Dolmen Music, so even though this album is ten minutes shorter than its predecessor, you actually get a broader snapshot of Monk's sound-world of the period.
The first half of Turtle Dreams is taken up by its title track. In its original conception, the four performers shown on the album cover above provided the focal points of sound and movement, while the backdrop was intermittently superimposed with images of a turtle crawling across cityscape footage. A made-for-video reduction has survived, and remains one of the most wonderfully weird YouTube experiences I've ever had. Musically, Glass/Reich-esque organs provide a sedate backing to Monk's voice, just on the edge of comprehensibility, before the rest of voices join in and the singing switches to the much more primal vocalese that Monk excelled at.
The four pieces on the album's second half are ran together in a varied and fascinating patchwork. View 1 is first and longest, and starts with rippling piano arpeggios before settling down. This isn't just a straightforward voice-and-piano ballad like on the first side of Dolmen Music though - the voice parts are more treated, mostly with echo, and little bits overdubbed. Sped-up overdubs of the opening piano riff are also dropped in at times, along with a low growl of didgeridoo in the background. After a loud synth fanfare closes this amazing piece, we're next offered two minutes of mechanical, industrial sound in Engine Steps, then Ester's Song, a minute of keyboard and voice. The closing track on the album, View 2, was also taken from the original Turtle Dreams production, and winds this album up in style as Monk's amazing voice coos and soars over a flutey synth backing.