To complement the album’s release, the band performed two ticketed live-stream sets from their practice space, with proceeds going to the Brennan Center for Justice. Now in their 29th year with this lineup, ever since McNew stopped a revolving door of some 16 bassists before him, Yo La Tengo are still coming up with new ways to connect with themselves and with their listeners. Electr-o-pura attracted the group’s normal glowing reviews, but it sold less than Painful. Yo La Tengo’s vision of a welcoming, everyday bohemianism has gone in and out of fashion, but it was never exactly trendy. The song on Electr-o-pura with the most quintessentially Yo La Tengo-esque story is the serene ballad “The Hour Grows Late.” A whispery Kaplan paints a scene not too distant from some that Yo La Tengo must’ve experienced in their earlier years. But Electr-o-pura was also the second in a nearly impeccable four-album run that began with 1993’s noise-pop gauntlet Painful, peaked with 1997’s expansively intimate I Can Hear the Heart Beating as One, and then slipped away into the moonlit hush of 2000’s And Then Nothing Turned Itself Inside-Out. Find Hotels & Airbnbs near Jersey City's for this Yo La Tengo show. Sign up for the 10 to Hear newsletter here. But there’s self-aware humor, too. They've had 14 bass players since forming, but James McNew has been a solid member of the team on bass since 1992's 'May I Sing With Me'. It’s new territory for them: The key difference between these five gentle drones and the band’s abundant film-scoring or ambient-leaning work, technically speaking, is that those pieces almost always had some lead melody or some syncopated rhythm, however subtle. The trio's diverse catalog is a trip through genre and sound. Staying the night? Picasso Kat’s sound may be a throwback, but its faithful recreation of a particular time and place reminds us that romance can have a place in pop music, and that bigger-than-life might be just the ticket when the world feels like it’s closing in around us. This was a private world for two. There is something undeniably comforting, if low-stakes, about hearing them play around with noise, up-close, in the middle of a quarantine-induced drought of human interaction. Yo La Tengo and Chris Stamey, two acts with deep ties to the Hoboken music scene of the 1980s, recently graced fans with new projects, although the recordings couldn’t be more different. The second verse shifts dramatically toward the personal, as Kaplan describes a drunken first meeting that grows into something more, then recognizes the impossibility of ever fully understanding another human being, even those we know best. And now he’s back with “A Brand New Shade of Blue,” an homage to bebop and the kind of jazz played in cool underground clubs in the ’50s and ’60s. On “False Alarm,” Kaplan refers to McNew by name and mentions the title of a song tucked away deeper on the album, “(Straight Down to the) Bitter End.” That one is Hubley-led fuzz-pop, a caustic character study that features the evocative line, “The stars that shine but don’t belong to you.” Yo La Tengo shone while walking among us. For this reissue—part of Matador’s Revisionist History series, which also includes Mary Timony’s Mountains, Pavement’s Wowee Zowee, and Guided By Voices’ Alien Lanes—Yo La Tengo labelmate Lucy Dacus reminisced fondly about discovering Electr-o-pura, with its CD packaging that intentionally messed up the track times (purportedly because reviewers kept singling out the longest songs on the band’s albums as the worst!). A musician packs up his drum machine and, gradually, his guitar, peeking out at empty seats, clock ticking. Dacus’ stark “Tom Courtenay” cover brings to mind Yo La Tengo’s acoustic, Hubley-led rendition from a 1995 B-side, which sounds like Camera Obscura and might be better than the album version. Catch up every Saturday with 10 of our best-reviewed albums of the week. In 2014, the band looked to its past with an "Extra Painful" special-edition reissue of Painful, which included a wealth of live tracks, outtakes, and demo recordings. Yo La Tengo are an American alternative rock band formed in 1984 in New Jersey. The group also performed a three-night stint as the backing band for Ray Davies on his 2000 U.S. tour, and in 2002 released The Sounds of the Sounds of Science, a soundtrack to the undersea documentaries of French filmmaker Jean Painlevé. The opening “Decora,” where Hubley begins with a nonchalant murmur of, “I see you crawling across the floor,” picks up from the flickering dream-pop of Painful; the way that Hubley bends syllables and moans the title phrase on the chorus recalls My Bloody Valentine’s wavy “glide guitar” technique. No strangers to lengthy instrumental passages, here they stretch out for nine-plus drum-heavy minutes of whammy-bar mangling and organ rushes, as Hubley seems to address a lover gnawed by depression and self-doubt. Johnny Cash’s American Recordings-era audiences may have been irritated, but after Electr-o-pura hit shelves, Yo La Tengo started covering Grand Funk Railroad’s “We’re an American Band” during encores. However, the album doesn’t have enough blemishes, stumbles, or flourishes like this to give it extra excitement and curiosity. The band returned the following year with the strong all-new album I Am Not Afraid of You and I Will Beat Your Ass. And it still sounds low-key monumental, like the work of a group that might share a bill at the Mercury Lounge with a reanimated Fab Four. Now, newly reissued on vinyl, the pop-focused and densely referential album remains a monument in the band’s catalog. Since 1992, the lineup has consisted of Ira Kaplan (guitars, vocals), Georgia Hubley (drums, vocals), and James McNew (bass, vocals). Sorry, we don't have any Yo La Tengo tour dates, events or tickets listed at the moment. Yo La Tengo is a Long Running Alternative Rock band from Hoboken, New Jersey. Catch up every Saturday with 10 of our best-reviewed albums of the week. Community Rules apply to all content you upload or otherwise submit to this site. 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. “We didn’t really set out to make a soothing, relaxing album for sleep time.” That’s Yo La Tengo bassist James McNew reflecting on the process behind their 2018 album There’s a Riot Going On. Tracks like the insistently melodic “Delirious” (with its gorgeous synth bridge) and Picasso Kat’s electrobeat reconstruction of the rock ‘n’ roll classic “Route 66” feel like you’re being sucked into a time warp, back to the heyday of Martha Quinn and Alan Hunter on ‘80s MTV. 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").A move to the Matador label predated the release of 1993's Painful, another winner informed by the atmospherics of shoegazer drones and dream pop. Yo La Tengo have corralled their recent string of new tracks for an instrumental album titled We Have Amnesia Sometimes, which the long-running New Jersey …

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