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Listen to Yo La Tengo cover The Spinners’ “I’ll Be Around” live on XPN

Photo by Laura Jane Brubaker
When they were in town for our midday concert on January 11, Hoboken indie rock heroes Yo La Tengo - well known for their imaginative rock and pop cover songs – put their spin on “I’ll Be Around” by 70s Detroit soul combo The Spinners. Listen to their version below, and compare it against the original.

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Yo La Tengo previews its new Fade for Free at Noon (photos, audio, setlist)

Hoboken indie rock heroes Yo La Tengo performed at today’s Free at Noon concert, giving the sold-out crowd at World Cafe Live a taste of their dynamic new album Fade, which is released on Tuesday. “Ohm” galloped out the gate into a boisterous midtempo noise jam, while the drum-free “Cornelia and Jane” highlighted Georgia Hubley’s husky lead vocals, and “I’ll Be Around” brought the pace down to pin-drop quiet levels. The band wrapped the set up with another “I’ll Be Around” – a delightful, off-the-cuff rendition of the Detroit soul classic by The Spinners. Check out a photo gallery of the performance above, read the setlist below, and listen to the concert in its entirety here (via the WXPN media player).

Setlist
Ohm
Cornelia and Jane
I’ll Be Around
Is That Enough
Before We Run
I’ll Be Around (The Spinners cover)

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Stream Yo La Tengo’s new Fade via Pitchfork (playing WXPN’s Free at Noon on Friday)

Yo La Tengo illustration by Keith Greiman

We’re excited to have Yo La Tengo join us for WXPN’s sold-out Free at Noon double-header this Friday with Bat for Lashes. While you’re getting psyched to see the performance at World Cafe Live (or hear it on the WXPN airwaves), get a taste of the sublime new material the Hoboken eclectic rock trio has in store. Fade is a great set of songs with expressive arrangements and low-key guitar tones reminiscent of the band’s 2003 album Summer Sun. It’s also streaming on Pitchfork until it’s January 15 release date. Listen to it here.

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Photo Recap: The National + Yo La Tengo and Wye Oak at the Academy Of Music

For more photos by Eric Ashleigh, visit eashleigh.com.

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Watch the new video for “Holy Holy” by Wye Oak (opening for The National tonight and tomorrow at the Academy Of Music)

As we mentioned earlier today, Wye Oak will open for The National and Yo La Tengo at the Academy Of Music tonight and tomorrow night. Below, you can watch the new video for the Baltimore-based duo’s song “Holy Holy,” a sun-soaked, dreamy clip shot in Coney Island that follows the two as they ride roller coasters and swings against a washed out sky. “Holy Holy” is from the band’s latest album Civilian, which came out this spring. Wye Oak performs with The National and Yo La Tengo at 7 p.m. Wednesday, September 7th, and Thurday, September 8th, at the Academy Of Music; tickets to the all-ages shows are $39.50.

Wye Oak – Holy Holy from Merge Records on Vimeo.

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Tonight’s Concert Pick: The National + Yo La Tengo, Wye Oak at the Academy Of Music

The National has been around for more than a decade—a lifetime by indie buzzband standards—but it continues to put out solid records. The Brooklyn-based quintet’s latest, 2010′s High Violet, proves that the band is still relevant, and at the top of its game. The album features collaborations with Bon Iver’s Justin Vernon and Sufjan Stevens; it’s a more polished, lavish rendition of The National’s particular brand of alt rock. Philadelphia is in for a special stop on the band’s fall tour: It will perform not one but two shows, both of which are with Yo La Tengo and Wye Oak. The National performs with Yo La Tengo and Wye Oak at 7 p.m. Wednesday, September 7th, and Thurday, September 8th, at the Academy Of Music; tickets to the all-ages shows are $39.50.

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Recap: Yo La Tengo at The Trocadero

Yo La TengoThursday night saw Hoboken heroes Yo La Tengo paying homage to one of America’s most-beloved game shows in syndicated history: the Merv Griffin Enterprises icon, Wheel Of Fortune. As the chintzy, brass-laden theme music blared, guitarist/vocalist Ira Kaplan chose a random member of the crowd to come on stage and, with one flick of the wrist, decide the musical fate of the entire audience. The concept was simple. The band would perform two sets for the night: the first, a selection of ultra-rarities determined by a makeshift Technicolor wheel rolled onto the forefront of the stage; the second, a more traditional grab-bag assortment spanning the band’s discography—no small feat for a three-piece that has produced over 20 releases since its formation back in 1984.

Kaplan, in pure Pat Sajak fashion, proceeded to give the unsuspecting crowd a quick run-down of the entertainment options for the evening. Among the possible outcomes were the following: “Sounds Of Science Pt. 1” (a collection the group put together to score an oceanographic documentary), “Dump” (a set composed of songs written by bassist James McNew’s solo project), “Songs That Begin With the Letter ‘S’” (self-explanatory), “Sounds Of Science Pt. 2″, “Sitcom Theatre” (to which Kaplan quipped, “Don’t ask”), and finally, “Condo F****s” (a set of covers the band recorded under said alias). The brave participant licked her lips, wiped the sweat from her brow, placed her hand upon the spindles of the wheel, and gave it a whirl as the onlookers looked on with hope.

A silence presided as the wheel clicked past “Sitcom Theatre” and “Songs That Begin With The Letter ‘S’” before finally resting—to the dismay of many—on “Sounds Of Science Pt. 2.” A collective groan went up from the masses; Kaplan admitted that, when they decided on the wheel concept, “One of the things [they] anticipated most was hearing the groans from the audience.” Undeterred, Kaplan and Co. obeyed the wheel’s prophecy, and launched into an instrumental set, conjuring up visions of wind-swept waves with their first number, and gradually progressing into more dissonant, Jaws-invoking feeding frenzies. Around the 20-minute mark, Kaplan grabbed his guitar and recaptured the audience’s attention with an ear-splitting wave of distortion, which signaled the highlight of the first set: a descent into slimy-sounding guitar effects, murky funk bass, and drummer/vocalist Georgia Hubley’s tom fills, culminating in a deafening wall of noise.

The second set (which felt almost like an apology of sorts) was by far the highlight, peppered with fan favorites from earlier years, such as “Autumn Sweater,” the heart-string-yanking, “Last Days Of Disco,” and the bass-line driven “Moby Octopad.” The band also paid tribute to Sun Ra before closing with a 20+ minute rendition of “Pass The Hatchet, I Think I’m Goodkind”—during which, ever the showman, Kaplan proceeded to de-tune his guitar, swing it by its neck, and beat it into submission. The encore, summoned by poly-rhythmic-clapping, found McNew trying his hand at the Devo classic “Gates Of Steel,” and Hubley timidly intoning the final number, an acoustic rendition of “Tom Courtenay”—an apropos conclusion to an evening punctuated by chance and consequence. —James Porter

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