheless, Tortoise don't usually rock this hard. Gets more spacey and electronic near the end. "The Fall Of Seven Diamonds Plus One" is loungy jazz that sounds like the music to a 1960s spy movie. The drum machine used here sounds like the Roland that Collins/Genesis was using in the early 1980s.

"De Chelly" is an ambient piece with great use of analog synths. The last song "Charteroak Foundation" is one of the best here. Nice arpeggioed guitar and symphonic synths in this song. Great steady drumbeat. Love the melodic synth that comes in around the 2 minute mark. Guitar harmonics in the middle with weird effects.

This would actually make a good introduction to this group, (seemingly) being the most "rock" oriented of their albums. Although I like this album a lot, I feel it's a step down from the previous two. Still, for 2009, experimental instrumental rock hardly got better. If you like their earlier albums, you will most likely enjoy this as well. If this is your first Tortoise album, then you may or may not like anything they did before this. I'll give Beacons Of Ancestorship a 3.5, but I'll bump it up to 4 stars.

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 Millions Now Living Will Never Die by TORTOISE album cover Studio Album, 1996
3.71 | 66 ratings

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Millions Now Living Will Never Die
Tortoise Post Rock/Math rock

Review by zravkapt
Special Collaborator Post/Math Rock Team

4 stars The second album from this Chicago outfit, their debut from 1994 being one of the first albums to be described as "post-rock". That first album may have been the closest Tortoise came to sounding like most post-rock. Here they continue the experimentation and you can hear influences from Krautrock, IDM and light fusion. The bass is important and you can often hear more than one bass playing at the same time. The drumming and keyboards are also important. While there is guitar, it is never a leading instrument. Oh, yes, lots and lots and mallet percussion(xylophone, vibraphone) as well. No singing, but some vocal samples.

The music is very diverse and is hard to describe acurately. Generally laid-back, but there are some energenic moments. Lots of electronics but not necessarily electronica. Tortoise were influenced by just about anything that wasn't punk or metal from the 1960s-90s. When this came out I had no internet access and had never heard of these guys anywhere. That was a time when I was convinced that all new music sucked. Thanks to the internet, I finally discovered this great unique group. I was convinced that if you wanted to hear good new music, you had to go looking for it yourself.

The album, which has a great title obviously, starts with the best 21 minutes in post- rock... "Djed". Of course, this epic sounds almost nothing like most post-rock. And it's all the better for it. It opens with electronics and basses. Later organ, then drums and bass play a very 'motorik' groove. After some jazzy electric piano joins in. Electric piano and drums change to a bass heavy dub vibe. One bass is still playing the 'motorik' line. After a bunch of synth sounds. Then electronic percussion sounds get slowed down. An organ comes in and plays melodic repeated figures. Some melodic bass and then xylophones. Before 14 minutes you hear a tape speed altering effect where the music gets paused and unpaused. Trippy when you hear it for the first time.

Electronic effects then dominate for awhile before the music becomes ambient techno. Synths making odd noises and then xylophones join in. The last two minutes or so is a slow hip-hop beat with some melodic bass playing. Great stuff! The rest of the album unfortunately does not live up to that standard. But they are great songs nonetheless. "Glass Museum" stays in a mid-tempo pace where guitar and drums mostly dominate for awhile. Then drums stop and an atmospheric section. Goes back to the mid- tempo part then all of a sudden changes to a more aggressive and rocking part played in 11/8. Good xylophone work and drumming here. Goes back to the mid-tempo section to end it.

"A Survey" is mostly two basses duelling with crickets chirping in the background. Almost reminds me of Primus. "The Taut And Tame" starts with electronic percussion type sounds. Then guitars, bass and xylophone join in. The music stops and then the band comes back playing around a guitar riff. The song changes again to a mellow jazz-rock vibe. Cool guitar sound during this part. Goes back to the beginning section. "Dear Grandma And Grandpa" is an IDM("Intelligent Dance Music") piece. You hear a woman whose voice is altered talking. All kinds of synth sounds and noises can be heard. Later you hear a man talking from a TV set or radio. That song then segues into... "Along The Banks Of Rovers" which sounds like music from a 1960s spy movie. A mellow light jazzy post-rock song. Nice synth which starts in the middle and continues till near the end.

This would be a good introduction to this group. The sound of Tortoise is hard to describe and no two albums sound alike. Millions... is a classic post-rock album although it sounds very little like most post-rock. Instrumental experimental rock music rarely got better than this in the 1990s. Almost a classic but not quite. 4 stars.

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