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9 of 9 people found the following review helpful
5.0 out of 5 stars I Can Hear the Heart Breaking As One., 2 Jan 2004
Those of you who are fond of recreational pharmaceuticals please be warned.If you plan on buying this album (if you can drag yourself away from Trance Nation 2004 that is )please do not listen to whilst high. Because you might never come back down- lost forever in a swirling vortex of hushed, breathy vocals and gently carousing instrumentation. There have been two dozen Yo La Tengo induced comas reported in the last twlve months in Britain alone. Dont let this put you off though, for this is possibly one of the most wonderful albums ever made. Right from the very start, as a disembodied heart beats steadily, you are encased in a bubble of lush strings and plaintive emotions as the five minute songs gently lull you into submission, and you stop whatever it was you were doing and just sit there, eyes closed, mouth slightly agape- transfixed and utterly paralysed. So complete is this inertia that when the calm is broken by the feedback drenched squall of " Cherry Chapstick " it feels as if you have been hit round the head with a frying pan, jolted suddenly back into the world and forced to sit up straight. Immediately after though, peace is resumed, and you soon find yourself cocooned for the langurous finale as Night Falls on Hoboken, and the whole world. The first half of the album is the strongest, and in "Tears are in Your Eyes" is crafted a pop song so beautiful and haunting it can (and has) made grown men weep. Some people may find it too slow and become fidgety, concerned with the lack of crunchy guitar hooks, but I really cannot recommend this album stongly enough to anyone with a pulse, I guarantee you'll listen to it everyday.
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7 of 7 people found the following review helpful
5.0 out of 5 stars Magic, 15 Jun 2000
It starts with a beat, like a heart but more discordant, a nod to the last overlong and oblique album title. "Everyday" tries its best to stay remote, and succeeds. You wonder why they've opened with this, its slow, a monotone. You'd call it a dirge, but you don't like to think Yo La Tengo do dirges. So you stick with it, all six minutes, and wonder if you'll be rewarded. You are. And how. Its no exaggeration to say that the sublimely beautiful "Our Way To Fall" captures perfectly the playful choreographing of two lovers coming together for the first time, its brushed drums and breathy vocals marching to a slow-time to-and-fro waltz. By now you're in for the ride. Yo La Tengo are in love and so are you. Ira plucks up the courage for the first dance ("Last Days Of Disco"), initial awkwardness giving way to give-in-to-the-moment contentedness. "the song said 'let's be happy'. I was happy"... Yo La Tengo fight, but tenderly. Love wins out on "The Crying Of Lot G". Ira talks us through an argument, or rather finds his voice after the slamming of the door. He's preparing his speech for when, moments later, mistakes are realised and forgiven. "Don't have to smile at me, don't have to talk, all that I ask is you stop and remember, it isn't always this way"... Like the tentative dance moves, words become simpler and simpler the more the truth unfolds: "the way that I feel when you laugh, is like laughing; the way that I feel when you cry, is so bad..." Georgia understands too, gently redressing the balance with "Tears Are In Your Eyes", a song seemingly written to make grown men weep. Along the way, our hosts pick up the pace to laugh at The Simpsons ("Let's Save Tony Orlando's House"), turn cheesy 70s pop into a relentless human beatbox ("You Can Have It All") and beat Sonic Youth at their own game ("Cherry Chapstick"). But it's the slow, languid ones that will stick with you, until Yo La Tengo put you to bed with "Night Falls On Hoboken". Its 2am on a hot summer's night and Yo La Tengo are sitting out on the porch, casting their gaze to the stars and each other, like the man on the cover seemingly enveloped in light. They could end here, but ah, what the hell, they decide, lets roll on into the night. It doesn't stop because the world's gone to bed. Hell, when you're in love, the magic never stops. Leaving you with a smile on your face. Every day.
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3 of 3 people found the following review helpful
4.0 out of 5 stars Understated Intoxication, 14 April 2000
I needed a little bit of convincing to like this record, but I perceived and was rewarded. After the first couple of plays you will wonder what all the fuss is about, although in the back of you mind parts linger and gradually with more exposure it will all fall in to place. All the tracks (excluding the last '17mins!') are warm and understated without ever being sweet, with the album drifting along in a hushed whisper. Not one for the car or the walkman, but a pot of coffee and the sunday papers.
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1 of 1 people found the following review helpful
4.0 out of 5 stars How Lou Reed would sound like today if he hadn't lost it, 30 Mar 2000
By A Customer
Yo La Tengo are a living legend, they deserve to be rated up there along side Sonic Youth, Bob Mould, the Fall and all those other truely great indie bands that have been fighting in the trenches churning out new, intelligent and innovative music for so many years now. If you liked the Flamming Lip's Soft Bulletin and Mercury Rev's Deserter Songs you'll love this. My favourite song is Saturday, the voice reminds me of Lou Reed in the Berlin era.
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5.0 out of 5 stars YLT's most complete album. Magnificent., 27 Feb 2005
Somehow I bought this after 'Summer Sun' and 'I Can Hear The Heart Beating As One' but this easily feels the most complete and enjoyable of the three.
At times YLT have let enthusiasm and sheer inventiveness come a bit before quality but not on this album. It has a gloriously integrated feel. The dreamy voices have a melancholy end-of-summer feel, musically it shifts tone with a variety of instrumentation which is more electronic than on some other albums. 'Cherry Capstick' is indeed a crunching rock-out but it does not seem out of place as it relieves the tension and sets up the final stretch. The 17 minute closing track is YLT at their absolute best, a gorgeous strummed acoustic melody that gently ebbs into the night on a wave of restrained distortion.
Buy this if you've liked anything else they have ever done, buy it if you are just curious about YLT, buy it if you liked the experimentation on Radiohead's Amnesiac/Kid A.
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1 of 1 people found the following review helpful
4.0 out of 5 stars Beautiful Moments, 23 Nov 2011
By 
Keith M - See all my reviews
(TOP 1000 REVIEWER)   
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This album represents Yo La Tengo at their most laid-back (although I don't mean that as any form of criticism). Whilst (for me) this album is not quite up to the standard of their 1997 release I Can Hear The Heart Beating As One or 2006's I Am Not Afraid Of You, etc, it has some great, indeed beautiful, moments. My main criticism would be that, unlike the aforementioned albums, And Then Nothing Turned Itself Inside-Out is too one-paced i.e. slow, and whilst YLT have produced more sublime ballads than most bands could dream of, they slightly overdo it here.

That said, YLT have once again managed to construct some beautifully melodic songs in Our Way To Fall, Let's Save Tony Orlando's House, The Crying Of Lot G, You Can Have It All and Madeline. For me, however, the album has two particular highlights. First, is the achingly beautiful Tears Are In Your Eyes, on which Georgia's vocals have never been more impressive. Second, is what for me is a contender as the greatest ever YLT song, the marvellous, punchy and Ira-feedback-infused Cherry Chapstick. This is vying with Blue Line Swinger and The Story of YLT (and maybe one or two others) as my favourite YLT song. Odd, I guess, given that this is the most uptempo song on the album.

My final comment is that the album is (like most YLT releases, in fact) a real grower. Definitely another impressive YLT release.
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1 of 1 people found the following review helpful
4.0 out of 5 stars Music for dreamers, 2 Aug 2010
(fom FRANCE - sorry for my bad english) Bought after an Amazon's advice, no regret at all(thanks Amazon). BRIAN ENO's influence is flagrant(Another green world), most on the begening of the record, but YO TA TENGO as his own life and listening this music in his bed, earphones in place, without external parasite noise, is a real pleasure.
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4.0 out of 5 stars The Velvet Underground meet St Etienne on Mercury (rev)., 21 Feb 2000
By 
Benny Placido "edo152" (Edinburgh) - See all my reviews
(REAL NAME)   
Yo La Tengo are not a name immediately known to UK audiences, I suspect, but a review of 'And then nothing...' in our local newspaper was insistent that I get a copy. So I did. I am on to my third listening and the scary thing is that I can hear so many varied influences. I suppose The Velvet Underground have already been noted but I can also hear the poppy strains of St. Etienne, the dark melancholy of Mercury Rev and so many more... I would guess that it's still uniquely their own sound, and the joy of discovery is that I can rifle their back catalogue for more of this excellent stuff.
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5.0 out of 5 stars Perfection, 15 Feb 2000
Yo La Tengo have produced consistently brilliant albums, but this is simply perfect. Hushed, subtle, melodically fluent, moving and beautiful, this is the sound of an essential band at the height of their powers, creating and sustaining an atmosphere of heartbreaking intensity.
From droning, eerie opener 'Everyday', through the strange percussion on single 'Saturday', to the gorgeous 17-minute closer 'Night Falls on Hoboken', Ira, Georgia and James are casting spells on the listener. Get hooked.
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4.0 out of 5 stars A lovely CD that you'll never regret buying!, 12 Mar 2000
I heared a couple of tracks off Yo La Tengo's new albumn in a local record shop then read a couple of very favourable reviews before buying it. I have been really impressed with this wondefully talented band who I've never heared of.I have played it most days and am totally hooked.The melodies throughout are beautiful and the instrumentation swirling and atmospheric.I'm still not totally smitten with the final 17 minute track but nonetheless am definately investigating the back catalogue.
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