[TR24][OF] Yo La Tengo - There's A Riot Going On - 2018 (Rock, Indie Rock)

Few bands exist for 30 years, let alone maintain the quiet—and quietly remarkable—consistency of Yo La Tengo. Their 15th album finds them exploring similar material to 2013’s Fade and 2003’s Summer Sun: cozy, carefully constructed indie rock with hints of psychedelia (“She May, She Might,” “Here You Are”), jazz (“Ashes,” “Above the Sound”), and ambient (“Shortwave,” “Dream Dream Away”), a sound by turns comforting and mysterious, buoyed by Ira Kaplan's and Georgia Hubley's whisper-in-your-ear vocals.
Yo La Tengo are in many respects the quintessential critics' band: in addition to their adventurous eclecticism, defiant independence, and restless creative ambition - three qualities that virtually guarantee music press acclaim - the group's frontman, Ira Kaplan, even tenured as a rock scribe prior to finding success as a performer. So frequently compared to the Velvet Underground that they even portrayed the legendary group in the 1996 film I Shot Andy Warhol, the Hoboken, New Jersey-based Yo La Tengo have explored the extremes of feedback-driven noise rock and sweetly melodic pop, shading their work with equal parts scholarly composure and fannish enthusiasm. Prolific and mercurial, they have ultimately transcended their myriad influences to ensconce themselves as a beloved institution of the indie community.
The core of Yo La Tengo (Spanish for the outfielder's cry of "I've got it!") is comprised of singer/guitarist Kaplan and his wife, drummer/vocalist Georgia Hubley. After forming the band in 1984, they placed an advertisement seeking other musicians to round out the lineup, requesting applicants who shared their fondness for the Soft Boys, Mission of Burma, and Arthur Lee's Love. A number of bassists and lead guitarists passed through the band's roster during its formative years, but after bowing in late 1985 with the single "The River of Water," backed by a cover of Love's "A House Is Not a Motel," Yo La Tengo's membership appeared to stabilize with the additions of guitarist Dave Schramm and bassist Mike Lewis prior to the sessions for 1986's full-length roots pop debut, Ride the Tiger, produced by former Mission of Burma bassist Clint Conley.
However, both Schramm and Lewis exited in the wake of the record's release, leaving Kaplan to assume lead guitar duties. Bassist Stephan Wichnewski signed on for 1987's New Wave Hot Dogs, a more assured outing that brought the group's Velvet Underground obsession to the fore via a cover of the early VU composition "It's Alright (The Way That You Live)." Not only did Kaplan's introverted, half-spoken vocals and buzzing guitar work closely recall Lou Reed, but Hubley's rock-steady drumming and breathy backing turns simultaneously conjured memories of vintage Maureen Tucker. Even better was 1989's President Yo La Tengo, recorded with producer and guest bassist Gene Holder; opening with the droning squalls of the stunning "Barnaby, Hardly Working," the record spotlighted the group's sonic schizophrenia by including two Jekyll-and-Hyde versions of the track "The Evil That Men Do" - one a gorgeous instrumental, the other a blistering feedback freakout.
Schramm returned to the fold for 1990's Fakebook, a remarkable acoustic folk-pop journey through Kaplan's record collection and a virtual family tree of Yo La Tengo reference points. A wonderfully low-key collection of covers ranging from forgotten nuggets (the Kinks' "Oklahoma U.S.A.," the Flamin' Groovies' "You Tore Me Down," Gene Clark's "Tried So Hard") to absolute obscurities (Rex Garvin & the Mighty Cravers' "Emulsified," the Escorts' "The One to Cry," the Scene Is Now's "Yellow Sarong"), Fakebook also included a handful of outstanding new originals as well as luminous retakes of the previous record's "Barnaby, Hardly Working" and New Wave Hot Dogs' "Did I Tell You?" The superb That Is Yo La Tengo EP previewed 1992's May I Sing with Me, the first effort to feature permanent bassist James McNew (formerly of Christmas). A return to noise typified by the hot-wired nine-minute feedback saga "Mushroom Cloud of Hiss," the record balanced out its extremist tendencies with the occasional sidestep into melodic beauty ("Detouring America with Horns") and infectious indie pop ("Upside-Down").
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