Fade
Yo La Tengo
Matador Records
One has to wonder just how a band like Yo La Tengo can keep consistently producing quality material over a lengthy career. In the nearly 30 years that the band has been in existence, they have released 12 studio albums, a slew of EPs, and have even dabbled in film scoring. Whatever formula the band operates by seems to be working, and it shows on their 13th studio effort, Fade. A nice collection of 10 tracks, the record sees the band explore familiar sonic territory that is reminiscent of their material from earlier in the 2000s. It’s business as usual for Yo La Tengo, who continue to make their musical consistency look easy.
“Ohm” opens the record with a slow gallop, and like its name implies, conveys a very meditative atmosphere through its repetitive drum beat and guitar chords. Some nice vocal harmonies are almost audible over all the percussion and electric guitar fuzz, before quietly fading out into nothingness. “Is That Enough” offers up a more folk-oriented feel, and cements itself as an album highlight thanks to its carefully arranged string parts. “Well You Better” and “Paddle Forward” are two tracks showing the band’s more upbeat side, full of life and energy in large part due to the drumming of Georgie Hubley. “Stupid Things” keeps Fade rolling as a nice, straightforward piece with subtle changes in dynamics and guitarist Ira Kaplan’s vocals being run through some strange filters.
It’s at this point where Fade decides to lull us all to sleep, with a very nice series of laid-back tracks. In the skilled hands of Yo La Tengo, however, this is far from a bad thing. “I’ll Be Around” is a homey, one-man-one-guitar track permeated by a droning keyboard, where “Cornelia and Jane” sees Hubley step out from behind the drumkit to handle lead vocal duties. The track revolves around simple guitar strumming, with very tasteful additions of occasional slide guitar and a brass section. “Two Trains” is a track loosely based in the dream-pop vein, with its gentle layers of guitars and almost inaudible percussion. “The Point of It” is yet another quaint, honest number with some very beautiful electronics moving in behind acoustic and electric guitars. Everything seemingly comes together on the record’s final track, “Before We Run,” showcasing the strings lining up alongside the brass section in a truly grandiose arrangement.
At the end of the day, Fade stands as another excellent release within the nearly 30-year canon of Yo La Tengo’s work as a group, really standing out to me through its sensible use of atmosphere, and a unique musical intelligence that few bands within the genre can lay claim to. They are truly one of a kind.
