The first thing one must consider when listening to Genus Thylacinus by MarsupiaL (with a capital L), is that this is a bona fide jam band. Out of Asheville, NC, MarsupiaL’s sound mixes progressive rock with southern rock and a taste of jazz. What results is a very winding and mellow type of music, like the rock equivalent of a babbling brook. This quartet’s sound is just plain laid-back and unobtrusive. They’re not flashy, but that doesn’t mean there’s not talent here. Quite the contrary, there is a strongly prevalent degree of musicianship at work that is sometimes hard to find in a band, even with several releases under their belts (let’s face it: some bands just aren’t that good at what they do).
The eight song album goes by relatively fast, even when all but two of the songs clock in at over four minutes. Track one is just shy of nine minutes, while track three comes close to ten minutes, which goes to show that the band likes to meander about in the songs that they play. I actually thought that track one, “Lead On,” was two different songs until it reprised into its chorus at the end.
This is an album perfect for sitting around with friends on a summer night while kicking back a few beers. I’m not saying that it’s only good as background music, but it’s just very “chill,” so to speak. It has a sort of Frank Zappa-ish vibe to it, and feels very much like one of the classic rock jam bands of years gone by. This kind of music simply isn’t seen as much any more, and that’s a shame, because these guys have a lot of talent.
While this isn’t something I would play religiously, I would definitely recommend this to anyone who likes a good jam band. The first track, “Lead On,” is especially fun, with some great guitar solos. The southern rock feel of “The Man Who Knows Things” makes it stand out well from the rest of the album. I definitely wouldn’t mind listening to some more MarsupiaL.
I’m writing this review from Xishuangbanna, a region in southwestern China. It sits along the Mekong river, not very far from the borders of Vietnam, Laos, and Myanmar. It’s hot, humid, and currently raining almost every day – monsoon season and all. You know how it goes. Anyway, the general attitude is very laid-back, not so much lazy as unwilling to move fast in the heat. I like it here. I like sitting here and drinking chilled mango juice, and I like listening to Tortoise’s new album while I’m doing it.
Beacons of Ancestorship is the name. It’s out June 23rd, fully five years after their last release. This thing has been a long time coming for fans of the band, and trust me, there are lots of them. Quick history lesson: Tortoise is a hugely important band. They’ve been around a while. Back in the early 1990s, they helped to create what is now known as post-rock. If you’re not familiar with the genre, it boils down to music that isn’t rock, but is played on rock instruments. It’s primarily instrumental, and almost always experimental. I like to think that post-rock bands don’t create songs, so much as things that grow and develop as the music continues. If that sounds silly, go listen to some music from the likes of Explosions In The Sky or Slint. You’ll know what I’m talking about.
That being said, Tortoise is a little different. It’s the like the guy that’s so far ahead of the curve that nobody knows what he’s talking about until five years later, and suddenly they understand. Or maybe they don’t. They pull from lots of different genres, showing influence from the likes of jazz, progressive rock, and a liberal dose of electronica/techno. Their sound is synth-heavy, along with electric guitar, drums, and bass.
The album opens with something of a bang. “High Class Slim Came Floatin’ In” has a great intro – drums and bass give it a very alt-rock feel initially, which then gives way to synth that feels more like Daft Punk. The entire time layers of sound are meshing, moving from dissonance to resolution and back again. The song has a great beat to it, especially with the synth. It feels much more energetic and lively than your typical post-rock. It’s fun… part funk, part electronic, all post-rock.
“Northern Something” has a percussive intro, followed by some intense synth. It’s possibly one of my favorite parts of this album yet. There’s definitely some techno/trance influence, and trust me, it works really well here. Beacons of Ancestorship has an energetic quality to it that is imminently danceable, which is pretty cool. This song has something of a Latin influence to the rhythms employed, and it works really well with the ever-present, buzzing synth. The track was over too soon, if you ask me. I would’ve taken more of that stuff. There’s no stopping these guys, though. On to the next track!
One of the major features of Tortoise’s sound is blending different styles together. In “Gigantes,” you’ve got a sweet guitar bit that works well against energetic drums; it’s jazz meets trance/electronic meets post-rock. “Penumbra” is something of an interlude that starts out sounding like videogame soundtrack, then adding some kind of retro 1940s-Hollywood dreamy bit in the background, and “de Chelly” layers synth on top of a mellow organ track. Like so many bands of that genre, they are a little difficult to describe, tending to mix genres and styles at will. Effects are numerous and varied. This album is an experience, to say the least. There aren’t any lyrics, nothing that you can sing off-key in front of your friends, but that’s probably a good thing. Nobody wants to hear you sing anyway.
The wildest song of the album was “Yinxianghechengqi” (the name, if you’re curious, is some run-together Chinese). This sucker has some of the heaviest and hardest distortion of anything else on the album so far, and it’s on, well, everything. Except maybe the drums. Not sure how you would go about adding distortion to them, but I digress. This one is rowdy, a bit spastic, and sounds like the kind of music I imagine Salvador Dali might have made, were he a musician and not a painter. It’s loud, a little overwhelming, and exciting because of it. The level drops off at just the right moment, leaving you with a sort of haunting, minute-long echo of what was going on just a second before. Brilliant.
“Charteroak Foundation” rounds out the album with a dark, foreboding tone at the beginning that’s absolutely delicious. Add in in bass and drums at a different tempo, and the tone completely changes. These guys are the masters of unlikely fusion. Extra, higher-pitched synth falls in on top of everything else. As far as I’m concerned, it’s the stuff of genius.
I’m not going to sugarcoat it – Beacons of Ancestorship isn’t exactly what I would describe as pop music. You’ve got to be into this sort of thing to dig it, or at least open-minded with regard to your music. If that’s you, awesome. Enjoy this thing. Not sure yet? We’ve got a link to a free download of “Prepare Your Coffin”, as well as a music video for the song, so give Tortoise a listen while you go about your business today.