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The trio was at its best on 1990's delicate Fakebook , on which it painted its sonic hues around the words and melodies of other songwriters, including Ray Davies and Daniel Johnston. Still, most of the group's all-original albums contain more solid songs than directionless duds. The album's sequencing favors amorphous songs with little identity, leaving listeners to conclude that all the members of Yo La Tengo care about is grooving on a theme until they're done. Then it's on to the next theme. The album has moments of sweet melodic manipulation and clever experimental etching, but they're buried beneath mounds of musical wanking and extended drones.