DanVerlaine

Battiato "overrated as always"??? One thing is to assert that he has been releasing mediocre albums in recent years, another thing is to claim that he has always been overrated. They may be opinions, but perhaps they are tainted by bias.

A very important album, but not always enjoyable. It can be said that it was their precise intention not to be enchanting, perfect, but if I have to simply say how much I like listening to this record, I must say not much. Sister Ray, yes, that's enjoyable, but everything around it has always intrigued me very little. Overall, it's appreciated more with the brain than with the gut. Rece full of nonsense.

It is also true that De André fundamentally comes from the school of French chansonniers who still write today as they did 50 years ago.

To say that Yo La Tengo can't sing is merely a sign of narrow-mindedness; it's like saying that Pollock couldn't paint. It’s not about whether you appreciate Yo La Tengo or not—they can be as awful as any other artist—it’s about understanding LANGUAGES. In the genre that Yo La Tengo creates, vocals don’t play a dominant role as they might in easy listening or Sanremo music, and even in mainstream rock, Yo La Tengo embodies a culture that sees the voice as one element among others, not the defining element of the proposal. Ever heard of shoegaze-pop/dream pop? There, understated vocals and dreamy harmonies are part of the genre, so it makes little sense to compare the singing style of a Bonovox with, I don’t know… the Pains Of Being Pure At Heart (who, by the way, I don’t even like); they are completely different styles, and the characterization of the style reaches into the role that the voice plays.
Now, Yo La Tengo can’t be regarded as a shoegaze band per se, but their singing style is a blend of shoegazing-dream-pop and the VU. This should be understood; then you can appreciate it or not. But saying "I hate cubist style" is one thing; saying "cubists can't draw" is another. One could argue that Michael Stipe's voice pales in comparison to Pavarotti's, and it’s undeniable that Pavarotti sings much better than Stipe, but perhaps that comparison itself is foolish, as it only reflects a narrow viewpoint. You can't judge the skill of a pop-rock singer with the same criteria you use for an opera singer; it’s a different thing, a different world, another language, another culture. Similarly, it makes little sense to criticize the vocal prowess of Yo La Tengo, where the very concept of vocal prowess almost clashes with their expressive style.
Besides, it seems to me that bassist James McNew has a nice little falsetto with a soul inflection—not bad at all. Kaplan has a "friendly" voice, nothing special, a pleasant timbre, he is in tune, but often he doesn’t even sing; he adopts a sung/spoken style reminiscent of the Velvet Underground. Georgia Hubley presents herself with a minimal, hushed style, but her timbre is intriguing, I would even say quite sensual. I can also add that sometimes I would prefer to hear her voice recorded a bit louder, because that would just be a simple adjustment, and I think some songs would benefit, even if they might lose something on the hypnotic tone, but… they like it that way, and that's that. When they sing together, I find it very pleasant, in my opinion, but tastes vary. Ultimately, it’s fine to despise, but first you should understand WHAT you’re listening to.

Autumn Sweater could easily be on the list of the best 50 pieces of the '90s. Pure class.

Rating 4.5
Good job easy, a review of this album was missing on Deb.
You've set up the analysis in a bit of a convoluted way, but in the end, you delivered quite well :)
some aspects of the music and personality of Yo La Tengo.
They are not a band for everyone; they may appeal to fans of Velvet Underground, Husker Du, Mission of Burma, Wilco.

It's the usual discussions, guys. We need to understand that there are people who think like "critics," and then there are those with a more spontaneous approach. We must realize that a critic has to reinterpret what they hear, taking into account aspects that might not interest the average music enthusiast much. The best thing is when the mind aligns with the senses.
This one is a great album anyway, because I firmly believe that knowing how to write songs is a significant musical merit, and here there are good songs, period.
Historically, the first two are more important, but that doesn't mean they should be liked more. Loaded, however, I don't like that much.

It arrived last night. I listened to it a couple of times and it seems like a very good album. I expected worse. They confirm themselves as one of the most original pop-rock bands of the decade. I still need to listen to it more closely.

The importance of purchasing: Yo La Tengo are one of those bands that I would have never been able to appreciate if I hadn't bought their records. I bought Painful and this very collection about 5 years ago, but at the time it had a rather off-putting effect on me; I couldn't find the key to connect with their music, especially because I wasn't very accustomed to certain sounds. So, I put the records away for a few months, and about a year later, I returned to them and already some things began to appeal to me more. After listening to some shoegaze and 80s alternative records, the spark finally ignited. If I hadn't bought their records, feeling somewhat obliged to listen to them again, I would probably (maybe) despise bands like Smiths, Joy Division, and Yo La Tengo today. Yo La Tengo are not easy; they require listens and ears accustomed to certain sounds to be appreciated. For those who are completely unfamiliar with them, I recommend starting with the tracks Stockholm Syndrome, Our Way To Fall, Shaker, Did I Tell You, Season Of The Shark. I have a particular fondness for Our Way To Fall, a tender space-jazz serenade, interwoven with strands of refined psychedelia. A gem.

Great record, pure brutality, the result of passion and, in any case, undeniable expertise.