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From the moment James McNew’s rigid bass line meets the squeal of Ira Kaplan’s guitar on the first track of I Am Not Afraid of You and I Will Beat Your Ass, it is immediately apparent that Yo La Tengo still has some spring in their step. After the subdued, ethereal, beauty of And Then Nothing Turned Itself Inside Out and Summer Sun, it was beginning to look like one of indie rocks most eclectic acts was heading toward a definitive style, relegating themselves to pleasant and affecting pop songs that satisfied, but lacked the inspired adventurousness that had marked the bands earlier albums. While this thematic consistency made for two solid albums of poignant, love-themed ambiance, it is great to hear Hoboken’s own revitalized and playful, offering up a sprawling, ambitious album that combines everything they’ve accomplished in the past with their latest aspirations.

Like their much-lauded I Can Hear the Heart Beating as One, IANAOYAIWBYA, functions as a sampler of styles, jumping from everything from somber, piano-driven ballads (“I Feel Like Going Home,” “Song For Mahila,”), to expansive guitar noise jams (“Pass the Hatchet, I Think I’m Goodkind,” “The Story of Yo La Tengo,”), to lingering found sound instrumentals (“Daphnia,”), to garage-punk revivals (“Watch Out For Me Ronnie”). While this might make for an erratic experience under a lesser bands’ watch, Yo La Tengo unite the diverse styles with their infectious exuberance. Like a child playing pretend, they are flexible enough to convincingly imitate their obsessions while still remaining the same able and willing band underneath.

Typical of a Yo La Tengo album, the band utilizes a variety of colorful instrumentation other than the standard combo of guitar, bass, drums (which themselves are kept fresh with an assortment of treatments and effects). Egg shakers, bongos, various organs, and clave blocks all return to the YLT inventory, but this time around they are accompanied by strings, horns, and some strongly emphasized piano. In fact, most of the tracks on the album are largely piano based, which, on songs such as the stately “Black Flowers,” the orchestral arrangement gives the album a modest sophistication.

This sort of stylistic exploration is commonplace on the album. One of the strongest tracks on the album, the throbbing and hypnotic “The Room Got Heavy,” finds YLT branching out into more rhythmic territory, supporting an aggressively droning organ with vigorous bongos. They try their hand at soul on the Memphis brass-laced “Mr. Tough,” where falsetto crooning chronicles a tale of intimidation solved by some dance floor fisticuffs.

Despite all this inventiveness, the band is still wise enough to adhere to the old “if it isn’t broke, don’t fix it” adage. The strongest track on the album, “The Story of Yo La Tengo” has the band aping their Painful-era material to great effect. Dreamy, delicate guitar phrases and a looping organ build momentum as Hubley’s drumming takes hold and pushes the fusion into something forceful. Kaplan’s guitars begin to wail and erupt underneath breathy vocals and the band effortlessly circles around a squalling climax until fading out. Perhaps the ironic title is a response to those who felt Yo La Tengo had retreated to a wussier, safer, territory with Summer Sun; they are not afraid of you, and they will beat your ass.

Reviewed by: Eliminator Jr.

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