page_title: TNT (Tortoise album)
section_title: Compositions
hierarchical_section_title: TNT (Tortoise album) / Compositions
caption_attribution_description: Български: Голяма маримба, модел Antonko AMC-12 English: Large marimba, model Antonko AMC-12
context_page_description: TNT is the third studio album by American post-rock band Tortoise, released in 1998 by Thrill Jockey. After Jeff Parker joined the band in 1996, Tortoise recorded TNT over the course of a year with drummer John McEntire acting as producer, editor and mixing. Taking influence from their remix material of the 1990s, the band recorded the album using hard disk technology in a "forward-then-back" approach, with members individually adding parts to tracks at different stages until the tracks were completed. As with previous albums, the band members also shared instrumental roles.
  Largely jettisoning the dub and electronic leanings of their previous work, TNT stirs the band a new, more organic direction with a heavier influence taken from jazz and groove. The electronic leanings do remain on the album, however, alongside other styles such as funk, ambient and the band's ongoing krautrock influence. Upon release, the album was critically acclaimed, with reviewers complimenting its postmodern sound. The band toured in promotion of the album in 1998, bringing new, live arrangements to the previously studio-crafted songs.
context_section_description: Opening track "TNT" is said to display both the album's cool jazz sound "from the first few seconds" and organic groove in its opening minutes. Bush, describing the former scenario, said: "a lazy, slightly free drum solo frames a few tentative guitar chords and some teased effects, before the band kicks in with a holds-barred jam that encompasses a tremulous solo from trumpeter Rob Mazurek." Pitchfork's William Morris, describing the arrival of the groove meanwhile, described it as follows: "fragmented loose drum forms slowly take shape behind scattered angular guitar chords, only to fall perfectly in line for a subdued, but determined, steady full-circuit instrumental jam." The track has been described as a "venture into a Miles Davies Bitches Brew-style jazz", as has "Swung from the Gutters", which is krautrock-influenced.
  "Ten-Day Interval" is influenced by minimalism, and features "Oriental repetition." The track features McEntire playing a "pattering" marimba in such a fashion that it "becomes a drone element," whilst "the piano carries a distant melody." "I Set My Face to the Hillside" features a "Spaghetti Western-style riff" and atmospherics that have been compared to Ennio Morricone. "The Suspension Bridge at Iguazu Falls" is "guitar-driven Latino rock." The track "In Sarah, Mencken, Christ, and Beethoven There Were Women and Men", which has been described as "smooth, Ry Cooder-infused house", takes its title from a similarly titled work by John Barton Wolgamot recorded by Robert Ashley in 1972. The consecutive tracks "Almost Always Is Nearly Enough" and "Jetty" largely forgo the jazz influences and instead present "cut-up voices, brittle drum'n'bass rhythms and ricocheting electronics." "Jetty" is an alternate version of 1997 song "La Jetée" by Tortoise's jazzier sister group, Isotope 217 (Both songs took their name from landmark experimental film La jetée.) They are followed by the "mesmerizing tone" of closing track "Everglade".
caption: John McEntire provides a drone on "Ten-Day Interval" using a marimba, an instrument whose usage he urged on the album.[8]
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