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Yo
La Tengo: Summer Sun
Matador, 2003
Rating: 4.2
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Posted: April 8,
2003
By
Laurence Station
No feedback. Guitar distortion, once a staple of Yo La Tengo's sound,
has been relegated to the back catalogue on Summer Sun, the
talented New Jersey trio's twelfth release. Granted, the signs have been
obvious since 1997's I Can Hear the Heart Beating as One through
2000's And Then Nothing Turned Itself Inside-Out (which limited its
feedback roar to the pulse-quickening "Cherry Chapstick") that the band's
been moving into more melodically subdued, intricately structured musical
territory. The lyrics are no longer buried beneath crashing drums and
furious, buzz-saw guitars. With And Then Nothing, Yo La Tengo
signaled a new phase in its career, emphasizing words over chaos, refining
the sonic touches developed over its near two-decade-old career. Summer
Sun, while not as musically or thematically consistent as And Then
Nothing, nonetheless sports a maturing musical sensibility that
produces some of the trio's finest work yet.
Working with longtime producer Roger Moutenot and members of the free
jazz outfit Other Dimensions In Music, amongst others, Georgia Hubley
(drums), Ira Kaplan (guitar) and James McNew (bass) explore a
jazzy-electronica sound, subtly underlined on "Little Eyes "(with its
opening beat, like a hyperactive signal light flashing out of control) and
the low rumble percolating just beneath he surface of "Today Is The Day."
More overt statements include the digital flourishes dressing up "Tiny
Birds" and the spongy electro-funk of "Georgia Vs. Yo La Tengo," which
could well be perceived as either a fitting tribute to or good-natured
send-up of the
Flaming Lips' "Yoshimi Battles the Pink Robots Pt.2."
But it's the trio's self-assured sense of purpose that stands out on
Summer Sun. Having long since mastered the creative cover (ably represented
here by a country-inflected version of Big Star's "Take Care") and handily
proven how hard they can rock (1986's Ride the Tiger through 1993's
Painful), Kaplan and company have grown as lyricists and musicians,
to the point where the group needn't assault with the amp cranked to 11,
but can offer studied, patiently crafted work that doesn't have to meander
for over ten minutes to feel spacious and epic (though the obligatory
protracted jam can still be found here, on the languid, flute and
trumpet-based "Let's Be Still"). From the pseudo-lounge of "Winter
A-Go-Go" and funky rap of "Moonrock Mambo" to the perfect three-minute
(okay, 4:30, but why quibble?) pop of "Season Of The Shark" to Kaplan's
whispered, yearning vocal on "Don't Have To Be Sad", Yo La Tengo shows off
its eclectic range, subtly expanding on its distinct signature sound. The
only dud is "Nothing But You And Me," which starts out light and breezy
before overstaying its welcome, growing tedious and redundant long before
it's over.
The feeling of the titular "Summer Sun" is a bit misleading: This is a
work for all seasons and moods, which detracts from an overall tonal
uniformity. Nonetheless, Summer Sun is a progression on the
delicate yet complex rhythms displayed on past releases, not so much a
dramatic leap forward as a considered step in the right direction.
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