Slaughterhouse by Ty Segall Band

He’d been operating as a solo artist for about four years at this point, but 2012 saw the first album from the Ty Segall Band, in which our eponymous hero teamed up with Mikal Cronin, Charlie Moonheart and Emily Rose Epstein. Slaughterhouse is presented on 2x12” LPs, as opposed to the original issue which was two 10” discs. 

Limited Vinyl Double LP £25.99 ITR231

Limited coloured vinyl reissue 2LP on In The Red (this edition is 12" vinyl and includes bonus track).

  • Coloured vinyl
  • Limited edition
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CD £12.99 ITR231CD

CD on In The Red.

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Slaughterhouse by Ty Segall Band
1 review. Write a review for us »
9/10 Mike 20 June 2012

Those of you out there who keep an ear to the garage will already know about Ty Segall, since he’s made quite a name for himself prolifically doling out a series of lo-fi gems over the past few years on the likes of Goner Records and Drag City, all the while touring like a tireless gig machine. Well this time he’s on the insurpassable In The Red and he’s got a band! Not just any band, but a band with a couple of Moonhearts (a certain Mikal Cronin and Charles Moonheart, listed on the CD insert as “Charles Moothart”) and Emily Rose Epstein pounding the skins (gotta admit I don’t know much about her except that she drums for Cronin too).

Anyway, as you would expect from this album, it’s got the same bright ‘60s-style melodies which you’ve seen on previous Segall outings but it’s all souped up with the ferocious new combo rarely letting up with the rock fuzz. This gives it a surprisingly grungey element that I wasn’t really expecting but which actually works really well...almost like he’s got Pissed Jeans backing him in places, but his distinctive slightly yelpy vocals and messy slacker guitar style still leave you with no question as to who you’re listening to and I wouldn’t exactly say this is a huge change in style for him - he’s still got just as many tunes, they’re simply delivered faster and more noisily. Jon Spencer Blues Explosion seems to be a big influence on some of these tunes, too - particularly in the incendiary cover of Bo Diddley’s ‘Diddy Wah’, which is unhinged blues scuzz at its best with an awesome “FUCK THIS FUCKING SONG!” ending. Furious.

There’s an amazing guitar duel closing the pumping ‘Wave Goodbye’ that’s worth the price of admission alone, and loads of ‘60s garage/proto-punk inspired fuzzy nuggets of goodness throughout. Massively catchy tunes played with gleeful abandon, rough around the edges but never at the expense of accessibility. In The Red are totally on it at the moment - the new Intelligence album blew my mind last month and now this one’s here to do it all over again. Essential listening.



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