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4.7 out of 5 stars
4.7 out of 5 stars

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on 9 September 2013
This album very quickly proved to be a fantastic buy due partly to Yo La Tengo's marvellous ability to create such diverse music and equally because the songs are so great.
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on 23 November 2016
This album is the sound of a hundred cut toenails waiting to be swept away by the morning wind.I Love this band, I know them, I have never heard them. Summer sun is painful , it makes my heard turn Spanish with orange flames and tired promises .And then nothing turned itself inside out and I was at peace again, alone on the shore , wanting for nothing. Five stars are not enough but at the same time too many. The battery is flat but life goes on.I am singing.
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on 12 March 2003
They say 'variety is the spice of life' and this offering from Yo La Tengo may just prove this old saying right. 16 tracks that take on a number of styles and sounds but remain distinct and ear pleasing. Heartbreakingly beautiful and gentle on slower tracks like 'Damage' and 'Shadow', the songs continue to sound fragile even when the guitars get turned up (slightly!). Undoubtedly the gentler side of Yo La Tengo is their strong point, the soft spoken male and female vocals compliment the delicate melodies to fully, creating mini masterpieces again and again. Musically, the songs are simple and impeccably controlled blending happy and sad vibes to great effect.
There is a haunting atmosphere on tracks like 'Damage' with its ghostly backing vocals and reverb guitars. Similarly instrumental 'Green Arrow' with it's cricket chirping background and beautiful guitar parts takes on an eerie sound that is enough to paint all sorts of wonderful images in your head.
All in all, the album is largely faultless; never dull, always interesting, and frequently beautiful. A real treat of a record with some excellent melodies and hooks to keep you coming back time and time again for more.
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TOP 500 REVIEWERon 17 April 2012
Yo La Tengo's 1997 album I Can Hear The Heart Beating As One is probably my favourite album by the band, containing a typically varied and eclectic collection of songs by this much underrated (and under-recognised) band. The album contains a brilliant mix of styles - folk, punk, electronic, jazz - cementing the band's reputation for diversity, but, much like their most obvious comparators, The Velvet Underground, always with a view to capturing haunting melodies and inspiring instrumental hooks.

One of the great features of this band, of course, is that all three members will variously take on vocal duties, lending a different vocal ambience to each song. This album particularly highlights this quality. Each of Ira, James and Georgia can, of course, warble a marvellous slow ballad and this facet is demonstrated admirably here. Standout ballads are Damage (featuring Ira), a heartfelt lament following a lovers' tiff, Shadows (featuring Georgia), another beautiful melody in which a rejected paramour is resigned to taking second place in a lover's heart, and, best of all, Stockholm Syndrome (featuring James), described elsewhere (accurately, I would say) as being reminiscent of a Neil Young (After The Gold Rush-period) ballad, and apparently telling the story of the love of the mistreated (a la the song's title).

On the more up-tempo front, the album contains the live favourite Sugarcube, which features some typically invigorating, and feedback-infused, guitar from Ira, an almost unrecognisable version of the Beach Boys' song Little Honda and, best of all, the brilliant Deeper Into Movies, which builds from its quiet beginnings into a fully fledged hook-laden wall of sound, once again apparently defying the reality that, yes, Yo La Tengo really are only a three-piece band. And then, as if this level of variety wasn't sufficient, we have the bossanova gem Center Of Gravity, with delightful harmony vocals from the crew, and the extended ambient, electronica of Green Arrow and Spec Bebop. Truly, a level of musical diversity that most bands can only dream of.

Nearly 70 minutes of magical sounds.
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on 6 December 2001
every song on this album and every song yo la tengo have ever done have been infused with a perfectly controlled guitar. their lyrics are incomparable in modern day alternative rock for their honesty and clarity. the songs in which the singing takes the lead are beautifully gentle and are refreshingly simple and touching. The melody of this band speaks for itself and the only band i find in modern alternative rock with a similar scope is the flaming lips. my favourite songs are possibly sugarcube, deeper into movies, my little corner of the world and we're an american band. 'we're an american band'is in my opinion the band's best song and possibly the most emotional instrumental i have ever heard. the guitar solo at the end reminds me of free jazz in the way it relinquishes the tune to communicate emotion, and is the best instrumental guitar song i have ever heard. indeed this is one of the 'best albums ever'. this music has to be heard.
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on 28 September 2010
The vinyl copy comes with a mp3 download but when you listen the LPs its very hard to enjoy Mp3 on ipod. Buy it on vinly, excellent dynamics, very good sound that worth to have it on black plastic discs for a few dolars more.
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on 3 October 2010
pues eso... sin lugar a dudas es el mejor disco del grupo, aunque en su ultimo recopilatorio solo hayan puesto un tema o dos y ninguno sea "moby octopad".... una obra maestra.
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After the instrumental intro, Moby Octopad wafts in with its sad refrain, followed by the slightly more upbeat Sugarcube, then it’s back to melancholy with Damage. Deeper Into Movies brings the guitars up for a rocker that is slightly reminiscent of Jesus & Mary Chain or My Bloody Valentine, while Stockholm Syndrome is a simple acoustic ballad. Autumn Sweater is a little masterpiece â€" its compelling arrangement, wistful mood and poetic lyrics lift it high above the rest of the album. Green Arrow is a languid instrumental with chirping crickets, and One PM Again is a type of lullaby with lovely vocal harmonies. Spec Bebop is a mildly entertaining, but overlong instrumental. Yo La Tengo are often labeled as followers of the Velvet Underground tradition, but I find them a bit self-consciously “civilized.â€� After repeated listening, I cannot say that I find this album in any way great. One exceptional song doesn’t make a classic album. Maybe it’s an acquired taste?
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on 1 January 2001
Every note of this album radiates a gorgeous happy sadness. The previous albums 'painful' and 'electr-o-pura' are both fine albums, but this is on a whole new level. From the opening bars of the delicate 'return to hot chicken' this record has you in its grasp.
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on 18 March 2009
This is a glorious album. As others state YLT try lots of different things here, tempo, style but always with their own distinctive feel.

I haven't heard all their records but I find it hard to imagine them bettering this one.
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