Yo La Tengo - And Then Nothing Turned Itself Inside-Out

After years as one of indie rock's standard-bearing groups, Yo La Tengo surpasses itself with And Then Nothing Turned Itself Inside-Out. continue→

A culturally literate, emotionally rich album, on songs like "Let's Save Tony Orlando's House," "The Crying of Lot G," and "The Last Days of Disco," it alludes to The Simpsons, enigmatic author Thomas Pynchon and independent films while exploring the comforting, confining, complex aspects of relationships. "Our Way to Fall" sets Ira Kaplan's recollection of falling in love to a dreamy, down-to-earth backdrop of gently brushed drums, luminous organs and vibes; "The Crying of Lot G" transforms the syrupy sweetness of '50s ballads into a monologue about a relationship's shortcomings. "Madeline"'s shimmery indie bossa-nova and the countrified ballad "Tears Are in Your Eyes" showcase Georgia Hubley's buttery, empathetic voice; her singing makes these vignettes universal as well as personal. Like mature indie rock records such as Pavement's Terror Twilight and Jim O'Rourke's Eureka, And Then Nothing... favors mellow songwriting, detailed arrangements, and eclectic influences, such as the Silver Apples-like drum machines and doo wop backing vocals that adorn many of the songs. The wintry, implosive "Everyday" uses both of these elements, along with a plaintive guitar and hushed, hypnotic vocals, to begin the album on a surprisingly somber note. Similarly, the off-kilter beats, odd piano bursts, and harmonies on "Saturday" add to the song's awkward, uneasy beauty. Finally, nine songs into the album, Yo La Tengo breaks out the whammy and feedback action on "Cherry Chapstick," their most incandescent song since "Sugarcube." Easily one of 2000's most accomplished albums, And Then Nothing Turned Itself Inside-Out isn't as immediate as some of the group's earlier work, but it's just as enduring, proving that Yo La Tengo is the perfect band to grow old with.

Después de años de abrir para los grupos más conocidos de indie rock, Yo La Tengo se supera a sí mismo con And Then Nothing Turned Itself Inside-Out. A la cultura lyrica, y un emocionalmente rico álbum, con canciones como "Let's Save Tony Orlando's House," "The Crying of Lot G," and "The Last Days of Disco," donde aluden Los Simpson, al enigmático autor Thomas Pynchon, y algunos films independientes, mientras explora los aspectos más complejos de las relaciones. "Our Way to Fall" alínea los recuerdos amorosos de Ira Kaplan, con cepilleos percusivos dreamy como telón de fondo, órganos luminosos y vibraciones, "The Crying of Lot G" transforma la dulzura melosa de las baladas de los años '50 en un monólogo acerca de las deficiencias de una relación. "Madeline" radiante de bossa-nova indie, y la balada rústica "Tears Are in Your Eyes" muestran la suavidad y empatía vocal de Georgia Hubley, su canto hace que estas historietas sean tanto universales, como personales. Al igual que maduros discos indie como Terror Twilight de Pavement, o Eureka de Jim O'Rourke, And Then Nothing Turned Itself... favorece la composición de canciones suaves, arreglos delicados, e influencias eclécticas, como drum machines al estilo Silver Apples, y coros en clave doo wop que adornan muchas de las canciones. El invernal e implosivo "Everyday" utiliza estos elementos, junto a guitarras y vocales hipnóticas, para comenzar el álbum en una nota sorprendentemente sombría. Del mismo modo, los ritmos desfasados, estallidos impares de piano y armonías de "Saturday", añaden a la canción una belleza incómoda. Por último, nueve canciones del álbum, Yo La Tengo desata whammys y feedbacks en "Cherry Chapstick", su canción más incandescente desde "Sugarcube". Fácilmente uno de los álbumes más logrados del 2000, "And Then Nothing Turned Itself Inside-Out" no es tan inmediato como algunos de los trabajos anteriores del grupo, pero es igual de duradero, lo que demuestra que Yo La Tengo es la banda perfecta para envejecer. --Heather Phares

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