Although “Nuclear War” has been part of Yo La Tengo’s live repertoire for years, it’s no coincidence that the Hoboken trio chose this precise moment to release a four-song EP of different versions of Sun Ra’s protest tune. By now, Gulf War II: The Revenge is starting to look like just one more overblown sequel that nobody wants to see, and so it’s obvious why the band thought it appropriate to record several unique takes of the anti-annihilation anthem.

Incorporating the same droning urgency that was used to such good effect on their last album, the stirring And Then Nothing Turned Itself Inside-Out, Yo La Tengo stretches “Nuclear War” past 15 minutes for one version while none of the rest of them are less than six. Unfortunately, although each take tweaks the song’s overall blueprint (a mixture of funny and distressing lyrics, a singsong nonchalance in the face of impending apocalypse), the overall impact lessens with each subsequent run through. Like any CD single that tacks on endless, convoluted remixes of the hit track, Nuclear War loses its shocking clarity along the way. Instead of reinventing the song through lounge and techno treatments, the band only renders it tedious.

There’s no question that Yo La Tengo remains one of the most remarkable indie bands still roaming the earth. But even if this EP works wonders as social protest, that doesn’t necessarily guarantee it’s great protest music as well.

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Because Yo La Tengo have been busting the boundaries of indie rock for almost two decades now, they have the ability to release decidedly noncommercial EPs such as this one, which includes four versions of the Sun Ra avant-garde classic. "Nuclear War" dates from Ra's rare 1982 Y Records release of the same name (which was reissued by Atavistic in 2001), and mashes free jazz experimentation with body-shaking rhythms. Couple this shambolic noise with lyrics that would be considered comedically droll if they weren't so dead-on ("They're talking about nuclear war / It's a motherfucker, don't you know"), and it's easy to see why "War" is considered a landmark in the genre.

Of course, Yo La Tengo, for all of their Velvet Undergroud-style dreaminess and dull roar beauty, are not always musically accessible either, making their cover a stylistic match made in heaven. Indeed, the band has the perception to carry on the spirit of Ra's vision faithfully, eschewing tradition in favor of quirky flourishes--a children's choir singing backup, timapanis and saxophone, and radically differing arrangements of vocals. Version three stands out in particular--a sprawling, fifteen-minute combination of haphazard percussion, a musical theater-esque piano intro and jagged saxophone bleats that often sound like the screams of chimpanzees.

The problem with "War" is that it's less a Yo La Tengo song than it is Yo La Tengo self-indulgently stretching their avant garde horizons. Consequently, the EP is likely to appeal only to those that appreciate free jazz, admittedly not the easiest thing to do. Moreover, the four versions of the song tend to become monotonous and lack enough stylistic distinctions to remain interesting. In the end, "War" comes across as a treat for completists and adventurous ears up for a challenge only; fans of the band should shell out their bucks for their upcoming April release instead.

Got black-rimmed glasses?

The Yo La's -- husband and wife team Ira Kaplan and Georgia Huble along with bassist James McNew -- started in 1986 and along the way have been compared to such bands as The Velvet Underground and Sonic Youth. Yo La Tengo -- Spanish for "I got it", in case you're curious -- return with their 12th album Summer Sun, and they are just as calm and unique as ever.

Throughout their history, Yo La Tengo have had plenty of albums that sound different from one another, and the more loyal fans are probably wondering, is this a dark and calm And Then Nothing Turned Itself Inside Out or a more up-beat Electr-O-Pura?

Summer Sun is definitely closer to And Then Nothing…, their previous album, but it also stands alone from many of their albums. You won't hear any heavily guitar-driven songs like "Cherry Chapstick" or "Tom Courtenay." You will, however, hear plenty of Yo La Tengo's calm, often indescribable music.

This album is softer, yet keeps its diversity, ranging from classic Yo La Tengo to funkier songs like the instrumental, piano-leading "Georgia vs. Yo La Tengo" and the jazzy, freeform, 10-minute-long "Let's Be Still." The first song, the playfully titled "Beach Party Tonight," is a beautiful, flowing song reminiscent of Sigur Rós (the song appears to be neither about a beach, a party, or anything at all, by the way). Instantly after that, the album heads into familiar Yo La Tengo territory, with the mid-tempo "Little Eyes" and darker, minimal, "Nothing But You And Me."
In Summer Sun, the Yo La Tengo crew produce plenty of surreal, subdued sound spaces, often creating music that is both full and minimal at the same time. Georgia's vocals and lyrics always draw me in. When she sings "you were under a spell" in "Winter a Go-Go," I actually feel like I'm under a spell.

One thing that Yo La Tengo is known for is some of their more interesting choices for cover songs. They've covered a wide range of bands, including The Beach Boys, The Dead C, and The Kinks. They've even played a psychedelic version of the Simpson's theme on an episode where Homer becomes a hippie. On this album, they cover the Big Star tune "Take Care,” a peaceful song with acoustic guitar and soft vocals.

Like many of their albums, there's something about this one that just makes you want to play it over and over again. Enjoy Summer Sun. It's just plain pretty.