Tortoises are slow moving, shy reptiles who retreat into their shells at the first sign of danger. Perhaps not coincidentally, Tortoise ,the band, are leisurely, reclusive creatures who only take calculated risks. Maybe this is why the Chicago-based quintet have always struck me as a kind of swotty de-punked version of Sonic Youth.
After 25 years, the five multi-instrumentalists remain fairly anonymous figures and, with only six studio albums to their name, are not renowned for being prolific. Their seventh, the first in 7 years, features eleven tracks reworked from pieces produced on commission for the City of Chicago to promote the city's jazz community.
As with their previous records, nothing is intended to grab you on the first listen. On first hearing it seems so bland that it could almost be a Musak soundtrack for swish hotels or elegant office suites. You need to be prepared to give it a few spins to appreciate that this is more than cleverly nuanced background music.
The core sound remains that which prompted journalist Simon Reynolds to coin the now over-used term: Post-Rock. Reynolds was searching for a label for artists "using rock instrumentation for non-rock purposes".
A most significant departure from what we've come to expect is that this is their first album to feature guest vocalists. The first of these is a very un-Tortoise-like cover of David Essex's Rock On sung by Todd Rittman, guitarist with US Maple.
This track, absent from the Spotify version, replaces the staccato rhythms and dramatic strings of the original with something approaching muddy dubstep. It's not dreadful but it all seems out of place in this context.
Yonder Blue fits in more easily. A dreamy, laid back tune that reminds you of Yo La Tengo primarily because YLT's Georgia Hubley is the singer. She apparently stepped into this role after Robert Wyatt politely refused.
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The best of the rest is the single, Gesceap, which over seven and half minutes taps into a slow building funky groove thang and is the closest the band get to letting it all hang out.
In contrast, we have Gopher Island with a lively opening which seems to be going places yet inexplicably then fades out after just one minute.
Jeff Parker of the band describes the Tortoise sound as "progressive experimental music with pop sensibilities" but to my ear the 'pop' element is buried deep in the mix. This is why I regard it as largely wishful thinking on the part of the PR agents to gush over the "moody synth-swept jams ...... funktastic bass lines and straight up dance beats".
The Catastrophist is solid and sophisticated but never really catches fire as it frequently promises to because the richly talented band are overly focussed on precision and control.
One track invites us to Shake Hands With Danger and this is exactly what they need to do more of. Experimental jazz would be more daring and rock music was never meant to be so measured.
Tortoise's website
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